Hello Philip
Thank you so much for all the inspiring lessons i received from you by taking your recording class and by hearing you talk about the process of things.
One concept i picked up from you again through the video is the „mic the spill“ philosophy. Having a one room studio, it really was a game changer. I have been putting alot of attention in how the bleed sounds during sessions and wanted to ask if you have any more tips on what you usually focus on / what to listen for in the signals if there is drums and bass involved.
on billie marten‘s „feeling“ the room on the instruments feels so natural and smooth, I love it so much. Seems that capturing the room - again - is a big part of the production, i guess alot of omni sources here too? 
Big question but: How did you get that roomy but still tight sound? were all instruments played simultaniously?
Thanks so much for the inspiration!
Alon
hi alon
thanks for checking out these tracks.
the way to these sounds is both mysterious and repeatable!
I definitely think mic’ing for spill is a huge unlock for getting great sounds in any type of recording environment.
Another thing that I think is important to getting a tight sound is having a wide range of depths of field in a recording.
In the Billie Marten record, though everything is a spot mic and and room mic — there is also a lot of DI being used. So a sound may be amp’d in the room, and therefore utilizing all the spot mics as room mics, but the spot mic for that sound may be a DI, which is obviously the absolute tightest and closest sound we have in the recording world.
By having a wide variety of depths (DI, spot mics, room mics) and carefully listening to the balance you are making you can achieve a really impactful sonic picture that isn’t roomy, tight, or really anything – it just feels really good.
At least, that’s been my experience!
Thank you so much for the reply.
Definetly going to try and have more di’s in my productions and see where this will lead me.
May I ask how you are dealing with Phase when you have several sources like di, close and room mic for one instrument production?
Also: Do you ever increase the depth of field by adding reverbs/delays to your room mics?
phase = if i notice an issue, i address it but i definitely dont go looking for it. in general i have a healthy relationship to phase alignment in that i just do not think it is the bogeyman that we are led to believe
in fact, often being out of phase is what makes something sound good!!
i add reverb/delays all over the place. to my room mics? i dont ever use room mics bc every mic in my session is both a spot and a room mic