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Stereo Micing.


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I recently upgraded my mic collection and got a fire pod that gave me the ability to do multitrack recordings and one time. I am now interested in experementing with some stereo micing. I have seen some examples of what to do, but I dont remember where to pan each track. Am I supposed to hardpan each track? Ps. I now have a pair of sd condensors(audix drum overheads) and a ld condensor(Rode NT1-a). Any other general tips would be appreciated.

 

Oh yea. I am thinking of use on vocals, acoustic guitar, and maybe clean electric.

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Depending on the setup, you can vary the panning as much or as little you want. Some methods, such as ORTF, don't collapse to mono well, so it's always a good idea to check mono compatibility.

 

Placement really depends on the instrument, environment, etc.

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Originally posted by where02190

Depending on the setup, you can vary the panning as much or as little you want. Some methods, such as ORTF, don't collapse to mono well, so it's always a good idea to check mono compatibility.


Placement really depends on the instrument, environment, etc.

 

Cool, I didn't know if there were guidelines based upon the different methods. So just move them in and out until you find a sweet spot the check mono compatibility. Sound easy enough. :)

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I find that panning stereo micing is the same as mono panning. Yes, I'm panning the L and R apart of course, but not always hard L, and hard R.

 

If I want something panned center, I'll make the L and R equally symetrical, for instance, -50 and +50, or -100 and +100 depending on the width I'm after.

 

A stereo acoustic guitar might be nice off to the right at +20 and +100. Complimenting stereo percussion off to the left at -20 and -100.

 

It's the same as mono, 'cept wider, and nicer sounding depending on the context.

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Originally posted by Kranak

Thanks lee. So I am not really looking for a stereo effect out of this just a fuller and wider mono track, and the average between the two pans will tell me where the middle of the track will sit?

 

 

Yeah but... stereo micing is a beautiful thing. It's not just a "fuller and wider mono track" even though I said I treat it like that sometimes. Play with some stereo micing and you'll see.

 

I mean, you've got 2 ears right? (Unless you're my old buddy who had an operation). So the stereo micing is going to pick up a lot of things that make the recording so much more realistic. More tangible, more lifelike.

 

Sometimes you DON'T want that too, though. Play with stereo micing and get used to how it sounds different from mono. Then you'll know when and where to use it.

 

If I've got a crowded, swimming mix, I don't want my tambourine adding stereo early reflections. If the arrangement is sparse, a stereo miced tambourine, off to one side a bit would sound great...

 

etc. etc. etc. etc.

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