piano micing

[anon]

i posted a while back about micing a grand piano. the room is small.
ceilings are about 11 ft high

i was using ribbon mics and an old ampex mixer and it sounded horrible- too
boomy and no definition

the latest incarnation is using a great river mp with neuman km 184's. so
far this is the best sound yet. the gr really tightened up the mid section
and the highs. on my speakers at home it sounds good to me on playback. i
listened on some old large bose speakers and it still sounds too boomy in
the bass register and low mid register. i've heard other recordings on the
bose speakers that sound fine, so i can't blame the speakers. or could i
blame my home monitors for being too mid and high oriented and not bass
oriented enough

i will try close micing next with the mics near the hammers at either end of
the keyboard facing eachother

wondering if a transformer mic will tighten up the low end, or if a
different mic is in order.

i was considering getting some bass traps around the walls of the piano and
maybe a carpet underneath the piano but i was cautioned against this by a
musician i trust.

open to suggestions that dont cost too much. 100 hz rolloff? even though i
dont have a mixer to do this

i have two rode classic mics and two akg61's that i havent tried yet and
also some 57's

come to think of it the rodes have a bass rolloff so maybe this is the next
thing to try, though for some reason i think the small diaphragms are best
for a piano

[Mike Caffrey]

I just got one of my favorite piano sounds ever with Radio Shack mics.
On a upright, I had a PZM inside after removing the lower front cover
and some old high impedance mic with an on/off swtich and a 1/4 inch
cable (which I ran into a DI) on the back right up on the sound board.
Then both went to a GR NV and a Pendulum ES-8 in the faster program
dependent preset. I was great for a close miked sound. I also had good
result with a 451 on the soundboard for a more traditional open sound.

Usually I mic from a pair of condensors from a few feet away, but this
close sound was a nice change.

[Mike Caffrey]

I just got one of my favorite piano sounds ever with Radio Shack mics.
On a upright, I had a PZM inside after removing the lower front cover
and some old high impedance mic with an on/off swtich and a 1/4 inch
cable (which I ran into a DI) on the back right up on the sound board.
Then both went to a GR NV and a Pendulum ES-8 in the faster program
dependent preset. I was great for a close miked sound. I also had good
result with a 451 on the soundboard for a more traditional open sound.

Usually I mic from a pair of condensors from a few feet away, but this
close sound was a nice change.

[T Maki]

Oh, I'm very sorry... you've got it completely wrong.

I'm astonished that you didn't first post the following
question:

I've got an old upright piano that I want to mic. What would
happen if I take off the lower front cover, and hang maybe a
Radio Shack PZM inside? Will this work if I put an old high
impedance mic with a switch and 1/4" plug on it back on the
sound board? Can I run it into a DI? What will happen if
they both go to a GR NV and Pendulum ES-8? What kind of
sound will I get? Do you think I'll get a good result with a
451 on the soundboard? What kind of sound will I get with
that?

How dare you try something without asking for expert advice?
Do you really think personal curiosity and initiative is a
substitute for newsgroup advice?

How impertinent...



TM
Good on ya :-)


Mike Caffrey wrote:
>
> I just got one of my favorite piano sounds ever with Radio Shack mics.
> On a upright, I had a PZM inside after removing the lower front cover
> and some old high impedance mic with an on/off swtich and a 1/4 inch
> cable (which I ran into a DI) on the back right up on the sound board.
> Then both went to a GR NV and a Pendulum ES-8 in the faster program
> dependent preset. I was great for a close miked sound. I also had good
> result with a 451 on the soundboard for a more traditional open sound.
>
> Usually I mic from a pair of condensors from a few feet away, but this
> close sound was a nice change.

[T Maki]

Oh, I'm very sorry... you've got it completely wrong.

I'm astonished that you didn't first post the following
question:

I've got an old upright piano that I want to mic. What would
happen if I take off the lower front cover, and hang maybe a
Radio Shack PZM inside? Will this work if I put an old high
impedance mic with a switch and 1/4" plug on it back on the
sound board? Can I run it into a DI? What will happen if
they both go to a GR NV and Pendulum ES-8? What kind of
sound will I get? Do you think I'll get a good result with a
451 on the soundboard? What kind of sound will I get with
that?

