ABSTRACT
Simultaneously recording a grand piano and a smaller, quieter source can present problems for sound engineers in concert and recital halls. Large, loud instruments produce far more energy than smaller, softer sources, and because of this, engineers try to find locations for microphones that compensate for the dominance of pianos in ambient spaces. The chapter considers common techniques for recording the voice, violin, cello, clarinet, oboe, flute, trumpet, trombone, and French horn. It discusses the use of a stereo pair of microphones, with performers in the normal concert position, as well as a main stereo pair augmented by spot mics, with the performers in locations that, as some would argue, better suit recording.
