Classical Piano Recording

[Bob Bickerton]

I have an exciting project coming up!

When I was involved in the renovation of our local school of music, we specified that the new recital theatre be acoustically isolated from the outside world and acoustically designed to make a great recording space for chamber music. Renowned acousticians Marshall Day were involved in the design and whilst it's a good room for recitals, I haven't yet done a serious recording project in there.

All is about to change as I'm about to embark on a solo piano album for a professional pianist. The programme is Schubert and the piano an excellent Steinway D (all serviced and tuned).

The pianist mentioned he enjoyed piano recordings made by DECCA from the 1980s and a quick reference to the book 'Classical Recording' by Haigh, Dunkerley and Rogers revealed the DECCA technique. Actually very similar to the one I usually use.

Generally, I use an A/B pair on omnidirectional MKH 8020s spaced at 200mm on grand piano, simliar to a technique proposed in an article by John Willett many years ago in SOS. The DECCA approach spaces at 300mm and somewhat more towards the tail of the instrument than I'm used to.

Whilst I'll obviously allow for trialling of positions, I'm also considering the option (if necessary/improved) of using a spaced pair of AEA N8 Ribbons at 200mm (as per Tony Faulkner's 'Phased Array'). They're wonderful mics and may well present the 'warm and intimate' sound that the performer is seeking.

Schubert wrote for the Forte Piano with its reduced low-end range relative to the modern grand piano, so I'm thinking I can get away with not having to use the omnis for their LF extension. Having said that the N8s appear to enjoy a similar extension. I'm not particularly worried about using the N8s to attenuate side room reflections as I don't see that being a problem.

Anyway I'd invite comments on using the N8s over the 8020s, and as always, it's very much appreciated.

Bob

[Arpangel]

Depends on the acoustic, enormously, you can’t generalise with mic types and positions, as you know Bob, so giving an opinion on this is difficult.
Our starting point on grand piano in a decent hall used to be two Schoeps CCM2’s placed at the foot of the piano on a short stereo bar, most times gave great results, no problem, kept things simple.

[Nazard]

My preference would be for a full range recording, without tailoring, whether it's a modern piano like a Model D, or a fortepiano like a Franz Brodmann (which András Schiff used for some Schubert recordings a few years ago).

Anyway, it sounds like a great project and I hope it goes well, plus a chance to listen to it would be good, too.

[James Lehmann]

While I cannot imagine you won't get a superb sound on any piano in a decent hall with a pair of Sennheiser MKH 8020, as it happens I've just purchased an AEA N28 stereo ribbon mic for use on classical piano. And with it comes a handy brochure called "Guide to Ribbon Microphones" containing tips on which AEA mics are optimised for placement where.

Of course there are no rules, but AEA themselves describe the N28 as a midfield ribbon "optimised to be placed anywhere from 8" to several feet from a source". And by optimised this generally seems to mean balanced between proximity effect and HF loss at distance. The N8 on the other hand they list as "ideal for capturing sound at a distance and can retain full frequency response up to 15-20ft from a source".

How far back are you planning to go with your spaced pair of N8s, which I think we can conclude from the above will be somewhat HF compensated for distance.

What I can report is my experience so far of deploying the N28 on a grand in Blumlein in the midfield (so at about 3ft out from the lip) and for me this gives a beautiful, natural representation of the sound I'm hearing as well as delightful amount of low end. Like you I was worried about that, but if the N28 is anything like the N8 then I can hear no issues at all. In fact I had a tail mic (TLM170) rigged as well from a previous cardioid pair setup, but immediately realised I wasn't going to need or want it using the ribbons.

I realise you didn't specifically ask about stereo mics or even Blumlein, but I have chimed in to add that I think this relatively new range of AEA mics really are something special.

[Hugh Robjohns]

Yes, the Decca method is with the spaced omni mics at the tail end looking towards the keyboard across the strings. It obviously works, and gives the piano a sensible scale within a nice acoustic.

For a more intimate sound I would come in from the side with the mics a couple of metres out and quite high — with the lid on the long stick, follow the line of the lid up and place the mics just below that line, typically about 7-8 feet up.

I've used Royer SF2 active ribbons several times on pianos and really like the results. Like omnis, they don't have that slightly phasey sound of cardioids and have a reasonably good bass end without getting overly thumpy and boomy.

[Arpangel]

I've used Royer SF2 active ribbons several times on pianos and really like the results. Like omnis, they don't have that slightly phasey sound of cardioids and have a reasonably good bass end without getting overly thumpy and boomy.

Interesting, are you saying that the Royer's had a more controlled bass compared with omni's too?

[Bob Bickerton]

Thanks for the comments folks, I think I’ll include the N8s as an option.

And good to know about that more intimate approach Hugh. We have lots of time to experiment before we commit.

Spent the evening listening to a bunch of solo piano recordings on Apple Classical and it’s astonishing the vast difference in technical production when you really focus in on it.

Bob

[Hugh Robjohns]

Interesting, are you saying that the Royer's had a more controlled bass compared with omni's too?

I wouldn't say 'more controlled' exactly, just not as extended or prominent (because velocity mics naturally roll-off at the low end) which can be useful if its a large and bass-heavy instrument or room (and it takes EQ nicely if needed).

But a ribbon sounds as natural and clean as an omni with a similarly flat phase response which, on something like a piano, makes a big difference to the fidelity IMHO.

[Arpangel]

Interesting, are you saying that the Royer's had a more controlled bass compared with omni's too?

I wouldn't say 'more controlled' exactly, just not as extended or prominent (because velocity mics naturally roll-off at the low end) which can be useful if its a large and bass-heavy instrument or room (and it takes EQ nicely if needed).

But a ribbon sounds as natural and clean as an omni with a similarly flat phase response which, on something like a piano, makes a big difference to the fidelity IMHO.

Thanks Hugh, I'll try a couple of ribbons on our piano, but I don’t have two the same! I’ll have to remedy that!