It's really very good. First, because it is possible to obtain a great natural delay effect using only the positioning of mics, without using DSP effects that require more processing and CPU. Second, because it offers a good perspective for both the listener and the player. In addition, it offers an incredible sense of closeness, as if the instrument, in fact, was in front of me. Congratulations!

Thank you!

Very interesting settings!  I'd also recommend trying two pure omnis at the following locations:

X = +0.380
Y = +2.220
Z = 0.840
Angle = +180.0
Vertical Angle = -90.0

And

X = +0.740
Y = +1.080
Z = 0.844
Angle = -180.0
Vertical Angle = -90.0

This represents (essentially) the middle of the bass and treble bridges.  You have to heavily mix down each mic, even with level and delay compensation off.  I recommend -6db for mic #1 to left channel only and -18db for mic #2 to right channel only.  I'm still refining how to best mix the mics into a stereo field though.

It's really very good. First, because it is possible to obtain a great natural delay effect using only the positioning of mics, without using DSP effects that require more processing and CPU. Second, because it offers a good perspective for both the listener and the player. In addition, it offers an incredible sense of closeness, as if the instrument, in fact, was in front of me. Congratulations!

X = +0.380
Y = +2.220
Z = 0.840
Angle = +180.0
Vertical Angle = -90.0

And

X = +0.740
Y = +1.080
Z = 0.844
Angle = -180.0
Vertical Angle = -90.0

This represents (essentially) the middle of the bass and treble bridges.  You have to heavily mix down each mic, even with level and delay compensation off.  I recommend -6db for mic #1 to left channel only and -18db for mic #2 to right channel only.  I'm still refining how to best mix the mics into a stereo field though.

Interesting find. Why did you choose the X axis number? Given the other settings, any X axis number that leaves the mic inside the piano should be touching the soundboard, as long as the Z (height) axis stays the same, yes? I ask because your figure of 0.268 puts the mic on the far left side of the soundboard. (Why would that be the central point of the acoustic propogation?)

Regardless, thanks for posting this.

You're right. The primary value is "Z" (height). X and Y are irrelevant as long as they are in the piano area. The X and Y axes have small blind spots, if you move it carefully you will notice a sound cancellation.

Another important factor is the microphone. Saturation occurs best in the cardioid at an inclined angle 0 or 180 (up or down). The omni is not so clear, but there is a significant increase in volume. In addition, level and delay compensation must be turned off.

Regardless, thanks for posting this.

How did you even find the coordinates, pretty cool, thanks.

Right-clicking on the microphone

I still didn't know it was possible, but I found it interesting and decided to share it with someone who, perhaps, like me, did not know:

cardioid mic 1

X = +0.268

Y = +0.588

Z = 0.840

Angle = 0

Vertical Angle = 0

cardioid mic 2

X = +1,202

Y = +0.520

Z = 0.844

Angle = 0

Vertical Angle = 0

I did it using Steinway D.