There’s a huge array of dedicated stereo mics on the market. We round up some of the best current options.
At first thought, stereo microphones might seem like a solution looking for a problem. Setting up a pair of ‘normal’ mics for a stereo recording isn’t a particularly difficult task, after all. However, an all‑in‑one stereo mic actually offers a number of significant benefits. Firstly, two capsules housed in a single assembly can be placed closer together than is often possible with a pair of individual mics, minimising time‑of‑arrival differences and resulting in more accurate stereo imaging. There are practical benefits, too: rigging a single mic on one stand is quicker and easier than configuring a stereo bar or wrestling with a pair of stands, for example. It’s also easy to move a single mic around in search of the best possible placement, something which would be very awkward to attempt with a pair of large mics set up on two stands! There are plenty of stereo mics on the market, and although lots of them are boom‑ or camera‑mounted types aimed at production sound duties, there’s a healthy selection of studio‑focused models, too. So, let’s take a look at what’s on offer.
AEA Nuvo N28, R88 MkII & R88A
AEA’s first offering comes in the form of the Nuvo N28, a phantom‑powered mic that houses a pair of matched ribbon transducers in a fixed Blumlein configuration. With a mid‑forward frequency response, precise stereo imaging and ‘tamed’ proximity effect, the mic is said to excel at everything from close‑miking strings to drum overheads or room‑mic duties, while its compact design makes it easier to position.
Next up is the larger R88 MkII, which is said to be a stereo version of AEA’s N8. Featuring two of the company’s Big Ribbon transducers in a Blumlein configuration, the mic has been designed with far‑field applications in mind, and will retain a natural‑sounding frequency response even when used at a distance. Like its mono counterpart, the R88 MkII boasts the widest frequency response of any AEA mic, and promises to effortlessly capture complex and powerful sources such as drums, strings and pianos. There’s also the R88A, a phantom‑powered version that offers an additional 12dB at the output.
Nuvo N28 £2499; R88 MkII £2199; R88A £2659. Prices include VAT.
Nuvo N28 $2499, R88 MkII $2299, R88A $2699.
Audio‑Technica AT4050ST
Audio‑Technica’s AT4050ST features independent cardioid and figure‑8 capsules configured in a Mid‑Sides arrangement, and mounted in a robust housing that has been designed to minimise internal reflections. The company say that the dual‑diaphragm capsules maintain a precise polar pattern across the mic’s full frequency range, while transformerless circuitry virtually eliminates low‑frequency distortion. A three‑way selector switch offers a choice of three operation modes: Stereo 90, Stereo 127 and M‑S. The first two modes offer a traditional left/right output courtesy of an onboard Mid‑Sides matrix, with the option of selecting either 90‑ or 127‑degree stereo acceptance angles; setting the switch to M‑S mode will deliver discrete Mid and Sides signals at the mic’s outputs, making it possible to adjust the stereo image in post‑production. The AT4050ST also features a ‑10dB pad and an 80Hz high‑pass filter.
www.soundonsound.com/reviews/audio-technica-at4050-st
£1319 including VAT.
$1399.
Left to right: AEA Nuvo N28, AEA R88 MkII, Audio-Technica AT4050ST, Avantone CK-40, Brauner VM1S.
Avantone CK‑40
The Avantone CK‑40 employs a pair of 35mm pressure‑gradient transducers that promise to deliver accurate stereo imaging without suffering from proximity‑based phase issues. Both capsules can be independently switched between cardioid, omni and figure‑8 polar patterns, and there’s an 80Hz high‑pass filter along with a ‑10dB pad. The upper capsule and grille assembly can be rotated by up to 90 degrees, which, combined with the per‑capsule pattern switching, means the mic can be quickly and easily configured in X‑Y, Mid‑Sides and Blumlein arrangements. The CK‑40 features quiet Class‑A FET circuitry, and boasts a full‑range response that remains within ±3dB between 20Hz and 20kHz.
www.soundonsound.com/reviews/avantone-ck40
£749 including VAT.
$599.
