#How to eq piano how to#

Mid/Side does not give you perfect separation between the center and the sides. But highlighting what Mid/Side actually is helps us illuminate a common Mid/Side mixing mistake: The вЂњsidesвЂќ are also a mono signal: it comprises all the information from the left side minus the information from the right side (left + phase-inverted right).ДЇull disclosure: thereвЂ™s more that goes into the routing of a Mid/Side matrix that I can describe here (you can read more about Mid/Side matrices in this article). Since similar material is emphasized on both the left and right channels, the resulting audio will be perceived as mono. This ends up emphasizing things which are the same on both sides, and de-emphasizing things which are different. What we call the 'mid' is actually the sum of the left and right channels. The better term for вЂњmid/sideвЂќ is arguably вЂњsum/difference,вЂќ and hereвЂ™s what I mean: Drum overheads and double-tracked guitars? Sides.Д«ut this is not exactly correct.

That's worth something all by itself.We think of Mid/Side as вЂњmid/sidesвЂќ-a way to separate the apparent center of the audio signal from the apparent sides (i.e. Stav (the author) is a real person who answers your email questions. I think the tips in the first 10 pages would be worth the cost of the book. But I will tell you that if you read, understand, and practice what this book teaches your recordings will improve by an order of magnitude. I could have put that toward a nice pre or mic or, well, you know, anything. It cost over $100 which is a lot of dough. I just bought 'Mixing With Your Mind' and am about halfway through it. I'll try the advice given above for EQ points. The piano sounds muffly, like someone threw a handkerchief on the strings. I'm using a DDMF LP-10 stereo dynamic eq and a Voxengo MSED to try to close it up a bit. The piano is mixed hard L-R and does not have a very transparent sound.

#How to eq piano how to#

We all just do what we have to do.Д«TW, I came across this thread looking for advice on how to EQ an electronic piano for a pre-master I'm doing. I know some folks would say it's because ART equipment sux.

For the classical, the accompanist had a very light touch so the settings didn't sound very good. The TubePacs worked great for that, as the playing was very heavy so a bit of compression was helpful. I ran them through a pair of ART TubePacs with the same settings as I used previously when a boogie-woogie guy came in and did a bunch of tracks here. Next time I will try it with the pair of Rodes instead. I have a Symmetrix 202 that I used on the violin mic (Oktava MC012). I'm not exactly sure what happened to the piano, I probably better track this down because I'm going to need to record it soon. The last time I recorded my grand I was less than happy with the sound but the violin came out great. I know this sounds strange and unconventional, but it makes a certain amount of sense. I saw somewhere that the best seat in the house for piano sound is where the pianist is sitting, so maybe try a pair of mics about where their ears are. I also throw a boundary mic underneath the piano which is mixed in as needed in the center. I have a M&H A and have gotten very nice results by using a pair of Rode NT1a mics in X-Y towards the back of the instrument (end of strings).

While all of the above is true for any instrument, it's on grand piano that it really makes a huge difference. But the other side of the coin is that you can have the best mic and mic placement possible, but if you are squeezing that signal through a cheap preamp, it's really going to throw a wet blanket over the sound. The only reason this comes in second is because a quality mic pre is't going to help a great deal if your mic is an SM57 randomly stuck inside the piano. A whole 200-page book could be written on just this subject alone, but if you do a search of these forums you should find a few nice threads to get you started on that subject.Д¬oming a close second - losing by only a nostril - in importance here is the quality of the mic preamp. The critical conponents to recording grand paino are microphone selection and placement.

This is OK for some applications like rock or honky tonk piano, but if you're going for the full, elegant sound of a real grand piano, EQing the main frequencies just isn't going to cut it. A quality-sounding grand paino is one of those instruments that does not lend itself well to EQ the equalization tends to sound like EQ and not as an enhancement of the natural sound of the piano.