![]() ![]() In the first part of this article I'll explore how an upright piano can be set up and maintained to a recordable standard, and in the second I'll compare several miking techniques. For starters, pianos require regular tuning - which really isn't a DIY job - and they occupy a good chunk of space too. However, owning a real piano and keeping it maintained to a decent, recordable standard is quite a commitment. ![]() ![]() I love the character it can bring to a recording session, and the availability of the real deal is also seen as a big plus by many clients. ![]() So, despite having only a moderately sized live room here at Half‑Ton Studio, I choose to keep and maintain an upright piano. Yes, there are dozens of great-sounding sample libraries, but I always enjoy the challenge of recording the real thing and tailoring the recording to the track I'm working on it's a very different, and arguably more satisfying, experience for both player and engineer. Whether a grand or an upright, a real acoustic piano is a beautiful instrument. With a little TLC and the right miking technique, even the most neglected piano can produce great recordings. The author's Knauss Coblenz, a century-old underdamped, overstrung piano, in its usual corner of Cambridge's Half‑Ton Studio. ![]()
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