You got the dope from Rail, but just to add……
I did ten years in music for film.
The final dub (mix to picture) for small films and television is usually done with stereo music mixes.
So you mix the music how you want it to sound, then reimport the finished mixes into a new page that is the final film mix.
Then you can fx, reverb, re-eq and hard edit/fade any of the stereo files to taste.
In the past we’ve hard cut from one music title to another, or crossfaded between them, or gone from a full mix hard in to a next door mix (like you were recreating) and back to the full mix.
Pre-made midi for virtual drum products is just a few years old, maybe a couple of years old.
There will be more flavours in time. It just takes time to play, record and edit them.
Yeah, it’s not exactly what most people want, but seems to happen quite a bit.
My cymbals and toms are mostly on my right. So if the overheads are equally positioned over them, both the snare and bass drum can end up more in the left mic.
I agree, it’s especially handy if the bass drum and snare are centred in the room mics.
Certainly the bass drum is best centred in the mix, at least on most occasions.
It’s kind of normal not to have the overhead mics dominate the drum mix.
As to room mics, you can have them up high, but it would be unusual for the bass drum and snare to appear clearly weighted to one side in a room/ambience mic. The distance is too great.
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