There's a concept at work out there, that if you think about it, makes some sense. At least to me it does. For speakers, you want the excursion of the woofer to be outward with the thump of say a kick drum (in phase). And then of course theres all the argument for time alignment, etc. To accomplish this, the diaphragm of the mic needs to be pushed in as the wave hits the mic. Given most mic the kick from the inside of the batter, this is almost a given to occur. Well, consider what happens as you hit the snare, or toms, and at what direction the mic is facing. The wave of the hit of the drum is thought to be 180 degrees out due to the movement of the head by the stick. So the argument is being made that in fact all mics placed in the downward position on drums should actually be phase reversed electrically. Now before someone jumps all over me and says, no you're doing it wrong, I'm not doing anything other than rasing this topic for discussion, or the merits of... This argument to me makes sense because to my ear, as a drummer, I prefer the tone of the kick miced from the outside of the batter head when other mics are facing down at the heads. The whole of the kit seems to be more even. Although from a time alignment perspective, I wonder if the whole kit is not out of align by a degree? If you don’t change the overhead phase, then when micing the kick from the inside or out front (assuming nothing else has changed) would result in an out of phase condition for the kick. I got to thinking about this because of a comment I made about the May internal mic system and the need to reverse phase if you have mics on the inside of the toms/snare facing the batter head. It may actually be that to the contrary, only the mics on the outside (such as overheads) may need to be reversed (of course it depends upon where placed and direction facing. But lets assume for the argument, the overheads are on top facing doen towards the batter heads). I have read that it is common practice for some to reverse phase of the overheads to gain more warmth and depth out of them when used either on their own, or when in combination with close mics. And in practice, I have found that to be the case. It seems that when overheads are used on their own, reversing the phase electrically would explain why the warmth and depth comes out if in fact they are now truly in phase, giving credence to the concept. However, if the overheads are used in combination with the close mics, and the close mics have no reversal, yet the overheads do, its possible its just a cumulative effect of a phase at a given frequency, which explains why it can be touchy to place mics overhead. Has anyone experienced this? Thoughts?