Dave Bryce Posted July 2, 2015 Share Posted July 2, 2015 So - for those of you who use an acoustic piano for live applications, what can you tell me about your preferred method of micing it - espically single mic approaches? I'm doing some experimenting with it, and so far I'm kind of digging the John Lewis/MJQ technique of pointing a low output dynamic mic about 3/4 of the way up the inside of the lid (high stick) almost right up against it, parallel to the ground. dB ==> David Bryce Music • Funky Young Monks <== Professional Affiliations: Royer Labs • Music Player Network Link to comment Share on other sites More sharing options...
mynameisdanno Posted July 2, 2015 Share Posted July 2, 2015 If budget is not of primary concern, I've encountered the Earthworks PianoMic System in a couple of theaters with serviceable house grands, and it has been quite pleasing to use each time. Great, even natural sound, even with with the lid down. No issues with gain before feedback, at least at the monitor levels I was asking for (which were not quiet by any means; drums, guitar, bass going pretty full-tilt-boogie). Definitely my favorite solution. If I was made of money, I might buy the touring version and bring it with me on those types of gigs. Alas. Link to comment Share on other sites More sharing options...
MAJUSCULE Posted July 2, 2015 Share Posted July 2, 2015 Put a small piece of cloth in one of the holes over the soundboard. Stick a 57 in it. Bam. Works great for monitors, no feedback, very crisp and clear. Eric Website Gear page Link to comment Share on other sites More sharing options...
Dave Bryce Posted July 2, 2015 Author Share Posted July 2, 2015 Put a small piece of cloth in one of the holes over the soundboard. Stick a 57 in it. Bam. Works great for monitors, no feedback, very crisp and clear. That's the one I've typically used - with my piano, I get the best results putting it on highest soundhole. I actually also like to lay the mic on a piece of foam to the side of the hole with the capsule protruding over the hole rather than sticking the mic in the hole. I'm kinda liking the sound of the mic on the lid though. Excellent tone. dB ==> David Bryce Music • Funky Young Monks <== Professional Affiliations: Royer Labs • Music Player Network Link to comment Share on other sites More sharing options...
Mark Schmieder Posted July 2, 2015 Share Posted July 2, 2015 Nothing beats the newish Earthworks special design mic, for live purposes (it isn't meant to compete with traditional studio techniques, which are way more elaborate). It is the quickest to set up and adjust, and gives balanced coverage with little to no effort. But of course it is pricey. Certain PZM mics can work really well with almost no effort also. Needs to be a true boundary mic vs. one that visually mimics one. In other words, HAS to be the Crown PZ30D as all others are "fake" in terms of not being true boundary mics. Although not quite a boundary mic, Crown's mic for footsteps and other stage ambience can also work well for piano and is likewise easy to place and get an overall balanced picture of the piano, but isn't nearly as high fidelity as the PZ30D. A single PZ30D has such detail that it sounds like a full surround system. Really amazing and underrated mic. Some people attach it beneath the piano lid. There's a lot of facets to discuss here, including damping, stands vs. clips vs. tape, purchasing vs. using what you've already got, etc. Not sure how much of that you want to cover and how broad the question was. Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1, Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager Link to comment Share on other sites More sharing options...
Dave Bryce Posted July 3, 2015 Author Share Posted July 3, 2015 There's a lot of facets to discuss here, including damping, stands vs. clips vs. tape, purchasing vs. using what you've already got, etc. Not sure how much of that you want to cover and how broad the question was. Mostly looking to use what I've already got. Just wanna do it with one, maybe two dynamics. Not exactly a high pressure situation - just really looking to learn, first and foremost. Please share whatever you think is relevant. dB ==> David Bryce Music • Funky Young Monks <== Professional Affiliations: Royer Labs • Music Player Network Link to comment Share on other sites More sharing options...
kanker. Posted July 3, 2015 Share Posted July 3, 2015 I would venture it depends on the volume of the band, the rejection pattern of the mic, and the need or lack thereof of monitors for the piano, and the piano monitoring of other players on stage? Most versatile, mike a hole in the harp if it's a grand. For uprights, I used to run a dynamic in the upright and a boundary mic on the soundboard. A ROMpler is just a polyphonic turntable. Link to comment Share on other sites More sharing options...
timwat Posted July 3, 2015 Share Posted July 3, 2015 Mark - With the Crown mic you're recommending - is there any other point of attachment that works? How are these mics typically attached? Tim .. Link to comment Share on other sites More sharing options...
Theo Verelst Posted July 3, 2015 Share Posted July 3, 2015 In high school, around '80, I use to occupy my mind with these types of issues and I must say when it's a band getting a good enough sound is't so much a matter of funny mechanistic considerations, but more about tonal balance, power before feedback (and the effect "almost feedback" has on other mics) and the projection of an acoustically pleasing sound for a good part of the audience. My feeling is that has little to do with the mid rangy speakers trying to form sampled sources into something a bit binorally acceptable listening experience, but more allowing rock playing to thunder and create warm well reflecting waves. Contact mics should make feedback control easier, but a good live sound will require mixing tricks and speaker setup expertise to sound nice. T. Link to comment Share on other sites More sharing options...
Tusker Posted July 3, 2015 Share Posted July 3, 2015 Please share whatever you think is relevant. For higher volume situations, I've stuck a couple of dynamics under a blanket on low stick. Seen a pro recording engineer do the same with high end condensers in a multi-instrument room ... and found it worked for me also. Link to comment Share on other sites More sharing options...
Ashville.Guru Posted July 5, 2015 Share Posted July 5, 2015 A somewhat related question - is single micing the norm for grands live? Where more than one are involved, doesn't the engineer need to deal with phase issues? - Guru This is really what MIDI was originally about encouraging cooperation between companies that make the world a more creative place." - Dave Smith Link to comment Share on other sites More sharing options...
nadroj Posted July 8, 2015 Share Posted July 8, 2015 Nothing to contribute, other than I'm currently at a jazz trio gig and the baby grand Yamaha is miked in such a way that it sounds like an amped CP80. Pretty sure it's not intentional, it's just far too bright in the higher registers and too distorted in the mid range. A shame! Hammond SKX Mainstage 3 Link to comment Share on other sites More sharing options...
The Real MC Posted July 8, 2015 Share Posted July 8, 2015 Some days ago I was reading a 1980 back issue KM interview of Pat Metheny's keyboardist Lyle Mays. I don't remember the specifics but he was very picky about getting a good live piano sound, and he was very happy. Link to comment Share on other sites More sharing options...
mcgoo Posted July 9, 2015 Share Posted July 9, 2015 Helpinstill (y'all remember them?) has a pickup system I've been eyeballing. I'd love to hear if anyone's ever used that and what the results were like. Custom Music, Audio Post Production, Location Audio www.gmma.biz https://www.facebook.com/gmmamusic/ Link to comment Share on other sites More sharing options...
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