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Stereo MikingChapterTechniques4
The use of stereo miking techniques utilizing matched pairs can make all the difference between mediocre and outstanding recordings. After all, we listen to the world around us in stereo via matched pairs of ears. Stereo miking can be used in applications ranging from individual instruments to small ensembles to full orchestras and other concert events. In this section, well cover some of the proven stereo miking techniques that have been used on countless professional recordings. (For the purposes of this guide, stereo miking techniques are a subset of
Several factors must be considered in determining the best stereo miking technique for your specific application. Although results vary with different polar patterns, it is common to use distance from the source to determine the amount of room reflection versus direct source signal desired. Physical restrictions in distance or position may also come into play, such as the need to maintain clear lines of sight from audience to stage. It is also advisable to consider mono compatibility, especially if the resulting material will wind up on radio or television.
TheCoincidentfollowing stereo miking techniques fall into two basic categoriescoincident and spaced. techniquesspacedrely on the microphones being placed in extremely close proximity to one
another, while techniques place them further apart. While the coincident methods are considered to be very accurate, some listeners find them to be too accurate. Common criticisms are that the stereo field is too narrow or confined to the speakers on playback. (You can sometimes compensate for this by moving the coincident mics slightly apart from each other in order to introduce a time delay between sides.)
Spaced techniques are considered less accurate, yet more spacious sounding. In effect, widening the space between mics widens the virtual placement of our ears. As with everything surrounding microphones and their techniques, these considerations are subject to interpretation and experimentation. In fact, it is not uncommon to find engineers employing techniques from both categories simultaneously. In such a case,the coincident pairs provide a
the space pairs are placed to capture the reflected sound that provides extra control over ambience. | |
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microphones overlapping as much as the mic bodies allow. | urce |
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As pictured, place a pair of cardioid mics as close to each |
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other as possible with the capsules at an angle to each |
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other.The mic on the left captures the right signal and vice |
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versa. While 90 degrees is the most common angle |
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between the capsules, the working range is approximately |
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60 to 135 degrees. The wider the angle, the wider the |
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perceived stereo field will be. In general, the distance from |
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the sound source combined with the intended stereo | |
spread (the width of a stage, for example) will determine | |
the appropriate angle. | pair of coincident cardioids |
The use of cardioid patterns means that the
Choosing & Using Microphones | 21 |