Specifications

131
Stereo Techniques
Winkel Ä=zwis-
chen den
Haupt achsen
der Mikrofone
Overview of Stereophonic Recording Techniques
Overview of surround recording techniques: see following page
*These recording methods can also
employ pressure gradient microphones,
though this is not often done.
**The appropriate angle between microphones depends on their
directional pattern and the recording angle (the range within which
the sound sources should be placed, as “seen“ by the microphone.)
potentially very good**,
except that the center of
the stereo image can be
over-emphasized (not a
problem with figure 8s)
coincident microphone
placement
5 cm – 30 cm
distance and angle
are interdependent
depends on the
object between them
40 cm – 80 cm
or greater (up to
several meters)
level differences +
minor arrival-time
differences
microphones separ -
ated by an acousti-
cally opaque object
major arrival-
time differences
pressure-gradient transducer
(e.g. SCHOEPS cardioid MK 4 or CCM 4)
usually pressure transducers*
(e.g. SCHOEPS MK 2S or CCM 2S)
clean, clear, often bright big, spacious; especially good low-fre -
quency reproduction when omnidirectional
condenser microphones are used
often rather limited satisfactory
good adequate indistinct,
(potentially
unstable)
good very good
Sonic impression
Acoustic operat-
ing principle of
the microphone
Distance (d)
between micro-
phones
Angle between
microphones
X/Y M/S ORTF (for example) Jecklin disk (for ex.) A/B (spaced omni
recording)
70° – 180° 90° 0°–180° typically 20° 0° – 90°
0 cm
usually vertically aligned
Stereo recording
principle
Name
Geometry
Spaciousness
Localization