| Recording techniques will naturally tend to vary, given | | | | side of the piano. This is a common position in concert |
| the instrument being recorded, as well as the conditions | | | | hall environments as well. |
| of the environment- being the room, hall, or auditorium. | | | | However, care should still be taken in microphone |
| There are many published books on recording | | | | placement, as if the mics are too close, the resulting |
| techniques for individual instruments and orchestras, but | | | | audio will be a little harsh, whereas if they are moved |
| pianos have always been a more challenging | | | | back a bit, they will also pick up an overall reflection, |
| experience, given the varied designs, lengths (ranging | | | | from the room, as well as the piano's 'base' sound. In |
| from 1.6 meters to 3 meters), and possible orientations | | | | addition, you need to look at the style of mic units you |
| of the piano. By this, I am referring to the front of the | | | | want to use. Would you prefer a stereo condenser |
| upper lid, being open, just behind the music board, or | | | | pair, as two separate mics, or rather an integrated unit, |
| the whole lid open at thirty degrees, or even | | | | but placed at different points around, and above the |
| completely off. These factors alone, will dramatically | | | | piano? |
| influence the end result of the sound, given varied | | | | I will not be so up front in suggesting a certain position |
| microphone placement. So, where to from here? | | | | is the only way, as there are so many variables |
| To best answer this question, I think a little theory and | | | | involved, and it is this that makes the piano such a |
| understanding of the piano's design concept is required. | | | | challenging, yet rewarding musical instrument to mic. An |
| Every piano string has a given, fundamental frequency, | | | | engineer who gets this right can certainly be proud of |
| as well as harmonics, or side frequencies of the main | | | | their achievement. To explain and summarise this point |
| frequency. In many cases, the harmonics will be as | | | | further, all pianos have different reflections and |
| loud (same level) as the fundamental frequency, but | | | | harmonics, due to the different lengths of the strings, |
| this does vary, over the span of the piano. For | | | | and as each piano can be a varied size, these |
| instance, the lower notes will tend to have a harmonic | | | | reflections and harmonics, not to mention levels, will |
| frequency that is considerably louder than the | | | | vary. Unlike a maths equation, I can't provide a specific |
| fundamental frequency, by as much as just over | | | | formula, and then fill in the blanks. However, by |
| twenty deciBells (dB), whereas with the higher | | | | appreciating these variables, and with practice, the |
| frequency strings, the harmonics can be quite a bit | | | | process will become easier to master. |
| lower in volume, but still contribute significantly to the | | | | I would suggest, as a start, that you have a mic, a little |
| overall sound of the piano. | | | | above the middle C strings, towards the front of the |
| On top of this, the characteristics will vary, given the | | | | piano, as well as a mic just inside, and over the upper |
| position of the piano covers. This point is probably fairly | | | | strings, as well as a mic picking up the rear, and front |
| obvious, given that the reflections off the wood with | | | | left of the piano. All in all, a total of four positions |
| the cover on, or even open at thirty degrees, will | | | | covered. This configuration assumes a large enough |
| significantly direct the sound a certain way, typically | | | | mixing desk is used, as well as enough tracks, if using |
| above, and just to the front of the piano. On the other | | | | an individual track, and mix it down system, or of |
| hand, with the entire top cover removed from a grand | | | | course, a live mix, straight to stereo mode. |
| piano, all the sound waves will tend to direct upwards, | | | | Again, the complexity is very much limited by your |
| with little reflection towards the side of the piano, and | | | | budget, and equipment. However, it should be noted |
| substantially alter the resulting sound. | | | | that even one, good quality, condenser microphone |
| In my experience, the best results have been achieved, | | | | can do a very good job, if placed well. However, each |
| with a grand piano, when the top cover has been | | | | piano, and environment will force a need for trial and |
| open to about thirty degrees, and the sound is able to | | | | error to get it right. The advantage of multiple tracking |
| reflect off the cover, to 'radiate' around the front, and | | | | is that you will be able to play with the mix later on. |