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On Feb 23, 12:41*pm, "Peter Larsen" wrote:
vdubreeze wrote: On a recording we only have the two channels, so as recordists we have to figure out a way to achieve that pleasantness when all of the sounds, the piano and the room, are all coming from the same plane just left and right. We have a different experience of what stereo is about. Yeah, that was a bit of an oversimplification. : ) Not a single plane. I was trying to convey that what our heads hear and easily sort out is different from what ends up as a stereo recording with even the best mics. Our ears/brain can sort out certain information live that in a recording isn't as sorted out. Such as a factor in the room that we can pay little attention to because it's behind us or above us while the piano is in front of us, for example. Also, I think everyone's first thought when walking into the room of their first piano recording is "Wow. Sounds huge out here! Let's put the mic back here in the room." And then often after listening back it's "Hmm. We should move the mic closer in a bit" : ) There are many things, including visual, that help our senses and enhance our live listening experience that don't make it to the recording. So sometimes a bit of fudging with the set up makes the recording more presentable. Well, you know that : ) but it's aimed at the OP because it makes recording easier no matter what equipment you go with. And I think for casual or beginning recordists that aspect is often thought of as what you do when you're already recording and it's having problems, so then you start looking at the room as if armed with a box of bandaids because the patient has begun complaining. The most import place to put absorbers is btw. on the floor directly under the mic position, the next most important place is the ceiling directly above it. Excellent advice. And it may be all that's needed. Have fun *: ) +1 If it's fun it will be a better recording! : ) Or at least avoid the reverse where it's so not fun that you bag it before getting it down. v |
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