Update! I’ll keep posting new things here as I finish them, but take a listen to this! MKH40s close on a C7. SM81s in the room. SR25 on percussion and bass direct. I was going for a Bill Evans aesthetic (this is a Peter Godart original):
We tried some Earthworks TC25 omnis and then a pair of Sennheiser MKH40s. The TC25s were fairly noisey and the 40s shoved you inside the piano in a bad way, given there were no other room mics. For fun, there’s also a recording with some B&K 4006s. Take a listen.
TC25s Omni Stereo Spaced Steinway
MKH40 Omni ORTF Steinway
B&K Omnis on a relatively Tuned Bosi 290 with a cracked soundboard!
Recently, I got to hear some B&K omnis vs the MKH40s on a tuned Steinway in a nice room at Tufts with several other mics in the room (wide and narrow stereo, surrounds even). That was pretty sweet. Both mics has nice presence and noise was not bad. The omnis sounded open and spacious and the MKH cardioids were intimate.
Here’s a recording of the same piano with slightly pop-ier production. The piano is compressed to oblivion and has a ton of mid range because of the mics (Neumann TLM102s). This was made in the lobby of the old media lab and you can hear the elevators in the background. Vocals were a KMS105. All the mics were running into Vintech pres and Apogee converters. Tracked in PTHD7 at 192k (meh) and mixed in Logic back when I didn’t know anything about anything. My sister was in middle school when she sang this: