Topic by Professor Leandro Duarte

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Topic: placing the microphone in contact with the acoustic board

Recently, playing a little and experimenting with the microphonation of the Pianoteq, I discovered that there is a mic position that corresponds to the central point of the acoustic propagation spectrum. In practice, it is like touching the microphone to the piano board.

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.

Last edited by Professor Leandro Duarte (15-04-2020 16:12)
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Reply by Mk4UmHa

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Re: placing the microphone in contact with the acoustic board

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

Reply by Professor Leandro Duarte

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Re: placing the microphone in contact with the acoustic board

Mk4UmHa wrote:

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


Right-clicking on the microphone

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Reply by Qexl

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Re: placing the microphone in contact with the acoustic board

Just went off to try this - thank you Professor, it does have quite an interesting sound.

Pianoteq Studio Bundle (Pro plus all instruments)  - Kawai MP11 digital piano - Yamaha HS8 monitors

Reply by Jake Johnson

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Re: placing the microphone in contact with the acoustic board

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.

Reply by Professor Leandro Duarte

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Re: placing the microphone in contact with the acoustic board

Jake Johnson wrote:

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.

Last edited by Professor Leandro Duarte (17-04-2020 15:46)
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Reply by tmyoung

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Re: placing the microphone in contact with the acoustic board

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.

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Reply by Professor Leandro Duarte

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Re: placing the microphone in contact with the acoustic board

tmyoung wrote:

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!

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Reply by tmyoung

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Re: placing the microphone in contact with the acoustic board

Professor Leandro Duarte wrote:

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!

Spotify: https://open.spotify.com/artist/2xHiPcCsm29R12HX4eXd4J
Pianoteq Studio & Organteq
Casio GP300 & Custom organ console

tmyoung's Website