It is relatively easy to find information on the techniques required to record a grand piano well, since a grand piano is the standard piano in most concert halls and large auditoriums. However, what about the home enthusiast, or just if all they have is an upright piano? The good news is that you can still be quite successful at recording your upright piano, but you may need to take a few extra steps to get the recording right. I’ll endeavor to outline these below, but keep in mind that since the layout of each piano is different, as is the layout and layout of the room it is in, these tips should be taken as a guide only.
For starters, most upright pianos are often stored with the back against a wall and, in fact, it is the rear that most of the sound emanates from. Most upright pianos will allow you to open the top lid on its hinges, but what about the section below the keyboard, above the pedals, or even the section above the keyboard, at the front? Again, every piano is different, but when possible, open as many as possible.
For the best recording, if possible, it is worth removing the piano from the wall so that you have unobstructed access to position the microphones facing the rear. If you are using two microphones for stereo recording, as a general guide, it is best to place them approximately one-third to one-half from the rear, from the bottom, and spaced equal thirds between them and to either side. However, multiple recording takes will be needed to verify the best position, which will also be affected by the type and model of microphone. Unfortunately, there is no one-size-fits-all rule in this case. Also, just for a little more variation, the room décor will affect the outcome, much as a sparsely furnished room with hard surfaces will sound more reflective and lively than a heavily upholstered and carpeted room.
Another point to keep in mind, if you use two separate microphones, such as a pose for a built-in stereo mic, is to make sure they are connected in phase with each other. Ideally they should also be the same model, but this is not essential. However, if they are out of date, the result will be substantially less than stellar. Phasing means that the microphones respond together, rather than in the opposite way. The best way to explain this (and test the result) is if you have a stereo system with separate speaker boxes, connected to an amplifier with ‘bare end cable’. That is, a wire that has a negative and positive wire that fits into a lug terminal, marked Positive and Negative. If you have this type of setup in your stereo system and you check that the left and right speakers are connected positive to positive and negative to negative, you have an in-phase system. Listen to a favorite track that you know well and then turn off the system.
Now, change the wiring of a single speaker, so that the negative wire goes to the positive terminal and vice versa. Turn on the stereo and listen to the same piece of music again. The music will play out of phase now, and when one speaker “pushes a wave” the other is on the bounce, so your ears and brain will perceive a “cancel” effect. This is the result of out-of-phase audio, and it is even worse if the signal is mono, since in this case there will be almost total mute of the audio. In the case of microphones, it is important that the phases are correct from the beginning, and the rest will be easier.
However, I am aware that some people like to use built-in recording devices, which have stereo microphones in a single cabinet, with the electronics to record an MP3 or WAV digital file right out of the box, ready to download to their computers. Some users have reported very favorable results with these systems, and that’s great. Again, the best advice I can give is to try various mike combinations and their placement.
I am well aware that the decision on which microphone to use is itself a debate that could go on ad infinitum, and therefore I will say openly that I will discuss the methods and microphones that I use, as I have had a lot of experience. success with them. My favorite mic is a USB-style large-diaphragm mic, which can record everything from speech to just about any musical instrument, as long as it’s positioned properly.
I have found that using two of these mics, with them pointing towards the back of the upright piano, is very effective. The Audio Technica USB2020 is an ideal microphone for this application, as it requires no configuration when connected to any modern computer, with Windows or Mac operating systems. I say this, as the computer will recognize the microphone and automatically install it as a sound source. , which you can then select, when recording, using your favorite audio recording software. I can recommend the free program Audacity, or Sony Audio Studio, which is more complex to use, but very detailed, in terms of the features and options available to ‘sweeten the sound’.
I also know about the H2 microphone, as a complete self-contained package that includes the digital storage and USB output, for connection to your computer. At the end of the day, your choice of microphone is personal. However, an advantage of this unit is that it can record in a ‘surround’ configuration. Some users have reported very good results placing it within the lower front section of the upright piano.
However, an important point to keep in mind is that many upright pianos tend to have higher pedal noise, due to design or sometimes lack of maintenance. So there may be squeaks or movement noises when using the pedal, which you don’t want as part of the final recording. This is another reason why many recordings with the microphones on the back are also more successful.