Recording Piano at Home

Recording piano at home presents unique challenges due to the instrument’s size, complexity, and acoustic requirements. Whether working with a grand piano or upright, understanding the instrument’s sound radiation and applying appropriate microphone techniques produces quality recordings in home environments.

Grand Piano Basics

Grand pianos radiate sound upward from the soundboard through the open lid. The lid angle affects both the projection direction and the amount of sound entering the room. Full stick position projects maximum sound, while lower positions reduce volume and alter the tonal balance.

The hammers produce the initial attack at the far end of the keys. The bass strings occupy the player’s left while treble strings extend to the right. Understanding this layout helps position microphones to capture desired tonal balances.

The soundboard beneath the strings amplifies and colors the string vibrations. Its contribution becomes more prominent at greater distances from the strings. Close microphone positions capture more string attack while distant positions emphasize soundboard warmth.

Microphone Positions for Grand Piano

Lid-inside positioning places microphones within the piano’s body, typically a foot or two above the strings. Condenser microphones in matched pairs work well here, with positions ranging from directly above the hammers to over the far end of the strings.

Positioning above the hammers captures bright, articulate sound with pronounced attack. Moving toward the soundboard’s center produces warmer, more blended tone. Aiming toward the bass or treble end emphasizes those registers respectively.

Over-the-lid positioning places microphones outside the piano, looking down at the strings from several feet above. This configuration captures a more blended, room-inclusive sound that many consider more natural than close miking.

Upright Piano Approaches

Upright pianos present different recording challenges since the soundboard faces the wall behind the instrument. Pulling the piano away from the wall allows microphone placement behind the instrument where sound actually radiates.

The back of an upright produces a natural, balanced sound when captured at appropriate distance. Two to three feet from the back panel allows the complex radiation to blend before reaching the microphones.

Front-of-piano recording captures a different character, with more hammer attack and less soundboard resonance. Positioning microphones above the player’s head or aiming down at the exposed strings with the top panel removed provides workable results when rear access proves impractical.

Stereo Approaches

Piano’s wide frequency range naturally spans a stereo field. Spaced pairs over the strings capture left-right distribution of bass and treble registers. XY or ORTF configurations above the center of the strings provide mono-compatible stereo.

Single-point stereo placed at the far end of the strings, above the tail of a grand, captures the full keyboard spread with natural width. This position often produces the most balanced stereo image with minimal phase concerns.

Multiple microphone approaches combine positions for flexibility during mixing. Close microphones provide detail and attack control while distant microphones add room and body. Checking phase relationships between positions prevents cancellation problems.

Room Considerations

Room acoustics significantly affect piano recording outcomes. The piano’s size generates substantial acoustic energy that interacts with room boundaries. Problematic room modes in the bass register may require equalization or careful microphone positioning.

Distance from walls affects reflected sound contribution. Placing the piano in the center of a room reduces early reflections that can smear transients. Absorptive treatment at first reflection points improves clarity.

Small rooms present challenges for piano recording. The instrument may overpower the space acoustically. Recording at lower dynamic levels and using closer microphone positions helps manage these constraints.

Practical Home Recording Tips

Pedal noise, bench creaks, and floor vibrations transfer into recordings through direct contact or air transmission. Felt pads under pedals, stable benches, and carpet beneath the piano reduce mechanical noise.

HVAC systems should be turned off during recording to eliminate air handling noise. Temperature changes after turning off systems may affect tuning, so allowing stabilization time helps maintain pitch consistency.

Digital pianos offer an alternative when acoustic piano recording proves impractical. Direct recording from digital outputs eliminates room and microphone considerations entirely, though the sound differs from acoustic instruments.