AEA Microphones Capture Immersive Choir Vocals for Stacey Ryan’s Album Blessing in Disguise

A custom array of AEA N13, R44, and KU5A microphones enables Multi-Platinum producer Matt Morales to capture a three-person choir for Dolby Atmos mix

Pasadena, California, October 29, 2025 — Multi-Platinum music producer Matt Morales of the production and songwriting team The Elev3n joined Atmos mixer Matt Cerritos at One on One Recording in Los Angeles to track choir vocals for singer-songwriter Stacey Ryan’s album Blessing in Disguise. The session highlighted Morales’s stacked vocal technique and an immersive Dolby Atmos workflow, with AEA ribbon microphones at the center of the sound.

For Morales, stacking vocals, which involves layering multiple performances to create the fullness of a large ensemble, is a favorite production approach. In this session, four to five layered passes transformed just three singers into the sound of a full choir. “The N13 ribbons were incredibly transparent. Exactly how it sounds in the room is what you get on the mic. They also had a very open, almost three-dimensional quality, blending the room and choir vocals smoothly with minimal effort,” Morales said.

Because Blessing in Disguise was conceived from the start as a Dolby Atmos release, Morales brought in mixer Matt Cerritos, whose credits include Kendrick Lamar, St. Vincent, and Billie Eilish, to design a microphone setup tailored to immersive mixing. Working with the AEA team, Cerritos created a hybrid array using both figure-eight and hypercardioid patterns: N13 ribbons as main left/right spot mics, two R44 ribbons for side capture, and four KU5A supercardioids mounted overhead at 45-degree angles to record room ambience.

The session aimed to push the boundaries of what Atmos can do for vocal music, achieving precise localization and a rich, enveloping sense of space even with just a three-piece choir. Morales was impressed by how quickly they were able to dial in a sound. “The array really did the heavy lifting for us. We were able to get great-sounding takes right away, with only a few small adjustments to the singers’ positions.”

Morales noted that working in Atmos also influenced how he thought about capturing performances. “The goal of Atmos is to create a truly immersive experience, which means blending different performances within the space to build that full sound,” he said. “It is also important to capture parts and ambience that give you flexibility for more experimental moves in the mix.”

For Morales, this type of approach adds to the overall experience of musical storytelling. “I hope listeners feel the intention behind those decisions, since we were very selective about placement to elevate key moments and the drama of the story they are hearing,” Morales said.

With the array delivering a balanced choir sound at the source, Morales turned to AEA’s 1029 stereo compressors to keep performances under control during the long day of tracking. “Choir vocals can get pretty dynamic, and the 1029 really glued everything together while keeping us from clipping,” he said. “It added just enough parallel compression on the front end to stay transparent and avoid unwanted color.”

The choir performances from this session can be heard on Stacey Ryan’s new album Blessing in Disguise, available now.

To learn more about AEA gear, or to find a dealer, visit https://aearibbonmics.com.

About AEA Ribbon Mics
Founded in 1964, AEA began as a record label and mobile recording studio before expanding into microphone repairs and full-scale manufacturing. In 1998, AEA introduced the R44C — an evolution of the iconic RCA 44BX — and has since developed a full range of microphones and preamps inspired by classic designs and built to modern standards. With a commitment to ultra-low noise circuitry, musical sound, and expert craftsmanship, AEA continues to push ribbon technology forward while honoring its legacy. All AEA products are proudly handcrafted in Pasadena, California.