In this series, we are going to look at how to record a wide range of sound sources from a solo vocal through guitars, bass, piano strings, brass woodwind and percussion, before moving onto the drum kit. In part 5 we are going to look at recording a piano.

Throughout this series, we are using some excellent videos produced by Audio Technica and they naturally profile their own mics. But of course, you don’t have to use the specific Audio Technica mics they recommend. Take note of the type of microphone they recommend, like a large-diaphragm cardioid condenser or a hypercardioid dynamic microphone and chose one of that type that you prefer and/or own. What makes the biggest difference to the sound is where you place the microphone, not the particular brand and model of microphone.

Grand Piano

With over 7,000 individual components, the piano is quite possibly the most mechanically and sonically complex acoustic instrument. With seemingly endless ways to mic a piano for recording, the project might seem overwhelming. To start with, we review three techniques to capture the perfect grand piano sound.

The Piano And The Room

The piano and the room in which you’re recording are the first things to consider. Every piano has a different sound and the room makes a difference in how frequencies travel. Have your pianist play while you walk around the room listening for mic placement possibilities and for potential trouble areas. 

You’ll also want to experiment with different lid positions and some people even remove the lid. Only try this if you have a second person with you and take care to not bend the hinges as you remove the lid. Personally, I like the focused reflections that the lid produces.

There are 3 main ways to record a grand piano and it will depend on what type of piano sound is right for the project.

1. Positioning your microphones inside the piano can help achieve a bright pop sound. This setup also provides good isolation, which you can improve by lowering the piano lid. Position two large-diaphragm cardioid condenser microphones approximately 11 inches above the strings, pointing straight down. The large-diaphragm cardioid condenser microphones should have a consistent cardioid pickup pattern throughout the frequency spectrum. When using two mics it is important to always observe the 3:1 rule: Keep your mics at least three times farther from one another than each is from the piano strings (the sound source). This allows you to maintain proper phase alignment. Phase can also be monitored at the console. Place one mic at the centre of each string group. Take great care not to get too close to the strings to prevent overemphasizing the strings closest to the microphone. Increase brightness by moving closer to the hammers or decrease the brightness by moving farther away. For a warmer sound and if you have access to them you might want to try a pair of tube (valve) microphones.

2. To achieve a more natural solo piano sound, place a stereo pair of mics outside the instrument. Position two small small-diaphragm cardioid condenser microphones in X/Y about three feet in front of the piano, five feet above the ground. Move around the studio as the pianist plays to find the ideal placement. Trust your ears, as the spot that sounds best to you, will likely sound best on the mics as well.

3. You can capture the piano’s full sound with a single mic; place a large-diaphragm cardioid condenser microphone cardioid condenser mic just outside the instrument. As mentioned earlier, you can find the sweet spot by walking the room while the pianist plays. To prevent an overly roomy sound, position the mic closer to the piano.

Be aware that placing directional microphones too close to the soundboard within the piano might result in proximity effect issues especially toward the lowest strings. If you want to place a microphone near the soundboard use an omnidirectional mic or secure a PZM mic to the inside of the lid. This is usually more popular to do in a live performance setting and less so in the studio environment.

Want To Learn More About Recording A Grand Piano?

Audrey Martinovich has produced a detailed free tutorial on recording piano for different genres using different mic techniques including spaced Omni, mid-side, small capsule condensers in XY, ribbon mics in a Blumlein pair and large capsule condensers on the hammers. There are exclusive audio examples played by four pianists playing a Yamaha C6 grand piano in 4 different styles; Johannes Wallmann playing jazz, Vincent Fuh playing classical, Meggie Shays playing indie and Jason Kutz playing improv. Check it out.

Upright Piano

Not everyone has access to a grand piano. Sometimes it can be worth hiring a studio which has a good and well-cared-for grand piano to get a good sound. Many more people have got an upright piano at home and as we will show you can get a great sound for an upright piano if you know how to.

Tuning

Approach piano recording as though you would be recording a guitar or drum kit.  Ensure that the piano is in tune to concert pitch.  Obvious I know… but if ignored you can get yourself into all sorts of trouble as soon as you start to overdub extra instruments only to find that you have no common pitch to tune to.

Tuning a piano cost roughly between £50 - £60 and takes a skilled tuner 30 - 60 minutes to complete.  It is well worth the investment, even if you are using someone else’s piano. 

Remove The Panels

Open the lid on the top, remove the front panel between the lid and keyboard lid, pull out the keyboard lid and the larger panel placed under the keys. This will let the harp within resonate more naturally, much like a grand piano does when its wing is raised.

