Recording - June 2010 - 32

back, to pick up more room tone. Even in a fairly dead room, this mic picks up reflections off the floor in front of the amp, adding a bit of “air” to the sound. Ideally, these mics should be recorded on separate tracks, for flexibility when blending them in the mix. The distance mic is frequently a different type/model than the close mic, for a more complex tonal blend. With open-back combo amps, as much sound comes out of the back of the amp as the front, and some engineers like to place a mic back there instead of a front-positioned distance mic. Remember, the sound wave coming out of the back is in opposite polarity to the front, so take care to listen for any undesirable cancellation effects—of course, this should be done with any distance mic as well. Other times, an open-back speaker is placed so that the rear wave will reflect off a wall back into the distance mic, for a stronger reflection.

Tickling the 88s Not every small studio has the luxury of recording a real piano, but when that is an option, here are some things to focus on. While you can record a piano in mono, stereo is the way to go—you’ll be much more successful at capturing the rich interaction of strings and resonances with a good stereo recording. Keep in mind, a stereo piano recording will not necessarily have a clear separation of low notes to the left running up to high notes on the right (or vice-versa) that you get with some older, cheesier sampled pianos. Due to the complex reflections that develop under the piano lid, you should expect a more diffuse sense of note positioning, though you will get some degree of it with the more close-miking positions (see below). A pair of high-quality condensers (large- or small-diaphragm) is called for; see the suggested mics mentioned earlier, and also consider renting a stereo mic like the AKG C24 or Royer Labs SF-24 stereo ribbon mic. Sometimes additional mics are employed as well, to fill in any gaps in the piano sound. Many companies also make dedicated piano miking assemblies with miniature condensers, to afford greater flexibility in placement when close-miking—good examples of this

Left: Miking a bass at the bridge. Center and right: stereo miking a piano, from the soundboard or over the player’s shoulder. The deep end approach can be found with the Earthworks PM40 PianoMic system The same miking techniques described above are appropriate for and the DPA Microphones SMK4061 stereo mic kit. miking up a bass amp, but with less need for distance mics, and differThere are, roughly speaking, three main approaches to mic placeent mic choices up close—the SM57 really doesn’t have sufficient low ment, based on distance. Assuming a grand (or baby grand) piano, end to properly capture the deep tone of a bass, especially a 5-string! close-miking puts your stereo pair inside the piano, under the lid. The Common alternatives are the Electro-Voice RE20 and the AKG D- mics can either point at the strings (for the most percussive, brightest 112 (mainly a kick drum mic). The Sennheiser MD421 can also pull tone), or at sound holes on the frame (for a more resonant tone). If pointoff bass better than a 57, and on larger cabinets the same LDCs as ing at the strings, the mics can be positioned either closer to or further above will be suitable. The main difference with recording bass is from the point where the hammers strike the strings. Obviously, this will that, commonly, a direct feed of the bass guitar will be recorded as adjust the amount of hammer “thunk” that is captured—this is a choice well (via a splitter, on a separate track), with the two being blended often made based on musical/playing style. The mics are usually later on. The DI provides deep tone with maximum clarity, with the spaced apart, one over the treble strings, one over the bass strings. miked-up amp contributing punch, growl, and grit. Sometimes the mic on the bass side is positioned further back, for a fuller While we’re on the bass, a (very) brief mention of the acoustic tone. The height of the mics can also be varied—raising them up will let bass would be in order. This is a less common guest in many small- in more of the reflections swirling around under the lid, lowering them er studios, but when it does put in an appearance, it can be a bit will result in more of the strings themselves, for a slightly drier tonality. tricky. Acoustic bass, like acoustic guitar, is strings plus body, but here Close-miking is often most appropriate for pop recordings, where the body is huge, and mic placement that much more critical. a crisp, percussive tone is needed to cut through a dense mix. If there As with acoustic guitar, a condenser mic (with good low-end exten- are other live instruments in the room, a fair bit of leakage will likely sion) a foot or so out, pointing somewhere between the bridge and the result—closing the lid may not be feasible, due to sound and mic center of the neck is a good starting point, but given the deep tone, you placement issues, and wouldn’t completely eliminate it anyway. One have to be much more careful that room resonances don’t negatively common remedy is to cover the piano (except the keyboard, obvicolor the sound, or cause some notes to “boom” unacceptably. If the ously) in a heavy absorbent packing blanket, with the lid fully open bassist’s style includes slapping the strings, make sure this is captured and the mics inside—this will preserve the best tone while minimizclearly, but not too brashly. Sometimes, engineers will wrap up a mic ing leakage from other sources. in a towel or foam and wedge it in by the bridge assembly—this funkyThe second positioning is a kind of “near-field” approach. The mics looking approach, surprisingly, can actually sound quite good. can be placed just outside the piano, usually facing the open lid. This Another common move these days is to also record the sound of will provide more of an ambient tone with a greater proportion of refleca bass pickup (usually supplied by the bassist) on an extra track— tions over string and hammer noise, but still maintain a dry enough overthis will not sound so great alone (although it’s a necessity for acoustic all sound for good clarity. The reflections can be focused by adjusting bassists who gig with loud/electric bands), but it can add a bit of the opening of the lid (full-stick or short-stick), and by the usual variation midrange punch when blended in with the main mic. Also place the in mic distance and specific location—as always, by ear. mic so that a sudden move by the player to using a bow doesn’t result A variation of the “near-field” approach is to place mics around in hardware clashes and recorded clunks... the player’s position, for a performer’s perspective. Near-field piano
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RECORDING JUNE 2010

Recording - June 2010

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