recording experiment

[John Dutton]

Regardless of the type of microphone or pickup pattern there is what's
called 'proximity effect.'  The closer the microphone is to the sound source
the more bass 'boost' is generated.  Great singers know about this-sometimes
only instinctually-and 'work' the mic as an effect.  The same for wind
players of which the most obvious example is the Tower of Power.  An
additional note: by definition cardiod and especially hyper-cardiod should
reject sounds from the side and rear.  

 

Some of the newer Chinese made microphones sold by MXL or Rodes are pretty
decent.  Two of the most important things to know regarding any mic is the
pickup pattern (cardiod, omni, bi-directional etc) and the frequency
response.  For acoustic recording of classical guitar and piano it is
crucial to have a flat frequency response so as not to influence the
tone/sound quality of the recording.  A condenser mic is better than a
dynamic mic, and depending on the tube, a tube microphone might be the best
option.  A Shure 57/58 is not good for this for precisely that reason-it
boosts the high-mids.  I've attached a document on recording a grand piano
which is by no means an ultimate authority.  I don't necessarily use this
approach but it is a good beginning place to start.

 

Best regards,

John Dutton

Billings, MT

 

-----Original Message-----

From: Stéphane Collin [mailto:collin.s at skynet.be] 

Sent: Tuesday, 06 February, 2007 13:08

To: Pianotech List

Subject: recording experiment

 

Hello list.

 

I just bought some chinese microphones (very good) and did some recording
tests on my piano.  One thing was obvious : when you put cardioid
microphones close to a piano, it takes what is in front of it and nothing of
what is at sides or behind.  

-snip-

Indeed, this is so.  When you put the mics very close to the bridge, they
take all of the scale.  This seems to be very well known among recording
techs.  So I thought : why is that ?  The only response I could imagine is
this :  the bridge itself carries all of the vibrations of all strings
bearing on it equally.  It is the soundboard that reacts, with it's
different dimensions from trebble to bass, to the appropriate frequencies of
the strings.  

Any thoughts ? (sorry for my limit english).

 

Best regards.

 

Stéphane Collin.

 

 

 

 

 

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