“After performing on the 2011 Grammys with Barbra Streisand this past weekend, the one comment I keep hearing over and over, is that the piano sounded so great and crystal clear. That’s why I use the Earthworks PianoMic…especially when 26 million people are listening!” – Randy Waldman
The innovative PianoMic™ System required the design of unique high definition microphones. Virtually all microphones used for recording and sound reinforcement are “free field” microphones, designed to pick up sounds in front of them. In contrast, the microphones in the PianoMic™ System are actually placed within the sound field of the piano, where sound is coming at the microphones from multiple sources and multiple directions. Each string is a separate sound source and the soundboard is also a sound source. In addition, there are multiple reflections of each sound source from the soundboard, piano sides and piano lid. These reflections, arriving from different angles, create what is known as a “diffuse sound field.” A “random-incidence” microphone is designed to be placed within such a diffuse sound field and pick up sounds uniformly, whether they arrive at the front, the sides or the rear of the microphone. The PianoMic™ System achieves much of its remarkable performance through the use of specially designed, 40kHz random-incidence High Definition Microphones™.
New York, NY – December 20, 2010 – With approximately 800 undergraduate and graduate students in dance, drama, and music, The Juilliard School is recognized as one of the most prestigious performing arts conservatories in the world. Notable alumni include singer/actress Patti LuPone, pianist Van Cliburn, trumpeter Wynton Marsalis, and composer/conductor Henry Mancini. As for ensembles, the resident Juilliard String Quartet is legendary. It’s all about performance at The Juilliard School and, when the performance requires live sound reinforcement, Earthworks microphones are a staple of the setup.
Marc L. Waithe, Chief Audio Engineer at The Juilliard School
Marc L. Waithe, Chief Audio Engineer at The Juilliard School, has been using Earthworks microphones for roughly a decade. In addition to being responsible for live sound reinforcement throughout Juilliard’s main performance spaces, Waithe also oversees system design, maintenance, mixing, and the training of staff, interns, and students for all aspects of the school’s SR (sound reinforcement) requirements. Over the years, he’s accumulated a sizeable inventory of Earthworks microphones.
“At this point in time,” Waithe reports, “we have over thirty Earthworks microphones. Our mic locker inventory includes the SR69, SR71, two SR77’s, six SR20’s, and seven SR30/HC’s from the company’s Sound Reinforcement series. For use with drums and percussion, we also have Earthworks’ CMK4 close mic drum system kit; along with four DK25L live drum mic systems. Our podium microphone is an Earthworks FM500, which the company is retro-fitting for me with a wire-mesh pop screen—making a fantastic microphone even better. Completing the picture, we use the Earthworks PM40 PianoMic™ when piano amplification is required.”
Waithe discussed the various microphone applications he routinely handles and his reasons for using Earthworks so extensively. “We handle a lot of instrumental miking when called for in the score,” Waithe notes. “Similarly, we use the microphones for Juilliard Jazz, foldback applications such as operas, and a variety of special events. Earthworks’ SR Series microphones provide incredible off-axis response, which enables me to mic the various performers without having to worry about their movement. This way, the performers aren’t restricted by the microphone as they play or sing. The microphones’ extended frequency range captures every nuance—without compromising their artistry.”
When queried about one particular scenario where an Earthworks microphone really helps him address a unique artistic and technological challenge, Waithe focused on Earthworks’ legendary PianoMic™ system. “The PM40 PianoMic™ is one of my favorites,” he explained. “For our big band jazz concerts, the piano is usually positioned next to the drums. Our PianoMic™ really helps bring out the clarity and beauty of the school’s precious Steinway pianos—without any compromises or hassles. The PianoMic™ system offers us the freedom to mic the pianos with the lids either up or down, and the fact that the system eliminates the necessity for microphone boom stands makes setup easier, more streamlined, and also enables us to maintain a consistent sound should the instrument need to be re-positioned.”
For mission critical applications such as those Waithe supports at The Juilliard School, quality customer/technical support services are essential and, here too, Earthworks receives high marks from Waithe. “The company has been a pleasure to deal with,” he said. “Everyone is very friendly and responsive to my inquiries. Earthworks has a family oriented ‘feel’ to it that is also quite refreshing. I love the fact that I can speak directly to the COO of the company about their products.”
