Top 10 Stereo Microphones
A stereo mic could be used for ambiance. A stereo recording on video creates extra of a sense of place or a listening surrounding than a mono mic can. A stereo microphone is essential when recording live music, which may come alive in two-channel sound.
Stereo is designed to create a convincing sound picture between loudspeakers. Due to this fact, if you’re recording vocals and instruments in a number of places, stereo captures the images of the sounds much better than mono. The ultimate goal of stereo recording is to create a lifelike sense of the audio signal.
Stereo microphones have two microphone components and are designed to present you with a wider, extra immersive sound area. A large pickup pattern is preferable for many live occasions and when taking pictures outdoor. For example, when you’re recording a band with a stereo microphone, the person musicians will probably be positioned in your recording as if they were on the stage.
With a mono microphone, all of the musicians could be centered within the sound area, as if they had been all taking part on stage in the same spot. Any kind of outside video, from a city road to a seaside setting, could be enhanced with a stereo microphone.
We just want to let you know that we’ll list these best stereo microphone reviews in no particular order. They’ll be randomized as we don’t wish to sort them from best to worst.
Listed below are our Top 10 Best Stereo Microphones:
1. Rode NT4
The NT4. A premium stereo condenser microphone for studio and placement use. That includes a matched pair of 1/2-inch cardioid condenser capsules mounted in a perfect 90-degree near-coincident alignment, the NT4 immediately creates a faithful stereo array that’s excellent for drum overheads and percussion, choir vocals, environmental recording, and sound design within the studio or out within the area.
For added versatility, the NT4 can either be powered by a 9V battery or P48 phantom energy and it comes with both stereo XLR and 3.5mm mini-jack cables for recording to a mixer, transportable recorder, or a digicam. The NT4 options dual cardioid components mounted in an X/Y stereo configuration. The X/Y configuration leads to a correct illustration of the sign throughout the “Left/Right” stereo area.
The NT4 includes a twin XLR cable and a stereo 1/8″ mini-jack output cable making it prepared to be used in any recording surroundings. The frequency response is 20-20,000Hz and the dynamic vary is around 128dB with 16dBA of ‘self-noise.’
The NT4 comes with a tough plastic hard case, microphone stand holder, and foam shield. The X/Y configuration makes it a cinch to make use of and that’s also nice come mix time with a believable representation of the soundstage; additionally, there is a good sense of ambiance.
- Active Electronics: JFET impedance converter
- Pickup Pattern: Cardioid per capsule
- Frequency range: 20 Hz – 20 kHz
- Output Impedance: 200 Ohms per side
2. Audio-Technica BP4025
Designed for broadcast and professional recording, Audio-Technica’s BP4025 stereo condenser offers large-diaphragm capsules in a modern coincident capsule configuration. This enables a smaller housing whereas producing an X/Y stereo picture with the spatial influence and realism of a live sound area.
Perfect to be used with professional audio and video gear, the microphone is totally RoHS-compliant – free from all substances specified within the EU directive on the reduction of hazardous substances (RoHS). The microphone requires 11-52VDC phantom energy and contains the 5-pin to dual 3-pin XLR cable, stand adapter, screen, and protecting pouch.
The Audio-Technica BP4025 Stereo Microphone captures ambiance, live performances, and any audio source with correct stereo imaging and detailed frequency response. The BP4025 connects to a 5-pin XLR output and the supplied cable provides twin 3-pin XLR connectors for stereo connections to cameras, mixer channels, transportable recorders, and many others.
Best for video camera-mount use, stereo area recording, interviews, and residential recording. The microphone is supplied with two cables to be used with professional gear. It offers switchable low-frequency roll-off and the convenience of battery or phantom energy. It has a compact chassis and wonderful sound high quality.
- Frequency range: 20 – 17,000 Hz
- Switchable low cut 80 Hz
- Switchable 10 dB pad
- 145 dB SPL max.
3. Superlux E524/D
The E524D incorporates 2 electret condenser capsules in an XY 90˚ association. This popular association offers simple to attain stereo-high definition outcomes. The E524D is appropriate for live or stereo recording, with built-in blue LED indicator and powered by both battery and phantom energy. It’ll meet the demands of each professional and amateur for a real stereo microphone.
The mic may be phantom powered (9-48V) or battery-powered with single 1.5V AA. Based on Superlux, the microphone’s frequency response and max SPL don’t change when working via battery energy. Along with the phantom voltage, the mic additionally is using a battery, which is a good factor at least in field recordings.
A single swap on the mic body activates battery energy. A blue LED flashes once at startup to point that energy is current. The published frequency response graph reveals a gradual roll-off beneath 200Hz, and a smooth +5dB presence increase 8.5kHz. The high-end rolls off above 13kHz.
The microphone is coming with a 5-pin XLR-M jack. A 5-meter XLR5F to dual-XLR3M cable is offered. The mic additionally includes a plastic hard mount, a tripod desk stand, a foam windscreen, and a leather-based storage pouch for the microphone.
