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Spatial Recording Guide

Spatial Recording

A practical guide to stereo imaging and four common approaches to capturing width, direction, depth, and immersion.

The stereo image

A stereo sound image is the perceived spatial arrangement of sounds when audio is recorded or reproduced through left and right channels.

Key aspects

  • Left and right channels: Separate channel information can place sounds toward either side.
  • Spatial perception: The listener may perceive sound at different points between the speakers.
  • Localization: The apparent position of a sound within the stereo field.
  • Width and depth: The impression that sounds are spread outward or placed nearer and farther away.
Listening note: Evaluate stereo recordings on both loudspeakers and headphones. Also check the mix in mono to identify phase cancellation or missing elements.

Stereo imaging in film

In film sound, dialogue is commonly kept near the center while ambience, vehicles, movement, and background effects are distributed across the stereo field. This creates directional cues and a stronger sense of place.

Hand-drawn sketch with dialogue at top, Bus and Background in middle, and L, M, R at bottom.
Figure 1. Conceptual stereo layout for film: dialogue remains centered while background movement spans the left-to-right field.

Post-production tools

  • Panning positions a sound from left to right.
  • Equalization (EQ) shapes frequency content and can affect perceived distance or clarity.
  • Reverb adds reflections that suggest room size, depth, and distance.

AB spaced pair

AB recording uses two microphones separated by a physical distance. The timing and level differences between the microphones create a broad stereo image.

Two circles, black left and red right, each with a rectangle and red dot inside, 50cm apart.
Figure 2. Example AB setup with a 50-centimeter space between microphones.

Setup

  1. Use a matched pair when possible.
  2. Place the microphones parallel and aim them toward the sound source.
  3. Begin with moderate spacing and adjust while monitoring the stereo image.
  4. Record each microphone to its own track and pan one left and the other right.
  5. Check mono compatibility before finalizing the recording.

Strength: Wide and spacious stereo image. Risk: Greater time differences can cause phase problems when summed to mono.

XY coincident pair

XY recording places two directional microphone capsules very close together, angled across one another. Because the capsules are nearly coincident, the technique relies mainly on level differences and generally has strong mono compatibility.

Diagram of an XY coincident pair microphone technique, showing a left and right overlapping at an angle to create a stereo field.
Figure 3. XY pair with capsules positioned together and microphone bodies crossed.

Setup

  1. Use two cardioid microphones with capsules aligned as closely as possible.
  2. Angle the microphones symmetrically, commonly between 90 and 120 degrees.
  3. Aim the center of the pair toward the center of the sound source.
  4. Record to separate tracks and pan the channels left and right.

Strength: Stable center and good mono compatibility. Tradeoff: Often less wide than spaced techniques.

ORTF near-coincident pair

ORTF uses two cardioid microphones with their capsules 17 centimeters apart and angled 110 degrees. The arrangement combines level and timing differences to create a natural stereo perspective.

Diagram with black Left and red Right circles, 110° angle, 17cm apart.
Figure 4. Standard ORTF spacing and angle.

Setup

  1. Use two cardioid microphones.
  2. Separate the capsules by 17 centimeters.
  3. Set the angle between microphones to 110 degrees.
  4. Center the array on the source and adjust distance for the desired balance of direct sound and room ambience.

Strength: Natural width and localization. Tradeoff: Mono compatibility is generally good but not as strong as a fully coincident XY pair.

Binaural recording

Binaural recording uses two microphones positioned to imitate human ears, often in a dummy head or ear-shaped housing. It captures small differences in arrival time, level, and filtering caused by the head and outer ears.

Gray binaural dummy head and torso with a microphone mounted in the visible ear position.
Figure 5. A dummy-head system designed to capture ear-like spatial cues.
Best playback: Binaural recordings are most convincing on headphones because each recorded ear channel reaches the corresponding listener ear directly.

Technique comparison

Comparison of spatial recording methods
Technique Microphone arrangement Typical result Primary caution
AB Two microphones physically separated Wide, open stereo image Phase and mono compatibility
XY Capsules nearly together; microphones angled Precise center and stable imaging May sound narrower
ORTF Cardioids 17 cm apart at 110 degrees Natural width and localization Requires accurate spacing and angle
Binaural Microphones placed at simulated ear positions Three-dimensional headphone experience Less predictable over loudspeakers

Recording checklist

  • Label left and right channels before recording.
  • Use equal gain settings unless the setup requires otherwise.
  • Keep both microphone stands stable and isolated from vibration.
  • Monitor for unwanted room reflections and background noise.
  • Listen in stereo, on headphones, and in mono.
  • Document microphone model, pattern, spacing, angle, height, and distance from the source.