Before turning his attention to the business of the day, Waithe offered this closing assessment of Earthworks, “Many of the people at Juilliard are among the most discerning listeners in the world—particularly those involved in the classical and acoustic jazz programs. With good reason, they can be very wary of any amplification of the acoustic sound. The Earthworks microphones not only help me translate their musical visions transparently to the audience, they also enable me to expand the perception of just how good their instruments can sound in a live, amplified environment. I love these microphones!”
About the Earthworks PM40 PianoMic™ System
Designed for a wide range of applications where superior piano sound is essential, the Earthworks PM40 PianoMic™ System incorporates two random incidence, omnidirectional, 40 kHz High Definition™ microphones with a unique support mechanism that straddles the piano’s harp for quick, efficient placement of the microphones. A touring version, the PM40T, is also available.
About Earthworks, Inc.
Earthworks is a New Hampshire, U.S.A. based manufacturer of High Definition Microphones™ that is dedicated to quality and sonic excellence. Each Earthworks product is handmade with great care, meticulous attention to detail, and a strong emphasis on quality. Earthworks prides itself in making only the very best in professional audio equipment intended for mission critical sound applications. For additional information, visit the company online at www.earthworksaudio.com.
Earthworks, manufacturer of High Definition Microphones™, announced that Big Bad Voodoo Daddy (BBVD) is continuing to support the release of its latest album, How Big Can You Get?: The Music of Cab Calloway, on the road, bringing Earthworks’ High Definition Microphones™ along for the ride. The high-voltage swing outfit, which plays everything from large halls to outdoor venues, relies on the Earthworks PianoMic™ at each of its gigs to capture its unique Honky Tonk tone.
How Big Can You Get?: The Music of Cab Calloway was recorded at the legendary Capitol Studios at Hollywood and Vine and is BBVD’s musical tribute to the master of swing, Cab Calloway. The group’s elaborate touring ensemble includes a nine-piece instrument section consisting of horns and percussion; having so many live instruments on stage can present unique challenges to live sound engineers–particularly around instrument bleed and feedback.
Thankfully, these are challenges that the Earthworks’ PianoMic™ gracefully overcomes, according to BBVD tour manager, Brian Stanley: “Live sound reinforcement on a piano has always been a challenge because there is always so much noise onstage and a lot of noise rolling off the P.A. back onto the stage. Once we started using the PM40, we found we were able to run with the volumes we wanted to run at; the tone was amazing and it sounded like a piano. We didn’t have to work to get it to sound that way–you just put the mic in the piano and go.”
“Before, we’d have to do drastic EQing and there were definitely compromises in terms of gain before feedback,” Stanley continues. “You would either get it to sound good at a low volume, or get a good tone but with a lot of feedback. Gain before feedback is a very important consideration for us, because this is a loud show–we want to run at hot levels and not lose the tone we are after.”
The PianoMic™, which was last year’s winner of the Mix Foundation’s TEC Award for Outstanding Technical Achievement in the Microphone/Recording Technology category, makes it nearly effortless to achieve extremely high quality results while miking a piano–one of the more technically demanding instruments to capture given its vast frequency range and complex acoustical nature. It easily mounts inside with no stands or booms, utilizing two specially designed random incidence omni microphones which have a near perfect frequency and polar response compared to conventional microphones.
Joshua Levy, pianist for BBVD, commented on his experiences with the PianoMic™: ”After almost giving up on our search for a system that would let us get a decent piano sound in both monitors and front of house, we found the Earthworks PianoMic™ and were truly amazed! It lets us dial in a remarkably natural sound with plenty of gain and little fuss, night after night, in even the most challenging settings. We love it!”
Scotty Morris, BBVD’s lead vocalist, had this to say about Earthworks microphones: “My first encounter with Earthworks mic’s was the PM 40 PianoMic. The first thing that struck me was the evenness of tone I was able hear in my In-Ear monitors. Then, when I walked the hall at sound check to see if it was an illusion, I was totally amazed with the fullness and range we were getting in the cavernous San Francisco symphony hall.
My second encounter was with the drum package. Again, amazing clarity, but what was the biggest feather in the giant audio hat was that I was able to run ALL of the drums without EQ in my In-Ear monitors, and received such a clear picture of the kit with NO glaring sub frequencies to interfere with the great tone of Kurt’s drums. It literally cleaned my ear mix right up, leaving me more audio headroom then I thought possible in my In-Ear mix.
