If you only have two different basic mics, trying to coax a true stereo picture is hard to achieve, and sometimes it’s best to use them to get a great sound in different ways.
For many small studios, the first microphone-related priority is being able to cover the basics such as drums, vocals, guitar and bass. Being able to capture these effectively means the tools are then available to record more esoteric instruments that might show up. This is on the understanding that the collection will be likely to contain at least one dynamic mic and one condenser of some description. If the studio lacks a matched pair of mics, (or a figure of eight for MS techniques) it can be tempting to coax a stereo recording from two mics whose only thing in common is their shape and purpose! Sometimes it is better to achieve something else without leaving anyone feeling left out…
Is An Acoustic Guitar Stereo?
It’s true that nothing beats the sound of a well-captured stereo acoustic guitar recording, and they are so useful for adding interest to sparse arrangements, as well as providing some space for the vocal. However most engineers would concede that spaced mics usually involve one sounding better than the other, while coincident pairs need to be closer than many would like to get the required differences between channels.
When sitting in front of an acoustic guitar while it’s being played, one thing about its acoustic width becomes apparent- it’s very narrow. When listening in a good sounding lively room there is of course lots of nice stereo ambience that can be captured, but listen in a dry room or booth and the potential for a stereo recording narrows quite literally.
If the engineer only has access to two cardioid mics of different designs (as can be the case for those just starting out), another approach can put them both to good use.
Two Mics In The Right Places
If spaced mics for stereo forces the engineer’s hand in terms of position, two different mics can instead be used to get the best sound either as a blend, or as alternative positions for options in the mix. In the most common scenario of having one cardioid dynamic, and one cardioid condenser, we have a few options, each with its own rationale.
Dynamic Body, Condenser Neck
The body-end is the loudest, so use the ‘deafest’ mic without having to resort to the noisier end of your pre’s gain. Best for quieter parts. Alternatively, the body mic can go over the player’s shoulder looking down.
Condenser Body, Dynamic Neck
The body-end contains the most pick-definition, so get your ‘fastest’ mic (the condenser) in on the action. The dynamic at the neck end may help to play down finger squeaks.
Considering Phase
Ensure the blend of positions enjoy a good phase relationship and adjust. Consider rotating phase as an alternative. Double track or pan if stereo is needed. Alternatively, consider using a ‘bad’ phase relationship between the two to get a character sound. Don’t get caught up in a waveform wormhole- just use your ears instead. Double track if stereo is needed- panning for stereo might kill the effect of ‘bad’ phase.
Better Than Forced Stereo?
My personal choice would be blend 1. (None of the examples in this article have any processing across them.) Using two disparate mics on one source can be useful, but trying to achieve stereo with them on certain sources, such as acoustic guitar, could be counterproductive. It could be argued that if stereo interest is needed, it might be better to achieve the best sound with two blended mics and double track that. Certainly, considering using the two mics to achieve a blend of pick definition and string tones from the neck gives control, and scope for experimentation when time permits. Rather than leaving a useable mic out in the cold, getting two in on the action could get you a more involving sound for free.