How dare you try something without asking for expert advice?
Do you really think personal curiosity and initiative is a
substitute for newsgroup advice?

How impertinent...



TM
Good on ya :-)


Mike Caffrey wrote:
>
> I just got one of my favorite piano sounds ever with Radio Shack mics.
> On a upright, I had a PZM inside after removing the lower front cover
> and some old high impedance mic with an on/off swtich and a 1/4 inch
> cable (which I ran into a DI) on the back right up on the sound board.
> Then both went to a GR NV and a Pendulum ES-8 in the faster program
> dependent preset. I was great for a close miked sound. I also had good
> result with a 451 on the soundboard for a more traditional open sound.
>
> Usually I mic from a pair of condensors from a few feet away, but this
> close sound was a nice change.

[Scott Dorsey]

anon > wrote:
>
>the latest incarnation is using a great river mp with neuman km 184's. so
>far this is the best sound yet. the gr really tightened up the mid section
>and the highs. on my speakers at home it sounds good to me on playback. i
>listened on some old large bose speakers and it still sounds too boomy in
>the bass register and low mid register. i've heard other recordings on the
>bose speakers that sound fine, so i can't blame the speakers. or could i
>blame my home monitors for being too mid and high oriented and not bass
>oriented enough

No, you can blame the Bose. The 901 is just that way.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Scott Dorsey]

anon > wrote:
>
>the latest incarnation is using a great river mp with neuman km 184's. so
>far this is the best sound yet. the gr really tightened up the mid section
>and the highs. on my speakers at home it sounds good to me on playback. i
>listened on some old large bose speakers and it still sounds too boomy in
>the bass register and low mid register. i've heard other recordings on the
>bose speakers that sound fine, so i can't blame the speakers. or could i
>blame my home monitors for being too mid and high oriented and not bass
>oriented enough

No, you can blame the Bose. The 901 is just that way.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[anon]

ok well even blaming the bose, i've heard mixes that sound good on those
speakers so it might be good to try to pass the litmus test on those
speakers.

i was messing around all day with different mics and positions

the rode tubes seemed to clean up the bass a bit and i used the low shelf
setting (is this the correct term). the shelving helped as well. wondering
if the mic transformers had anything to do with this. but they also pick
alot more room noise.

using the rodes in figure 8 with one lobe facing me as i'm playing and one
facing the rear of the piano also seemed to help by eliminating some info
coming off the soundboard.

someone on this board made an astute comment last time i posted and said
that sometimes you just have too much information coming from an instrument.
i think this is what's happening to me. so i either need a crappy mic that
has low mid and bass deficiency, or pattern/placement that severely reduces
bass frequency, or an eq box. i was hoping to avoid eq and be a
mic/placement purist. but not sure i can do this.

is there a semi tinny sounding omni mic that someone could suggest.

the akg c61 sounded similar to the 184's maybe a little sweeter and a bit
more focused, they seem to pick up less of the full range of sound.

i've gotten to know these mics alot better but the sound isn't happening
yet.


"Scott Dorsey" > wrote in message
...
> anon > wrote:
> >
> >the latest incarnation is using a great river mp with neuman km 184's. so
> >far this is the best sound yet. the gr really tightened up the mid
section
> >and the highs. on my speakers at home it sounds good to me on playback. i
> >listened on some old large bose speakers and it still sounds too boomy in
> >the bass register and low mid register. i've heard other recordings on
the
> >bose speakers that sound fine, so i can't blame the speakers. or could i
> >blame my home monitors for being too mid and high oriented and not bass
> >oriented enough
>
> No, you can blame the Bose. The 901 is just that way.
> --scott
>
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

[anon]

ok well even blaming the bose, i've heard mixes that sound good on those
speakers so it might be good to try to pass the litmus test on those
speakers.

i was messing around all day with different mics and positions

the rode tubes seemed to clean up the bass a bit and i used the low shelf
setting (is this the correct term). the shelving helped as well. wondering
if the mic transformers had anything to do with this. but they also pick
alot more room noise.

using the rodes in figure 8 with one lobe facing me as i'm playing and one
facing the rear of the piano also seemed to help by eliminating some info
coming off the soundboard.

someone on this board made an astute comment last time i posted and said
that sometimes you just have too much information coming from an instrument.
i think this is what's happening to me. so i either need a crappy mic that
has low mid and bass deficiency, or pattern/placement that severely reduces
bass frequency, or an eq box. i was hoping to avoid eq and be a
mic/placement purist. but not sure i can do this.

is there a semi tinny sounding omni mic that someone could suggest.

the akg c61 sounded similar to the 184's maybe a little sweeter and a bit
more focused, they seem to pick up less of the full range of sound.

i've gotten to know these mics alot better but the sound isn't happening
yet.


