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Also, you can see that each mic is probably around 10 cm from the nearest string. That will make it about 60 cm or so from the furthest string. This will create a massive difference in loudness. So the loudness will vary according to which notes are played.

I have no idea how you would place mikes (as is suggested on stands) so that the above does not happen. I could be wrong but a mixer that's frequency based would be used to adjust the volume of all of the notes such that they are the same?
This reminds me of a Joshua Bell recording that I have where the mike is so close that I can hear him breathe. Lets say I don't play that CD very often.

Not to mention the mic is vibrating, being physically placed on the piano.

I won't record a piano this way as I record primarily classical music.

However many jazz and particularly pop recordings are made with the microphones in the piano, close to the strings. Nothing odd going on here at all. It just depends on the sound that you want.

Surprisingly the balance will not be as off as one might initially suspect. Keep in mind that when listening to a piano you are not listening to the strings; you are listening to the soundboard and case.

Hi Elk,

Maybe I am picky but the mic is vibrating, causing distortion. I would try to isolate the mic from the piano itself.

Maybe suspend it by strings, but then the mic would probably sway. Using a stand, the stand would also vibrate, esp resonant problems. Neat little problem to solve.

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Maybe I am picky but the mic is vibrating, causing distortion. I would try to isolate the mic from the piano itself.

I agree. I don't like the technique, just commenting that it is common to place mics inside a piano, under the lid and close to the strings. DPA (wonderful mics!) makes a number of systems that actually mount in the piano itself.

Generally, one suspends mics inside the piano using stands that reach in from the outside.

Here is an example: picture

Another: Picture 2

While this picture is of a mic comparison test (two sets of different mics in the piano), the ribbon mics (figure-8 pattern) inside the piano are positioned in a fairly common fashion. This feed will sound punchy and percussive.

The mics outside of the piano are placed as some classical solo piano recordings are made (typically figure-8 or omni mics). You can hear some of the room, the sound blends and you don't get sound bouncing off of the lid. This stereo feed, blended with room sound mics, sounds very natural.

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if it's recorded weird, it'll sound weird.

I have a tiny-diaphragm DPA microphone and it's fabulous close up. I never tried it like that on a piano, but I've had mine very close to my cello and to a violin and it was good. I also see those microphones clipped right onto the bridge of string instruments in live TV shows etc, and the sound was good. I'm not defending that ad! Just saying that being so close doesn't necessarily have to be terrible. The key here is those microphones are omni, so they don't get boomy when very close as cardioids do.

--Ethan

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The key here is those microphones are omni, so they don't get boomy when very close as cardioids do.

Excellent point.

I bet they sound great on an acoustic guitar and 'cello.

That and DPA mics (formerly Bruel & Kjaer) are excellent.

This bit of DPA kit receives excellent reviews from the recording mags, etc. I'd like to borrow a set and see how they do.

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I'd like to borrow a set and see how they do.

I have a DPA 4090. If you live near me you're welcome to borrow it for a day or two.

--Ethan

A wonderfully kind offer.

I'm in the wilds of Minnesota so its a bit of a drive to your end of the world.

Hi Elk,

Be cool to lead line the mic stands and listen to the difference.

DUP, in the big picture, the world of music lovers who want the live experience, as near as possible, in their listening rooms, AVA is average at best. Deal with it. People who listen for the re-creation of the live event's emotional impact, and who shop far and wide for the gear that transports them, seldom end up with AVA electronics. There are other alternatives. At all price points. AVA is okay, but not the be-all, end-all you want to sell to us. AVA is merely okay. That is, as you often mention, better than BOSE, but what isn't ?

I have heard all of the AVA stuff. All of it. It is tipped-up in the upper midrange and lacks transparency, compared to its competitors. If this is what you want, then this is what you buy. If it isn't, you look elsewhere for what is.

You keep steering us all towards "proof" web-sites that debunk differences among cables, digital front ends, and low-powered amplifiers. Yet, all they offer is abstract numbers. We ponder, question, and head back to the listening room -- the final arbiter of buying decisions. And few, if any, decide on AVA. Now, why is that?

The market always has its final say. AVA doesn't pass muster. It is poor-to-decent value for the money, and better than Magnavox. Other manufacturers do better. Or AVA would sell better. Deal with it.

If you don't like what your system sounds like, try better cables.

Love and kisses,

Clifton

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Go vist AVA in WoodBury......

The Twin Cities are a hotbed of high end audio and I know personally a number of those involved. I have visited Frank - he is quite close and so it is an easy trip.

As I have previously mentioned, I find his equipment to sound a bit crispy, but I have not heard his latest - some of which are receiving good reviews.

He is a great guy and I bet he would let me take something home even if he knew I was just curious and not in the market at the moment.

Interesting. I suggest the Amplification and some other mini forums be moved nearer to the top and Dup incinuates that I have an ulterior motive.

Yet Dup continues to push AVA and their philosophies.

On another note I like Sterophile's integrity, even taking a stand that is unpopular to some.

Cheers.