Exploring 4038s on a Yamaha U3 (about 12” in front of the hammers, covers/lids off).

When experimenting with adding some top end EQ, what frequency and above to 4038s tend to like to be boosted at? High shelf for this?

And when cutting any mud or low end, any suggestions for hpf cutoff or slope? Areas to look out for with EQ?

try the 4038's on the back. they can be quite close, too. I usually have mine a foot away from my K-52.
I usually add some 251's to bring in some more highs without eq'ing the 4038's...... the thing that changed everything for me was getting a stereo cloudlifter. bringing the level up alters the picture dramatically.


Good luck
Be well

Jack

I would love to see someone do a good video on mic'ing the back of a piano. I've tried to do it a lot over the years and always had lousy results. Someone show me the way

Micing the back of a piano only works on an upright piano. Is that what you are looking to learn about?

Yes, never had good results.

I don’t mean any disrespect whatsoever but this really is a “use your ears” kind of question. None of the questions you asked could be answered even remotely without an immense amount of details regarding your situation ( both physically and musically)
Hopefully that makes sense..

Interesting video from AEA on recording an upright with ribbons in a few different positions

https://www.youtube.com/watch?v=p2dQaYnoSc8

To my ear the R88 in the center sounds the most natural; the spaced pair of N13s gives a wider image, which might be useful in a mix; but the R88 seems to give a more realistic picture...makes sense I guess as this is more similar to how I hear a piano when I'm sitting and playing it.

Definitely making me consider the R88 route; I've tried one before and preferred the character of the 4038s, but after hearing this demo, am considering the R88 for the piano instead.

Thoughts?

I am working on a project currently where I recorded a mezzo soprano and piano (Yamaha 6'7"). I used an AEA R88 stereo ribbon on the piano.

Everyone who has listened to the project comments on how fabulous the piano sound is. The R88 delivers big time on any fine piano.

The stereo picture is really accurate, with a very full bass response (indeed just as good as an omni mic but with precise imaging), and with a slightly restrained treble.

Project after project, the AEA R88 has delivered a stupendous piano sound.

Don't go too close to the piano when working with it. Standard distance of around 4 feet away is the minimum that should be observed in order to offer a good stereo picture.

This is great to hear. I have used my R88 on just about everything but piano (winds, drums, concert band, cello, even classical and broadway style vocals). I have not had the opportunity to record piano with it but always suspected it would be wonderful. I have not found a source it did not handle extremely well.

I have used my R-88 on every session since I bought it in 2002.
I am about to buy a second.
they are tremendous on everything.


be well


- Jack

Got an R88 here to experiment with, and it sounds amazing on upright. I am finding I prefer the stereo field of the R88 to using a spaced pair; it sounds more cohesive to my ear; more like what a piano sounds in front of me. Recording it on its own, is the best sounding piano I've heard in my studio yet.

Though, since I tend to use LDCs on vocals, guitars and other elements in the arrangement, I wonder if the R88 will be hard to mix into my productions; the mellower, softer ribbon sound contrasts the LDC sound I'm used to. First impressions are that I love it on its own, but I'm not sure how it will all come together when I combine with other elements.

For those who use the R88 or Coles on piano in productions, do you find that the sound fits well in the mix if it's the only ribbon mic used? Ribbons are typically too dark for me on my acoustic guitars, and I love the detail of LDCs on vocals. Most of my work is stripped down guitar and vocal arrangements, but I'm looking to add more piano going forward.

i would say yes.
i have used the R-88 on every session for more than twenty years. I want a second one.
I have LDC tube mics on every session too.

Be well

- Jack

I have an upright pleyel and a bechstein grand with a pair of 4038 and a R88 mk2 with Undertone MPDI.
Of course there are many ways to record a piano but I really enjoy the r88 . The coles always need some eq whereas the r88 do not. For an intimate jazz sound I put the AEA just above the hammers with an inclination. For a more classical sound I use DPAs. The coles sound nice also but the AEA is my favorite. I must try the trp preamps.

I’d like to experiment with some SDCs as well just out of curiosity. Any recs for a pair of SDCs that might be pleasing to someone who really likes the R88 sound?

It’s a very different sound . I like the Soyuz 13

Another stellar stereo ribbon for piano I'd like to suggest is the Extinct Audio Valkyr - character-wise I'd place it somewhere between the AEA R88 and Royer SF-12. I've had fantastic results using it with piano in a variety of settings.

I did a head-to-head comparison with it and an R88 on a Steinway Model B in a studio recently, and both musicians and engineers preferred the Valkyr in this setting.

https://www.extinctaudio.co.uk/produ...on-microphone/

Got to try a pair of KM84s on my Yamaha U3 and they sound phenomenal. Tough call for me between the KM84s and the R88...I could see it useful to have both available depending on the circumstances.

On its own, the R88 sounds like butter, and is simply gorgeous. In the context of a track with other instruments, I could see the detail and clarity of the SDCs working better and needing less EQ...

Prob a good idea to have both available

If I had to go ribbon on piano, I would go with a stereo Samar.