Listen To The Piano Mechanics

Play the piano over a range of high and low registers at varying dynamics.  Listen closely for rattles and squeaks. Try and locate any unnatural sounds and dampen them within the piano.  It is really important that the sustain pedal does not squeak.  You may have to instruct the performer, depending on the style of song, to press softer on the sustain pedal.  In some cases, I get the performer to remove their shoes as some players really kick the pedal hard and the sound can be clunky and unwanted.

Setting Up The Microphones

An acoustic piano is a full range instrument with complex overtones and dynamics that you have to capture as naturally as possible.  The piano is a stereo instrument and lends itself very well to a stereo pair of condenser microphones.  I like to use a matched pair of large diaphragm AKG C414 XLii both set to a cardioid polar pattern.

Microphone Above The Keyboard 

You need to think about what kind of sound you want.  Placing a stereo pair above the keyboard facing towards the hammers may give a thin and slightly bodiless tone with a noticeable sound of the hammers striking the strings and the keys being hit and released by the performer.  In some styles, this doesn’t have to be a bad thing but you need to be sure that this is the sound you want.

Songs as Abba’s ‘Money Money Money’ and Queen’s ‘Killer Queen’ were captured this way as you can clearly hear the honky top end of the harp and the hammer movement.

One other thing to consider when recording piano with the microphones above the keyboard is to make sure whoever is playing has removed any rings or wrist jewellery as the sound of rings and bangles hitting the keys will come through the microphones.

Microphone Under The Keyboard

For some, this is their go-to standard setup for recording my upright piano. When setting the microphone distance to the harp start from the edge of the keyboard and see how that works for you.  It enables you to be sure the two microphones are at the same distance from the harp so that I shouldn’t have too many phase issues. 

You will have to make sure the sustain pedal is not being pressed in by a performer wearing wooden clogs or that it is squeaking like a hamster.

The benefits are to placing the microphones under the piano keyboard are…

• The sound of the hammers striking the harp is greatly reduced

• The sound of the keys being hit and released is all but gone

• The tone and full integrity of the piano is captured

Recording Piano In Sections

We recommend that you consider this method with an inexperienced recording pianist.  If you find yourself recording the piano in sections always get the pianist to sustain their last note or chord into the next section.  If not, you may hear on playback unnatural gaps in the piano performance which are hard to fix in the mix.  Ensuring the piano’s last note/chord of a section sustains into the next section makes it easier for you to trim back the stereo audio clip and place a small fade at the end where the next section comes in.  consider it as tailoring a pedal release.  It is so much better than trying to digitally stretch sustained piano waveforms.

Creative Uses For An Acoustic Piano

Reverse The Piano Audio

If you find yourself needing a certain lift in your mix or a section that begs for a bit of flair then why not try reversing a chord, note, sequence or section of your piano performance.  It gives a backwards lift that can be useful in introducing a moment in your song. 

In Pro Tools highlight the stereo audio clip in the edit window, go to AudioSuite/Other/Reverse.

Using The Harp As A “Reverb”

Try this if you have an acoustic piano, it is lots of fun even if you never use it in a recording.  With all the panels off and the sustain pedal down sing closely towards the harp.  Listen as the harp gets all excited and resonates a wealth of notes back at you.  We have seen the guts of an old grand piano harp stuck on the wall in a studio with a drum kit set up in front and it sounded massive. 

Automate The Volume

This is useful if you would like to build creatively into another section.  Imagine a long sustained chord for two bars that leads into a chorus.  Instead of the chord naturally decaying away why not try automating a volume increase for the last two beats.

If You Have A Tape Machine

We have never tried this but we love the idea and the sound of it.  Listen to ‘In My Life’ by The Beatles (Rubber Soul 1965).  The piano solo was recorded to a tape machine running at half speed.  When the tape was played back at normal speed the piano solo went up an octave in pitch and the performance speed was doubled.  The sound and character of the piano had changed dramatically and uniquely.

Compress The Life Out Of It

All we will say on this one is to listen to ‘She’s A Rainbow’ by The Rolling Stones. 

Record Sections As Though It Was A Duet

You may be recording one pianist but why not make it sound like you are recording two?  Listen to Elton John’s ‘Song For Guy’ 1978.  In most of the sections, Elton has recorded the same piano performance in different registers. It’s a simple idea but really effective.

Atmosphere Sound Effect

Hold down the sustain pedal and gently glide a finger over the strings.  This will give the piano a harp-like sound that if done well will provide an atmospheric haunting sound. 

Piano Recording Audio Samples

Check out these exclusive examples…