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Shure KSM 137
Hi All-
I was wondering if anyone has an opinion on the Shure KSM 137 or has used it to record a piano. I’m looking at recording a singer (on stage) with a piano accompaniment. I would mic the piano with two KSM 137’s; I know ideally the Neumann U87’s would be the way to go.
Thanks in advance…
Dave
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3 Replies
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Hello Dave and welcome to the Cow Audio Forum.
Depending on the piano, depending on whether it’s a grand, depending on whether the lid will be open, half, open or closed, depending on the position of the singer relative to the piano, depending on whether there’s a PA or not — all of these weigh in on perfect mic choice.
KSM 141 would be better than KSM 137. Small is better than big if you want to get into the piano. If it’s during alive performance, having one or two U87 will probably look too intrusive.
One or two AKG C414 would be less intrusive than the U 87s and if matched with the right mic pre and with the right pattern chosen based on all the factors, would be better than either of the Shures.
Regards,
Ty Ford
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Watch Ty play guitar -
Hi Ty-
Thanks for the response :o) I should have provided more info…lol. Actually, I’m not sure of the entire set-up. But, basically, it would be a grand piano, lid up; singer not really close to it. And no PA.
This is not a paying gig…I’m recording a relative who is studying singing (opera, mostly) and I want to do a recording for her. So, I would have (mostly) total control. This would also be in a church (I think), or possibly a concert hall, nether of which would have any people. I’m not planning on doing much post on it so, I want to record it the best I can in the field.
Anyway, thanks for the info on micing. I won’t be doing this until next month so, I have a little time…
Regards,
Dave J -
No problem. “Most” opera singers don’t want to sing into a mic and most don’t need to. You might have the vocal mic several feet away from her. Even then, when she goes for the big notes, you may have to ride gain.
The best advice I can offer is to go to a rehearsal or two and make notes as to where she hits the big ones so you can be prepared to sneak the gain in and out.
Having the piano on the back or side of the mic may help keep the piano from going up and down in level when you have to change gain for her.
Regards,
Ty Ford
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar
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