Recording - May 2012 - 16
throwing dimensional sound into the acoustic space that has appreciable movement. The results are truly stunning! Do pianists have problems adjusting? Most musicians respond to it by saying, “The piano is now playing along with me instead of against me”, or, “I get more out of it with the same effort”. Capturing this space and movement is the key. Did you have a PA to deal with? This Resinno piano’s natural projection and the Mainstage Performance Hall were so good that we did not need a PA system or monitor system, and that really frees you up regarding the miking techniques. This piano has more than traditional tonal quality; it has 3D dimension and perceived movement. How did you mike the piano? We used a dual-concept grid of 16 Bruel and Kjaer, DPA, and Grado microphones that we placed based on the knowledge gained over 40 years of doing live and studio recording, and piano research. The piano itself changes its polar pattern 8 times across its 8 octaves, but not in a mathematical or predictable way. [See Figure 1 for a diagram.—Ed.]
16
RECORDING MAY 2012
One set of microphones were architecturally placed for the instrument and the space, and a second set of microphones were artistically placed to capture Lynne’s arrangements. It takes many mics to get all the spatial movement that happens with this type of piano. The key here is capturing all the reflections a piano makes, and there are billions and billions of them. This is where the “weight” of the pianos comes from, lowfrequency power without volume. That’s a lot of mics for one grand piano. Which mics did what jobs? The base weight of the sound was captured using a Joseph Grado Total Vectored Square Array on Grado HMP-1 Scalar microphones, placed in a 10foot square. This set of mics gets the architecture and acoustics of the room. The G-TVSA is a square that responds to all the potential vectoring for a 3D holographic capability. It becomes pyramidal in both directional dimensions. The square was designed at 10 feet surrounding the piano uniformly, and 5 feet 6 inches from the floor, the height of what sounded the best to the ear. To that array many microphones were added, some close, some far, some underneath. Some were neutral, some had character and color. No mic diaphragm was larger than 1", in fact the G-TVSA had capsules that were 2 mm large. This was done to give the mixing engineer total control to make anything he or she wanted to produce in their mix. Some mics might not be used at all or only to create reverb trails. Three DPA true condensers, two A/B 4041 and a single Gold in glass 4040 were used. The A/B 4041 were placed eight feet high in perfect alignment with the piano lid about 8 feet back from the nape of the curve. This technique takes reflections of the lid out of the recording.
Recording - May 2012
Table of Contents for the Digital Edition of Recording - May 2012
Recording - May 2012
Fade In
Contents
Talkback
Fast Forward
Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Kel Audio HM-7U amd HM-3C Microphones
Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
AKG Perception 120 USB Microphone
Miking Instruments: The Lost Art
Earthworks SR20 Microphone
SXSW 2012
Radial Engineering MC3 Passive Monitor Switcher
Readers’ Tapes
Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Miking A Symphony Orchestra For A Commercial
Audio-Technica AT4050ST Stereo Microphone
Alclair Reference In-Ear Monitors
RME Fireface UCX
Advertiser Index
Fade Out
Recording - May 2012 - Recording - May 2012
Recording - May 2012 - Cover2
Recording - May 2012 - 1
Recording - May 2012 - 2
Recording - May 2012 - 3
Recording - May 2012 - Fade In
Recording - May 2012 - 5
Recording - May 2012 - Contents
Recording - May 2012 - 7
Recording - May 2012 - Talkback
Recording - May 2012 - 9
Recording - May 2012 - Fast Forward
Recording - May 2012 - 11
Recording - May 2012 - Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Recording - May 2012 - 13
Recording - May 2012 - 14
Recording - May 2012 - 15
Recording - May 2012 - 16
Recording - May 2012 - 17
Recording - May 2012 - 18
Recording - May 2012 - 19
Recording - May 2012 - 20
Recording - May 2012 - 21
Recording - May 2012 - Kel Audio HM-7U amd HM-3C Microphones
Recording - May 2012 - 23
Recording - May 2012 - Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
Recording - May 2012 - 25
Recording - May 2012 - 26
Recording - May 2012 - 27
Recording - May 2012 - 28
Recording - May 2012 - 29
Recording - May 2012 - 30
Recording - May 2012 - 31
Recording - May 2012 - 32
Recording - May 2012 - 33
Recording - May 2012 - AKG Perception 120 USB Microphone
Recording - May 2012 - 35
Recording - May 2012 - Miking Instruments: The Lost Art
Recording - May 2012 - 37
Recording - May 2012 - Earthworks SR20 Microphone
Recording - May 2012 - 39
Recording - May 2012 - SXSW 2012
Recording - May 2012 - 41
Recording - May 2012 - Radial Engineering MC3 Passive Monitor Switcher
Recording - May 2012 - 43
Recording - May 2012 - Readers’ Tapes
Recording - May 2012 - 45
Recording - May 2012 - Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Recording - May 2012 - 47
Recording - May 2012 - 48
Recording - May 2012 - 49
Recording - May 2012 - 50
Recording - May 2012 - 51
Recording - May 2012 - 52
Recording - May 2012 - 53
Recording - May 2012 - 54
Recording - May 2012 - 55
Recording - May 2012 - Miking A Symphony Orchestra For A Commercial
Recording - May 2012 - 57
Recording - May 2012 - Audio-Technica AT4050ST Stereo Microphone
Recording - May 2012 - 59
Recording - May 2012 - Alclair Reference In-Ear Monitors
Recording - May 2012 - 61
Recording - May 2012 - RME Fireface UCX
Recording - May 2012 - 63
Recording - May 2012 - 64
Recording - May 2012 - Advertiser Index
Recording - May 2012 - 66
Recording - May 2012 - 67
Recording - May 2012 - 68
Recording - May 2012 - 69
Recording - May 2012 - 70
Recording - May 2012 - 71
Recording - May 2012 - Fade Out
Recording - May 2012 - Cover3
Recording - May 2012 - Cover4
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