Brauner VM1S
Brauner are well known for the quality of their high‑end mics, and the stereo VM1S is no exception. It essentially places two of the company’s renowned VM1 mics in a single housing, with precisely matched capsules promising to deliver everything you could wish for in a stereo microphone! Both capsules boast a continuously variable control that allows users to move seamlessly from omni, through cardioid to figure‑8 polar patterns, while a moving grille assembly allows the top capsule to be rotated through up to 90 degrees to accomodate a range of coincident stereo techniques. Like its mono sibling, the VM1S delivers a natural sound that’s capable of tackling everything from soloists to ensembles and choirs.
£9695 including VAT.
$10,799.
Coles 4050
The Coles 4050 is a bit of an outlier in that it’s technically a plain old mono ribbon mic. However, thanks to a clever magnetic mounting system, it’s possible to join two 4050s together to form what’s essentially a single stereo mic. Once combined, the mount allows the mics to be rotated through 360 degrees, meaning that any mutual angle can be accommodated. The mics offer the ‘smooth’ sound for which Coles are renowned, boasting a frequency response that is “exceptionally flat” between 30Hz and 20kHz, and a polar pattern that remains constant in both the horizontal and vertical planes.
£1859 including VAT.
$2526.
Extinct Audio Valkyr Stereo
Offering a stereo alternative to Extinct Audio’s BM9 ribbon mic, the Valkyr Stereo is said to be the perfect one‑point solution for capturing ensemble, orchestral and choral performances, as well as being a great choice for drum overhead or room‑miking tasks. Its ribbon transducers are closely matched for frequency response, resulting in an accurate, detailed stereo image that boasts impressive depth and positional accuracy. A fixed 90‑degree angle between the two capsules allows the mic to offer Blumlein and Mid‑Sides arrangements, and a wide stereo acceptance angle means that the Valkyr Stereo is easily capable of capturing a large band or ensemble.
www.soundonsound.com/reviews/extinct-audio-bmx2-black-ops
£1799 including VAT.
$2408.86.
Left to right: Extinct Audio Valkyr Stereo, Coles 4050, Golden Age Premier R1 ST, Josephson C700S.
Golden Age Project R1 ST
The R1 ST from Golden Age Project has been designed to offer the smooth and natural sound associated with vintage ribbon mics, and promises to capture transient details without any harshness. Stereo capture is provided by a pair of 50mm ribbons in a fixed Blumlein configuration, while a transformer‑balanced output stage helps to deliver a warm and punchy sound. Golden Age Project say that the R1 ST is well suited to a wide range of recording applications, and will happily tackle everything from vocals and solo acoustic instruments through to large ensembles and choral groups.
www.soundonsound.com/reviews/golden-age-project-r1st
£529 including VAT.
$599.
Josephson C700S
All of the mics in Josephson’s Series Seven line‑up feature multiple capsules with independent outputs, meaning users are able to alter their polar pattern after recording. The stereo C700S takes things a step further, adding a side‑facing figure‑8 capsule to the forward‑facing omni and figure‑8 elements found in the C700A; by recording each signal individually, users are provided with a huge range of control over the stereo image of their source material at the mixing stage. As you’d expect from Josephson, the C700S is built to exacting standards, with each capsule feeding its own Class‑A output circuitry and internal shockmounting negating the need for any additional mounting hardware.
£7999 including VAT.
$8850.
Mesanovic Model 2S
The Mesanovic Model 2S essentially places two of the company’s Model 2 ribbon mics into a single body, housing a pair of matched ribbons in a Blumlein configuration. The sound character remains the same as its mono sibling, combining the smooth midrange response associated with ribbon mics with an extended, detailed high end and a fast transient response. Mesanovic say that the mic maintains a uniform frequency response both on‑ and off‑axis, and will deliver lifelike stereo imaging that results in recordings that make you feel like you’re in the room with the performers. As well as being recommended for orchestral and choral sessions, the Model 2S promises great results in a wide range of applications from drum overheads and room miking to solo acoustic instruments.
£2099 including VAT.
$2099.
