So much of capturing sound in our home studio recording efforts comes down to time. We get close to the microphone perhaps to help reduce room sound, trying to win the race against the reflected versions of our voices that have bounced off the walls.
Maybe we make a copy in our multi-track software of something we recorded with a single microphone – intending to delay one version by 30 milliseconds so we can pan both copies left and right to create fake stereo. This is only possible by manipulating time-related stuff, the relative positions of our two tracks to each other with respect to time.
All too often, copies of sounds we want to record enter our recordings without our permission, blending unpleasantly with their fellows, rendering the effects of college wave mechanics and bringing terms like constructive- and destructive-interference back into our brains. Amends can be made by moving stuff around, filtering, raising or lowering volumes at targeted frequencies, or any number of other remedies.
Such is the subject of the article below. Use more than one microphone to record something and you risk any or all of the wave-mechanic-y problematic symptoms on a heretofore unheard of level.