Are matched stereo mics necessary?

[MixMastaShizNasta]

Whenever I work in studios I always use a matched stereo pair for overheads and piano, but I'm doing an album at my home studio and do not have a matched pair of mics I'd be up for using as a stereo pair. I'm going for a warm drum overhead sound, and I have an AKG 414 TL2 (the warmer version of the 414), and an SE Electronics SE5000, which is a knockoff of the AKG C12.

I've mixed two different mics together for a good-sounding stereo drums and piano, but do any of you have any thoughts on the use of two different mics as a stereo pair? Is it an issue of phase and different sound, or something else?

thanks

[Barnabas]

I think different sound is the main reason people use matched pairs. They want the left and right to sound like the same set of ears.

I often use unmatched pairs (sometimes a large and a small diaphram) when stereo micing. It all depends on the sound that you want and the time you have to experiment with something new.

[Giles Reaves]

Whenever I work in studios I always use a matched stereo pair for overheads and piano, but I'm doing an album at my home studio and do not have a matched pair of mics I'd be up for using as a stereo pair. I'm going for a warm drum overhead sound, and I have an AKG 414 TL2 (the warmer version of the 414), and an SE Electronics SE5000, which is a knockoff of the AKG C12.

I've mixed two different mics together for a good-sounding stereo drums and piano, but do any of you have any thoughts on the use of two different mics as a stereo pair? Is it an issue of phase and different sound, or something else?

thanks

I just recorded some drums at home with a 414 and L47(Lawson "Gold" mic) as overheads.
The only thing these mics have in common is that they are both large diaphram condenser mics. Other than that...

What you loose with this technique is a solid center image. With that in mind (and the fact that I didn't have a choice) I decided to try it anyway. The results were acceptable, but if you're used to using two of the same mic, it's not quite the same thing. I treated them more as cymbal mics, and down-played the other parts of the set (by placment). I didn't use too much of them, and panned them about 50% Left and Right.

It's always good to have two of anything in your mic closet, and that will have to be my next purchase mic wise. Two KM-84s would be nice for what I do...

[bad jitter]

Unmatched pairs (like MKH 50 with MKH 60) can actually give you more interesting stereo image IMHO. This is at least true when recording stereo atmos for film sound usage. I am sure that that many purist will disagree with this, but this is honestly my feeling!

[Allan Speers]

Mixmasta,

Just to clarify things, the term "matched pairs" doesn't mean two of the same mic. It means two of the same mic that have been hand-selected for similar frequency response, both on and off axis.

I realize that this was not your question, but you should be aware of the terminology.

Anyway, your question has already been answered pretty well, above. If it sounds good, it is good.

With two differing LD mics, you might want to experiment with MS recording. This is the one stereo technique where different mics can actually be a benefit.

The only time you really need two of the same mic (true matched pairs is a seperate issue) is when doing near-coincident techniques. If you don't know what that is, you need to do some reading!

(BTW: I'm not being evasive, I'm trying to force you to read some mic-technique books, as this will benefit you greatly for the rest of your life.)

Enjoy the journey!