Neumann USM 69 i
The USM 69 i has been designed as an ‘all‑rounder’ microphone that’s capable of covering a range of coincident stereo miking techniques. It features two of the large‑diaphragm capsules used in Neumann’s legendary U87 Ai, and thanks to individual polar pattern selection and a 270‑degree‑rotatable body surrounding the top capsule, can be configured to provide X‑Y, Mid‑Sides and Blumlein arrays. As you’d expect from Neumann, the USM 69 i is a high‑quality affair that employs premium components throughout and boasts excellent technical specifications. And much like the U87 Ai, its suggested range of applications is vast, with Neumann recommending it for everything from vocals and solo instruments to large ensembles, drum overheads, and just about anything else in between!
£5460 including VAT.
$6795.
Pearl DS 70
Building on the capabilities of the DS 60, Pearl’s DS 70 benefits from an upgraded body designed to minimise internal reflections, improved wiring, and an updated capsule arrangement that improves the phase relationship between the mic’s two capsules. It places a pair of the company’s 2800 dual‑membrane capsules at a 90‑degree angle, and thanks to individual outputs for both sides of each capsule, the mic is capable of forming Mid‑Sides, X‑Y and Blumlein arrays. Yet more options can be accessed by recording each output separately, which makes it possible to adjust the DS 70’s polar patterns and stereo configuration in post‑production.
$4481
$4481
Left to Right: Mesanovic Model 2S, Neumann USM 69 i, Pearl DS 70, Peluso P-24, Peluso SR14.
Peluso P‑24 & SR14
There are two stereo offerings in the Peluso range: the P‑24 and the SR14. The former is a valve capacitor mic inspired by AKG’s C24, and employs a pair of Peluso’s P‑CK‑12 elements — capsules which the company say are the most accurate recreation of AKG’s CK12 in production today — along with custom output transformers and a 6072AM triode valve. Both capsules have nine independently selectable polar patterns, and the upper grille assembly can be rotated through 180 degrees, allowing the mic to cover X‑Y, Mid‑Sides and Blumlein techniques. The SR14 then offers a stereo version of the R14, housing a pair of long ribbons in a single body, with the top element capable of rotating through 90 degrees. In terms of sound, it draws its inspiration from early RCA mics, delivering a smooth, natural sound that responds well to EQ and offers an alternative ‘flavour’ to capacitor‑based models.
P‑24 £3999, SR14 £1279. Prices include VAT.
P‑24 $3999, SR14 $1587.
Rode NT4
All of the options we’ve looked at so far are either large‑diaphragm capacitor or ribbon designs, but Rode’s NT4 takes the small‑diaphragm capacitor route. It features a matched pair of half‑inch cardioid capsules fixed at a 90‑degree angle, offering an all‑in‑one solution for X‑Y stereo recording. It’s said to be an ideal choice for a wide range of applications including drum overheads and percussion, choir vocals, environmental recording and sound design, either in the studio or out in the field. For those looking to record on location, the NT4 can be powered from a 9V battery instead of phantom power, and comes with both XLR and 3.5mm mini‑jack cables for compatibility with portable recorders and cameras.
£479 including VAT.
$529.
Royer Labs SF‑12, SF‑24 & SF‑24V
Royer are a popular name in the world of ribbon mics, and their current range includes three stereo models. The first, the SF‑12, places a matched pair of ribbons in a Blumlein configuration, with their controlled frequency response and polar patterns helping to minimise coloration of off‑axis sources. The mic is said to be a great choice for everything from drum overhead duties to capturing whole ensembles — the Royer website features a demo recording of an entire orchestra captured with a single SF‑12! The SF‑24 is a phantom‑powered version of the SF‑12, with a 14dB increase in sensitivity helping the mic to provide an output that’s more in line with a capacitor‑based mic. Finally, there’s the flagship SF‑24V, a version of the SF‑24 that’s equipped with the same valve‑based circuitry found in Royer’s award‑winning R‑122V.
www.soundonsound.com/reviews/royer-labs-sf24v
SF‑12 £2730, SF‑24 £4075, SF‑24V £5125. Prices include VAT.
