This is missing the point, IMHO. It is not an issue of 'spread' but rather of spatiality and localization. With a good stereo recording the isntruments is perceived as beeing immersed in space and having a stable localization therein. Of course you achieve this also with a mono source or with a two channel mono source combination that are positioned through panning during the mixing process, but this is different from a real stereo recording.Hybrid wrote:
Also, regarding the "stereo mic'ing" discussion. The guitar has no stereo spread to it, like a piano.
So there's no sense in trying to create one with mic spread.
The best way to utilize 2 mics might be to put one mic up higher to capture the basses, and one down lower to capture the trebles.
I use a simple coincidental pair, but i've noticed it doesnt sound much different from a single mic.
BTW coincident pairs have less spatiality than any other stereo array anyway, so even with a proper stereo pair used in coincident array you'd have the least difference to a mono recording.
Of course you don't need to like it or to do it that way, but just to put the right perspective onto the issue.
PS even with an orchestra the term 'Spread' actually means proper localization of every instrument in the sound field. And especially with big instruments like grand piano the idea of stereo spread can be quite misleading. I hear again and again piano recordings where the keyboard runs from extreme left to extreme right /now, that really is spread, LOL). This is awful. I like to hear a grand piano sitting well localized within the concert hall.