<HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=iso-8859-1"> <META content="IncrediMail 1.0" name=GENERATOR> <STYLE>v\:* { BEHAVIOR: url (#default#vml) } </STYLE> <style>v\:* { BEHAVIOR: url (#default#vml) } </style>  </HEAD> <BODY style="FONT-SIZE: 12pt; MARGIN: 5px 10px 10px; FONT-FAMILY: Arial" bgColor=#ffffff background="" scroll=yes> <TABLE id=INCREDIMAINTABLE cellSpacing=0 cellPadding=2 width="100%" border=0> <TBODY> <TR> <TD id=INCREDITEXTREGION dir=ltr style="FONT-SIZE: 12pt; DIRECTION: ltr" width="100%"> <DIV>      Ric's recommendations are appropriate for all types of music. As long as you are using unidirectional mics (picks up sound only in a frontal pattern) rather than omnidirectional (picks up a full 360 degree pattern) and place them closer to the front of the piano (a D is pretty long!), you should be fine. (If you're using a mixing board and have good mixing abilities, you can add some mics to the rear of the piano and MIX them with the other 2 up front to get a more controlled sound, BUT... Once the mix is recorded, that's that! There is no going back to change that mix after it is recorded (unless you record all mics on separate channels in the Pro Tools software). Also, if you place any mics UNDER the piano, then you must reverse the phasing on those because they will be picking up the SB's vibrations OPPOSITE of the mics above the SB. If you are interfacing with a mixing board rather than directly into the sound card inputs, then the board will usually have a phasing option on the input strip. Be sure to record the raw sound, no EQ or compression enabled on the mixing board. The complex frequencies of the piano are not so easily manipulated without undesirable results... And you can do some great enhancements with Pro Tools that include limited EQ or compression. Make sure you record in STEREO... This will add so much more to the recording and make sure the left microphone is in the bass!</DIV> <DIV>I hope this helped somewhat.</DIV> <DIV> </DIV> <DIV>Larry Trischetta</DIV> <DIV> </DIV> <DIV> </DIV> <DIV>>>>In classical music in a big hall you very often find just 2 mikes placed</DIV> <DIV>at a height about halfway between the top of the rim and the open lid</DIV> <DIV>around 1 to 2 feet away from the instrument. Direction is a trial and</DIV> <DIV>error game but often enough you are looking to point them at one</DIV> <DIV>reflective point from the lid.  But really... there are lots of</DIV> <DIV>techniques different sound technicians will employ.</DIV> <DIV> </DIV> <DIV>Cheers</DIV> <DIV>RicB</DIV> <DIV> </DIV> <DIV> </DIV> <DIV>    I'm looking for suggestion on techniques for recording a Steinway D.</DIV> <DIV>    Mike</DIV> <DIV>    placement, type of mike, etc. Any ideas on methods to reduce damper</DIV> <DIV>    swoosh</DIV> <DIV>    and clunk would be appreciated as well. Pro Tools will be the recording</DIV> <DIV>    software.</DIV> <DIV>    Thanks in advance!</DIV> <DIV>    Scott Rogers, RPT</DIV> <DIV> </DIV></TD></TR> <TR> <TD id=INCREDIFOOTER width="100%"> <TABLE cellSpacing=0 cellPadding=0 width="100%"> <TBODY> <TR> <TD width="100%"></TD> <TD id=INCREDISOUND vAlign=bottom align=middle></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE><SPAN id=IncrediStamp><A href="http://www.incredimail.com/index.asp?id=101218&rui=90101378"><SPAN name="imgCache" border="0"><IMG alt="Free Animations for your email - By IncrediMail! Click Here!" src="cid:6B4770DD-E90B-4C15-B200-4585D9C7616B" border=0></SPAN></A></SPAN></BODY></HTML>