I recorded this Steinway D with a hybrid Decca including a B-Format horizontal array for the center. This is a public downloadable link from dropbox. I am hoping to get some responses.
Chris, it might help to post a picture or to explain what a hybrid Decca is. This is impossible, at least for me, to grasp from your scant description.
I tend to get a little short with my words, sorry. I employed the Decca Tree technique, for the center mic I used a B-Format Array.
Could you possibly help and describe how I can put the clip player right in my post so it''s more convenient for forum goers to play?
Your recording is like mono with great reverb without good transients. You can try to record Steinway using Bruce Swedien's modified Blumlein stereopair - one of the best piano recording techniques. Here I attached picture of mine setup when I recording outstanding Steinway D concert grand. Mics must be in figure-of-eight patterns. You can hear this recording here
__________________ My orchestral compositions on Soundcloud{composed using VSL}
I now know my original was too dull. Please let me know what you think. I'd like to be able to attach files in my post. In the CM3 thread there is a couple of post which you can play right in the post.
This recording was done on a Stenway model D to a 788t using a B-format Horizontal Array for the center of a Decca Tree configuration.
W - Schoeps MK2h
X - Schoeps MK8
Y - Schoeps MK8
Mic Pre Hardy M1
The flanking mics were a Rode Classic II and a JJ Audio C12 clone.
The Decca was centered at the bow and pointing slightly down at the strings.
There was 1 additional AKG c414XLS centered under the piano - Omni
I am hoping for any critiques.
This recording was done on a Stenway model D to a 788t using a B-format Horizontal Array for the center of a Decca Tree configuration.
W - Schoeps MK2h
X - Schoeps MK8
Y - Schoeps MK8
Mic Pre Hardy M1
The flanking mics were a Rode Classic II and a JJ Audio C12 clone.
The Decca was centered at the bow and pointing slightly down at the strings.
There was 1 additional AKG c414XLS centered under the piano - Omni
I am hoping for any critiques.
Thank-you,
Chris
You may want to stick with established techniques. A stereo pair (or two, or three) in the right place goes a long way. Too many extra mics only serves to muddy things up. Especially as your main pair isn't even a stereo pair of the same mics. Even when Decca did solo piano recordings, they didn't use decca tree setups. It's more appropriate for ensemble situations.
Not to knock innovation, though. It's good to experiment. Keep it up.
__________________
Kevin Bourassa
Peridot Sound Mobile Recording Service www.peridotsound.com
Quote:
Originally Posted by Plush
Eventually you should deploy the most expensive and best Mic you can get. It should be hideously expensive.
I'd follow the KISS principle, too. Use a pair of omnis at the bow of the piano as is discussed all over this board. It is a pretty good way. You can also hang a Christmas tree of mics in addition. But having that "for sure" setup is always a good thing. This is just my opinion. And there is no shortage of opinions around here.
It's not helping you that the piano's not in tune and it doesn't sound like particularly good instrument.
As pointed out before you seem to have a lack of stereo image. I would go back to your B format set-up, scrap the rest of the microphones and work at getting them decoded the right way. This alone should produce a an excellent stereo image. I can only guess that you are doing something wrong in the panning or you are using too much of the Mk2H and the AKG. I would loose the outriggers completely and the 414, neither of these are likely to produce pleasing results.
Perhaps you could post a version with just the XY mics panned fully left and right, none of the others in the mix, that would certainly give an idea as to whether you have the microphones in the right sort of position.
Your recording is like mono with great reverb without good transients. You can try to record Steinway using Bruce Swedien's modified Blumlein stereopair - one of the best piano recording techniques. Here I attached picture of mine setup when I recording outstanding Steinway D concert grand. Mics must be in figure-of-eight patterns. You can hear this recording here
I like the tone of the recording, however, I find the centre image, a little less than defined, a problem I often find with getting in close with piano's and using a "genuine" stereo technique.
Obviously threads about recording piano's can go on and on, so many factors involved, the instrument, the tunning, the room, the artist, the microphones used, their positioning and the technique used, all play into a huge range of variants. Then you have to consider the piece being recorded, a piano track for a rock record often requires a very different philosophy than a classical one.
Well in the spirit of put up or shut up, I thought it was only fair to post one of mine. Enjoy (or not as the case may be)!
I recorded this Steinway D with a hybrid Decca including a B-Format horizontal array for the center. This is a public downloadable link from dropbox. I am hoping to get some responses.
Before going further-- why do you find "normal" piano miking techniques lacking? What do you hope to gain from your setup?
I can assure you that no one ever connected with Decca would approach a piano in this way. The "Wilkie way" was a pair of omnis 5ft up about 8 inches apart a few feet from the foot in a reverberant room.
I recorded it because I have done a few orchestra recordings with the B-Format only. I had wanted to try a setup with additional mics. The piano was set into a half circle void at the back of the stage which had acoustic louvers hinged on piano hinges, they all buzzed like crazy. It was the second time I recorded that piano, so I decided to get the center mic array up close so I could bring the outer ones closer as well.
I remixed this based on the various comments. I always tend to mix dull, it's a tendency.
This decoding is set to blumlein with less flanks.
I recorded it because I have done a few orchestra recordings with the B-Format only. I had wanted to try a setup with additional mics. The piano was set into a half circle void at the back of the stage which had acoustic louvers hinged on piano hinges, they all buzzed like crazy. It was the second time I recorded that piano, so I decided to get the center mic array up close so I could bring the outer ones closer as well.
I remixed this based on the various comments. I always tend to mix dull, it's a tendency.
This decoding is set to blumlein with less flanks.
But, it is of an acceptable standard now, the original mix was only fit for filling under "bin", still would loose all the unmatched outriggers and simplify the recording process in the beginning.
I appreciate all the comments, even the brutally honest(remember what Louie Andersons mother always told him). I had the front array just peaking over the bow pointing down a little. I guess this final sound exhibits the bad aspects of micing a piano too close. Hard sounding, lacking sparkle, but cleaned up.
New Reply 
Facebook
Twitter
LinkedIn
