[baddox]

> Not wishing to be rude, but this much is very evident. Recording engineers position their microphones with millimetre precision in order to combat phase issues, and that is in an ideal studio scenario. Doing what you suggest is basically impossible.

Actually, that much I know, because I've done some amateur home recording. I know that, for example, when you mic a snare drum with two microphones that are pointed at each other, you have to put a phase inverter on one microphone. I also know my way around the basic processors for audio production (compressor, limiter, EQ, etc.).

What I don't know much about is the undoubtedly more advanced techniques which may or may not exist that could realize the idea I'm talking about. The best idea I can come up with is, if you had one audio source that captured the dynamics of a concert (perhaps from a phone that was far away from the house speakers), and another audio source that captured a clearer yet "smashed" sound (perhaps from a phone closer to the house speakers), perhaps you could apply a compressor to the second source that was keyed on the dynamics of the first. Again, I might be full of crap here.