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Stereo has added new dimensions to our recordings, an effect that is difficult or impossible to achieve in monaural recordings. New immersive formats, such as Dolby Atmos, add even more dimensionality to music.

You can achieve a kind of stereo by panning mono recordings of various instruments into the stereo field, but that is not what this episode is about. I talk about how to use a pair of microphones to pick up sound.

I provide a very brief history of stereo to get started, and some simple concepts of microphone pickup patterns and why they are important in stereo recording. Then I delve into some of the more popular approaches to stereo recording, including spaced-omni mics, X-Y and its variants, M-S, Blumlein, and binaural recording using an artificial head.

Mono compatibility is less of an issue than in the past, but still should be considered. I compare the various techniques and what happens when the two channels are combined in mono.

Some other techniques I have used over the years include mis-matched mics in stereo, and what I call “incidental stereo,” which could be from bleed between various instruments and mics, or just recording an unused nearby mic in the studio for possible combination with a main pickup.

I conclude with my impression of each technique, which, of course is entirely subjective and will undoubtedly be different than what you find.

This topic was suggested by listener Bill Sallak. If you have any suggestions for topics, I’d like to hear them!

Thanks for your comments and suggestions. And thanks for listening, rating, and subscribing to this podcast. It is available on over 30 podcasting platforms.

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