Recording a grand piano is TRICKY - here's what I learned.
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- Опубліковано 19 чер 2024
- This video is about how to record a grand piano using various microphones, specifically about the setup that I used for recording an upcoming solo album. The mic tests start at 5:36.
Pouya Hamidi - pouyahamidi.com/
00:00 Introduction
05:37 Zoom H5 -- Run down the keys
05:44 DPA 4011A
05:52 Soyuz FET 013
05:59 DPA 4006A
06:06 Soyuz FET 013
06:14 Rode NT2-A
06:21 both DPAs
06:29 DPA + Soyuz*
06:36 Soyuz + Rode
06:44 Zoom H5 -- excerpt from Salad Music
06:54 DPA 4011A
07:03 Soyuz FET 013
07:13 DPA 4006A
07:23 Soyuz FET 013
07:33 Rode NT2-A
07:43 both DPAs
07:53 DPA + Soyuz*
08:03 Soyuz + Rode
08:13 Zoom H5 -- excerpt from Coucou Waltz
08:33 DPA 4011A
08:48 Soyuz FET 013
09:07 DPA 4006A
09:21 Soyuz FET 013
09:41 Rode NT2-A
10:00 both DPAs
10:14 DPA + Soyuz*
10:33 Soyuz + Rode
10:51 Conclusion
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*Timestamps for mic-tests:*
05:37 Zoom H5
05:44 DPA 4011A
05:52 Soyuz FET 013
05:59 DPA 4006A
06:06 Soyuz FET 013
06:14 Rode NT2-A
06:21 boths DPAs
06:29 DPA + Soyuz*
06:36 Soyuz + Rode
06:44 Zoom H5
06:54 DPA 4011A
07:03 Soyuz FET 013
07:13 DPA 4006A
07:23 Soyuz FET 013
07:33 Rode NT2-A
07:43 boths DPAs
07:53 DPA + Soyuz*
08:03 Soyuz + Rode
08:13 Zoom H5
08:33 DPA 4011A
08:48 Soyuz FET 013
09:07 DPA 4006A
09:21 Soyuz FET 013
09:41 Rode NT2-A
10:00 boths DPAs
10:14 DPA + Soyuz*
10:33 Soyuz + Rode
Thank you for the time stamps!
@@NahreSol Thank *you* for the video and knowledge!
What was the piece you played in the last round of tests btw ? Is it one of yours too ? It sounds a bit like Ravel to me. I love it !
@@NahreSol Hey Nahre if you copy-paste these timestamps into the description with an introduction at 0:00 and a conclusion at 10:51 UA-cam will automatically create 'chapters' in the 'seek bar' timeline.
Just like this (you can copy-paste it as is):
0:00 Introduction
05:37 Zoom H5
05:44 DPA 4011A
05:52 Soyuz FET 013
05:59 DPA 4006A
06:06 Soyuz FET 013
06:14 Rode NT2-A
06:21 boths DPAs
06:29 DPA + Soyuz*
06:36 Soyuz + Rode
06:44 Zoom H5
06:54 DPA 4011A
07:03 Soyuz FET 013
07:13 DPA 4006A
07:23 Soyuz FET 013
07:33 Rode NT2-A
07:43 boths DPAs
07:53 DPA + Soyuz*
08:03 Soyuz + Rode
08:13 Zoom H5
08:33 DPA 4011A
08:48 Soyuz FET 013
09:07 DPA 4006A
09:21 Soyuz FET 013
09:41 Rode NT2-A
10:00 boths DPAs
10:14 DPA + Soyuz*
10:33 Soyuz + Rode
10:51 Conclusion
Yay! Got a heart by Nahre and my suggestion was implemented into the description.
-Strangely, it appears that the chapters haven't appeared automagically yet-
Upon watching UA-cam's official video introducing the chapters feature, I realized that the reason it didn't appear is because some timestamps are within 10 seconds of each other. The only way to prevent this would be to group the various setups into 'Hard', 'Medium' and 'Soft' sections, which in this case would defeat the entire purpose of providing timestamps.
I like how you use octave as a unit of spatial measurement. "eerrr it's about an octave away"
:D
My phone's about an octave long
@@ammyvl1 same
Noone:
Pianists: measures with octaves (and other intervals) XD
Arabic speaking people use a similar measurement they call a "shiber" which is top of pinky to tip of thumb on a splayed hand. It's very inaccurate as people have different size hands... But people still use it quite commonly, it's like measuring feet in some sort of awkward steps
You know you're a pianist when you measure lengths in intervals
4:51
Hahaaa tru
haha
As a non-american, it still makes more sense to me than the imperial system!
