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Piano Mic Techniques???
Old 8th January 2012
  #61
Quote:
However, compared to a pro recording (with time spent on stuff) it has much to be desired considering it is a 9' Bose.
Sorry, but I have to agree. It is quite pinched, almost mono sounding, and becomes harsh very easily. 22cm AB is fine for high pitched instruments, but is it not sufficient (sometimes) for piano.
Old 8th January 2012
  #62
Gear Nut
 

Quote:
Originally Posted by rumleymusic View Post
Sorry, but I have to agree. It is quite pinched, almost mono sounding, and becomes harsh very easily. 22cm AB is fine for high pitched instruments, but is it not sufficient (sometimes) for piano.
Well OK then, I'll have to keep working at it. I will say two things: 1) The mp3(320kbps) I posted sounded worse to me than the .aiff file, especially the louder parts towards the end of the clip. 2) I felt it (the original file) sounded quite close to what I heard in the church. I didn't feel like there was any lack of a stereo sound to it.

Brian
Old 8th January 2012
  #63
Lives for gear
 
Marik's Avatar
 

Quote:
Originally Posted by piano View Post
For a student recording you really will never get better! I hope that student has some idea of what a privilege is it to get a recording on that instrument.

However, compared to a pro recording (with time spent on stuff) it has much to be desired considering it is a 9' Bose.
To me the Boesendorfer is always a very tricky instrument to record. It always has some quite cold sound qualities, glassy/harsh top and something really weird going on in the lower mids.

As a part of my Doctorate dissertation I had to record S. Feinberg Sonata no.6 and had Boesendorfer at my disposal. It was very frustrating experience--no microphone placement or EQ could take care of pretty weird instrument voicing stuff.

Having said that, it is actually very fine instrument to perform on, with very even and much more comfortable mechanics than a good (American) Steinway. However, in my experience, it just does not lay on the recording nearly as nicely as a Steinway D.

A good example of quite an amusing disparity is a few Rachmaninov's Welte Mignon recordings, which came out as a "Window in Time" double set. Probably one of the best piano roll transfers, but the Boesendorfer sound has nothing to even remotely do with Rachmaninov's touch, or idea about his perception of the piano and its sound.

Best, M
Old 16th January 2012
  #64
Gear interested
 
innermusic's Avatar
 

Another bump.
I've had good results with a pair AKG451s into pair of of Neve 1089s. Lid off or full stick, mics near center 12 inches back from hammers, 12" apart pointing 45 degrees L and R. Panned hard L/R.
Old 16th January 2012
  #65
Gear Maniac
If you're doing classical, omnis in AB are definitely nice - I've had great results with the THE TT-3M especially. Sometimes using an X-Y or ORTF pair with omnis as outriggers can be great as well and gives you more control when mixing. If you're micing closer in, I would highly recommend the Beyer MC834 or Milab DC196.

However, the most important thing is to match the mics to the piano and the room. For example, I found the Beyers and Milab to work incredibly well on a Baldwin 9' Grand but they were awful on a Steinway D in the same hall, due to the Steinway being much darker. The THE mics saved me on that session. So, you have to try out a few pairs/positions and see what matches with your situation.
Old 17th April 2017
  #66
Gear Maniac
 

Quote:
Originally Posted by David Spearritt View Post
Yep, this is the secret for me as well. Omnis and Fig8's have perfect or near perfect directivity ie. constant freq response with angle of incidence so they are THE choice for piano. I use a Blumlein main with omni outriggers. It's the bizniz.
Hi David,

Do you mean crossed fig8s with omnis either side, or omnis at a distance behind the crossed pair?
Old 17th April 2017
  #67
Lives for gear
 

Quote:
Originally Posted by Geoff Poulton View Post
Hi David,

Do you mean crossed fig8s with omnis either side, or omnis at a distance behind the crossed pair?
Well both actually. A pure blumlein pair in the middle (C426), sometimes a small amount of omni outriggers, 3m separation, but tending not to use these as much, and a distant pair in the hall in row 7. The omni outriggers significance and balance depends on the hall.

I have tried using Yannick's fig 8's idea for room sound but much prefer the KM130's for the rooms I am in.
Old 18th April 2017
  #68
Gear Maniac
 

Thanks David.
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