Remember in the last article we said, "First, the person can only mix what he gets, and second, he can only mix what he gets!" After much discussion, we decided to add a little more to the subject. Once again, it was off to Ron Ross' home studio to see what we could simplify into a few hundred words–yeah, right.
Keyboards are the subject we seem to get asked about most besides drums. How do we mic them, and how do we mix them? It is immediately important to distinguish between electric pianos, electronic keyboards and acoustic pianos. They may look the same on the stage plot, but getting them hooked up to the FOH console can be very different. Let's start with the easy part first. Most electronic keyboards are stereo and come with all sorts of preset sounds, built-in effects and tone filters. They need very little to make them sound good. Typically, it's a simple stereo unbalanced quarter-inch jack line level output, so use a dual-channel direct box or two mono units.
In the case of electric/acoustic pianos, like a real Fender Rhodes (remember those?), you can still get great stereo dynamics by taking the typical quarter-inch line out to a direct box and then sticking a decent dynamic mic in front of the speaker as well. If you have more than one driver, choose one and center the mic fairly close; don't try to get both speakers by backing up too far.
Now we come to upright pianos. In my opinion, a good upright sounds better and mics easier than many mediocre grand pianos. They have a tendency to be brighter across the middle octaves. If this is the type of piano that's in your sanctuary, you may not get away with removing the faceplate and kick plate for "extreme" miking methods, but it should be simple enough to drop a couple condensers inside the lid and split the difference of the keyboard length. Or try placing a couple mics aimed at the back of the piano.
If you do have the time, try one mic inside the lid and one inside the kickboard on the bottom of the harp and mix it stereo. This is one of Ron's favorite tricks for getting good stereo effects. (Be creative and make notes as you try things, so when you find the optimum method, you'll remember!) If you are stuck with one mic in your toolbox, start in the middle and listen to the different positions an octave at a time above and below middle C. Eventually you'll find a sweet spot you can live with, and it may be the difference in re-aiming the mic just an inch.
I could go on and on about my preferences between piano brands, but if you have an upright that's tuned well, you should have plenty to work with.
Grand pianos have caused many debates about which mic and which placement is best. Here again, I might have a personal preference for a particular piano, depending on other instrumentation, vocal arrangements and general musical style. (My buddy Ron has opinions because he's a keyboard player and very critical in his own studio; I get to be critical because I started in the music business selling pianos in the shopping mall. Yep, that was me in 1976, polyester suit and tie!)
Which leads me to the next point: be realistic and honest about the rest of the musical configuration, and you'll find the sound you're looking for faster. Some pianos need help in the low end, some in the middle, and some just never seem to have enough twinkle on those last couple high octaves. Don't spend a lot of time struggling to maximize a piano sound that doesn't fit the rest of the worship bands' style.
Try to get the most out of the piano. Bright and crisp will get old real fast if you try to get a good mix with two soprano singers. Complement what you have rather than create–the Creation part's been done already. Try something simple first, like a couple dynamic mics about eight inches above the hammers, splitting the difference above and below middle C. This will give you good basic sound without too much "edge." Remember after all the rules, it's up to you to play around and find what works best for you.
Also, think about the acoustic surfaces around the piano; hardwood stage, carpeted walls and plaster walls can really affect a mic setup, especially if a stage wedge is reflecting off something and killing your gain before feedback. Think, think, think!
Condensers with large-format diaphragms would probably be my first choice, but PZMs and hypercardioids have all come in handy in certain situations. There is a lot to work with on a grand piano–think of it minimally as a large stereo instrument and have fun!
