One Mic

When recording with just one stereo microphone, the Josephson C700S, we must create the complete soundstage on the spot by gently moving each instrument left and right and closer or farther away from the microphone. The height of the microphone is also important. Especially for the low frequencies, the placement of the microphone in relation to the studio floor is important.

The result is a recording with full phase coherence, perfect imaging, a wide and deep soundstage and superior realism. And it forces the band being recorded to play!
It's real, it's live, it's now. 

One hall
One band
One mic
One take
One source

"One microphone straight to DXD recording – and it’s totally enchanting"....
Hifi Critic
"Fabulous....challenging the possibilities of current recording technology."....
Inner-magazines

Feenbothers - Play Dave Brubeck


Reinier Voet & Pigalle44 - Ballade pour la nuit


Juraj Stanik - I wonder

Ack van Rooyen & Juraj Stanik - Soft Shoulders


Marzio Scholten - Isolophilia


Braskiri - Live at MCO


Mike del Ferro - Skylark


Red - Nola

Michael Moore & Paul Berner - Amulet

Michael Moore & Paul Berner - The Gift

The advantages of the One Microphone approach to recording are obvious; phase coherence, perfect imaging, great sense of depth, superior realism. Another advantage is that it forces the band being recorded to really play. There is nowhere to hide, no fixing it in the mix. Our ears are much more sensitive to phase errors than we are aware of. The obvious solution to avoid phase errors is to record the whole band from one point. But until recently we didn't experienced a microphone that was up to the task. Drums and piano sounded too distant and the sound stage did not reflect what I heard standing in front of the band. The first thing that impressed me about the Josephson C700S was the natural sound of the mic and the sound off axis. This is what makes the difference between a good microphone and an average microphone. Secondly the microphone is quite unique, it has three capsules instead of the more common two.
So when recording with the Josephson C700S, instead of placing microphones at the instruments we now place the instruments around the microphone. Mixing is no longer possible. We have to create the complete sound stage at the spot by carefully moving each instrument closer or further away as well as left and right in relation to the microphone. The benefits of this way of working is that the result is completely free of phase errors and that the sound is very natural with a wide deep soundstage. So far all musicians have been struck by the incredible authenticity of the recordings and commented that they never heard their instrument sound so real and lively.

Frans de Rond & Peter Bjørnild