So, now I get to my Microphone, the SR40V. Well, the joke I have with Brian our front of house engineer is “So that’s what flat sounds like”!!!! It cleaned my mix up even more, and the way it naturally compresses my vocal is a revelation! I was already thinking about my thank you letter to Earthworks in the middle of the set, the first night I used the SR40V. So here it is. THANK YOU! You have improved my quality of “live”.”
Since 1994 Big Bad Voodoo Daddy has toured virtually nonstop, performing more than 1,200 concerts on stages around the world. Big Bad Voodoo Daddy appeals to all age groups, and their talent can be seen on the stages of the world’s biggest and best music festivals, night clubs, county fairs, symphony shows, black tie events, and wineries. As testament to their class, stylishness, and versatility, the band has been called upon to perform at some major entertainment events and behind-the-scenes parties including the Grammy awards, Billboard Awards, Espy Awards, and the opening of the Getty Center Museum, the halftime show at the 1999 Super Bowl and Orange Bowl. Additionally, Big Bad Voodoo Daddy has been called on to play private events for President Bush (both of them) and President Clinton. Most recently, BBVD performed during two recent national television performances: The Tonight Show with Jay Leno and Dancing With The Stars.
Visit Big Bad Voodoo Daddy on the web: www.bbvd.com
Milford, NH, January 4, 2010 – Earthworks™ introduces its PM40T Touring PianoMic System ($4,695 MSRP). Based upon the company’s highly successful PM40 Piano Microphone System, the new PM40T Touring PianoMic™ System promises the sonic performance of its sibling while offering quick, simple, and easy setup.
With the new PM40T, musicians and audio engineers can achieve pristine sound quality regardless of whether the piano lid is up or down. The heart of this innovative piano microphone system is two Random Incidence, omnidirectional, 40kHz High Definition Microphones™. Featuring a frequency response ranging from 4 to 40k Hz, these microphones promise extraordinary impulse response and extremely short diaphragm setting times, making them ideally suited to perform within the piano’s highly diffused sound field (multiple direct and reflected sound sources). Earthworks states that these microphones exhibit no proximity effect (change in LF levels), regardless of their distance from the piano strings or soundboard. The result is said to be a remarkably consistent piano sound across the entire range of the instrument.
The two 40kHz High Definition Microphones™ included in the system are said to provide incredible gain before feedback because the microphones are positioned very close to the sound source and are within the sound field of the piano.
As the microphones are placed inside the piano shell, they are well isolated from sound outside the instrument. Further, as these microphones are positioned 3 to 6 inches above the piano strings, the miked piano sound is dramatically louder than any sounds emanating from outside the piano. As a result, any outside leakage picked up by the piano mics is dramatically lower in level than the sound of the piano itself. The PM40T’s adjustable, telescoping tube is supported by the sides of the piano case, facilitating flexible placement of the microphones close to or away from the dampers—facing toward or away from the keyboard—enabling one to achieve exactly the sound characteristics most appropriate to any particular application.
October 2007
Many churches struggle with piano sound problems in their sound reinforcement systems and television broadcasts. Churches typically mike their pianos by one of the three methods: single mic over the edge of the piano, two mics higher up, or a mic inside the piano on a pad.
In most cases, none of these microphone placements will provide the desired amount of sound level (gain) before acoustic feedback. In addition, the piano lid will not close, allowing the piano microphones to pick up the sounds of other surrounding instruments. Not to mention the unsightly appearance of microphone stands or booms sitting in front of the piano.
Franklin Denham, minister of music at Highland Baptist Church in Meridian, Mississippi, said he has found the solution to all of these problems by using the new Earthworks PianoMic™ System.
May 2009
by David Morgan and Bill Evans
Accurately miking an acoustic piano and doing it consistently is one of the eternal challenges of live audio (and recording for what that’s worth). Over the past year plus, FOH has covered at least a handful of approaches at prices ranging from downright cheap (the Helpenstill pickup system) to compromise (standard miking coupled with control of a MIDI piano module for John Legend) to proprietary and expensive (Tom Young’s custom Scheops array that he carries with him for every Tony Bennett gig). The problems are well known. It is not just a case of accurately reproducing the sound, although that is a challenge in itself. The job is made a lot harder by considerations like gain-before-feedback, bleed from other sound sources into the piano mic or mics and even the aesthetics of multiple mic stands surrounding that beautiful grand piano. More artists and venues have simply given up and placed a digital keyboard into a fiberglass piano shaped shell.