@@zede77 I propose we abolish all systems of measuring length and replace it with intervals
@@galvinn I'd agree with that but after a quick search it seems that there is no standard for the size of an octave. We're doomed.
As a sound engineer, this only is a testament to the fact that at the end of the day, the artist makes the sound. You can have $5000 worth of a mic locker but if the musician can't play, then thats just a pure waste of money. I loved the sound from ALL the mics tbh. My personal favourite are the Soyuz FET Omnidirectional but even the Zoom was beautiful.
Thank you!
Absolutely nothing wrong with the Zoom. I felt that none of them really communicated any low end authority. I really think you need a good large condenser like an AKG414 or similar to capture the low end properly.
totally agree!
@@rodnattrass7021 it was probably just the youtube compression, typically piano recordings don't require thumping bass anyhow. Also capturing the low end has more to do with mic placement than the mic itself if they aren't trash.
I’ve always had good results in the low end by putting a mic right above the bass bridge, where it connects to the soundboard. Try it and see how you like it.
@@rodnattrass7021 does the larger condenser size actually correlate to capturing more low end??
I’m impressed by how good the Zoom H5 sounds. Either that or my “made-in-the-60’s” ears have achieved vintage status
I am very happy with my ZOOM H4N Pro. Essential kit for any musician.
I'm with you on this. Very impressed.
A coincident pair must always be a good starting point for stereo. But do UA-camrs always listen with headphones or through a stereo setup? Probably not!
That is funny, but sad. I am with you bro!
I chose the DPA and Soyuz set up before she mentioned she went with that combo, but I was extremely impressed with the h5 and commented that the h5 recordings were excellent because of her playing that it’s not even noticeable unless directly compared to the other set ups. Most people wouldn’t even know the difference when listening as there wouldn’t be a reference to hear it against by the same person. I chose the dpa and soyuz, but the h5 holds its own!
Hi Nahre, I'm a pianist who discovered and developed the most accurate piano recording technique. It's based on some simple solid principles: 1. The piano is a stereo instrument, not a monaural instrument. 2. The sound does not emanate out the side of the piano. 3. A propped up piano lid does not act like the bell of a large brass horn. 4. The only person in the room who
hears the piano correctly is the pianist. I made these discoveries by walking around a grand piano, lying underneath it, and sticking my head in it while it was being played. Here is what I discovered:
1. The true stereo sound of the piano emanates off the top of the strings, not out the side of the piano. The pianist hears high notes in his/her right ear, middle notes with both ears, and bass notes in the left ear. This is stereo.
2. The audience hears a monaural sound, not stereo, because they sit at a 90 degree right angle to the hammers, whereas the pianist sits parallel to the hammers and strings, hearing true stereo.
3. Propping up the lid only funnels the monaural sound toward the audience. It doesn't help the audience hear stereo piano a single bit. The monaural sound is a mixture of all notes with no separation between lows on the left, and highs on the right.
4. The funnel sound point on the side of the piano is exactly where the prop stick is positioned. This is also where the hammers line up at 90 degrees in a straight line to the audience, so the audience is actually hearing all the 88 strings lined up like train cars, one behind the other, all coming toward their ears. This is why they can't hear stereo piano, like a stereo sound system. Instead of a left and right speaker, both speakers are stacked on top of each other and the audience hears a funneled mixture of monaural sound.
5. The articulation of each note emanates from each hammer striking its strings. This articulation, particularly in soft passages, is lost when sitting in the audience, because the audience can't hear any separation between strings which are being played and strings which are already sustaining notes.
RECORDING TECHNIQUE: To record the true stereo piano, you will need at least two microphones (expensive or not) and at least two recording tracks in your recorder on which to record. The mics should be on boom stands so they can be positioned, suspended above the hammers, and placed facing down toward the hammers and strings about 12-18 inches above them, depending on the intensity and volume level of the musical work being recorded. Closer micing for pp and farther micing for fff overall volume levels.
Depending on the intensity and volume level of the music to be recorded, the right mic should be about 12-18 inches in from the right side of the piano rim, and the left mic also about 12-18 inches in from the left side of the piano case rim, both suspended above the strings facing down toward them.
If you have a third track on which to record, and another mic, place it in the middle of these two mics, 12-18 inches above the hammer of middle "C".
THE ESSENCE OF THE PIANO'S SOUND:
Keep in mind that the key to understanding exactly where the piano sound emanates, is knowing that it is completely dependent upon the hammer hitting its strings. The "hammer-string" relationship is the equivalent of a violinist using a finger to pluck a string. Your finger's extension is the hammer. It is the thing that articulates your expression upon the strings. The soundboard is only an amplifier of this. So understanding that this "hammer-string" event is the essence of the piano's sound, results in a conclusion of placing microphones, directed at the hammers and strings. This sound is what you listen for when you play, and it's what you expect the piano to produce when you touch the keys.
