On advice from Matt, I’m going to move away from some more abstract ideas and head into some concrete issues. Stereo Miking is an often used technique for recording a sound source. However, numerous problems can arise, resulting in less than stellar results. While there is no wrong way to use microphones, knowledge of the issues can yield more satisfying results. For our uses, these articles will deal with more "studio" recordings. Many of the ideas can translate into live recording very easily, but monitoring, placement and crowd issues can drastically alter the results. Remember, no matter how creative the mic technique, it cannot compensate for lack of musicianship.

There are plenty of applications when stereo miking is the most flattering way to translate a three dimensional sound source into a two dimensional recording. This is our first issue. What do you want to capture? String ensembles, jazz combos, orchestras, drum sets, live concerts, pianos, vibes, crowd noise, acoustic guitar, background vocals and whatever else you can possibly record all emanate sound differently. Many times, it will come down to what the client is after and how many tracks you can afford. Some piano players don’t want their listeners to hear the bass keys on extreme the left and the higher register on the right. Others might insist on it. With drums, should the stereo field be from the drummer’s perspective or the audience’s? Other elements of the song might dictate how a performance is recorded. Solo acoustic guitar might benefit from stereo miking, but might be too big (or even get lost) in a crowded mix. It might seem obvious, but simply talking to your performer is the easiest way to deal with this situation. The performer might not know what options are available and will usually be eager to experiment with you in capturing their performance. Do you want an accurate picture versus a super wide stereo field? Are you avoiding ambient sound? Do you want as much ambient space as possible?

Once a plan is developed, other issues can know be addressed. The type of microphone chosen obviously has a huge impact on the sound.

A Shure SM57

Dynamic mics, by there nature, don’t generally respond well to distant miking. But as stated earlier, there is no wrong technique. Shure SM57’s for instance, have a tight enough pattern for stereo micing and are generally considered fairly useful mics with a biting midrange, making them ideal for certain vocals, guitar cabs and snare drums. But, the loss of air movement by distancing the microphone from the source drops produces a duller, potentially lifeless sound and depending on the gear being used, may drop the level of the source into noise issues. (ie, cranking a noisy pre-amp to get the source level up). On the plus side, dynamic mics can handle high sound pressure levels (spl’s). A particularly bright , tight room or a drummer with a cymbal fetish might benefit from these mikes.

Royer Ribbon Mics

Coles, Beyer and Royer are popular ribbon mic manufacturers who often tout the drum sounds achieved by their mics. I’ve never had a matched pair of ribbon mics so I can’t comment on the stereo field these produce. I will say though, the experience I’ve had with my newest purchase, a Beyer M500 ribbon mic, would lead me to the conclusion that I think I would really like another for just such instances. The ribbon membrane is very thin piece of metal suspended between two magnets and can be blown out by too hot of a source. Some can be blown by simply walking to fast with the mic in hand. Newer ribbons are designed to handle hotter levels but care still must be taken.

An AKG B-ULS is Neal's condenser of choice

Condenser mics provide two key ingredients for stereo recording: high sensitivity and high output. Dozens of microphone manufacturers, along with the sonic differences between large and small diaphragms, make choosing the "best" mic a murky choice at best. I personally use two AKG 414 B-uls’s to get a more neutral sounding stereo drum sound. More a more aggressive sound, I’ll use two small diaphragm Octava 0112’s.

Where I place the mics is even more of an issue that we’ll get into future articles.

Neal has loved the invention of central air conditioning and thinks feta cheese is a gift from the gods. He is also a musician and co-owner of Workbook Studios in Columbus, Ohio.