Скачать с ютуб Upright Piano Mic Shootout 4/5, combinations: Neumann KM184 Coles 4038 AEA A840 TLM102 Avantone CK40 в хорошем качестве

Upright Piano Mic Shootout 4/5, combinations: Neumann KM184 Coles 4038 AEA A840 TLM102 Avantone CK40

Here’s the 4th part of our upright piano mic tests, this time using the same mics for overheads and room and changing the central mic. Chapters 0:05 Intro riff 0:33 All The Things You Are (Kern) 01:34 Driftin’ (Hancock) Mics: Overheads: Neumann KM184 Room spaced pair: Coles 4038 AEA A840 ribbon Avantone CK40 stereo LDC Neumann TLM102 spaces pair We settled on the KM184s as overheads, due to the clarity and detail they offered, along with the Coles 4038s as rooms for low end and warmth. See the other tests for SDC and ribbon comparisons. In this final test we swapped out the central mic to see what other character could be added. The overheads give the details and the rooms the warmth but it felt like some punch could be added in the middle to bring out the percussive character of a piano. The AEA didn’t really work as it added a similar character to the Coles, which we already had to cut a few dB at 200-300hz, because in a small room like this they are almost too sensitive in the low mids. The TLMs worked really well in offering some punch. However having two mics on stands either side of the pianist was not ideal as it slightly hemmed in the player. The Avantone worked really well here. The mic could be positioned behind and above the player and the stereo set up offered more panning options. For a simpler set up we could have used the U47fet or one of the TLMs as a centre mic. These tests were to find the best multiple mic set up for when we record the piano to be used on its own or with a vocalist. For recording piano to sit in a mix you could simplify the set up, maybe using the 84s or Calrecs on their own adding a bit more depth/warmth to a SDC pair, or using the 184s with one of the Coles as a mono room mic (we used this set up for a recent recording where the piano would sit alongside guitar and bass). We’ve also since added a mic bar to the wall above the piano making it quicker to set up the overheads and reduce the number of stands around the piano. It also gives us more L-R separation for panning. Results: We’ve settled on the following set up for recording upright piano: KM184s as ORTF overheads (panned hard L-R) Coles* ribbons as spaced pair room mics (panned 50% L-R) Avantone CK40 as centre LDC mics (panned 10-15% L-R leaving space in the middle for vocals/bass etc). Depending on the line up and style, we might use just the warmer SDCs, or the 184s with a mono room ribbon or LDC, or possibly the SDCs, TLM pair and mono ribbon for a punchier sound. However, for maximising all the overtones and nuances of the upright and trying to get as close to a ‘grand piano’ sound from an upright, this multiple mic combination set up works really well. We’ve since replaced one of our Coles with a pair of Extinct Audio BM9s, such a similar sound to the Coles bit without the need to cut the low mids and lighter so easier to position.. (we kept one for use with instruments like trumpet and strings or for use as mono room mic).. So we now use the BM9s as room pair..