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Stereo Miking Techniques

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Stereo Miking Techniques

Overview

Abstract

Stereo miking techniques are a frequent discussion point in recording-talk, particularly in the context of drum overheads, acoustic instruments, and ensemble recording. The community debates the trade-offs between XY, ORTF, spaced pair, Blumlein, and mid-side approaches, with a general preference for wider techniques that create an exciting image — even at the cost of some phase complexity.

Community Consensus

  • XY is the safest technique — Excellent mono compatibility, less exciting width
  • Spaced pair creates more excitement but introduces phase challenges with close mics
  • Blumlein with ribbons is beautiful for softer material — Jazz, chamber, acoustic ensembles
  • ORTF is a practical middle ground — More width than XY, better phase than spaced pair
  • The “right” technique depends on the application and how much you can control the environment

XY (Coincident Pair)

Two cardioid mics at the same point, angled 90-110 degrees apart.

cian riordan (2023-02-01)

“X/Y like that won’t get you much width, the goal is a very natural sounding stereo image that doesn’t fall apart in mono.”

Best for:

  • Situations where mono compatibility is critical
  • Drum overheads when close mics need to blend cleanly
  • BatMeckley: “I tend to xy above the drummers head, or space them like ears”

Limitations:

  • Less spatial excitement than wider techniques
  • Can sound “big mono” in some contexts

ORTF (Near-Coincident Pair)

Two cardioid mics spaced 17cm apart, angled 110 degrees.

  • David Fuller used Soyuz 013 FETs in ORTF for string recording
  • More width than XY while maintaining reasonable phase coherence
  • A practical choice when you want some spaciousness without the risk of spaced pair

Spaced Pair

Two mics separated by a wider distance (typically 2-6 feet).

  • Eric Martin: Uses spaced pair “very tight, more like cymbal mics” for drums, treating them as spot mics rather than a stereo image
  • NoahNeedleman: “X/Y is a much safer bet than a spaced pair with regard to having the OHs play nicely with the close mics”
  • Wide spaced pairs on ensemble recording with omni outriggers for orchestral/choral work

jantrit (2023-09-03)

“Recording large ensembles is essentially just recording the sound of the room with them in it. A stereo pair with a set of wide omni outriggers will serve you well.”

Blumlein (Crossed Figure-8)

Two figure-8 mics at the same point, angled 90 degrees apart.

  • Eric Martin: “I also like blumlein ribbons for softer stuff, either a stereo ribbon or mics that are easy to setup blumlein”
  • Iwan Morgan: “Went with a Blumlein pair of R84s in the end to contrast to the Line Audio spaces omnis on the string ensemble”
  • Captures room ambience naturally due to the rear pickup of figure-8 pattern
  • Sensitive to room quality — works best in good-sounding spaces

Mid-Side (M/S)

A cardioid (mid) and figure-8 (side) at the same point, decoded for adjustable width.

  • Less frequently discussed than other techniques in the channel
  • Advantage: Width is adjustable after recording
  • Useful when you are uncertain about the final stereo image needs

Application-Specific Recommendations

ApplicationRecommended TechniqueNotes
Drum overheadsL-C-R (cian), XY, or spaced pairSee Drum Recording Techniques
Acoustic guitarTwo SDCs at 15th fret (cian’s method)One above, one below strings
String quartetSpaced pair + spotsDavid Fuller: “U87 spaced pair and SF24 blumlein”
Large ensemble/choirStereo pair + omni outriggersjantrit: Main pair with section spots
Leslie speaker90-degree corner techniqueCalvin Lauber: “mic it so you’re forming a 90 degree angle”
PianoSDC pairSee Piano and Keys Recording

Ensemble and Section Recording

String Sections

LAPhill (2023-12-17)

“Your ‘spot’ mics should be probably 18-24 inches away, and you’ll save yourself a lot of harshness if you use the stereo pair that covers the whole section as your main sound. Use the spots just for a touch of detail, if you need it.”

Stacking Sections

jantrit (2025-04-23)

“If planning to stack to make a section I love to set up a stereo room mic and chairs for different positions (cello 1, cello 2, cello 3 etc). Move the player chair to chair between layers but keep the stereo mic in the same spot.”

Gang Vocals / Group Recording

  • cian riordan: “Big room, stereo mics… do different takes with the gang standing in different positions, close and far, etc. Power in numbers.”

Tips from the Community

  • Use the stereo pair as the foundation of the sound; treat close/spot mics as supplements
  • For stacking parts to simulate sections, keep the room mic stationary while moving the player
  • The Leslie speaker benefits from a specific 90-degree corner technique
  • When in doubt, XY is the safe starting point — you can always try wider techniques on the next pass
  • Match your technique to the quality of the room — wider techniques expose the room more

Common Mistakes

  • Using spaced pair without checking phase against close mics
  • Defaulting to one technique for everything — Each has specific strengths
  • Ignoring room quality when using techniques that capture more room (Blumlein, spaced pair)
  • Over-relying on width at the expense of mono compatibility
  • Placing spot mics too close to string sections, creating harshness

3 photos shared in recording-talk. Showing selected highlights.

Calvin Lauber (2024-07-30) — They way I learned at ardent/royal in Memphis is to choose a corner of the Leslie and mic it so you’re forming a 90 degree angle, makes for a pretty c

tim adamson 🇦🇺 (2025-02-25) — @Jonathan Arnold while you’re asking about stereo bars, you’re able to put together quite a useful stand by attaching a mic arm with those old school

tim adamson 🇦🇺 (2025-02-25) — @Jonathan Arnold while you’re asking about stereo bars, you’re able to put together quite a useful stand by attaching a mic arm with those old school

External Resources

Videos

Gear Listings

See Full External Resources Index for all links.

See Also

Source Discussions

Discord Source

Channel: recording-talk Matches: 151 Key contributors: cian riordan, Eric Martin, BatMeckley, NoahNeedleman, David Fuller, jantrit, LAPhill, Calvin Lauber, Iwan Morgan

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