Beta 91 piano placement ideas
My notes put the D19 in the bottom. I wanted to approach these recordings like a typical indie session that I or you might do with an artist or band. Stan and I used some standard techniques to close-mic the drums, and we wanted to get sounds quickly, and not fuss too much with mic placement remember time is of the essence.
In addition to hearing the drums on their own, I picked out one of my instrumental songs to play drums to so we could hear how everything sounded in context of a song recording it is about the music right!? After recording with the Beta mics, we later changed the microphones to one my typical recording setups with other mics, to compare sounds with the Betas. Beta 91A The Beta 91A is a boundary microphone that has a solid build and it feels like it could survive a war zone.
It is designed to rest on a pillow or padding inside of the kick drum. It has one option, a contour switch which cuts 7db at Hz. Engaging this switch did add a bit more punch on the top and bottom end, but it was not a dramatic difference. Having the contour switch engaged did sound better however. We placed the mic about 3 inches from the batter head. We got a great sound quickly that had lots of bottom and a good click sound too.
This obviously works on kick drums that have no resonant head, or at least have a hole big enough to get the microphone through. Kick drums with no hole in the resonant head would require a different microphone. I taped it onto my live room window which essentially turns the entire window pane into a microphone. Here are two examples with the Beta 91A. The first is a mid tempo rock groove played with sticks.
The second was a tom driven groove played with blastics. Since the window was at the hight of the cymbals, the cymbals came through a bit strong, but, with some compression and eq, you can give treat these room mics to create some character and depth to a drum sound. It features an integrated preamplifier, and the A75M microphone mount that clamps onto the rim of the drum. This mic and especially the mount feel solid and well manufactured.
The gooseneck of the mic is strong and flexible, and in combination with the mount which features a mic clip on a pivot , allows for quick and easy changes of mic position. This a welcomed change to standard mic clips and mike stands which are often awkward to use when repositioning a microphone.
We put up the Beta 98AMP along side a trusty SM57 on the top side of the snare for comparison, and we were both initially shocked that they sounded quite the same. Upon closer inspection, the Beta 98AMP does have a small high end boost above 8k compared to the SM57, and I found it also has a bit more high hat bleed than the Also, probably due to the clamp mount on the drum, there were low end frequencies even below HZ that translated through the mic. Putting a 98AMP on the bottom snare head proved also to produce a great sound: plenty of punch and top end too.
Again you would most likely need to engage a high pass filter at some point on the signal flow because there was a bit of unwanted low end frequencies coming through. Beta 98A On toms we used Beta 98As. It comes with its own mic cable that has a proprietary connector to the mic on one end, and an standard XLR connector on the other. It ships with the A98D drum mount which clamps on the rim of the drum as well, but unlike the mount for the 98AMP, the base of it is fixed and can only be positioned vertically or horizontally.
To compensate, the gooseneck is longer, but I did find this design to be a bit more difficult to position the mic than the one included in the 98AMP. Once the Beta 98As were in position, we recorded a test, and I was immediately impressed by how punchy, full, and bright the toms sounded. I like that part a lot! Again on a technical note, the Beta 98A has a high output level not as much as the 98AMP, but it still more output than most mics.
Beta The Beta is a small diaphragm side-address condenser microphone which has a sleek design and unique look that I like. It features an interchangeable capsule design which makes the mic even more appealing and versatile. We had the standard cardioid capsule, but Shure also offers omni, supercardioid, and bidirectional figure-of-8 capsules. We set the Beta s up as a pair as spaced overheads over the drums, and like all of the mics in this review, we set them up, and Voila!
I took to the sound of these microphones immediately as they have a clean, open sound with a great mid to lower mid presence that captured the body and punch of the drums well. Cymbals translated with great clarity and without sounding too bright or harsh like overhead mics can often sound like.
The Full Kit I cued up an instrumental song of mine to play drums to so we could hear how everything translated in a musical context. Beta 52 has a good bottom mids, but could use more click. SM57 has a bit more punch and slightly brighter. Unidyne III sounds a bit fuller in the mid frequencies, and has more attack. Tom 1 — 98A sounds brighter and bigger in the lower mids. Sennheiser e could use a bit more attack. Tom 2 — 98A has a better bottom end.
Typically the Velcro attached to the lid can be carefully removed later without damaging the finish. Some sound engineers place a boundary mic directly on the piano soundboard, with the mic sitting on a computer mouse pad for isolation. In the Shure line, the Beta 91A is used for this type of close piano miking.
However, we do not guarantee you will like the sound. Only you can make that decision after you hear the mics in your piano. Not everyone likes a piano that is miked so closely. It is a "rock and roll" sound, not a "classical music" sound.
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Which boundary mic for piano? I am interested at getting a boundary mic because I heard they were good and I would be able to use them with the piano lid closed- that is why I like them better than the condenser mics. Which mic do you recommend and how do I mount it? Answer For piano miking ideas, see page 24 of this link: Microphone Techniques for Music - Sound Reinforcement You can use self-adhering Velcro to attach a boundary mic to a piano lid.
Typically the Velcro attached to the lid can be carefully removed later without damaging the finish. Some sound engineers place a boundary mic directly on the piano soundboard, with the mic sitting on a computer mouse pad for isolation. In the Shure line, the Beta 91A is used for this type of close piano miking. Ideally place a grand piano at a 45 degree angle from the walls so that the lid opens out to the other corner of the room. When the lid into the room, the bass sound waves have space to move out to the opposite walls and reflect back while the smaller treble sound waves can easily travel to the center of the room.
Opening the lid to a very close wall detrimentally affects both the treble and bass sound waves. Once the piano is positioned so the lid opens into the room, start adjusting the pianos location. Imagine a line between the two corners of the room.
Incrementally move the piano along that line; each move, play the same scale all the way up and down the keyboard. Ask a friend to help you listen several yards away from the piano. Listen for evenness of tone, resonance, and overall sound quality.
When you found the best spot start rotating the piano lid and listen again for where it sounds best. Make small adjustments of just a few inches on each move source: pianobuyer. Where Should an Upright be Placed in a Room?
Place the upright on one of the shorter inner walls, this will give more space for the bass notes to resonate as they travel the length instead of width of the room. If the piano is not placed by an inner wall it may be affected by outside temperature fluctuations.
You can play around with how much space is behind the piano. By moving it a couple inches away from the wall, the sound will resonate a bit more into the room. Some prefer facing the back of the piano to the center of the room, so they can look into the room as they perform. Acoustically Designing the Room Once your piano is placed, there are still changes to the room that can improve sound production.
First a bit of sound physics. Sound waves are either reflected, absorbed or diffused. When a sound wave hits a flat hard surface, it will reflect off it. Too many flat surfaces creates a lot of reflections and an overall uneven sound in the room. When the sound waves hit an oddly shaped object, like a half full book shelf, they are diffused and scatter somewhat randomly.
This is actually good, and creates a warmer, more even tone throughout the room. When a sound wave hits a soft surface, like a quilt or carpet, it may be absorbed resulting in a softer sound. When placing items in the piano room, try diffusing the sound by using oddly shaped items, before absorbing the sound with sofas, carpets, etc. You risk absorbing frequencies at unequal rates in a room with many reflective surfaces.
If you have several rooms to choose from, avoid square rooms or rooms proportioned at a 1 to 2 ratio. The perimeter of the room should be around 10x the length of the grand piano or height of the upright. Larger rooms are often better for the lower wavelengths. Generally hardwood floors work best to start, with rugs added as necessary.
Beta 91 piano placement ideas back and lay betting terms glossary
Shure Beta 91A Microphone Review
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