Now, these mics will hear exactly what your ears hear when you play the piano. After you make your recording, you should mix the tracks appropriately according to your natural hearing. Right track panned fully right, left track panned fully left, and center mic dead center. You can E.Q. the tracks as needed for richness in bass on the left channel, and crispness of treble in the right channel.
This technique is the most accurate way to record piano. If you have extra tracks and extra mics, you can place a couple inside the piano over the strings, but they will only be a redundancy of what the "over the hammers" mics have already recorded.
For decades, engineers have been incorrectly recording piano, mostly because they falsely believe that the raised lid of a piano is like the bell of a large horn where the sound comes from. Wrong. Secondly, engineers don't know how a piano is supposed to sound, since they don't play piano, and they don't sit on the bench when listening to it. Conversely, pianists are not recording engineers. Neither understand what to do, because they live in different worlds.
If I hadn't been a pianist who learned recording techniques and then experimented with both, I would never have discovered how to accurately record piano.
MICROPHONES:
The cost or quality of your microphones is far less important than your placement of them. I've made great piano recordings with inexpensive mics, (dynamic or condenser cardioid pattern costing less than $500 each) because the piano was rich in tone and well tuned. I've also made lousy recordings using very expensive mics ($1,500 - $3,500 each) because the piano was not well voiced or regulated, and it was out of tune. I recommend cardioid pattern mics, but keep in mind that the world of microphones is similar to the world of pianos. Some people believe they can only play well on a concert grand Steinway, Bosendorfer or Fazioli. Others, who are really good musicians, can get a great sound out of a baby grand Yamaha, or even a vertical piano because they are skilled musicians. You don't need expensive mics to make good recordings. It is your recording approach and technique that is most important.
PIANO TUNING:
One thing that is critically important is the fact that the piano MUST be in tune to get a good recording. Everyone who listens to professionally recorded piano music has listened to a piano which was freshly tuned before the recording session. If the piano is out of tune, the mics will pick it up and the recording will amplify it.
The human ear is very forgiving when listening to live music, and it adjusts to and compensates for out-of-tune instruments. Most pianists and piano students are not real familiar with what a tuned piano sounds like, since piano tuning can be expensive, and most pianists are less concerned with the piano's sound and more focused on playing the musical work. They are used to playing on out-of-tune pianos.
But if you intend to make any piano recording which is going to be played for public consumption, you must make sure the piano is freshly in tune. If it is not, your recording will sound cheap, sour, and bad. In this case, I recommend using an electric piano which is in tune, over an acoustic piano which is out of tune.
Regarding your Zoom recorder, which has a built-in X/Y microphone pattern...it can make very good piano recordings if mounted to a boom stand which can suspend it about 12-18 inches above the hammers facing down toward the strings, above middle "C". It won't be quite as full as using two separate mics described above, but it will still represent the true stereo sound the pianist hears.
In summary, I suggest you try this recording approach. It took me several years to discover and perfect it, and it won me a Grammy nomination. It will be the best approach to deliver the true stereo sound of the piano, which is exactly what you hear when you play it. Good luck !!
Of all the comments I've read on this post, this one makes the most sense. I've been trying to find info on the microphone placement that Glenn Gould used in his recordings and I think this method is probably pretty close.
@@DavidBarilAlmonte When Glenn Gould recorded the Goldberg Variations in 1955 (Gould's first and original recordings of this work) he recorded at Columbla Studios in New York. They recorded it in monaural not stereo. They used a large studio, as was the norm then for a bit of echo, and they used large RCA ribbon microphones, placed near the side of the piano, and at about 10 feet back and 7 feet up on a
boom. The engineers back then, believed that this would mimic a concert hall effect. They were wrong. The acoustics in concert halls vary tremendously, depending on the size, the number of people in the room and a hundred different variables. Even so, a concert hall is the worst place to hear any soloing instruments because of competing sounds and the distance from the ear to the instrument.
Most recordings of piano, either in studio or in live concert performances, are sub standard, because there is too much noise, competing sounds and incorrect mic placement. Engineers still fail to understand the sound of stereo piano. They continue to place mics in the same places that they have been placing them since recordings began. They never question this placement, because they never experiment with mic placement, mainly because they are NOT pianists, so they don't hear what the pianist hears.
To answer your comment, my microphone placement approach is not at all what the Columbia Records engineers used. They used the standard old method I described above which is the raised-lid piano side addressed by at least two or more microphones. But since there was no competing sound in the studio at the time of his recordings, and since the Steinway model "D" concert grand piano was in perfect tune, the recordings that Glenn Gould made came out very well.
