| XY for me is no good for room miking, at least for drums... it will give a smallish perspective of the kit that can be hard to mix in.
But works for surround...
IMHO room mics should be omni, and placed one at a time: find a good-sounding spot for the first one then find another spot for the second.
Fine-tune the positions until you get them working as intended in stereo and mono.
One of the usual problems I've been finding lately is "room" tracks that end up being no more than "far OHs".
A single mic 3-4" away from the drum kit is what I sometimes used as the _only_ drum mic, so it does not seem to qualify for "room" sound unless the room is quite reverberant.
One thing though: if MixShmix, whoever he might be, is finding a mono room mic as something that makes his mixing difficult to the point of writing about it in a public forum, then some consideration should be given to the subject.
Perhaps some other people who have had success mixing mono room mics could chime in and give examples of commercial releases that used such technique so we could all listen and learn.
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Regards,
YZ
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