Sound quality and physical attributes ideal for both stage and studio
Milford, NH, June 3, 2010 – Recognized the world over for the spontaneity and creativity of his live performances, pianist/vocalist, and songwriter Bruce Hornsby’s music draws from a blend of classical, jazz, bluegrass, and rock influences to form a musical signature that is uniquely his own. Whether he’s performing solo, with Christian McBride and Jack DeJohnette as The Bruce Hornsby Trio, or with his band, the Noisemakers, the multi-Grammy® Award winning artist’s piano-centric sound is highly identifiable—thanks, in part, to Earthworks’ acclaimed PM40 PianoMic™ System.
Wayne Pooley has served as Bruce Hornsby’s recording/mixing engineer and producer since 1991. The architect of all things technical for Mr. Hornsby, Wayne handles everything from engineering in the studio to mixing FOH (front of house) when on tour. As is well known in professional audio, miking a piano is one of the most challenging tasks all audio engineers must routinely wrestle with. On that note, Pooley discussed the circumstances that led to his deployment of the Earthworks PM40.
“Miking a piano can be very difficult,” Pooley acknowledged. “The point of origin for the instrument’s sound is very broad, so any microphone is challenged by the fact that some of that sound is direct while some of it is off axis. The instrument’s sound reaches the microphone’s capsule from all directions and this further contributes to the complexity of the process. Reflective sound and proximity effect play huge roles in the overall mike’d piano sound. While small diaphragm condenser mics frequently have good transient response, many lack a full bodied character. By contrast, large diaphragm condenser microphones may offer greater fullness, but they frequently lack the presence, or clarity, of a small diaphragm condenser mic.”
“What’s so unique about the PM40,” Pooley continued, “is that it exhibits excellent transient response for a more articulate sound from the piano’s top end while also possessing the warmth and full bodied character of a large diaphragm condenser mic. Just as important, you don’t get that overly ‘boomy’ proximity effect typical of many large condenser microphones. The PM40 is a very well balanced microphone that does an excellent job of accurately presenting the piano’s acoustic footprint.”
When he first encountered the Earthworks PM40 in the fall of 2009, Pooley was initially looking to improve the piano sound for Bruce Hornsby’s studio efforts, but quickly discovered its potential for the touring side of their efforts. “Miking a piano for a recording project is very different from live performance,” he explained. “In the studio, the piano lid is usually open, whereas in live performance, the lid is more frequently closed as a means of better isolating the instrument’s sounds from its surroundings. The PM40 strikes a great balance between both studio and live applications, so I envision us using it—or more likely, the new PM40T touring version—on many of our future projects, both live and studio.
Pooley emphasized one of the PM40’s advantages in live sound applications, “Bruce frequently appears on early morning TV shows or other programs where there’s very little time to prepare the piano. For events such as an NBA game, where he performs the National Anthem, we frequently have less than a minute to be ready. By having the PM40 installed inside the piano, we can roll the piano into place, make the cable connections, and be ready to go. If we had to place microphones on stands, we’d never make it. Having the microphones pre-positioned is a huge benefit that ensures we’ll get the sound we want.”
As he prepared for several upcoming events, Pooley offered this parting thought about Earthworks and the PM40. “I’ve been using an Earthworks M30 High Definition™ Measurement Microphone for several years, so I was well-versed with the company’s excellent reputation in the industry,” he said. “When I first inquired about the PM40, Earthworks National Sales Manager Mike Hurwitz was extremely responsive and answered all my questions. Though I’m a relative newcomer in terms of my experience with this particular microphone, I’m very optimistic about the PM40’s attributes and am confident it will be an invaluable tool for capturing the sound of Bruce’s piano for a wide range of projects. In my opinion, Earthworks has another winner on its hands.”
For additional information about Bruce Hornsby, visit his website at www.brucehornsby.com.
Click here for a hi-res image of Bruce Hornsby at the piano.
