This makes most dynamic mics a questionable choice, as their comparatively heavy diaphragms simply can't track the delicate, fast air movements of the highest frequencies as well as can lighter ribbon- or condenser-mic diaphragms. It should be pretty obvious that the piano generates a very wide frequency range, starting at around 26Hz (the fundamental frequency of the lowest note) and extending well beyond the 20kHz upper limit of the audible spectrum.
What Type Of Mic Should I Use?īecause of the nature of the piano as an instrument, certain types of microphone lend themselves better to recording it than others. Surf to /sos/ jan08/articles/pianorecordingaudio.htm, and judge for yourself whether these techniques are the dog's danglies or a dog's dinner. The aim of this article is to take some of the guesswork out of getting a great piano sound, bringing together a wide range of recording techniques suggested by various different authorities and then illustrating them with audio examples. There's also the fact that the number of 'correct' mic techniques is enormous, yet any given one of these might be completely inappropriate for the sound you're after.
For a start, few of us are lucky enough to have access to a decent piano for a long enough period to develop any significant experience of recording it. The instrument's size and sonic complexity are contributing factors, making great technical demands on mics and other recording equipment, but that's only part of the problem. Recording an acoustic piano presents enormous challenges for many home recordists. For those times when only the real thing will suffice, here's how to do it justice.
With the number of high-quality sample libraries around these days, recording a real piano can feel like a lost art.
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