SF‑12 $2699, SF‑24 $3999, SF‑24V $4999.
Left to right: Rode NT4, Royer SF-12, Royer SF-24, Samar Audio AL959, Samar Audio VL373A.
Samar Audio AL959, VL373 & VL373A
Designed by Samar Audio founder Dr Mark Fouxman, the AL959 promises to couple high‑end performance with a price tag that’s unheard of for a US‑made stereo ribbon mic. It features a pair of the company’s ‘piston’ corrugated ribbons, which are said to offer lower noise, a higher output, higher SPL handling and a fuller, more controlled bass response than their traditionally made counterparts. The ribbons are mounted in a Blumlein configuration, and the company say that the mic’s modern design and linear response make it a great choice for everything from orchestral and choir recordings to smaller pop, rock and jazz ensembles.
The VL373 then takes the motor structure and tuning of the company’s flagship MF65, and features a rotating top assembly that allows the angle between the two ribbons to be set between 60 and 120 degrees to facilitate a greater choice of stereo configurations. There’s also the VL373A, a phantom‑powered version that boasts a hotter output and slightly lower self‑noise.
AL959 $1299, VL373 $2199, VL373A $2399
AL959 $1299, VL373 $2199, VL373A $2399.
Schoeps MSTC 74
For obvious reasons, the vast majority of stereo mics tend to have their capsules arranged in coincident configurations. The sole stereo offering in the Schoeps line‑up, though, takes a slightly different approach, offering an all‑in‑one solution for ORTF recordings. The rather unusual‑looking MSTC 74 employs a pair of the company’s MK4 caridoid capsules with the 170mm spacing and 110‑degree angle required by the near‑coincident technique. The fixed design makes it possible to rig a perfect ORTF array quickly using a single stand, with no additional mounting hardware required, while Schoeps’ renowned capsules help the MSTC 74 deliver a natural sound with great sound localisation and spatial qualities.
£3189 including VAT.
$3656.
Left to right: Schoeps MSTC 74, Sontronics Apollo 2, Vanguard V44S Gen2, Vanguard V24.
Sontronics Apollo 2
The latest iteration of Sontronics’ stereo ribbon mic has been designed to strike a balance between the warm, smooth characteristics of vintage ribbons with the clarity and detail that’s expected of modern mics. The Apollo 2 employs a matched pair of the company’s hand‑tuned ribbon elements in a fixed Blumlein configuration, and boasts a phantom‑powered design that delivers capacitor‑like sensitivity and low self‑noise figures. Its frequency response extends from 20Hz to 15kHz, and Sontronics say that its accurate, expansive stereo image makes it a great choice for capturing a huge range of instrument and vocal ensembles.
£2249 including VAT.
$2999.99.
Vanguard V44S Gen2 & V24
The second‑generation version of Vanguard’s FET‑based V44S builds on the success of the original, introducing a redesigned capsule assembly that rotates through 120 degrees with detents at every 15 degrees. Thanks to independently selectable omni, cardioid and figure‑8 patterns for each capsule, the V44S Gen2 allows for a variety of configurations including X‑Y, Mid‑Sides and Blumlein — the included splitter box offers an additional polarity‑reversed output from the top capsule, making it simpler to capture Mid‑Sides recordings. A newer addition to the range is the flagship V24, a vintage‑style valve mic built around a pair of BeesNeez CK12 capsules that each offer a choice of nine polar patterns. If you’re keen to find out more, then you’re in luck, as the V24 is reviewed in this very issue!
www.soundonsound.com/reviews/vanguard-audio-v44s-gen2
www.soundonsound.com/reviews/vanguard-v24
V44S £1478, V24 £9400. Prices include VAT.
V44S $1299, V24 $8999.
Yorkville PA - Update to April 2025 Spotlight
Regrettably, in last month’s Spotlight we neglected to mention Yorkville, whose portable PA range includes no fewer than nine battery‑powered models! We’ve updated the article on the SOS website, so do take a look if you’re in the market for a mains‑free gigging system.
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
