Getting the most with a Stereo pair of mics

Spaced Pair (or A-B Stereo)Often used with Omnidirectional Mics,

captures the room toneThe ear senses time and phase differencesIdeal spacing is 16-24 inchesCan be much wider, but phase issues can

arise if the mix is not panned hard Left and Right

Also loses accuracy BETWEEN the mics if they are very WIDE

Coincident Pair (X/Y)Often used with CARDIOIDCOINCIDENT = Capsules at the same pointAngle is called OFF-AXISNOT as wide as other methods, but very

MONO compatibleAngle can be increased to widen stereo

image as well

Blumlein TechniqueCreated by Alan BlumleinJust like X/Y, but with BI-DIRECTIONAL

MICSCan capture more room ambienceBest for closer micing situationsMore channel separation, but can be more of

a phase issue than X/Y

Near-Coincident PairCapsules are facing AWAY from each otherPopular ones called NOS or ORTFLEVEL and TIME differences create the

stereo effectSpacious and Accurate soundUsually NOT very Mono compatible

Baffled Omni-PairTwo Omnidirectional Mics, ear width apart

usuallyA baffle blocks sound from the opposite sideCreates a clear and accurate stereo imageLess mono compatible, but might not be a

problem

Decca TreeUses Three Omni-directional micsTwo are panned with one in the centerOften used for ORCHESTRASBuilds a big stereo image with some extra

control

MS (Midside Micing)Also called a Midside Matrix or MS MatrixUses one cardioid and one omni micAllows for the stereo field to be adjusted

AFTER the initial recording!Actually involves THREE tracks. There is a

COPY of the omni mic and one of them is reversed in phase

Most under-used and potentially useful technique

Spot MicCan be used to emphasize a PARTICULAR

instrument in a live situationCLOSER than stereo pairsBe careful to pan properly to maintain the

stereo imageThis is used when a completely natural

situation is NOT requiredThink of a soloist in an orchestra

Which one is “Best”?Of course, it depends on the situationIf you’re concerned with phase alignment, X/Y is

probably the best. It’s the most “Coincident” possible

For wide stereo, Spaced pairs or Near-Coincident pairs work well, or using a BAFFLE

MS technique is most VERSATILE after recordingUsing Omni-mic techniques capture the ROOM

moreDetailed knowledge of each technique separates a

PROFESSIONAL from amateurs. Seriously.