"Scott Dorsey" > wrote in message
...
> anon > wrote:
> >
> >the latest incarnation is using a great river mp with neuman km 184's. so
> >far this is the best sound yet. the gr really tightened up the mid
section
> >and the highs. on my speakers at home it sounds good to me on playback. i
> >listened on some old large bose speakers and it still sounds too boomy in
> >the bass register and low mid register. i've heard other recordings on
the
> >bose speakers that sound fine, so i can't blame the speakers. or could i
> >blame my home monitors for being too mid and high oriented and not bass
> >oriented enough
>
> No, you can blame the Bose. The 901 is just that way.
> --scott
>
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

[Carey Carlan]

"anon" > wrote in
:

> i will try close micing next with the mics near the hammers at either
> end of the keyboard facing each other.

Watch out for cancellation between the mics.

> wondering if a transformer mic will tighten up the low end, or if a
> different mic is in order.

A transformer should not have effect to the degree you need it. If a 184
sound bassy then you need to move the mic or change the room.

> i was considering getting some bass traps around the walls of the
> piano and maybe a carpet underneath the piano but i was cautioned
> against this by a musician i trust.

You need to try Scott Dorsey's technique of blocking one ear and listening
very critically with the other. When you find the sound you want to
record, put a microphone or two where your ear was. If the room is boomy
you might add some absorption. If you can't buy or build good bass traps,
try some heavy overstuffed furniture pushed into the corners.

Carpet will dampen only the high end, making your sound more muffled.

Changes in microphone placement and room acoustics will swamp any but the
most drastic changes in mic and preamp selection.

Going from a ribbon mic and a nonlinear preamp to a condenser mic and a
Great River preamp qualifies as such a "drastic change".

[Carey Carlan]

"anon" > wrote in
:

> i will try close micing next with the mics near the hammers at either
> end of the keyboard facing each other.

Watch out for cancellation between the mics.

> wondering if a transformer mic will tighten up the low end, or if a
> different mic is in order.

A transformer should not have effect to the degree you need it. If a 184
sound bassy then you need to move the mic or change the room.

> i was considering getting some bass traps around the walls of the
> piano and maybe a carpet underneath the piano but i was cautioned
> against this by a musician i trust.

You need to try Scott Dorsey's technique of blocking one ear and listening
very critically with the other. When you find the sound you want to
record, put a microphone or two where your ear was. If the room is boomy
you might add some absorption. If you can't buy or build good bass traps,
try some heavy overstuffed furniture pushed into the corners.

Carpet will dampen only the high end, making your sound more muffled.

Changes in microphone placement and room acoustics will swamp any but the
most drastic changes in mic and preamp selection.

Going from a ribbon mic and a nonlinear preamp to a condenser mic and a
Great River preamp qualifies as such a "drastic change".

[Scott Dorsey]

Carey Carlan > wrote:
>
>You need to try Scott Dorsey's technique of blocking one ear and listening
>very critically with the other. When you find the sound you want to
>record, put a microphone or two where your ear was. If the room is boomy
>you might add some absorption. If you can't buy or build good bass traps,
>try some heavy overstuffed furniture pushed into the corners.

It's not! It's Gabe Weiner's technique! He deserves the credit!
It is wonderful, though. I wish I had known about it a decade earlier.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Scott Dorsey]

Carey Carlan > wrote:
>
>You need to try Scott Dorsey's technique of blocking one ear and listening
>very critically with the other. When you find the sound you want to
>record, put a microphone or two where your ear was. If the room is boomy
>you might add some absorption. If you can't buy or build good bass traps,
>try some heavy overstuffed furniture pushed into the corners.