There could have been greater separation between the bass and treble sections of the recording, however the Goldberg Variations were recorded before stereo recordings were really perfected, and certainly before stereo recordings were in wide distribution for public consumption.
If it is of any help, try to keep in mind that while listening to Gould's recordings, it is far less important to pay attention to the sound quality and far more important to pay attention to the composed music and to Gould's playing. Since the recording is good, it is not something that requires any attention or concern.
It is his marvelous playing that catches the ear and commands the imagination of the listener. With regard to microphones, I have made great piano recordings using cheaper low grade mics in correct stereo placement when a piano was in tune, vs. crummy piano recordings using top grade Neumann microphones, placed in traditional monaural positions on out-of-tune pianos. If a recording engineer gets the most important aspects of a recording set-up correct, the importance of using high-priced microphones is minimal if not even unimportant. Too many people have placed too much importance on expensive recording gear and not enough importance on proper approach. Real talent and artistic ability always sounds great regardless of how much the recording equipment costs.
Jennifer, thank you for sharing your expertise and extensive knowledge.
I was a sound engineer in another life, so my observations are based on my older experiences. Yes, recording a piano is tricky and so many artists have different ways of approaching it. For example , did you try placing a cardioid mic about 2 feet behind your head? One artist I worked with liked to have a track where he could hear the sound from his POV. Sometimes the track gives a slight presence to the overall recording. I have also placed a mic *under* the piano to get the ambient presence as a solo track to work with. The artist and the engineer can have two completely different concepts of what makes a good recording and this is where a good Producer can be a godsend.
Also, looking at the room, you have a lot of glass to work with, which is not at all great for recording. All kinds of reflections and slap-back can occur that will spoil the recording. Besides closing the curtains, were you able to use any sound baffles, like big foam rubber patches you see in studios? This helps a lot, even for small home studios. I realize you were borrowing the space as well as the piano(thanks, Romano family), so things like blankets, foam rubber in key places to deaden echoes, etc, are one way to help control the sound of the room without causing too much chaos. You have a beautiful piano to work with, but your recording environment is at least as important, if not more so, to your end result.
On headphones, I personally liked the DPA 4011s for their warmth and presence in overall sound quality. UA-cam compression really crushes the high frequencies, so it's sometimes hard to tell the difference in mics because the high end is rolled off so much. I think your mic placement is fine for your sessions but as you do this more, you will find the subtleties and sound qualities that you like best.
Looking forward to listening to your new album when it's available. Best of luck.
Lol you were you Jekyll and Hyde?
Great write up of considerations-esp. with room acoustics! Agreed on the DPA’s. The Soyuz with omnis came close spaced parallel config, but was missing some of the detail of the DPA’s. Thanks for sharing, Nahre!
It would have been a very different experience at 96k @ 24bit. And the room is as large a character in this story as the instrument. There are standing waves everywhere in the recording, the lid, the walls, the floor. But it is a very objective comparison of the microphones. I have to say that the consistency of the performance was very impressive.
Wow! Thank you for your comment! Very insightful and helpful!
This interaction now makes sense
Jake - "What happened to the Bluesmobile?"
Elwood - "I traded it for a microphone."
Jake - "..ok"
It's not easy or simple, that's why we have audio engineers and recording technicians etc. of which i'm one.
Can you do it on your own? Yes.
Will it be as good as someone who knows exactly what they're doing? No.
But there's no one "best" sound, they're all different. Every technique creates different balance, different stereo field, different mood.. every mic creates different phase relationships different frequency response, different resonances... and they all might work for different mood and it depends on the song and feeling you want to achieve on what you need,
So yeah.
Keep your audio technicians employed! :D
Yes!! Keep sound engineers employed. They are so necessary and essential to the music world and the craft itself is so fine.
So true! But if you don't want to make albums and just personal recordings for yourself and your students, hiring a sound engineer is unaffordable. And this way we could still get decent enough results. So thank you for sharing!
The end result for me is that those Soyuz miss are fantastic = They sounded way more lively to me, especially place further away they are the most musical of the lot - the DPA 4011A sounded more analytical, and the Rode had more of a room sound, but the notes just seemed to bloom more with the Soyuz. Great video !
Thank you!!
At first I must say preferred the setup with the DPA 4011A & DPA 4006A mics( 7:42 ) but after a few repeated listenings I think you're right about the Soyuz ( 7:52 )... The soyuz sounded almost a little sharp(?) when close to the piano but very detailed and alive further away. The DPA's sounded like they had a larger soundstage with a.. "rounder" sound though, but I ended up liking the Soyuz sound ;)
Edit: I forgot to mention, beautiful music Nahre! Can't wait to hear the whole pieces, especially the one from the 8:13 testing.
