Piano Mic Positions: Five Microphones on a Grand
Piano mic positions make or break a grand piano recording, so here is exactly where we put five microphones on a recent session and why. The two main microphones we used on the piano were my Neumann M149 Large diaphragm condenser microphones. These are extremely transparent microphones. (Insert image DSC_0112) They offer great flexibility in both polar pattern and frequency roll-off. The piano frame divides into four sections, as the photo shows (DSC_0108). I placed the first Sydney Recording Studio M149 so that the diaphragm focussed on the midpoint along the low piano strings (DSC_0111). That put it about one foot off the strings. The roll-off stayed off, with the polar pattern on cardioid. The second M149 kept the same settings, and I placed it in the second section of the piano strings.
These were the lower mid-strings. Again, I raised this M149 about a foot above the strings, just back from the hammers. The diaphragm was not facing directly at the hammers, as this would have been too percussive. Instead, I placed the diaphragm at a perpendicular angle to these hammers. As a result this M149 was capturing the back of the strings (DSC_0117). For the third and upper-mid quartile of piano strings, I used an AKG 414 condenser microphone.
Piano Mic Positions for the Mid Strings
Contrary to the positioning of the M149, I aimed the AKG 414 diaphragm directly at the strings. I set the AKG 414 about one foot above the strings, midway between the hammers and the back string pegs. The AKG 414 has variable polar and frequencies settings, too. However, I chose to leave these on the cardioid pattern and to pickup the lowest frequencies possible (DSC_0126).
High Strings and the Wagner U47w
In the last section of the piano strings, the high strings, I used a Neumann KM184 small diaphragm condenser microphone. I particularly like these microphones because they are very quiet and focused with a natural roll-off of the low end. I placed this microphone one foot above the far extremity of the Sydney Recording Studio piano strings, directly above the hammers (DSC_0140). Next, I placed a microphone at the back end of the giant concert grand piano, at the base of the low strings.
For this position I chose to use a Wagner U47w. This is a tube microphone that is an exact replica of a Sydney Recording Studio Neumann U47. It has a beautiful bottom end quality that was perfect for this kind of piano recording (DSC_0122). I placed a unique Australian-made U87 clone under the piano to capture some of the activity that was happening in that area. After consulting Tom Eaton in the USA he suggested we raise the microphone stand off the floor on some rubber to absorb some of the mechanical energy coming from the pedal use. It is one of my favourite piano mic positions for warmth.
Taming the “Thumpies”
He referred to these as “Thumpies” and his suggestion worked well to quell the bottom end thuds that the pedal was producing. This microphone, of all the microphones used, was the best overall sounding microphone in terms overall balance. It was real surprise considering that it was an unheard of brand and remake of the famous U87 condenser. It was made by a guy called Mark Chierego and he calls them OPR mod microphones (www.openplanrecording.com). I highly recommend them to anyone (DSC_0135). Finally, I added a room microphone. I used a second Sydney Recording Studio AKG 414 condenser microphone placed away from the piano. I positioned it high, close to the room ceiling and to the side of the piano (DSC_0131).
Every piano is different, so treat these piano mic positions as a starting point rather than a rule, and move the microphones a few centimetres at a time while listening. If you would like to record on our grand in a treated room, our Sydney recording studio is ready when you are. Sound On Sound’s guide to recording piano is another excellent reference.