It's not! It's Gabe Weiner's technique! He deserves the credit!
It is wonderful, though. I wish I had known about it a decade earlier.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[anon]

>
> Watch out for cancellation between the mics.

this may be a good thing depending what frequencies are cancelled. i need
less sound. how would one position microphones to cancel out specific
frequencies.

> > wondering if a transformer mic will tighten up the low end, or if a
> > different mic is in order.
> A transformer should not have effect to the degree you need it. If a 184
> sound bassy then you need to move the mic or change the room.

i'm going to try a transformerless preamp and see what happens


> > i was considering getting some bass traps around the walls of the
> > piano and maybe a carpet underneath the piano but i was cautioned
> > against this by a musician i trust.
>
> You need to try Scott Dorsey's technique of blocking one ear and listening
> very critically with the other. When you find the sound you want to
> record, put a microphone or two where your ear was.

i've been doing that for years. the best sound is where my ears are when i
play. problem is i can't move the mics too far away due to room noise. and
even then i still hear the boominess in certain registers. the problem is
the piano, it just sounds like it sounds and i dont want to go through the
hassle of getting a different one at this point. i realized yesterday that
humidity has a huge effect on the boominess. it sounds like a totally
different instrument on dry days than humid days. something to do with the
crown of the soundboard

> Going from a ribbon mic and a nonlinear preamp to a condenser mic and a
> Great River preamp qualifies as such a "drastic change".
>

still not drastic enough. i need some drastically crappy and tinny
microphones. any recommendations?

i think at this point it's either going to be equalisation or different
microphones. the last time i recorded i was using a soundcraft board. this
had alot less information than the great river. so if i could now just thin
out the low mids and maybe cut below 60 or 100 hz i might be done. just
seems overly complex using all this stuff but i guess this is how some
people do it at the professional level.

[anon]

>
> Watch out for cancellation between the mics.

this may be a good thing depending what frequencies are cancelled. i need
less sound. how would one position microphones to cancel out specific
frequencies.

> > wondering if a transformer mic will tighten up the low end, or if a
> > different mic is in order.
> A transformer should not have effect to the degree you need it. If a 184
> sound bassy then you need to move the mic or change the room.

i'm going to try a transformerless preamp and see what happens


> > i was considering getting some bass traps around the walls of the
> > piano and maybe a carpet underneath the piano but i was cautioned
> > against this by a musician i trust.
>
> You need to try Scott Dorsey's technique of blocking one ear and listening
> very critically with the other. When you find the sound you want to
> record, put a microphone or two where your ear was.

i've been doing that for years. the best sound is where my ears are when i
play. problem is i can't move the mics too far away due to room noise. and
even then i still hear the boominess in certain registers. the problem is
the piano, it just sounds like it sounds and i dont want to go through the
hassle of getting a different one at this point. i realized yesterday that
humidity has a huge effect on the boominess. it sounds like a totally
different instrument on dry days than humid days. something to do with the
crown of the soundboard

> Going from a ribbon mic and a nonlinear preamp to a condenser mic and a
> Great River preamp qualifies as such a "drastic change".
>

still not drastic enough. i need some drastically crappy and tinny
microphones. any recommendations?

i think at this point it's either going to be equalisation or different
microphones. the last time i recorded i was using a soundcraft board. this
had alot less information than the great river. so if i could now just thin
out the low mids and maybe cut below 60 or 100 hz i might be done. just
seems overly complex using all this stuff but i guess this is how some
people do it at the professional level.

[Carey Carlan]

(Scott Dorsey) wrote in
:

> Carey Carlan > wrote:
>>
>>You need to try Scott Dorsey's technique of blocking one ear and
>>listening very critically with the other. When you find the sound you
>>want to record, put a microphone or two where your ear was. If the
>>room is boomy you might add some absorption. If you can't buy or
>>build good bass traps, try some heavy overstuffed furniture pushed
>>into the corners.
>
> It's not! It's Gabe Weiner's technique! He deserves the credit!
> It is wonderful, though. I wish I had known about it a decade
> earlier. --scott

One more qualifier. To match the resonse of a typical directional mic, cup
a hand behind the exposed ear. The resulting directional effect and high
end emphasis sound more like my cardioid condensers.

