Quote:
Originally Posted by
didier.brest
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What else do you do ? EQ, dynamics and/or transients processing, ... ?
someone else recently asked me the same thing and suggested to start a new thread...
anyway: if not sticking to a more modern soundfield, i'll do anything which leads to a sound as if there would be some distance between the piano and the mics - eq to cut resonances, counterbalance proximity effects plus a shelving filter to mimic hf attenuation over distance, comp/lim to keep the dynamics and transients reasonable, expander to keep down less important sound/resonance, efx (early reflections, medium room and large hall, all of which get filtered and maybe get a comp as well), occasionally a dynamic eq but i do not recall using a transient designer.
since i mostly track/mix with my digital desk (and some digital outboard), i get a pretty clear idea about the result already on location.
favourite mics are mk21's for 'mains' and mk2 (plus a steep lpf) for .1 or then a trio of tlm170r's but there are too many mics i've been using for piano to mention here - when recording solo piano, i add mics for a 'side view' of the instrument and of course there's (at least) one pair of ambis which may make using efx unnecessary (or at least to some degree - in any case i keep ambient tracks, and be it just for comparison).