@@wokex i agree. The DPA's had a rounder and wider sound to me than the Soyuz. But the Soyuz was crispy and brighter in comparison at times. The Rhode for me doesn't come close to those 2.
@@wokex Yeah DPA sounded warmer and Soyuz sounded brighter. With the Soyuz further away though I think it captured the resonance a lot better than the DPA that was placed further back and added fullness without being too bright.
@@Peer_Review Really well put!
seems cool, but first i need the grand piano.
Seems cool, but first I need to learn to play the piano
@@samvitpremsinghal9460 Seems cool, but first I need a room big enough for a piano
seems cool, but first I need an intention to do all of that
I have one :)
@@ericdrummer3659 Seems cool, but first I have to stop being lazy to even think of an intention
Nahre, I look forward to the day you release your album. Each and every piece you've put out has inspired me, and this album will undoubtedly be a highlight of the year for me. Good luck with wrapping it all together! :)
Thank you so much! It means a lot to me!
This video makes things seem so much more attainable. It’s still stressful and I feel like I’m going in blind because my “recording technology” courses as a music major were “here’s Sibelius and Finale and this is what they look like”, but this gives me the energy to just go for it and do my best!
As a film composer i'm recording piano quite often. Everyone has there option own how to achieve the best results. Mic placement is everything and i'm happy to see you testing. So many great classical performances out there with not so great recordings.
I prefer using 5 mics. To pencil mics in the piano close to the hammers, my modified u47 at the the feet of the bass strings, and two additional pencil mic outside the piano pointed at the piano (one behind the other at different lengths). Main thing to watch for is phasing and the mic outside the piano would be placed based on the natural acoustics of the room. Without that u47 i find most piano recording to lack the low end growl.
Looking forward to buying your album and happy to hear it's being made.
Any pencil mic recommendations for people on a budget?
"Pencil mics" sounds so cute! lol
Is that an actual expression overseas or your own invention? :D
@@WarrenPostma Try looking into Lewitt Mics! I have heard a lot of good stuff about them and they're quite affordable. The 040s are 185€ a pair and if you wanna have more switches and options then the 140 AIRs are 290€ a pair. Those are just cardioid, which are useful for most stuff. But if wanna have a more open sound, got a good room and want to have all the aspects of it recorded, then omnidirectional mics (or mics with switchable capsules) are the way to go.
@@RanDieBam I'm not sure what you consider overseas or where in the world your located but here in Los Angeles in all the major studios which i work out of mostly, this is what we call them. All the engineers ive worked with located in London also uses this term. My understanding is it's widely excepts as common studio language.
@@WarrenPostma in my option best thing to do is to rent different mics and see what you like. The biggest issue is different mics will sound differently based on audio interface as well as mic pres. The mic pre makes all the difference in the world. I personally like Neumanns. Any Km series will sound great. If you have no money then i say find a shure sm81 or akg 451. There is no one way to record a piano. I rather have one really good mic than 5 inexpensive mics that have cheap chinese capsules in them. Renting is always a great way to go as well.
4:51 - Haha, only a pianist would measure distance in octaves. (I love it!)
This is really cool. I was mic-ing a grand piano in our church once, and of course I was limited to the mics we had on hand, and was mic-ing singers and other instruments as well, and of course they had very limited attention spans… so the best I could come up with before everyone got there (i.e., maybe an hour or two to set up my computer and experiment with the mics and resulting recordings) was to stick one of the vocal mics by that curve of the piano similar to what you had -- but only one mic, and I put it in farther, inside the piano, not too far above the strings (maybe half an octave to an octave… haha). The sound quality actually turned out pretty nice for what we were doing, and it was just a one-off recording, so not as big a deal as if we were doing something on a recurring basis.
But it's really nice to see these specifics if you have more equipment and need a more professional recording. And I love that you have all the different options with the stats and images on the screen while we hear the recordings. Very nice way to compare them! This lets us get a better idea of what we can do, even if it's not the same choice you make -- others may want a different sound or might have budget limitations. (And, as you mention, the room makes a big difference in the sound, too. I feel like the closer you get the mics to the piano, the less difference you get from the room, though. Obviously, you have to turn the gain down, too.)
You ended up mixing mics together. I've also found (in my very limited experience) that can give you a good "best of both worlds" sound mix. (I've also found that's true for mixing speakers and even speaker enclosures for setting up a home theater system.)
No one is talking about how you set up mics for a piano and singers in under 2 hours. Props to you dude!!
