Quote:
Originally Posted by colinmiller 
One argument to that is that it's not the same as a single mic in the middle. That I personally disagree with because a mono mic is not going to sound different if it's in the middle, left or right. So long as it's the same distance from the kick and snare, it's not going to change the impact. This notion that somehow if the mic is center front to the kit gets more impact isn't true. You could argue that off to the side it might get more of the ride or hat (depending on the side), but in the middle, you might get more of whatever cymbal is closer to the center. Either way it all comes out the same. The other argument would be that the sum of two mics cancels out some frequencies and gets less impact, but that just means that the mics were not placed right. They should always be checked in mono along with the OHs.
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If spaced room pair, you can not get the same impact across the low-end relative to 1 mono mic. You can place them the best you can to reduce phasing issues, but not eliminate them.
But an XY stereo pair in the middle pretty much gets that single mono impact down.
You do bring up an interesting point though....even with a spaced room pair, the mixer could always just use one of the mics as mono if he/she wants to. One could also set up 3 mics....LCR.
I think Bob brings up a point from the mixing perspective; As a mixer you want as many options available to use...even though you may use a fraction of those options, a mixer would like to have them available for production purposes. These days tracks are not an issue as in the past, so he has a point.
If I were recording tracks that I knew were going to be mixed by someone else, I probably wouldn't limit the mixer to a mono room mic unless it was my project or band and I wanted to restrict the mixing options for a better chance of getting my production/sound across in the end.