Stereo Mic'ing

The extreme frequency range of the piano combined with the broad throw makes stereo mic’ing with one or more matched pairs the de facto standard. The exact placement has a great deal to do with the type of tonality you’re going for. In most cases, the lid should be all the way open.

Close Mic'ing

Pop/rock recordings (where the piano needs to cut through other tracks) are often achieved by close-mic’ing the hammers. Start by placing a matched pair of cardioid mics face down about six inches above the hammers and about one-third from each respective end. Be careful not to place them so close to the hammers vertically that the pickup area is restricted to only part of the required range of notes. Experiment with the distance between mics until you get the desired balance of wide stereo imagery and even response across the entire range.

You may also need to angle the mics slightly away from each other in order to improve separation. Experiment with distance from the hammers to achieve the desired balance of percussive attack and full body. You can also try moving the bass mic further down the harp away from the hammers to achieve a bigger, warmer sound.

Distance Mic'ing

The jazz and pop ballad genres typically require the fuller sound attained by positioning the mics further away from the hammers. Place a matched pair of cardioids at a 45-degree angle in the deepest part of the curved side of the instrument, with one mic facing the performer and the other facing across the harp. Start with a separation of three to six inches, decreasing the angle if you move the mics further apart. It’s also perfectly valid to try an X-Y or other coincident configuration at this position. The vertical position should be about halfway between the strings and the open lid.

Classical and solo pianos often benefit from distance mic’ing. Experiment with placing the mics four to eight feet from the curved side of the piano and at heights from five to twelve feet.

The closer the mics are to each other, the more intimate the sound. Conversely, moving them further apart makes the piano sound larger. As always, cardioids will focus the sound more on the instrument.

Some engineers like adding another microphone under the piano facing up to the soundboard to capture the warm, mellow sound of the resonating wood. If you have enough condenser mics at your disposal, try a combination of close-mic’ed stereo pair on top, a single mic on the underside, and a matched pair for distance-mic’ing to capture the sound of the hall.