It was very interesting to hear the different setups! I love nerding out like that! I think the double DPA pairs had an extremely acoustic sound, like you were right there in the room, almost like a documentary. But I agree about your remarks on the 013. Their involvement had a certain little shine appear in, that I’m finding hard to explain. I have used the Soyuz 013 in a crappy room on my small upright piano. I tried a lot (with pretty blurry outcomes), but for my situation they really opened up when I used Hypercardioid capsules and put them close to the strings. I somehow had to end up fighting the room, instead of making use of the room. Mic’ing a grand in a nice room though is mysterious to me. I’m So happy for you that you got to have this close collaboration with your engineer!
Soyuz seem nice as a slightly thicker vibey sdc, but wow, I've never heard DPAs and they were my favorite by far in this shootout. Beyer MC930 is a very underrated sdc at a reasonable pricepoint.
So grateful for your efforts in putting out this video! Learned a lot. Can't wait to listen to your album too!
This demonstration is gold. Clearing up so much stuff. Thanks Nahre!
Great video, Nahre! It was so fun listening to all those mic setups. Anyone looking to start a channel ought to see that the zoom is a great place to start. I liked the Rode pair the best!
Aimeeeee Nolteee!!! Great teacher
Aimee!
I Agree,, they sound the best
I’m a huge fan of yours, can’t wait to hear the album. Also really appreciate the knowledge and the sharing of the process
Listening to this 3 years later is a little surreal. Your Alice in Wonderland album has been released for some time now and with every listen i grow to appreciate it more and more. To see the deep experimentation that went into just the mic-ing of the piano alone makes me love the alchemy of the album even more ❤
So glad I found your video! Helpful - but also, I just love your style as a musician! Thanks for putting yourself out there into the world.
I’m currently in the same boat and was glad to see that I’m not alone in these challenges. The four mic setup that you decided upon sounded the best to me out of all of them. Your music sounds super dope and I can’t wait to get the album when it comes out!
I could listen to these sound test all day. Your playing is such a treat and really gets right to my heart. Can't wait to check out the album when it drops. Good luck!
Fascinating - always an elusive perfection. Thank you for sharing your thoughts and examples. And your performance(s) are wonderful.
Very excited for the album. I agree with the choice you guys made on the microphone setup. Sounds great.
Excellent video Nahre! I think your album will be great! I’m really looking forward to listen to it.
Thank you! This has been bugging me for a while now, and seeing the notification pop up with you explaining was a no brainer. Not only is it quite educational for a non engineer, it's fun to watch.
So grateful for content like this
You have inspired me! I compose, produce and love music and now I'm even more inspired to do what I do. Thank you for the fresh air!
After I listened to all songs with headphones, I was happy to see (and hear) that you chose the same configuration as I did (DPA 4011 A and Soyuz FET 013). Excellent video. Thanks for the upload.
Un vídeo para agradecer. Muchas gracias por el esfuerzo. All the best!
What a great video, thank you Nahre. I NEED THIS ALBUM!!!
Great video, I love when the piano sound is captures by the two pairs of DPA, sounds glorious.
The DPA + Soyuz setup gave those key actions and its sound sparkle. It’s the sweet spot in my opinion. This is a very thorough video. I appreciate your efforts for giving us all the audio set up comparisons. :)
I came for the experimentation, stayed for the soundbites of your lovely compositions.
Great clips @Nahre Sol, I can’t wait to hear the album. The prepared piano track sounds awesome, I love that sound! You’re fast becoming my favourite pianist, such great percussive attack, precision and sensitivity. Great channel too!
Love this nahre! Next time I play at a concert I'll keep this in mind because the piano always sounds quiet and bassy. Thanks so much! Love your videos always!
Yeah, the DPA and Soyuz resonated well with me too, and that's just listening on my cellphone. Thanks for sharing technical info!
Looking forward to hear more performances with these new mics setup.
Thank you Nahre. What a wonderful test!
OMG, love love love DPA. I do realize that these
are very expensive, but wow - incredible width
and depth and tone. Plus super nice playing too... :)
I love your devotion and the curiosity for learning new stuff! Respect☺️👍🎼 As a fellow pianist I found this very interesting, I am also taking my first steps with recording my grand at home. And - I also preferred the combination you chose, it had both warmth and clarity. Thumbs up, looking forward to hearing the album!
Nahre thanks for this resource! Absolutely appreciate your input and sharing your learning experience.
While watching I decided the 4011A / FET 013 combo was really special and my first choice. So glad that's what you went with! Great video, really helpful as an engineer to be able to share this with my musician friends.
