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Gear / Technical Help => Microphones & Setup => Topic started by: shaggy on May 12, 2005, 07:47:08 PM
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Going to be recording a solo jazz pianist tonite. I have permission so I wanted to ask the ones who have experience how this is done with the greatest impact in image and sound. I have only a T-bar.
Thanks!
ANDY
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i like spaced omnis about 3-4 feet away....
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Moke,
I just went to the DPA site and it is under 'application guide'. I guess that is why I missed it. I will see what I can work with when I get there. There may be other mic stands around.
+T to all the quick responses,
ANDY
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i like spaced omnis about 3-4 feet away....
same here.
i've had great results with a critcally positioned ORTF pair of cardioids when I didin't have access to omnis
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sounds like a blast, dwonk. have fun!
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ortf it!
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the setup on the DPA site with omnis just outside the curve of the body is one i have used many times, but it is more appropriate for a classical piano sound. typically for jazz or pop piano, you will want closer micing. most pop work is a pair of cards place right over the strings just behind the hammers, about 6-10" above the strings - methods vary from XY, ORTF, NOS, or spaced pair. for jazz, i typically will find a compromise between the more distant micing for classical and the very close pop setup - i would suggest a NOS pair inside the body of the piano, about 1 - 1.5 feet above the strings behind the hammers, and sort of pointing toward the players knees.
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I had limited options since there was no articulated armed mic stands for me to use. Just my Bogen 3372 and a extention clamp (about 10 inches long). I put the two AKG 481s in the extreme ends of my Atlas T-bar (about 30 cm of spacing). The extender bar allowed me to get into the piano somewhat, I placed the stand in the crook of the piano near the high key strings. Directed the mics downward towards the hammers (at about a distance of 70-80cm from the high hammers, another 20-30 cm farther for the low ones). It came out pretty good, the main problem is balance...since I was skewed towards the high end the balance is strange (the image is off center towards the high end or Left side). I wished I took a picture. I hardly know these guys and felt a bit awkward setting up.
I also have to admit there is a tonal characteristic I am finding unpleasent with the AKGs, this midrange harshness (I would guess around 2000-4000 hz)....does anyone concur? I have heard some shows with this grating timbre and thought it was the PA. When I heard a bit of it on the piano, I was pretty convinced it was a characteristic of the mic itself.
+T again for the suggestions everyone!
ANDY
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Going to be recording a solo jazz pianist tonite. I have permission so I wanted to ask the ones who have experience how this is done with the greatest impact in image and sound. I have only a T-bar.
Thanks!
ANDY
Me personaly when I record a grand I use 2 akg 414 spaced about 2 feet apart with the lid open to the short stick then I also use a small cardiod mic like a Neumann KM84 at the mid sound hole and two mics about 8 feet out something like a Neumann U87 or a pair of Neumann m50 or the newer version the M150 about 10 feet apart from each other facing towards the grand but that setting is very much dependant on the artist and what I can get away with. If I had only two mics I would use the AKG 414's close up with a nice Vintech copy Neve 1272 stereo preamp.
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I did it with about 30cm spacing between the CK61 cards, about 60cm from the high hammers and about 100cm from the low. I was skewed towards the high end as my extender bar wouldn't allow me to get closer (I no access to a articulated/boom mic stand). It came out real good considering the piano and the situation. Here is a pic of me setting up and Florian warming up.
The performer is Florian Doidy (Lyon, France).....
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nice work.
+t
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the setup on the DPA site with omnis just outside the curve of the body is one i have used many times, but it is more appropriate for a classical piano sound. typically for jazz or pop piano, you will want closer micing. most pop work is a pair of cards place right over the strings just behind the hammers, about 6-10" above the strings - methods vary from XY, ORTF, NOS, or spaced pair. for jazz, i typically will find a compromise between the more distant micing for classical and the very close pop setup - i would suggest a NOS pair inside the body of the piano, about 1 - 1.5 feet above the strings behind the hammers, and sort of pointing toward the players knees.
I've read that somewhere. But doesn't introduce a possibility for hammer and pedal noise ?
May be good to test on the instrument first, if possible.
I've also heard of PZMs being used for drama and effects, 'tho I've never tried it.
And overhead seems like a logistical possibility, since the a piano is basically a sidewise guitar with a big, strange-shaped soundhole pointing at the ceiling, deflected by the lid.
Where do you focus mic'ing for woodwinds like flute and oboe ?
Sax and clarinet seem obvious enough.......
+T for close-mic'ing info. It's a different world to most of us.
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I just made my first recording of a solo grand piano with fabulous results; I like to keep things simple when taping and did so on this occasion; to keep my benefactor happy, I ran three sample recordings with the mics in three different locations, one above the center of the piano with the mics pointing into the case and actually inside the case about three inches, the second just above the height of the case and pointing forward, the third with the mics outside the case about a foot and pointing forward, then let the pianist select the sound he liked best, which was the second one; ran straight DIN; recording is crystal clear with deep bass and all frequencies of sound well represented; we found that the first mic position produced a harsh and in your face sonic quality, and the third was a bit distant sounding