MXL Genesis User Manual

Page 5

Recording the Piano

The piano is one of the most challenging instruments to record, and many

problems stem from the quality and maintenance of the instrument itself. You’ll

obtain the best results by using an instrument that has just been tuned and is in

good mechanical condition.

The piano is generally recorded using close miking technique. Ideally, you’ll want

a minimum of two microphones. Usually, the microphone capturing the higher

strings is assigned to the left channel and the microphone capturing the lower

strings is assigned to the right channel in the final stereo mix, though the stereo

spread generally is not hard left and right. While a single microphone can be used,

the lower and upper extremities of the instrument will likely be compromised.
Grand Piano: For the upper strings, position the microphone approximately 8

inches from the piano hammers (to reduce mechanical noise) and 8 - 11 inches

above the strings, with the Pan position set to left of center. For the lower strings,

position the microphone toward the far end (away from the keyboard) roughly

6 - 12 inches from the end and 8 - 11 inches above the strings, with the Pan

position set to right of center. Position the piano’s lid at full stick. (see Fig. 4A)
If you are using a single microphone, position the microphone approximately 8

inches from the piano hammers (to reduce mechanical noise) and 8 - 11 inches

above the strings - centered over the piano’s mid point. Pan position should be

centered and the piano’s lid should be at full stick.

Upright Piano: With an upright piano, the two microphones are generally

placed either just over the top of the piano with the top open, or you can remove

the piano’s front panel beneath the keyboard and place the microphones below.

Recording Vocals and Dialog

Ideally, you want to record vocals in a relatively “dead” room. If you clap your

hands and get an echo effect, you should consider adding some carpet, blankets,

drapes, or other sound absorbing materials. On that note, make every effort

to avoid getting too close to the room’s walls. These hard, reflective surfaces

can easily complicate the recording process. Move your mic setup toward the

room’s center.

Generally, you should position the vocalist roughly 6 - 8 inches away from the

microphone. Getting too close to the microphone tends to increase bass response

and can create problems with plosive sounds - those popping Ps, Bs, Ds, and Ts

(more on this in a moment). Getting too far away makes the microphone more

subject to picking up room ambience - a sound that creates the effect of the

vocalist being in a bowl. While vocalists may need to move about in order to

hit those high notes, make every effort to maintain a constant distance from the

microphone, as this will provide the greatest tonal balance. (see Fig. 1) For the

most part, the microphone’s axis (or center line) should aim toward the nose and

mouth to obtain the fullest sound. It’s not a bad idea, however, to experiment

angling the microphone slightly away from dead center so as to help minimize

plosives. Further, you should always place a “pop” filter between the vocalist

and the microphone, with the pop filter positioned 3 - 4 inches in front of the

microphone. This will greatly increase your ability to achieve the most natural

sounding recordings with minimal interference from plosive sounds. Fixing

plosives with audio editing software often creates more of a problem than the

plosive itself. Use of a pop filter will also protect your microphone’s sensitive

capsule - keeping it free from moisture caused by saliva projecting from the

performer’s mouth, and breath condensation. Remember… Good microphone

technique, proper positioning, and use of a pop filter can make all the difference

between a so-so vocal recording and a great one.

Fig. 1

Fig. 4A

Top View

or a single mic here

Front View

or a single mic here