Stereo Miking Guide for Large Ensembles and Orchestras
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Recording large ensembles, such as orchestras or choirs, demands careful planning and the right miking techniques to capture the depth, dynamics, and spatial essence of the performance. Achieving a stereo image that reflects the natural soundstage and positioning of the instruments is essential for a professional recording.
This guide explores key stereo miking techniques, providing insight into how to effectively record larger groups with a sense of space and clarity.
Understanding Stereo Miking for Large Ensembles

Stereo miking involves placing two or more microphones in a way that captures the spatial relationships of sound sources, creating a natural stereo image. For large ensembles, the aim is to convey not just the music but also the space, ambience, and positioning of each section.
The choice of technique and microphone placement can significantly affect the sense of realism and depth in the final recording. Before setting up, it’s crucial to consider the ensemble size, venue acoustics, and the intended sound quality.
Common Stereo Miking Techniques
Different stereo miking techniques can be used to achieve varying effects. Each technique has its strengths and is suited for specific recording contexts. Here are some of the most popular methods:
AB (Spaced Pair) Technique
The AB technique, also known as a spaced pair, involves placing two omnidirectional microphones a few feet apart, usually around three to ten feet, depending on the size of the ensemble and the width of the stereo image you want to achieve. This method captures a broad and open sound, effectively picking up the natural reverb of the space, making it ideal for orchestras or large choirs.
However, one potential drawback of the AB setup is phase issues, which can cause a sense of disconnection between the left and right channels. To minimize this, careful attention should be paid to microphone spacing and placement. It’s also important to experiment with distance to achieve the best balance between direct sound and room ambience.
XY (Coincident Pair) Technique
The XY technique involves positioning two cardioid microphones at a 90-degree angle to each other, with their diaphragms almost touching. This setup captures a more focused stereo image compared to the AB technique, as it minimizes phase problems by keeping both microphones at the same point of origin.
The XY setup is particularly effective for smaller ensembles within a larger group, such as string quartets within an orchestra, or when recording in smaller rooms with less favorable acoustics.
One limitation of the XY configuration is that it may not deliver as wide a stereo image as the AB technique, but it does offer a solid, accurate sound that can be useful when the positioning of instruments is more important than capturing the room’s ambience.
ORTF Technique
The ORTF technique combines elements of both AB and XY setups. It involves two cardioid microphones placed 17 cm apart, angled at 110 degrees. This arrangement mimics the natural spacing and perception of the human ears, providing a more realistic stereo image.
The ORTF is an excellent choice when you want a balance between the width of the AB technique and the focus of the XY technique. It captures a good sense of space while maintaining clarity and positioning, making it suitable for orchestras in moderately large venues.
Decca Tree
The Decca Tree is one of the most renowned techniques for recording large ensembles, especially in classical music. It consists of three omnidirectional microphones placed in a triangular formation, with two microphones spaced around six feet apart and a third positioned at the center and slightly forward. This configuration provides an exceptionally wide and deep stereo image, capturing both direct sound and room acoustics in a balanced manner.
The Decca Tree can be complex to set up and might require a dedicated stand or frame, but it is worth the effort when recording larger ensembles in a concert hall. The sense of space it captures is unparalleled, making the listener feel as though they are seated in the audience, experiencing the music live.
Positioning the Microphones

Correct microphone placement is as important as choosing the right technique. For large ensembles, the microphones should be positioned to capture the entire group evenly, ensuring that no section is over- or under-represented in the mix. This often involves placing the stereo pair or array at a height that allows sound to naturally blend before it reaches the microphones.
Experimenting with height and distance is key; sometimes, positioning the microphones further back can give a more cohesive sound by allowing the room’s natural acoustics to contribute. Additionally, consider using spot microphones on soloists or quieter sections of the ensemble, like a harp or double bass, to ensure they are clearly heard. These spot microphones can be mixed subtly to enhance the overall balance without overwhelming the natural stereo image.
Handling Acoustics and Venue Considerations

The venue’s acoustics play a significant role in stereo miking. A concert hall with good acoustics can greatly enhance the recording by adding a natural reverb that envelops the ensemble, creating a sense of space and depth. However, in venues with less favorable acoustics, the challenge is to minimize reflections and ambient noise. In such cases, closer miking techniques, like XY or ORTF, might be preferable to avoid capturing too much room noise.
When possible, test the setup before the actual recording session to identify any acoustic challenges. Experimenting with different miking configurations and placements can help you find the best solution for the specific venue and ensemble.
Final Note

Stereo miking for large ensembles and orchestras is an art that requires a blend of technical knowledge, experimentation, and a good ear. By understanding the characteristics of different stereo miking techniques and how they interact with the space and ensemble, you can create recordings that beautifully convey the depth, dynamics, and spatial relationships of the performance.
Whether using a simple XY setup or a more complex Decca Tree, the goal is to capture a natural and immersive sound that brings the listener closer to the music.