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The A-B technique places two mics parallel to one another, spaced apart anywhere from a few inches to several feet apart. Mics may be omni or cardioid, though omnis are more common to the point...

The A-B technique places two mics parallel to one another, spaced apart anywhere from a few inches to several feet. Mics may be omni or cardioid, though omnis are more common to the point that the...

At first glance, the Blumlein technique looks a little bit like XY - that is, two mics as close together as possible angled off center by 45 degrees each for a total angle of 90 degrees. And if...

A / B stereo miking: directional (if you plan on adding artificial ambience) or omni-directional mics aimed straight ahead, separated anywhere from 1-3 feet, behind the conductor anywhere from 2-10...

Here is a list of pages containing practices that have served us well in the past, and specific mic set-ups for different recital types. If you are a MSU DOM faculty member or student and would...

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This is a set up that has worked well for chamber music in PAH: Avenson STO-2s about 1 foot apart, 6-8 feet above the stage floor, with the stand pushed right up against the stage. API 512 mic pres...

This is a set up that has worked well for chamber music in PAH: Avenson STO-2s about 1 foot apart, 6-8 feet above the stage floor, with the stand pushed right up against the stage. API 512 mic pres...

In Farrell, we only have 3 working channels. Being so limited we were almost always stuck putting two mics up and could never do much close micing to the piano or anything else. I found if you put...

The DOM recording studio has 1-2 student workers on payroll. If you think you might be interested in a job, please take a look at the requirements: Workers must: 1) Take Initiative /...

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In PAH - Use ORTF or NOS narrow (90 degrees) and move back from stage until you hear the switch from individual instruments to an ensemble sound (somewhere between the 4th and 6th row of seats) and...

In PAH - Use ORTF narrow (90 degrees) and move back from stage until you hear the switch from individual instruments to an ensemble sound (somewhere between the 4th and 6th row of seats) and up...

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Mid-Side is another interesting technique that bullseyes the direct sound source with a cardioid (directional) mic while capturing ambience with a second microphone that records both left and...

This is ORTF: two matched, uni-directional (cardioid) microphones placed at a 110 degree angle (note 110 is just slightly wider than a right - or 90 degree - angle) with the capsules approximately...

Percussion Ensemble takes up an extremely wide space on the stage of Lovett, but often plays pieces on either the far left or right of the stage and rarely uses the entire width of the set up for...

This is an application of the Blumlein stereo technique (sometimes called crossed figure-8s, because the microphones are angled off the center axis by 45 degrees each and the sound pickup pattern...

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ORTF or NOS should be narrow and close for most vocalists (30-70 degrees and at the front row or closer) aimed right at vocalist's head; not too high. Ensembles may require a slightly wider angle...

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