“Back in 2017, I asked a few friends to help me with an experiment, comparing a traditional multi-mic’d recording with a single-mic version of the same performance.

For the single-mic recording (B), I chose an AEA R88 stereo ribbon microphone. It consists of two ribbon microphones in the same housing, oriented at 90 degrees to each other. This is called the ‘Blumlein’ configuration, after EMI engineer Alan Blumlein who developed it at Abbey Road Studios in the 1930s as part of his development of a stereo recording and reproducing system.

I used various ribbon and condenser microphones for the multi-mic’d version (A). Those were placed close to the instruments and the singer, as is typical in most studio recording sessions. Both sets of microphones were recorded simultaneously.

To my ear, the single-mic recording has an appealing cohesiveness and relaxed quality. The multi-mic’s version is more traditional-sounding. The listener will have to decide which recording method they prefer. But for me, the single-mic version is the more compelling of the two.

From a practical viewpoint, single-mic recording takes much more time to set up. The performers need to be moved closer or farther from the mic to achieve the proper balance, and arrayed in a way that provides a pleasing stereo image. Most recording sessions require a much faster setup, so it is often impractical to spend the time necessary to get a good single-mic recording. Once the recording begins, there is no way to change the balance of the instruments, so they have to correct from the start. The players also have to be able to play an entire take flawlessly, which is stressful for musicians accustomed to an endless refinement of their parts at a later time.”

Recorded Information Matters: Reproducing Recordings Believably

Linkwitz Audio CEO, Frank Brenner, shares his perspective on the two recording techniques and how they influence how a loudspeaker developer might pursue recreating ‘the absolute sound.’

“As we explore the virtues of minimal and one-microphone recordings, we are reminded of the timeless quality of Art Blakey’s Moanin and the pioneering work of Rudy van Gelder. Their legacy lives on in the recordings that continue to capture the hearts of audiophiles and casual listeners alike, proving that sometimes, the simplest approach can lead to the most profound experiences in music.

The Art of Authenticity

Our exploration of minimalistic recording techniques led to an enlightening demonstration with the AXPONA 2024 audience.
Experienced sound engineer Doug W Fearn educated the audiophile audience in a LINKWITZ parlor talk, presenting two versions of the same performance by the band of singer Tom McIntyre:

One was captured with conventional multiple microphones (A)

Another was recorded using a single microphone (B)

The difference was clear to all listeners, who could easily distinguish between the two. Remarkably, most participants expressed a preference for the soundstage presentation of recording ‘B’, played through the LINKWITZ LX521.4MG speakers.

This preference underscores the compelling nature of minimalistic and one-microphone recordings and their ability to convey a more authentic and engaging soundstage that resonates with listeners seeking purity in musical reproduction.

And what is the downside of minimalistic recording techniques?

As recording engineers point out, minimalistic miking has its limitations when larger groups or even symphonic orchestras must be captured and the conductor insists on post processing, like re-balancing of instruments. It is virtually impossible. Furthermore, it takes (much) more time to sensibly setup musicians and gear. But, when it comes to the capturing of small groups in intimate venues or well-balanced performing orchestras, I would love to listen to more recordings like these, where simplicity is the challenge in order to achieve authenticity.”

Summary

The difference Frank describes is significant because a simple (‘Blumlein’) technique puts better phase information on the recording. This information is how stereo (invented/patented by Blumlein, btw) can then present musician positions distinctly and how the sound space can be rendered based on the environment. Even without a Blumlein mic technique, phase information is on the recording and is critical to realism. Speakers and rooms are important to the end result, but most significantly in terms of how they distort the information already on the recording. When we say, “These speakers image well,” we really mean, “These speakers didn’t destroy the imaging information on the recording.” We hope these brief tracks make this concept a bit more appealing.

Recording ‘A’:

Recording ‘B’:

If you prefer to download each track, you can do that here:

Recording ‘A’

Recording ‘B’

The post Engineering Single-Mic vs Multi-Mic Recordings: Conclusion appeared first on The Absolute Sound.