<< I lost it here. Coincident XY's solid imaging and phase is due to the two mics being so close that there is little or no comb filtering. Even at 2 inches apart it's only a fraction of a ms. 2 ms is closer to two feet,(?) and 15ms @15'?>>
You are right!Iwas trying to throw the idea of wide stereo micing and xy micing all together at the same time by saying to just keep the delay smaller than 15 ms. I wasn't using any calculations, just ranges to go by.
step 4: Pan the first eight tracks hard left, and pan the next eight tracks hard right. Send the output of the aux bus of tracks 9-16 and the outputs of tracks 1-8 to the main output.
Now you have a true stereo representation of the 2 virtual mics and the distance between them and the sound "effect" equivalent of thier spacing.
<< All the first eight drum mics are panned left and ONLY these and the delayed set of eight panned right, go to the main buss? Is this the stereo drum mix, or does this get mixed in with another stereo mix of the eight mics?>>
No, only 16 tracks will be at the main mixhere is the signal chain.
1-8-->individual delays per track--> all pan left--->send to main mix---> final reverb stage mixed with tracks 9-16 :
9-16--> individual delays per track--->all pan right--> send to auxillary bus with a delay--->output of delay to main mix-->final reverb stage mixed with tracks 1-8.
Make sure everystage is sent to the next level POST the previous stage. Don't let the original unchanged signal get back to the main mix by it being allowed to "skip stages"
but not selecting a proper source. So make sure you aren't getting a mix of mutiple stage of the signal being mixed back in. I don't know how your board works so it is difficult to tell you.
Step five: Optional. Now you need to calulate the distance the drum kit is from those 2 virtual mics 10 ft, 20 ft however far back you want it sound like the live recording was made. We are not done though.
Now assign a delay to all sixteen tracks and set them to full wet and 0 dry signal... with all DELAY "effects" OFF.
Now... which ever drums are the same distance from the mic cluster, you can remove the delay from that track and it's corresponding COPY track.
Now... set different delay times for the individual drums. Set the snare to 3ms, the cymbals to 4 or 5 ms, the floor tom to 8 ms and make sure that all the delays are smaller than 15 ms. The further the drum is from the mic, the larger the delay for its track should be and vice versa.
<< Step 5 seem to be putting the phase/time differences you removed in step 2 back in. Except the delays would suggest differences of eight feet. (?) The 'virtual mics' at 10 to 20 feet, was that why we used 15 ms back in step 3?
I can see track alignment being used to alter kick or snare tone and phase, but were looking at a few ms either way. Delay panning is very strong at 0-1 or 2 ms.
Last comment. I feel that it is the mix of phase and timing effects between the various mics, close, o/h's and even the room returns that makes for a natural sounding kit. Are you taking the long way home?
True... you are putting phase time differences into the track, but only at say 8-16khz, as apposed to all frequencies from 20k to 20hz.Now on the delay times, they were yet again just numbers I threw out of my head to display as example that could be more easily recognized instead of 3.356ms and 3.687ms, you get the idea, that is all that matters. Do the calculations your self and use the numbers that you want. The first delay on the aux bus should be for the distance between your stereo mics. The individual track delays are for the distance between the drums and the stereo Mic "Cluster".
What your talking about is correct. you can easily get a good naturally sounding kit, but... most of the time a close miced set sounds like a "close miced set" to me, it gives you a sound like you are sitting right behind the drums yourself instead of back in the audience. Which from a PLAYERS point of view, sounds very natural. I may be taking the long way home, and I don't always go that way. But there are times that i do use it and it tends to be on recordings that I get to record the way I want them... instead of the sound someone else is trying to reach.
Oh... and to Light.
I also find your condescending attitude about non-traditional music to be really annoying. You seem to be saying that you only need to worry about sound quality in "traditional" music. That qualifies as bullshit in any language.
I PLAY christian heavy metal, which is untraditional. I WRITE rock music which is untraditional. So i guess you just aren't acustomed to my snobby, oversophisticated, logistical way of speaking yet. Like I said...
I am not here to slam one type of music or the other"
I get accused of it alot. I also have a rather dry sence of humor also.
I love to listen and record Jazz. It is the stuff in which I can turn out the lights, close my eyes, and get an awesome concert for free while I sip on some cheap wine that looks expensive.
But, i usually don't listen to jazz when I'm cruising down the freeway trying to out-run the Mustang right beside me either.
To Boray..thanks. I don't want to say how much I agree with what you have said cause I might get blue bear on my back again, but your'e alright.
I think everyone new to recording should visit the nearest high end store and listen to what a $25,000 stereo sounds like. Not home theater... just stereo. I think once you do that, the tizz and boom of low end speakers will never impress you again. clear midrange is where its at.
I agree 150,000%
For reasonably well built systems the benefits of active crossovers and bi-amplification far outweigh any drawbacks
I believe in bi-amping, which can be done on a passive system with 4 monoblock amps or 2 stereo amps very easily. But i have not seen "Personally" any benefits of an active crossover in the studio except for maybe crossing over to a sub. But that can be done with an inductor as well. Where active crossover really come into play is in Live sound where your horns and subs are modular and have no built in passive's. You may even need to tri-amp if you have horns, low-mids and subs.
...and that's all I have to say about that.
Good day
). And yes, I have done TONS of jazz, so I know what I need to make a good jazz recording. For me, what I need is monitors I am familiar with, a great room, and (for small ensembles) about a half dozen great mics. Great pres are a benefit, but if I have a great board, I don't need them. That is how I make great jazz recordings. You do it differently, and that is fine. Do not try and tell me my way is wrong, because it is ALL subjective. 
