The best way to record most classical ensembles is with a matched pair of high quality condenser microphones used in a stereo recording technique. Below are some stereo microphone techniques, followed by how we would record some common ensembles.

The French Radio Organization developed this technique. A high quality, matched pair of cardioid condenser microphones are placed 17 cm apart at an angle of 110 degrees. The distance from the ensemble will determine the amount of room reverberation - further away from the ensemble will have more reverb and closer placement will have less room sound. A good starting placement would be approximately 7 feet away and 9 feet up.

This technique was developed by Dutch Broadcasting (Nederlandsche Omroep Stichting).The NOS is similar to ORTF, however the cardioid microphones are 30cm apart and at an angle of 90 degrees.

(Italian Broadcasting Corporation) The RAI technique is similar to ORTF, however the cardioid microphones are 21cm apart and at an angle of 100 degrees.

(Proposed for standard in Germany) The DIN technique is similar to ORTF, however the cardioid microphones are 20cm apart and at an angle of 90 degrees.

The Olson technique is similar to ORTF, however the cardioid microphones are 20cm apart and at an angle of 135 degrees.

Two cardioid microphones are placed at 90 degrees and the capsules are positioned as close as possible.

This technique uses two microphones placed close to each other. One microphone has a cardioid pick up pattern and the other with a figure 8 pick up pattern. The cardioid microphone faces the ensemble (this microphone picks up the Middle). The figure 8 microphone is at a right angle to the cardioid (this microphone picks up the Sides). The cardioid microphone is panned to center. The figure 8 microphone is split into two channels and panned hard left and right. The phase of the left remains normal while the right is reversed. By increasing the level of the figure 8 microphone the room acoustics (reverb) will increase. The MS stereo technique is excellent for mono compatibility.

This technique uses two (or three for large ensembles) omni-directional microphones evenly placed in front of an ensemble. This technique can easily produce phasing problems. A 3:1 rule should be utilized. The 3 to 1 rule states that for every 1 unit of distance from the sound to the microphone should be 3 units of distance between microphones. (Example: microphones are 5 feet in front of the ensemble - the distance between the two microphones cannot be less than 15 feet - 7.5 feet each from the center line.) The microphones in spaced omni should typically be 2 to 10 feet from the center line.

Blumlein uses two figure 8 microphones at 90 degrees to each other. The capsules are positioned as close as possible to each other (coincident). Because the microphones pick up in front and back both the ensemble and the room sound is represented well.

For large ensembles, the techniques mentioned above can be enhanced by adding a pair of omni out riggers. Recording a very large ensemble one of the techniques above may be enhanced by adding omni out-riggers. The outriggers should be placed at the same distance on each side of the center stereo microphone array.

Acoustic guitar can be miked in several different ways. A little change in microphone position can have a big change in the recorded sound. Our first suggestion is to listen to the guitar as it plays - move while you listen to find the spot that has the sound you desire. Different areas of the guitar emit different sounds. Find the sound you are going for and place the mic there.

We suggest you start by placing your microphone 6" to 18" away from the guitar. Point the microphone just into the body of the guitar where the neck and the body meet. Another good starting point is 1" - 6" above or below the soundhole. For a richer sound we will set up a second microphone. The placement of the second microphone can be either at another point on the guitar (such as above or below the bridge) or a couple feet in front of the player (careful of phasing problems).

The soundhole is where the bass radiates. Pointing the microphone towards the soundhole will accentuate bass frequencies while pointing away from the soundhole will give less bass. If excessive finger noise is a problem on the neck point the microphone away from the neck and towards the body of the guitar. Backing up the microphone will also help with this problem; however there will be less definition (which could be the desired sound).

Definitely use a high quality microphone and high quality mic pre-amp for acoustic guitar! Our favorite microphones are definitely Schoeps.

A high quality condenser microphone that has a large dynamic range will achieve great results for most hand percussion instruments. Often we will use Neumann KM 184s. However, the specific mic we choose would depend on the specific instrument and how it will fit into the mix. A distance of 1 to 4 feet is recommended.

The best place to mic an acoustic bass is six inches to two feet away. The microphone should be aimed a couple inches above the 'f' hole on the treble side of the bass. There is no standard microphone. Different microphones produce greatly different results. We usually will start with a higher quality microphone such as a Neumann TLM 103. However great results have also come from some large diaphragm dynamic microphones such as the Sennheiser 421.

We use a Countryman DI Box and also mic the bass cabinet. The DI Box gives very good definition, while the microphone gives good body. In mix-down one of these may sound superior, or quite often we will use the combination of both together.

A large diaphragm dynamic microphone such as a Sennheiser 421 is a good choice for a microphone on the bass cabinet.

We mic the drums in drummers perspective - meaning they are panned as if you were on the drum throne. The order in which we track the drums is always the same. Kick is track 1, Snare up is track 2, Snare down track 3, high hat is track 4 etc. We suggest you try to put the same instrument on the same track every time as well - life will become much easier in the mix-down phase.

The industry standard mic for the kick is the AKG D-112, but the Sennheiser 421 is also a favorite of many engineers. We have both. For a hard beater sound, mic the kick aimed towards the beater. Closer placement to the beater will result in a warmer sound while backing up the mic a bit will emphasize the transient click more. Moving the mic off center will achieve more of a skin tone. The sound you are trying to achieve depends upon the type of music being recorded and personal taste.