Really appreciate what you are doing here to share!!! I just became a youtuber a year ago and still experimenting with different settings of mic and i only use H2N ... so far i learn i love the omnidirectional, the XY is to dry ... i can hear now different setting (without having headaches of setting up and moving around) from your numerous sample! Again, really appreciate! Thank you. I prefer for my taste the omnidirectional, richer, sweeter while still carries the articulation.
DPA 4011A + Soyuz is my favorite setup of every whom you showed. Harmonics gave me shivers with this one. Glad you decided to go for it !
This is so incredibly helpful! This came out at such a perfect time
Love your videos. Always informative❤❤❤
Thank you!!
Oh man, thanks so much for this video. I’m in the process of doing some piano recordings but am at a loss of the many choices in microphones, digital recording program…you are so amazing. Love what you do ❤ thank you thank you for sharing your time and talents.
You're not only a great pianist and student of many styles, you're an excellent communicator and moderator in life. A very special personality and hearr.
@Nahre, I have always struggled with the mic'ing thing. It's even trickier mic'ing an organ. Thanks for the video. This is a topic that needs more discussion within the music community.
Sweet, I'm super excited for this album. I've been wanting this for awhile!
Thank you so much for this! I have been playing grand piano my whole life but recording, audio mixing, etc is new and intimidating to me.
Yay! So glad you chose the DPA and the Soyuz! Sometimes mic setup can be dependent on the recording artist's style too, I think it brought out more of your personal touch compared to the DPA combo
Wow! What a great video. So comprehensive.
Thanks! Useful video and audio! Without knowing what the room sounds like, for me, I really started hearing tonal differences on your 'soft pedal' performances, especially once the Rode mics got introduced, and in the later DPA/Soyuz mic combos. But for me, I always thought it sounded better whenever the Rode mics came in. Appreciated your insight.
Love this educational/process content Nahre. Keep it up and keep experimenting!!!!!!
Thank you!!
Soo interesting thank you! Excited to hear your album:))
another fantastic video. so good as always, thanks!
Thank you so much for sharing those experiments! This video is really precious!!
Love this video! I am happy that the mic combo I liked the most turned out to be the one you picked lol
thank you SO MUCH for this!!!! I've been struggling on how to improve my own recording situation and this was so invaluable!!
Thanks for sharing this amazing journey. AND for providing all the details about height, angle, distance, levels etc. Super helpful for other pianists struggling with this black art of recording!
Fantastic video as always! Love the spirit-just keep leaning!
I love how you say "Now let's go practice" like it's a relief from all the engineering work. 😅
Sounds like twoset ...
Great to see this journey from the perspective of a musician!
As a audio engineer myself (recorded a decent amount of piano throughout the years) it is interesting to see what you were looking for in sound and practicality.
The solution you ended up with fits both!
The only thing I personally am missing from this setup (preference) is a good Tube or Omni cardioid LDC miced at the center of the piano, relatively high.
This for me has always been the mic i used the most to get the full ambiance and power of the piano and get a bit of natural room harmonics and reverb into the recording.
The combination of the pair of SDC's like you had setup close with the center mic is close to how I generally start my piano setups (when not doing spaced pair or 'musicians perspective')
What a fantastic video! Thank you so much for sharing the results in such an easy to follow and very detailed way all of your work! Your story resonates so strongly with where I’m at in my own journey right now! I have a good friend who is an audio engineer, and he and a few of his music friends have just started helping me make a plan, set up what I’ve got, pick ideal new equipment/mics and work in what I’ve already invested in for recording and streaming piano. My setup is similar to yours .. beautiful sounding grand piano in a very acoustic open room. Watching this has really helped me figure out my next few steps, and I feel like they are much better steps than the ones I’d have made before watching this. 🙏🏻
Thanks for showing your experimentation with us. So interesting. DPA 4011A + Soyuz FET 013 sounded quite nice.
The Soyuz in omni sound amazing in basically every example. Awesome video, Nahre!
I'm not a pianist, but I am trying to figure out more about microphones. I really appreciate you sharing your process of learning. I love what you're creating and I'm excited to see more what you will do. Cheers!
There is nothing such like "the perfect setup" it's very much how you want to you use sounds as colours and paint, your red is never going to be like mine due to micro variables that at the end are not important, and also makes the whole thing special.
As musician and music producer, I think this proves that at the end of the day the artists will make the sound he likes, and experimenting with sounds makes music worthy to make and live with the joy of creation.
I follow you since a while and I very much like your expression and mindset which you use to experience music and live about it, it's always a pleasure to see you videos
As a pianist who also records, this was a fun insight into your experiences! I've gotten experiment with a lot of different set ups over the years, and this was certainly enjoyable to watch!
Nahre, you channel is the coolest, thanks. You seem super cool. Sending the best vibes
I agree with the setup you settled on. It sounds by far the best to my ear!