[Carey Carlan]

(Scott Dorsey) wrote in
:

> Carey Carlan > wrote:
>>
>>You need to try Scott Dorsey's technique of blocking one ear and
>>listening very critically with the other. When you find the sound you
>>want to record, put a microphone or two where your ear was. If the
>>room is boomy you might add some absorption. If you can't buy or
>>build good bass traps, try some heavy overstuffed furniture pushed
>>into the corners.
>
> It's not! It's Gabe Weiner's technique! He deserves the credit!
> It is wonderful, though. I wish I had known about it a decade
> earlier. --scott

One more qualifier. To match the resonse of a typical directional mic, cup
a hand behind the exposed ear. The resulting directional effect and high
end emphasis sound more like my cardioid condensers.

[Carey Carlan]

"anon" > wrote in
:

>> Watch out for cancellation between the mics.
>
> this may be a good thing depending what frequencies are cancelled. i
> need less sound. how would one position microphones to cancel out
> specific frequencies.

You can't. Combing and cancellation are a function of the distance
between the mics and affects entire harmonic series of frequencies.

>> > wondering if a transformer mic will tighten up the low end, or if a
>> > different mic is in order.
>> A transformer should not have effect to the degree you need it. If a
>> 184 sound bassy then you need to move the mic or change the room.
>
> i'm going to try a transformerless preamp and see what happens

Never hurts to try. Except for saturation, a transformer should have
almost no effect on frequency response. It may, however, create a more
pleasing sound.

>> > i was considering getting some bass traps around the walls of the
>> > piano and maybe a carpet underneath the piano but i was cautioned
>> > against this by a musician i trust.
>>
>> You need to try Scott Dorsey's technique of blocking one ear and
>> listening very critically with the other. When you find the sound
>> you want to record, put a microphone or two where your ear was.
>
> i've been doing that for years. the best sound is where my ears are
> when i play. problem is i can't move the mics too far away due to room
> noise. and even then i still hear the boominess in certain registers.
> the problem is the piano, it just sounds like it sounds and i dont
> want to go through the hassle of getting a different one at this
> point. i realized yesterday that humidity has a huge effect on the
> boominess. it sounds like a totally different instrument on dry days
> than humid days. something to do with the crown of the soundboard

The room still has major effect on the sound. Getting closer and turning
down the mic volume will mitigate some.

>> Going from a ribbon mic and a nonlinear preamp to a condenser mic and
>> a Great River preamp qualifies as such a "drastic change".
>
> still not drastic enough. i need some drastically crappy and tinny
> microphones. any recommendations?

Is the piano really boomy or does it lack high end? Could you open it up
more to release more high energy?

> i think at this point it's either going to be equalisation or
> different microphones. the last time i recorded i was using a
> soundcraft board. this had alot less information than the great river.
> so if i could now just thin out the low mids and maybe cut below 60 or
> 100 hz i might be done. just seems overly complex using all this stuff
> but i guess this is how some people do it at the professional level.

EQ can fix most of this, but not all. If the room is resonating with the
piano, you'll still hear the ringing in the mics, even EQ'ed down. Do
try.

I still think it's the room. Go to Ethan Winer's site
(www.ethanwiner.com) and read about RealTraps and what they do. You can
do the same in your room with creative furnishing. A spare mattress
standing in the corner? Big sofa along the wall?

[Carey Carlan]

"anon" > wrote in
:

>> Watch out for cancellation between the mics.
>
> this may be a good thing depending what frequencies are cancelled. i
> need less sound. how would one position microphones to cancel out
> specific frequencies.

You can't. Combing and cancellation are a function of the distance
between the mics and affects entire harmonic series of frequencies.

>> > wondering if a transformer mic will tighten up the low end, or if a
>> > different mic is in order.
>> A transformer should not have effect to the degree you need it. If a
>> 184 sound bassy then you need to move the mic or change the room.
>
> i'm going to try a transformerless preamp and see what happens

Never hurts to try. Except for saturation, a transformer should have
almost no effect on frequency response. It may, however, create a more
pleasing sound.