- 90° Combination of the matched capsules
- 112 dB Dynamic range
- 5-Pin XLR male output
- Battery or phantom power
4. Shure MV88+Stereo USB Mic
A multipurpose microphone to cover your every recording need. Whether it’s capturing drums, vocals, and every little thing in between; the MV88+ is the Swiss military knife of microphones enabling you to record in mono or stereo. Choose from a number of pick-up patterns and modify mic settings to go well with any recording scenario using the ShurePlus MOTIV Desktop App. Embrace the power of 1 microphone.
The mic’s built-in 3.5mm headphone output allows you to properly monitor your sound in real-time, so you may all the time know what you are recording and make sure your content material sounds nice. Whichever setting you select, you may rest easy knowing the mic captures high-quality 24-bit / 48 kHz audio.
This means you may edit the audio in any DAW or NLE if want is without losing resolution. The stereo settings supply pickup patterns with variable width, nice for recording musical performances or environmental sounds.
The equipment comes full of all that you must capture great-sounding audio on your Mac/ Windows laptop or a cell device geared up with USB Type-C. The stereo mic slides snugly into the mic clip, which may be mounted on any mic stand with 5/8 or 3/8″ threading.
- Frequency range: 20 – 20.000 Hz
- Max. SPL: 120 dB
- Micro-USB connection
- Weight: 79 g
5. Audio-Technica AT8022
Ideally suited for video camera-mount use, stereo area recording, interviews, and residential recording, Audio-Technica’s versatile AT8022 stereo condenser offers a compact housing and the pristine sound high quality of a live sound area. Its coincident capsule configuration produces an X/Y stereo picture in a small housing.
The microphone is equipped with two cables to be used with professional gear. It provides switchable low-frequency roll-off and the convenience of battery or phantom energy. The microphone is absolutely RoHS-compliant – free from all substances specified within the EU directive on the reduction of hazardous substances (RoHS).
The Audio-Technica AT8022 X/Y Stereo Microphone captures ambiance, live performances, and any audio source with correct stereo imaging and detailed frequency response. The microphone is powered with external phantom energy or a 1.5V AA battery making it perfect to be used with cameras and transportable recording devices.
The capsule options two condenser capsules mounted in an X/Y configuration. Its modern coincident capsule configuration produces a correct stereo picture in a smaller housing. The microphone contains a 5-pin XLR output connector. Twin 3-pin XLR and single 1/8″ (1.5mm) stereo mini cables are equipped. Additionally included are a stand adapter, screen, and protecting pouch.
- X/Y Stereo (2x Cardioid)
- 20 / 15,000 Hz
- Switchable low cut 80 Hz
- 5-Pin XLR connector
6. Avantone CK-40
The CK40 is appropriate for vocals, piano, and common room miking. Its two capsules are stacked vertically and as closely as possible to one another, for near-coincident operation, and the higher capsule housing can swivel at 90 degrees to attain the desired mutual angle between the capsules.
Alongside the three-way, pattern selectors are switches that engage a -10dB pad or 80Hz (6dB/octave) high-pass filter. Once more, these are independent for every capsule, although the functions share a single three-way swap, so you’ll be able to have a low-cut filter and a pad on the identical capsule at the same time.
The CK40 is a really capable all-rounder, whether or not used as a mono mic or in a stereo configuration. Its tonality is well-balanced, with clear however non-aggressive highs, and it seems an excellent match for vocalists who haven’t got special microphone requirements due to extreme harshness or dullness of their vocal tone.
In X/Y stereo mode, the CK40’s soundscape opens up in a really believable manner, making this mic properly suited for ensemble recording, drum overhead applications, choral work, and as a main front mic in a scenario where you should mix general stereo miking with individual instrument spot mics.
- Multi-Pattern: Cardioid, omni, 2x 8er
- Frequency range: 20 Hz – 20 kHz
- Equivalent noise level: 17dB
- Sensitivity: -40 dB
7. Rode NT-SF1
The ‘SoundField by RØDE’ NT-SF1 is a peerless ambisonic microphone that captures broadcast-quality 360° surround sound, providing unprecedented sonic potentialities to be used in VR, sound design, immersive audio, and experimental recording applications. The NT-SF1 is the primary collaboration between ambisonic pioneers SoundField (who invented the first commercial ambisonic microphone) and RØDE.
The NT-SF1 is the right microphone for an extremely wide selection of recording applications, from recording music to capturing three-dimensional soundscapes for virtual reality and immersive media. As productions more and more require using surround or multi-channel spatial replica and the boundaries of creative recording proceed to be pushed, the NT-SF1 needs to be the following addition to each sound recordist’s arsenal.
The NT-SF1 records the whole spherical sound area – each sound from every course – in excellent A-Format audio, which may be transformed to B-Format audio after which manipulated infinitely utilizing the ‘Soundfield by RØDE’ plug-in.
The ‘SoundField by RØDE plug-in delivers a revolutionary method of ambisonic processing, providing probably the most correct ambisonic rendering out there on the planet, all with legendary RØDE accessibility and ease of use. This mic uses state-of-the-art frequency-domain processing to deliver unparalleled spatial accuracy in any frequency.