The most classic snare drum mic is a Shure 57. This mic produces a great snare sound and can take a stray stick hit without permanent damage. We have also used condenser microphones on snare drums with impressive results. The best mic placement is just inside the rim and about 1" above the drum. Besides as putting a microphone on the top of the snare drum, the bottom should be miked as well. The bottom snare mic will be out of phase with the top so be sure to reverse the phase on your mic pre-amp. By having control of both the top and bottom of the snare drum, the mixing engineer can have greater control of how it will sound in the mix.

The high hat should be miked with a high quality condenser microphone 3" - 6" over the edge of the top cymbal. Be careful not to place the mic too close to where the cymbals meet. Air is forced out from these cymbals when played, and thus could distort the microphone. There is no standard microphone for the high hat, but our personal favorite is the Neumann KM 184.

For greater control in mix-down we individually mic each tom. We use Sennheiser 421 microphones on all toms. These are the classic tom mic. (Take note that Shure 57s also sound great.) The mics should be placed 1" above the top tom head and about 2" in from the rim. Floor toms should have the microphone placed 2" - 3" above the head.

Overhead microphones can be placed in several different locations. We prefer to use a stereo bar, directly above the drummer, with the microphones angled towards the drums and outwards at approximately 90 degrees from each other. This gives good separation and minimizes phasing problems.

The microphones should be high quality condenser mics. The AKG 414 is the choice of many engineers for overhead miking. We have had excellent results with our 414s (both the TLII version and the classic version) as well as with some small diaphragm condenser microphones - such as Schoeps CMC5 w/ MK4 capsule and Neumann KM 184s. The microphones you use should be a pair of the same microphone and preferably matched.

Placing microphones on each cymbal will give greater control to the mix-down engineer, but can lead to some serious phasing problems. If time and tracks allow, we will mic each cymbal. Later in mix-down we may only use the overheads. However, there are definite advantages to having the luxury of separate cymbal tracks.

The microphone should be placed on the opposite side of the cymbal that the drummer hits and at a distance great enough that there is no threat the cymbal will hit the microphone.

A high quality condenser microphone such as Schoeps or Neumann KM 184 works very well on cymbals.

We almost always mic electric guitar - even when going for a clean sound. The sweet spot on a guitar amp is just off the center of the cone. If you want more brightness and definition face the microphone towards the center of the cone. To have a fuller, but less defined sound, move the microphone more to the outside of the cone. If you choose this position you will need to be careful not to create too muddy a sound. Later in the mix the guitar could sound horrible.

Besides this microphone we will often place a second one several feet back (6-10 feet), which will be a delay mic. In the mix the two microphones can be panned somewhat and will achieve a very full sound. The guitar in the mix will be at the same volume but will appear thicker.

If using a two speaker cabinet placing different microphones on each speaker at different spots on the speaker will lead to great stereo results.

One of the classic microphones used for electric guitar is the Shure 57. Although this microphone achieves good results we usually use high quality condenser microphones - such as Neumann TLM 103s or AKG 414 TLIIs.

Often the best way to mic a horn section is with a stereo pair of mics. A technique such as ORTF, NOS, Blumlien or XY can achieve an excellent balance and openness unobtainable by using individual microphones. If possible both stereo microphones and individual microphones should be used. Later in the mix, either one or a combination of both can be used.

Unless bleed from other instruments is a serious problem the trumpet should be miked no closer than one foot. One to three feet is a good working distance. The microphone should be placed off the bell center. The microphone selection depends upon the player. Dynamic, large diaphragm condenser, and ribbon microphones can all work quite well on trumpet or flugelhorn. A 10 or 20 db pad may be needed due to the sound pressure levels of the instrument.

A high quality condenser such as the Neumann TLM 103 should be placed about 1 foot in front of the player aimed just off-center from the bell. A second microphone can also be placed a couple feet further back. The two can be blended for a full lush sound.

A large diaphragm dynamic, condenser or ribbon microphone placed a couple inches to a couple feet away, and aimed off center the bell, will achieve best results. If the microphone has to be placed close a 10 or 20 db pad may be needed.

Keyboards should be recorded as line level sources in stereo. Use caution when using reverbs from a synthesizer. Reverb can always be added later in the mix, but not taken away from a recorded signal. If uncertain, either do not record with reverb on the synth, or send the reverb out different outputs on the synth. Thus the effect can be recorded to a different track and its use can be decided in the mix when the mixing engineer can hear how it will affect other instruments.

Always use a stereo pair of microphones for piano. For rock and roll piano we place the microphones inside the piano approximately 6" to 12" above and facing the strings - one microphone centrally located on the low strings and one on the mid high strings. Placing the microphones closer to the hammers will achieve a more percussive recording. (Please see the classical piano microphone technique in the Location Recording Tutorial.)

The most important aspect to capturing a great vocal is to make the vocalist comfortable. Microphone selection is completely dependent upon the artist. A microphone may sound perfect for one artist and sound hideous with another. A good starting place would be a high quality large diaphragm condenser microphone such as a Neumann TLM 103.

The microphone should be placed approximately nose level pointed down towards the mouth. The microphone should be about 6" to 12" from the mouth with a windscreen ½ the distance between the singer and the microphone.

A windscreen (popper-stopper) should be used for two reasons. The first reason is to prevent loud bursts of air from distorting the microphone on consonances such as the infamous 'P'. The second is for microphone protection. Saliva or food particles can hit and dry on the diaphragm of the microphone.

Room acoustics are quite important. Sound absorbing material such as Sonex placed behind the singer will drastically improve the recording.

Because the voice has a wide dynamic range we almost always use soft limit on vocal tracks. If a vocalist suddenly increases in volume, the soft limit will prevent the signal from distorting.

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