Thanks.
Hands down, nothing was able to come close to the DPAs. Here in my Contour's/Bryston/Van Den Hul room, the 4006's made me feel like I was in your room with the piano right in front of me. Sooo 3D, detailed, deep, sweet transients, and beautiful tone, OMG. With both DPAs together, what a full sound (and the phase is perfect), congrats for achieving it. Not easy at all!
You are so great! She did such a great job! Very useful, thank you)
Can't stop listening to the awesome sound test melodies!
So far 2020 has been an avalanche of prolonged stressors, roller-coaster of emotions, a true game-changer (not in a positive way 😀), and hallmark of all sorts of uncertainty but your album is about the save the year from all of this Nahre! The long-awaited pain reliever and therapeutic release of the year! Its timing is just perfect for all of these reasons! I love the fact that it has no exact predetermined release date because I already know that this waiting period and predictable unpredictableness will bring wonderful elements of surprise along with the exquisite sound of a dreamer's optimism when it's most needed! :)) I'm literally counting down and I really CAN'T WAIT! Looking forward to experiencing it! :)
Wow. I’m just about 5mins in and you are blowing my mind. I don’t know where to begin. Your playing is amazing. You want to capture every sound coming from the piano. Keys to creaks of the pedals. And your knowledge on recording sound. I’m seriously impressed and admiring.
I wish I had a setup worthy of critical listening. A few mics I can hear harsh 2nd maybe 3rd order distortion. The stereo field changes a few times. But without the right sound reproduction setup I can’t hear enough sonic information.
Loved all of this! ❤️
Absolutely fantastic and exactly what I was looking for. Thank you 🙏
Great dedication - there is so much to learn
Can't wait for the album!!
Great video and great music!!
I’m impressed how the Zoom stood up to the competition!!
Great video! And amazing playing.
Thank you for sharing to such detail!
Thank you for sharing this experiment with us. I basically liked all the mics. Even the Zoom. The technology for microphones has really advanced. I’m a newbie at recording so Really appreciate you posting this. 😊🦅🎸
Great video Nahre!
Thanks for sharing!
Thanks or the consistently high quality content Nahre =] Can't wait to hear your project!
Thank you!!
I'm a trained pianist and an IT guy, two different careers I pursued independently. But this puts it all together, I love it! Thanks a lot! And I must add that I REALLY enjoyed the choice of music you put in this video, different, very nicely interpreted. I will buy your album. Good luck!
Thank You, I really enjoyed the video. Recording 24bit / 96k for grand piano was the correct choice. The microphone choice was smart using the x-y configuration and the high boomed stereo bullet microphones. I would say to use a larger capsule condenser microphone but you did try that with the NT 2’s. Your sound is clean and I did not hear any phase or cancelation. It’s a good idea that you got a second set of ears on the project with the engineer. The room itself is always the biggest struggle but you have a clean recording that captured what happened as far as I can tell. Brava!
I'm late to the party but I've engineered many piano recordings and I'm familiar with all of those microphones except the Soyuz. My usual choice for classical work is a DPA 4006 pair but the 4011's were very good in your situation and they instantly made me think I was in a jazz club. I didn't much like the Soyuz pair on their own, but I agree they added something attractive when augmenting the DPA 4011's. Another way to achieve that effect might be to add diffraction balls to the DPA 4006's. Anyway, congratulations on your recording progress and a tip of the hat to your engineer for guiding you through the process so effectively.
You inspire me because you are so calm and good at what you do. Thank you!!
Thank you! I appreciate that!
Listening to those several-thousands-of-dollars-for-matched-pairs of DPAs is revelatory. I can't hear anything at all to tell these apart through my mid-quality Pioneer DJ monitors, which I use for general purpose music listening and PC youtube audio. But through a studio quality set of Cans I can hear what's missing from the cheap mics that audio engineers prize in those fancy mics. Your sound quality is magnificent here. I don't think anyone will hear much through cheap headphones or cheap laptops, because so much of the signal is just destroyed with crappy headphones and crappy PC speakers.
Anyone who hasn't done this yet, go get a GOOD DAC and a GOOD PAIR OF STUDIO GRADE CANS and start listening to audio with them. Listen to this video with good Sennheiser cans, fed from a proper DAC/Headphone amp. You'll be shocked how lousy the audio output of most PCs and laptops really is. It's like someone took a shroud off of you, when you hear it.
Nice work that you have done. Thank you!!!
Thank you for this informative video! It will definitely help with my projects!!
Your videos are so well done!✌️
I just learned SO much watching this. Thank you!!!
Thank you very much for all the amazing stuff you share!
Can't wait to hear the album!!
Cool music. Great playing. Thanks.