- Frequency range: 20 – 20,000 Hz
- Inherent noise: > 15 dBA
- Sensitivity: 30 mV @ 94 dB SPL (1 kHz)
- Dimensions: 45.7 x 45.7 x 192.3 mm
8. Antelope Edge Quadro
Edge Quadro is probably the most superior modeling microphone by Antelope Audio. This stereo mic features two giant dual-membrane capsules and a rotating head. Delivering 4 channels for independent processing will permit stereo techniques like M/S, X/Y, Blumlein, and even 3D sound. Edge Quadro is the only microphone you’ll want for stereo and 360° sound recording.
The Edge Quadro heads provide next-level precision and adjustability. The higher head may be rotated noiselessly, even while the microphone is actively recording. Every Quadro head also can function in all potential polar patterns (cardioid, figure-8, omnidirectional, and something in between). These features combine to deliver virtually limitless variations in tonality and stereo and allow a variety of creative effects.
The Edge emulations are designed to work hand-in-hand with Antelope’s precision mic preamps and converters. For max accuracy, Edge Quadro can be utilized with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities permit real-time vintage mic emulation.
Edge Quadro not solely sounds unbelievable – it seems nice, too! This unique mic comes with a customized luxurious shock mount and two oxygen-free copper Y-cables included within the package. The microphone is housed in a customized, handmade wood case providing extra safety to its already solid and sturdy body.
9. Golden Age Project R1 ST Vintage Style Stereo Ribbon Microphone
Dual-ribbon mic emulating tried-and-trusted designs, the R1 ST is a flexible studio instrument. John Pickford puts it via its paces with a variety of instruments. R1 ST key options: Pure aluminum ribbons and frequency response 30Hz – 18kHz, maximum SPL 160dB Blumlein stereo.
Designed to emulate the basic RCA ribbon designs from the first half of the last century, the R1 ST contains two vintage-style ribbon sections with transformer-balanced outputs. The 2 ribbon components are arranged vertically, one above the other, every aimed 45 levels from the center within the traditional Blumlein configuration, with a figure-8 polar pattern.
The R1 ST can be utilized to capture a single sound source in mono if desired, just by positioning the mic in order that simply one of the ribbons is pointing at the sound source. All ribbon microphones, by their very nature, are fragile and should be dealt with nice care always.
Ribbon mics generally excel at capturing acoustic instruments in nice elements, with their superior transient response never blurring main edges. With its barely euphonic nature, the R1 ST adds a top-end brightness that flatters many sounds, significantly those who would in any other case benefit from some HF EQ sweetening.
- Stereo setup: Blumlein
- Frequency range (+/- 3 dB): 30 – 18,000 Hz
- Sound pressure level: 160 dB SPL (1% THD @ 1000 Hz)
- Sensitivity: -52 dB (2.51 mV/Pa) @ 1kHz
10. Shure VP88 Stereo Condenser Microphone
A condenser stereo microphone combines 2 condenser cartridges to create a stereo audio picture of the sound source. It features a screen, swivel adapter, Y-cable, switch-selectable, low-frequency roll-off, inner shock mount, and a pop shield.
The Shure Model VP88 is a single-point, stereo condenser microphone to be used in professional studio recording, area production, electronic newsgathering (ENG), and studio broadcasting functions. It’s distinctive in its capability to seize the realism of a live occasion and stand up to rigorous area production environments.
One cartridge (Mid) faces ahead to seize on-axis sound utilizing a cardioid pickup pattern. The opposite cartridge (Side) is bi-directional, capturing sound from both facets. The VP88 incorporates an inner M-S matrix with three settings for various levels of stereo picture separation. The inner matrix may be bypassed if an external matrix is used or if stereo imaging is finished in post-production.
It could be powered by phantom energy or by the included 6V digicam battery. Switches control output mode, stereo imaging, low-frequency roll-off settings, and battery on/off. This microphone is a must-have for rooting out background noise. Captures nicely the subject of interviews even within the busiest of locations.
- Frequency range: 40 – 20,000 Hz
- 3-Stage MS matrix switchable
- Operation with 6V battery or phantom power
- 5-Pin XLR output
A stereo recording on video creates an extra sense of place or a listening surrounding. A stereo microphone is necessary when recording live music, which may come alive in two-channel sound. Nevertheless, the sound of the music recording will change if the digital camera is moving around.
Each time a stereo microphone is used, be mindful of the place it’s positioned. This rule is crucial even when taking pictures of a scene and making an easy phone call. There must be coordination between the image and sound, or the viewers will probably be unable to follow it.
Don’t use the foam screens that include most mics. Instead, buy professional-quality screens and shock mounts that fully protect the mic from the surroundings. These may be costly but are important to all outdoor microphones. Wind noise can simply destroy the stereo effect.
The result’s a microphone that’s most delicate to sounds coming from the course it’s pointed while being much less delicate to sounds from the sides and rear. This directional pickup is preferable for many dialogues and voice-over applications. It’ll make the subject’s voice and the recording extra intelligible.
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