Joe's Bar

[Roy]

All this talk about phase seems to be nonsensical. If it sounds good and adds something positive to the mix, use it. If it doesn't, fix it (or hide it) until it does. If we are going to address the overhead and room mics (both mono, in this case), I found the room mic was not really much of a 'room' mic or the room was really small. My impression of the room mic was that it was more of another overhead which is how I used it. I panned the 'OH' and 'Room' mics in a way that still kept the kick and snare in the middle but gave width and ambience to the kit. In my template I route my overheads and room mics into discreet stereo busses. In this case I brought the room mic into my overhead buss (which also holds my hat) and then added a bit more room to the buss with a 480XL ambience patch. I kept it tight because of the context of the song which did not seem to call for a big space for the rhythm ensemble. I think some of the wobbliness of your low end may be from reverb on the low end instruments.  Anyway, my two cents.

While I agree (as I said in this post: https://discussion.cambridge-mt.com/show...#pid124054), we have to keep in mind that not  everyone here has a wide variety of experience and education when it comes to audio so sometimes a discussion and reminder of the importance of phase is warranted. And then we can go outside the box (while in the box).

It's important in dealing with multiple mics and sources and leakage and should be dealt with at the recording stage and should be kept in mind and checked when mixing but also in terms of seconds and move on.

In the end it's all probably just phase because that's music and audio but also not something to worry about anymore than one should worry about the phase of different notes when playing a chord.