I like using a mono overhead in conjunction with a stereo (spaced pair) room mics. A mono track can be panned anywhere in the mix – hard left, hard right, and anywhere in between. Mono overhead with stereo room mics (if you have a good, big room) can be just right. Use Phase “Problems” To Your Advantage. Mono tracks are only for kicks, bass, vocals and stuff like that.” Truth: Any mono track can be used for a variety of purposes in a mix. Sometimes it isn't clear (to me anyway) if mono or stereo overheads will be right for the mix, so it can be advantageous to track both. Some actually enhance your mix. Room microphones are also commonplace in music recordings, we recommend using a pair during drum tracking sessions to capture how the kit sits in the room and make use of the space’s natural reflections. The key for me is to make sure the mono overhead is fairly high so as to capture all of the cymbals well. It can, like the example above, be paired up with another mono track to create a virtual stereo track! Start Your Mix in Mono. 3. The overheads can be in one stereo track, or separated into two mono tracks, panned left and right. 6. Next week I'll give you some advice to fine tune your overhead recordings. I've been liking the idea of mono OHs recently and rather than getting the b I will be tracking drums in a farmhouse in a couple of weeks and whilst their music swings between... Mono overhead Vs stereo - Gearslutz Working at the legendary Sam Phillips Recording studio in Memphis, TN, Matt discusses the mono overhead mic he’s using on the drums, one of only three mics he’s got on the kit. Minimal Mono Micing. Mixing guitars in stereo is a great way to add depth to a mix, particularly in a very busy mix. Multi mic drum recording, with hard panned mono overheads, and room mics further back (out of shot). The spaced pair makes a nice hole in the centre of the mix, and the mono overhead fits nicely in there. For example, phase cancellation between multiple mics on a guitar cabinet can be used to add color and texture to the instrument’s tone. Mixing in mono is more than a gimmick, it is an opportunity to simplify, limit your options, and focus your ears on the tracks. In short, this technique will work wonders when you need effectiveness and modernity, regardless of whether it's a rock, pop, metal, reggae, or other sort of production. Try dropping out some lower midrange to remove muddiness in the middle — especially on a dreadnaught or other large-body acoustic. When using them, check your mix in mono to make sure tracks don’t disappear. Others think you should simply check your mix in mono throughout the mixing process, and address phase issues as you find them. Besides, the mono compatibility of the result is pretty decent. Not all phase problems should be fixed. For this I am going to be using Mojave's new MA-301 FET which is a large diaphragm condenser that is both full and articulate in how it sounds. Sometimes the simplest setup is the best one, as you’ll see in this excerpt from Start to Finish: Matt Ross-Spang - Episode 1 - Setting Up The Live Room & Getting Sounds. There’s a lot of controversy over mixing in mono. First and foremost we need to start with a solid single microphone that can capture the whole frequency spectrum. Anything that helps you evaluate your mix decisions in this way is a good thing in my book. Whenever the tracks are separated, I tend to route them into an Overhead Bus, and apply the mixing processing straight into the bus instead of the individual tracks. Spreading out the guitar(s) will open up space for the bass and other center-panned parts. Some people believe you should start your mix in mono and later add stereo width.