>> > i was considering getting some bass traps around the walls of the
>> > piano and maybe a carpet underneath the piano but i was cautioned
>> > against this by a musician i trust.
>>
>> You need to try Scott Dorsey's technique of blocking one ear and
>> listening very critically with the other. When you find the sound
>> you want to record, put a microphone or two where your ear was.
>
> i've been doing that for years. the best sound is where my ears are
> when i play. problem is i can't move the mics too far away due to room
> noise. and even then i still hear the boominess in certain registers.
> the problem is the piano, it just sounds like it sounds and i dont
> want to go through the hassle of getting a different one at this
> point. i realized yesterday that humidity has a huge effect on the
> boominess. it sounds like a totally different instrument on dry days
> than humid days. something to do with the crown of the soundboard

The room still has major effect on the sound. Getting closer and turning
down the mic volume will mitigate some.

>> Going from a ribbon mic and a nonlinear preamp to a condenser mic and
>> a Great River preamp qualifies as such a "drastic change".
>
> still not drastic enough. i need some drastically crappy and tinny
> microphones. any recommendations?

Is the piano really boomy or does it lack high end? Could you open it up
more to release more high energy?

> i think at this point it's either going to be equalisation or
> different microphones. the last time i recorded i was using a
> soundcraft board. this had alot less information than the great river.
> so if i could now just thin out the low mids and maybe cut below 60 or
> 100 hz i might be done. just seems overly complex using all this stuff
> but i guess this is how some people do it at the professional level.

EQ can fix most of this, but not all. If the room is resonating with the
piano, you'll still hear the ringing in the mics, even EQ'ed down. Do
try.

I still think it's the room. Go to Ethan Winer's site
(www.ethanwiner.com) and read about RealTraps and what they do. You can
do the same in your room with creative furnishing. A spare mattress
standing in the corner? Big sofa along the wall?

[ScotFraser]

<< It's not! It's Gabe Weiner's technique! He deserves the credit!
It is wonderful, though. I wish I had known about it a decade earlier. >>

Hell, I was doing that about 20 years before I ever heard of Gabe. I thought
everybody empirically arrived at that technique. Nowadays I just aim one ear at
the instrument & ignore the other ear. Since I generally have both hands full
of mic stand adjustments & can't spare a finger to stick in the "away" ear, it
works reasonably well.

Scott Fraser

[ScotFraser]

<< It's not! It's Gabe Weiner's technique! He deserves the credit!
It is wonderful, though. I wish I had known about it a decade earlier. >>

Hell, I was doing that about 20 years before I ever heard of Gabe. I thought
everybody empirically arrived at that technique. Nowadays I just aim one ear at
the instrument & ignore the other ear. Since I generally have both hands full
of mic stand adjustments & can't spare a finger to stick in the "away" ear, it
works reasonably well.

Scott Fraser

[Paul Stamler]

> (Scott Dorsey) wrote in
> :
>
> > Carey Carlan > wrote:
> >>
> >>You need to try Scott Dorsey's technique of blocking one ear and
> >>listening very critically with the other. When you find the sound you
> >>want to record, put a microphone or two where your ear was. If the
> >>room is boomy you might add some absorption. If you can't buy or
> >>build good bass traps, try some heavy overstuffed furniture pushed
> >>into the corners.
> >
> > It's not! It's Gabe Weiner's technique! He deserves the credit!
> > It is wonderful, though. I wish I had known about it a decade
> > earlier. --scott

And I think he got it from Bert Whyte.

Peace,
Paul

[Paul Stamler]

> (Scott Dorsey) wrote in
> :
>
> > Carey Carlan > wrote:
> >>
> >>You need to try Scott Dorsey's technique of blocking one ear and
> >>listening very critically with the other. When you find the sound you
> >>want to record, put a microphone or two where your ear was. If the
> >>room is boomy you might add some absorption. If you can't buy or
> >>build good bass traps, try some heavy overstuffed furniture pushed
> >>into the corners.
> >
> > It's not! It's Gabe Weiner's technique! He deserves the credit!
> > It is wonderful, though. I wish I had known about it a decade
> > earlier. --scott

And I think he got it from Bert Whyte.

