Propellerhead RADICAL PIANO, Operation Manual

RADICAL PIANO

5

The microphone configurations

The microphone configurations for the grand pianos and the upright piano respectively.

The pianos were recorded using up to nine microphones per instrument, placed at various critical positions inside and 
outside of the pianos. The different microphone recordings were then stored in Radical Piano as separate sound sets.

The following microphone configurations were used:

•

Vintage  Mono

A single microphone placed outside the waist of the grand piano (or behind the upright piano). For the Steinway 
grand piano we used an old school mono ribbon mic with vintage characteristics and a narrow frequency response 
with the emphasis in the mid range. For the Futura upright piano we used a vintage tube microphone.

•

Ambience

Two microphones in AB configuration* placed quite far away from the piano to capture the room ambience.

•

Floor

Two pressure zone microphones that lay flat on the floor just behind the front legs of the grand piano (and behind 
the upright piano). They add depth and richness to the sound and are best used as a complement to the other 
mics.

•

Jazz

Two microphones in AB configuration* placed just outside/in front of the piano. This gives a full bodied sound with 
a wide stereo image and a less pronounced attack.

•

Close

Two microphones in XY configuration** placed close to the hammers. The close mics produce a distinct sound with 
a sharp attack, ideal for uptempo pop/rock.

* AB configuration: Two mics in stereo configuration placed several feet apart and tilted slightly away from each 
other.

** XY configuration: Two mics in stereo configuration placed close together in 'V' shape at a 90° coincidence.