Grand Piano Miking

  • Thread starter Thread starter RedHeffer
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RedHeffer

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I have two oktava MC012's going through a soundcraft mixer into my BR-8. I was wondering if anyone could give me any tips on how to mike a grand piano. The piano is really nice, and I'll be recording in a living room. Any techniques or tips would be appreciated, thanks.

Brian
 
Hi there!
I really don't know the specs of those Oktavas, but I'll assume they are condenser mics. If not, nevermind. You can try this anyway.

Most techniques I've seen include PZM or PCC mics.

But you can try a separate pair (is the simplest stereo technique)
but be aware that this technique is not MONO-compatible, only STEREO.

Just place your mics separated from each other (at the same distance from the piano) aiming at the piano (open it) imagine you divide the keyboard in two halves, then place each mic at the half of each half... (sounds funny) so one will get the low end, and the other the highs...
Place them as close as possible to the strings trying not to saturate the mics.

there are several stereo techniques, let me know if you don't like this one and want to try another.

Peace

PC
 
2 PZMs taped (using "Gaffer Tape") to the inside of the lid - one near the bass strings, one near the treble strings. Er, um - I keep saying this, but it seems that no one has anyone even *heard* of PZM microphones.... oh well... ...yawn...

- Wil
 
read above!

I know them, but Brian posted that he has two Oktavas, not the crown Pressure Zone Mics, I also posted that the usual technique uses them or two PCC (phase Coherent Cardioids)

Indeed they are optimal for piano recording.

Peace

PC
 
I've just recently recorded a 5'6" 1976 Kimball parlor grand with a pair of 012s.

I used cardioid capsules: the treble mic I put just inside the curve of the case, aimed roughly at the the first harp rib at the hammers, facing the keyboard.The bass mic I put well back, halfway down the strings, over the second harp rib, facing the case under the lid: putting it up near the bridge or facing the hammers was too "klangy", for want of a better term.

I'm still working on my mic technique on that instrument- luckily, it is in my living room, and I have all the time in the world. Unluckily, is doesn't sound like *any* other piano I've ever recorded: so your mileage is sure as hell going to vary. Work with it- this ain't easy, and if it were, everybody would do it. Nobody has a recipe for your instrument or venue: I have also used TLM103s, an Oktava MK319, and many other mics as well, with different pianos, players, and venues...

Your 012s certainly can give you a good result: but the final arbiter will be *your* ears, your judgement, and your confidence. Work with it, and enjoy the journey.
 
A few months ago I recorded a pianist doing a patriotic medley on a 1912 Stienway grand at a country clubber's house a few miles away. I used a 012 and a SP C-1.....probably should have used the other 012 as the C-1 was too sensitive to the dynamics and it was hard to keep from peaking.

Anyway, with the top up I placed the mics 18" from the top string posts one octave up from the bottom and on octave down from the top with the capsules aimed midway at the soundboard and panned 15 degrees out.

If you want a mp3 sample, let me know what your mailbox can handle and email me a res07i6x@verizon.net
 
I've posted this here before, but here goes again:

I used a pair of TLM 103's in this way:
One was set about 15" behind the pin block and about 8" above the strings around 1-1/3 octaves below middle C. The other was about 9" behind the pin block and about 4" above the strings around 1-1/3 octaves above middle C. The mic faces were angled in about 12 degrees toward each other. The lid was in the full up position.
My TLM's run to an ART PRO MPA Tube mic pre-amp, and then into a "Nuendo" 8 i/o 24 bit A/D-D/A converter, and recorded at 24 bit in "Nuendo". I added a very slight touch of EQ after recording for a warmer presence. (No reverb on the piano)
I will stress however, that this technique works good for me, on my piano, in my room. You may get different results with your situation, but I tried SO MANY micing techniques for Grand Piano, and finally got the results you heard here:
http://artists3.iuma.com/site-bin/streammp3.m3u?190193

I have since upgraded my mic pre-amp, but the sample was done with the ART Pro MPA (not to be confused with the ART Tube Pac, or whatever that cheapy model is.)
 
For a nice stereo piano sound....

For a nice stereo piano sound try using your two best mics (Condensors) one just about ear level with the pianist but in out front of the open cover about 1 foot away, and the second mic 8 to 12 feet away for room sounds and ambience.

This is a more natural sound than the traditional stereo pair inside the instrument. (WHO WOULD SIT INSIDE A PIANO TO LISTEN TO IT?)

The above method more closely approximates the way we listen to a piano normally.* However, Close miking is more desirable if there are other instruments playing at the same time.



:p Dom
 
Dom, I've tried this technique too, but the piano seems to sound...distant.
Who would listen to a singer with their ear 2" away from the singer's mouth? Yet this is the way vocals are miked.
There's a big difference between listing to an instrument, and recording one.
 
Point made, Point Taken

But...

Experimentation leads to great discoveries. There is no better method than using your ears to judge.

Classical instruments, Pianos, chamber groups, choirs, string quartets etc. often benefit from room ambience, rather than close microphone techniques. Perhaps a combination of the PZMs and a room mic will be the sound desired.

I know that reverb and other effects can be added to simulate the room, but I enjoy playing with microphone placement.

I recently used a room mic on a guitar track by accident... (A second microphone was about six feet away facing the wall, and I brought up that fader by mistake and I loved the sound!)

Who knew?

Dom:p
 
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