recording grand piano

In order to get started with recording and miking up the grand piano, I first researched on the piano itself for a better understanding of the anatomy of the grand piano, basically, how the sounds are produced, the variables that can happen that is caused by the structure of the piano itself and knowing which part of the body is best at picking up the quality of sound that we want, as we all know generally that close miking capture details and the attack sounds while moving the mics further away will capture a more natural balanced sound.

The piano is a percussive instrument. The sound of the keys are triggered by hammering the strings which the hammers are located under the dampers. These dampers are covered with felt and depending on the speed of hammer hitting the strings, the faster it hits, the louder and brighter sound is created. Not all hammers have dampers covered especially when it comes to the higher range of the keys because no dampers are needed to stop the vibration of strings as the the treble keys do not generate as much sound compared to the rest of the keys. The lid of the piano itself is a reflective surfaces, so that is something to keep in mind when we decide when to open up with the shorter or long stick.

Condenser mics are more preferably used because it has a wider frequency-response as compared to dynamic mics. It is also better at picking up the most detailed sounds produced by the hammered strings.

Here I categorise a few common miking techniques which accordingly suits the aimed tone/sound quality for a piano recording:

1) Percussive Pop/Rock Sound

- Highlights the percussive sounds of the strings, meaning the attacks and bright/loud soundings that would stand out in the mix

- Ideal when the piano needs to be heard in the mix but not so much of the depth

- Recommended techniques: Close miking stereo techniques

- Omnis can hear down to the lowest bass sound and lessen proximity effect

- Directional pattern may pick up more unwanted low frequencies from the hammering

i) ORTF technique

- a pair of SDC cardioid mics

- 17cm apart and facing 110 degree outwards

- Place near the soundboard to pick up both high and low frequencies

- Gives out wide stereo sound

ii) Spaced pair technique

- Uses two figure-8/omni mics

- 20cm apart facing directly the source we want

iii) XY technique

- 90 degree facing each other

- Cardioid pattern

- Place above the soundboard

- Avoid phasing issues

2) Warm but Detailed sound (Un-parallel Spaced Pair)

- a pair of cardioid or omni mic

- one miked at the treble strings closer to the keyboard

- one miked at the bass strings near the tail of piano

- depending on the sound we want, the close they are miked, the more detailed and percussive; the further, the more balanced

3) Mellow Piano

- The further towards the tail, the warmer the tone

- More at experimenting with distances and placement

- For the warmest sound, mike underside of the soundboard + 1 mic above for detailed sounds.

4) Most balanced and natural sound

- Miking outside the frame of piano

- Spaced pair around 30-60cm apart but around 60cm away from the frame

- Still directly facing the sound source

- Can be ideal for jazz solo

Source: https://theproaudiofiles.com/tips-for-successfully-recording-an-acoustic-piano-part-i/

EXPERIMENT PLAN

Aim: To find out the best miking techniques for a Jazz piece which provides the most balanced and natural sound.

Techniques: Spaced pair (Outside frame) VS Un-parallel Spaced Pair (Inside frame)

Pick-up patterns: Bi/Omni VS Cardioid/Omni

Mics selection: AKG C414

Hypothesis: Spaced pair (outside frame) gives out a richer and warmer sound while the un-parallel spaced pair provides a much detailed but overall balanced sound.