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Utilizes two mics placed in ear-like cavities on a dummy head; captures 3D stereo sound that mimics human hearing.

Grouping multiple channels or tracks into a single bus to create a submix, which can simplify mixing and processing.

Similar to accent miking but used to capture individual instruments or sound sources within a mix.

Direct injection (DI) recording bypasses microphones by plugging instruments directly into the recording console or audio interface.

Placing mics at a distance from the source to capture the room's acoustics and natural reverberation.

Using multiple microphones on a single sound source to capture different tonal qualities or to provide mixing options.

Uses one or more mics placed in strategic locations to capture the ambient sound of the recording space.

A pressure zone microphone (PZM) is placed on a flat surface, capturing sound reflections from that surface with minimal phase issues.

This technique involves two microphones spaced apart to capture a stereo image; use when a natural sound stage representation is desired.

A coincident technique using two bi-directional mics at 90 degrees; captures a wide stereo image with ambiance and room characteristics.

Additional microphones used to highlight a particular instrument or sound within an ensemble.

Employs two cardioid microphones spaced 17 cm apart and angled at 110 degrees; offers a balance between direct sound and room acoustics.

Combines a cardioid (mid) mic with a figure-8 (side) mic; allows for adjustable stereo width in post-production.

Recording a sound source within an acoustically isolated space to prevent bleed and allow for greater control over the recorded sound.

Uses two omni mics separated by a sound-absorbent disc; emulates human ear separation for a binaural effect.

The practice of positioning microphones to ensure that sound waves hit the diaphragms simultaneously to avoid phase cancellation.

Placing the microphone close to the sound source; used to isolate the sound and reduce room acoustics influence.

Uses two cardioid microphones placed at an angle between 90 to 135 degrees; good for focused stereo image with minimal phase issues.

A four-microphone setup for drum kit, placing overhead mics in a specific configuration relative to the snare and floor tom to preserve phase coherency.