Besides, the mono compatibility of the result is pretty decent. 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. Mixing in mono is more than a gimmick, it is an opportunity to simplify, limit your options, and focus your ears on the tracks. Others think you should simply check your mix in mono throughout the mixing process, and address phase issues as you find them. 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. Start Your Mix in Mono. Not all phase problems should be fixed. Use Phase “Problems” To Your Advantage. 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 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. Next week I'll give you some advice to fine tune your overhead recordings. Some actually enhance your mix. 6. Anything that helps you evaluate your mix decisions in this way is a good thing in my book. 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. When using them, check your mix in mono to make sure tracks don’t disappear. Mono overhead with stereo room mics (if you have a good, big room) can be just right. Multi mic drum recording, with hard panned mono overheads, and room mics further back (out of shot). Spreading out the guitar(s) will open up space for the bass and other center-panned parts. 3. It can, like the example above, be paired up with another mono track to create a virtual stereo track! 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. First and foremost we need to start with a solid single microphone that can capture the whole frequency spectrum. A mono track can be panned anywhere in the mix – hard left, hard right, and anywhere in between. Try dropping out some lower midrange to remove muddiness in the middle — especially on a dreadnaught or other large-body acoustic. I like using a mono overhead in conjunction with a stereo (spaced pair) room mics. The overheads can be in one stereo track, or separated into two mono tracks, panned left and right. The key for me is to make sure the mono overhead is fairly high so as to capture all of the cymbals well. Mixing guitars in stereo is a great way to add depth to a mix, particularly in a very busy mix. Minimal Mono Micing. 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. 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. 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. There’s a lot of controversy over mixing in mono. Some people believe you should start your mix in mono and later add stereo width.