Click here to purchase the entire book in PDF format. Surround Microphone Technique Microphone techniques for surround sound are still in their infancy. I suppose that, if you really wanted to argue about it, you could say that stereo microphone techniques are as well, but at least we've all had a little more experience with two channels than five. As a result, Most of what is contained in this chapter is basically just a list of some suggested configurations from various people along with a lot of my own opinions. Someday, in the future, I plan on adding an additional chapter to this book that is the surround equivalent to Section 10.4 (Although you should note that there is some information in there as well on surround.). The goal in surround recording is basically the same as it is for two-channel. You have to get a pretty (or at least desired) timbral and spatial representation of your ensemble to the end listener. The good thing about surround is that your possibilities for spatial effects are much greater than they are with stereo. We could make a case for realism - a ``you-are-there'' representation of the ensemble, but I'm not one of the people that belongs to this camp, so I won't go there.