Peace,
Paul

[jakdedert]

ScotFraser wrote:
> << It's not! It's Gabe Weiner's technique! He deserves the credit!
> It is wonderful, though. I wish I had known about it a decade
> earlier. >>
>
> Hell, I was doing that about 20 years before I ever heard of Gabe. I
> thought everybody empirically arrived at that technique. Nowadays I
> just aim one ear at the instrument & ignore the other ear. Since I
> generally have both hands full of mic stand adjustments & can't spare
> a finger to stick in the "away" ear, it works reasonably well.
>
> Scott Fraser

....and how many of you (us) guage the daily response of our ears by rubbing
two fingers together beside your head and slowly increasing distance to make
sure you're not experiencing hearing fatigue..and that both were equal? I
came about that one independantly, and then was amazed one day to see a
respected audio engineer doing the same thing.

jak

[jakdedert]

ScotFraser wrote:
> << It's not! It's Gabe Weiner's technique! He deserves the credit!
> It is wonderful, though. I wish I had known about it a decade
> earlier. >>
>
> Hell, I was doing that about 20 years before I ever heard of Gabe. I
> thought everybody empirically arrived at that technique. Nowadays I
> just aim one ear at the instrument & ignore the other ear. Since I
> generally have both hands full of mic stand adjustments & can't spare
> a finger to stick in the "away" ear, it works reasonably well.
>
> Scott Fraser

....and how many of you (us) guage the daily response of our ears by rubbing
two fingers together beside your head and slowly increasing distance to make
sure you're not experiencing hearing fatigue..and that both were equal? I
came about that one independantly, and then was amazed one day to see a
respected audio engineer doing the same thing.

jak

[Steven Myers]

"jakdedert" > wrote in message
.. .
> ...and how many of you (us) guage the daily response of our ears by
> rubbing
> two fingers together beside your head and slowly increasing distance to
> make
> sure you're not experiencing hearing fatigue..and that both were equal? I
> came about that one independantly, and then was amazed one day to see a
> respected audio engineer doing the same thing.

So I'm not a freak -- well, not that way, anyway. Whew!

[Steven Myers]

"jakdedert" > wrote in message
.. .
> ...and how many of you (us) guage the daily response of our ears by
> rubbing
> two fingers together beside your head and slowly increasing distance to
> make
> sure you're not experiencing hearing fatigue..and that both were equal? I
> came about that one independantly, and then was amazed one day to see a
> respected audio engineer doing the same thing.

So I'm not a freak -- well, not that way, anyway. Whew!

[hank alrich]

ScotFraser wrote:

> Since I generally have both hands full of mic stand adjustments & can't
> spare a finger to stick in the "away" ear

is why there are Fava beans.

--
ha

[Scott Dorsey]

hank alrich > wrote:
>ScotFraser wrote:
>
>> Since I generally have both hands full of mic stand adjustments & can't
>> spare a finger to stick in the "away" ear
>
>is why there are Fava beans.

My mother told me never to put beans in my ears.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[ScotFraser]

<< is why there are Fava beans.
>><BR><BR>

Silly Hank. Everbody knows fava beans are for sticking up yer nose.

Scott Fraser

[Roger W. Norman]

Nothing smaller than your elbow, I believe the saying was.

--


Roger W. Norman
SirMusic Studio

"Scott Dorsey" > wrote in message
...
> hank alrich > wrote:
> >ScotFraser wrote:
> >
> >> Since I generally have both hands full of mic stand adjustments & can't
> >> spare a finger to stick in the "away" ear
> >
> >is why there are Fava beans.
>
> My mother told me never to put beans in my ears.
> --scott
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

[Roger W. Norman]

Nothing smaller than your elbow, I believe the saying was.

--


Roger W. Norman
SirMusic Studio

"Scott Dorsey" > wrote in message
...
> hank alrich > wrote:
> >ScotFraser wrote:
> >
> >> Since I generally have both hands full of mic stand adjustments & can't
> >> spare a finger to stick in the "away" ear
> >
> >is why there are Fava beans.
>
> My mother told me never to put beans in my ears.
> --scott
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

[Geoff Wood]

"Roger W. Norman" > wrote in message
...
> Nothing smaller than your elbow, I believe the saying was.

So my d**k's OK then.

Dunno if it's been mentioned (missed a bunc while hard disk died this week,
but the latest Recording has a comprehensive piano miking artical.

geoff

[Geoff Wood]

"Roger W. Norman" > wrote in message
...
> Nothing smaller than your elbow, I believe the saying was.

So my d**k's OK then.

Dunno if it's been mentioned (missed a bunc while hard disk died this week,
but the latest Recording has a comprehensive piano miking artical.

geoff