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What is your favorite stereo micing technique?
Old 4th June 2012
  #1
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foamboy's Avatar
What is your favorite stereo micing technique?

Well......what is it?

Actually it would be great to discuss the preferred methods for instrument specific situations.....you know.....

what do you like on drums gtrs,kys,vox......etc...

discuss please.

fb


oops, I forgot to add......

it would also be nice to mention the microphones you like for your preferred situation.
Old 4th June 2012
  #2
Gear Addict
 
Sino's Avatar
 

Quote:
Originally Posted by foamboy View Post
Well......what is it?

Actually it would be great to discuss the preferred methods for instrument specific situations.....you know.....

what do you like on drums gtrs,kys,vox......etc...

discuss please.

fb


oops, I forgot to add......

it would also be nice to mention the microphones you like for your preferred situation.
I really like ORTF for overheads... with two U87 or a pair of small condensers like Km184 or Beyer MC930... sometimes this won't work welel so I use A/B on OH, rarely an XY..

Blumlein works well for the room if you have a great sounding space

I rarely have to record a real piano (what a pitty!) but when I did it was A/B with a pair of 414

I use sometimes Mid-Side for acoustic guitars, with a Royer ribbon mic and any sdc... but only for special situation, I prefer considering ac gtr as a mono source.
For a vox chorus XY works pretty good...

For the rest don't know, I try depending on the situation..
Old 4th June 2012
  #3
Gear Guru
I don't think that's a question with a hard answer. Spaced pair, coincident pair, ORTF, Blumlien, they all have their place.
What you need to do is experiment with the different methods and get an idea of their various strengths. How much room do you want? How wide an image?

I know "it depends" is kind of a cliché, but in many cases it really is the answer.
Old 4th June 2012
  #4
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vernier's Avatar
I never do stereo, but do keep a mic on a boom out in the room as an option for anything thats getting recorded.
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Old 4th June 2012
  #5
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edva's Avatar
They all have their uses, but if I had to pick just one, probably Mid-side, because of the extra control over the imaging at mixdown.
Old 4th June 2012
  #6
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suedesound's Avatar
 

they all have their places but i generally like spaced pair for oh's, blumlein for room, ortf for piano (depends), haven't done ms in awhile but it has it's place
Old 4th June 2012
  #7
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johndykstra's Avatar
 

I like xy and mid/side for the ease of phase relation. But I generally do spaced pair on overheads.
Old 4th June 2012
  #8
Here for the gear
 

I like spaced pairs on almost everything. It's much easier to make things narrower upon mixdown than wider, I've always found, so I try to get the widest recordings I can on anything I think'll warrant it.
Old 4th June 2012
  #9
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doncaparker's Avatar
 

I'll limit what I say to acoustic guitar.

First, I am leaning toward mono recordings of acoustic guitar these days, but I keep experimenting with stereo methods.

As for the stereo methods I like, I really like Blumlein using two multipattern LDCs both set for figure 8 and set about 1-2 feet from the front of the guitar. It sounds nice and full without any processing at all, and it collapses to mono without too much damage.

I like X-Y with a pair of cardioid SDCs, but the stereo imaging is not as interesting as with Blumlein. It collapses to mono OK, but there are times when I ask "why bother" with X-Y when I can get a single omni SDC in mono to sound great and add some space with reverb and delay.

I have some fun with a pair of omni SDCs spread eagle in a sort of ORTF (which, technically, requires cardioids). It sounds great in stereo, and is not horrible when collapsed to mono.

The demon that haunts all acoustic guitar stereo mic techniques is phase interaction. That's why I lean toward single mic techniques here lately.
Old 4th June 2012
  #10
Binaural array for drum overheads and room mics. Most natural, phase-issue-free stereo image and punch. 414s on omni for room, and Earthworks TC25s for OH.

Blumlein for most other applications.

The only time I use spaced pairs is for the soundboard of a piano or for a Leslie speaker.

.
Old 4th June 2012
  #11
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Fletcher's Avatar
Not to piss on anyone's lawn... but you do realize that M/S isn't really "stereo"... right?
Old 5th June 2012
  #12
Quote:
Originally Posted by Fletcher View Post
Not to piss on anyone's lawn... but you do realize that M/S isn't really "stereo"... right?
It is stereo. This page is worth a read:

Mid-Side (MS) Mic Recording Basics - Blog - Universal Audio

"Why It Works

An instrument at dead center (0 degrees) creates a sound that enters the Mid microphone directly on-axis. But that same sound hits the null spot of the Side figure-8 microphone. The resulting signal is sent equally to the left and right mixer buses and speakers, resulting in a centered image.

An instrument positioned 45 degrees to the left creates a sound that hits the Mid microphone and one side of the Side figure-8 microphone. Because the front of the Side mic is facing left, the sound causes a positive polarity. That positive polarity combines with the positive polarity from the Mid mic in the left channel, resulting in an increased level on the left side of the sound field.

Meanwhile, on the right channel of the Side mic, that same signal causes an out-of-phase negative polarity. That negative polarity combines with the Mid mic in the right channel, resulting in a reduced level on the right side.

An instrument positioned 45 degrees to the right creates exactly the opposite effect, increasing the signal to the right side while decreasing it to the left."
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