Mic'ing acoustic piano for a jazz trio +

[henryrobinett]

I have a session this weekend I'm also playing on. Some musicians I play with a great respect. I play with and record the pianist all the time in our group, but this is the drummers date and his first really as a leader and perhaps his last, as he's getting up there. But still a great player, so I want this to be good. Due to limited access to great pianos and budget we're recording this in a large classroom at one of the colleges - a great piano - 9' grand. Don't recall the brand. I'm pretty sure it's not a Bosendorfer.

Normally for our live gigs I put two mics up - AT4050s, about 5-6 " above the strings/hammers, bass and treble. I was thinking also of putting something under the piano. I haven't done this before. I also used to put a condensor in the curve of the piano inside for three mics, but I never ended up using it.

We're going to be amending the trio on some tunes by myself on guitar, a Trombonist (I'll use an AEA R84 or Royer 121) and a singer on one tune. I'm not going to beat myself up over isolation.

Upright bass I was going to try two mics plus a DI - Peluso 22 251 on the fingers on the neck and the Peluso 22 47 or a Baby Bottle at the bridge and a Millennia TD-1 DI.

What suggestions to folks here like for mic'ing pianos? This IS a remote btw!

[Bob Olhsson]

Royer stereo ribbon!

http://www.telarc.com/Jazz/title.asp...31864CU0SG4JAA

[Yannick]

Is the drum kit also a SF12 by any chance ?

[henryrobinett]

There is not an SF12 in the equation.

[Remoteness]

For remote recording dates in a live performance situation we have used Rowi clamps mounted inside the piano with the microphones of choice for each particular session...

We have used C414TLIIs, DC96Bs, and KSM32s among others.

When we have sound level and leakage problems we have also used PZMs taped to the inside of a closed lid piano with okay results. Sometimes it even sounded very good to our ears.

[pkautzsch]

Under the piano: I once used a KM183 (I think, but don't really remember) in quasi-PZM somewhere in the middle (though not exactly!) on the floor. The room was quite reflective, so I did get enough attack, and it would have sounded really too reflective with "normal" positioning on stands (that's why I tried quasi-PZM).
On another occasion, I had a KM184 about less than 1 ft from the body under the piano in a live recording of some Gershwin orchestra+piano+vox. Had the piano quite good on the main, but it sounded too "classical". That very close miking gave an air of "jazziness". Very direct and dry, but not really transparent since there is almost no attack. You just get the sound of the frame, and no direct sound from the strings (of course!).
In your context with a small band I'd maybe use it as an option, but also put up a cardioid facing the strings at the hammer end, and maybe another one at the tail end.

[sonare]

Originally Posted by Bob Olhsson

Royer stereo ribbon!

http://www.telarc.com/Jazz/title.asp...31864CU0SG4JAA

Since the link does not mention Royer, could you provide some more info, please, Bob?

Rich

[fifthcircle]

I love Royers on piano, but the rear lobe can be a real pain in some live settings...

My usual "go to" mic for piano is a pair of Microtech M930's a few inches above the strings and a few inches out from the hammers at the top end and low end... They are small enough that you can get in tight but they have a great sound.

On a budget, the KSM 27 is a surprisingly good piano mic.

--Ben

[Douglas Whates]

First, let me congratulate you on the correct spelling of "mic'ing" - good to see (no, I'm not being sarcastic).

I've had success with a pair of Schoeps wide cardioids. It gives a bit of directionality and the off axis bleed seems less coloured then normal cardioids.

Douglas.