About the Earthworks PM40 PianoMic System
The Earthworks PM40 incorporates two random incidence, omnidirectional, 40 kHz High Definition Microphones™ with a frequency response ranging from 4 Hz to 40 kHz. With their extraordinary impulse response and extremely short diaphragm setting times, they are ideally suited to perform within the piano’s highly diffused sound field (multiple direct and reflected sound sources). Equally significant, these microphones exhibit no proximity effect (change in LF levels), regardless of their distance from the piano strings or soundboard. The result is a remarkably consistent piano sound across the entire range of the instrument.
About Earthworks, Inc.
Earthworks is a New Hampshire, U.S.A. based manufacturer of High Definition Microphones that is dedicated to quality and sonic excellence. Each Earthworks product is handmade with great care, meticulous attention to detail, and a strong emphasis on quality. Earthworks prides itself in making only the very best in professional audio equipment intended for mission critical sound applications.
PM40 PianoMic™ System the ideal piano miking solution
Milford, NH, April 22, 2010 – The task of miking an acoustic piano is never easy and the issue only compounds itself when it comes to live sound reinforcement. Duct tape never seems to hold throughout the performance while mic stands get bumped and, in the process, so does the piano sound. Add in ambient noise from the crowd, stage, and surrounding instruments and, from there, it’s frequently a downhill slide. That’s precisely why Andrew McMahon, pianist and lead vocalist for Jack’s Mannequin, relies on the Earthworks PM40 PianoMic™ System to capture the true essence of his piano sound.
Andrew McMahon performing with the Earthworks PM40 PianoMic System
Originally hailing from Orange County, California, Jack’s Mannequin is a rock band that was formed in 2004. The band began as a side project of Something Corporate frontman Andrew McMahon, and comprises guitarist Bobby Anderson, bassist Jon Sullivan, and drummer Jay McMillan. Having recently finished a headlining tour in the United States as well as a few one-offs, the band recently made stops in Kingston, RI, Oneonta, NY, and Kutztown, PA. Further, McMahon continues his activities with Something Corporate, with whom he performed at the Bamboozle East in East Rutherford, NJ, Bamboozle Midwest in Chicago, IL, in addition to a solo appearance at the Hoodwink Festival, also in East Rutherford, NJ.
With a schedule this hectic, McMahon was searching for a means of miking the piano that would provide greater consistency of sound while being easy to implement. Since February, when he started using the PM40, the challenge of getting the right piano sound has become far more manageable. “I’ve been traveling with uprights and grand pianos for nearly ten years,” McMahon said. “It has always been a struggle to find quality miking solutions for the piano—especially considering regular nightclub gigs where the backline (supporting instruments/equipment) tends to be fairly close to the piano.”
In addition to a vastly improved sound that evenly presents the piano from the lower octaves all the way through the highest notes, McMahon reports that the PM40’s specially designed telescoping bar, which spans the piano over the strings and is supported at the ends by the piano case, beats anything else he previously encountered. “The ease of installation is huge.” he says. “The PM40’s ability to really capture the true nature of the piano is without equal.”
McMahon’s piano sound is unique and is not easily duplicated, as he explained. “We use a combination of miking elements as well as MIDI to create the entire piano sound,” McMahon reports. “With that said, it was the final addition of the Earthworks PM40 that really left me and my sound crew feeling like we’d finally tamed the beast!”
In addition to his enthusiasm for the PM40, McMahon’s front of house engineer—known affectionately as Quake— was also complimentary of Earthwork’s PM40 PianoMic™ System. “The fact that the PM40 really doesn’t require tech support may be the best compliment of all,” Quake notes. “The system couldn’t be easier to install and, once you angle the two mics the way you want them, you’re pretty much done. If you want, you can close the lid for better isolation and, if you need to move the piano around on stage, you don’t have to mess around re-positioning mic—stands because there are none. The PM40 is a great sounding, easy-to-use piano miking system that never gets in the way.”
As he prepared for his next performance, McMahon shared one final thought about the Earthworks PM40. “The addition of the PM40 to my piano sound has, without a doubt, solved so many of the problems that my sound team and I have battled for years on the road. It’s so nice to hit the stage knowing that my sound will be consistent and true.”
About the Earthworks PM40 PianoMic™ System
The Earthworks PM40 incorporates two random incidence, omnidirectional, 40 kHz High Definition Microphones™ with a frequency response ranging from 4 Hz to 40 kHz. With their extraordinary impulse response and extremely short diaphragm setting times, they are ideally suited to perform within the piano’s highly diffused sound field (multiple direct and reflected sound sources). Equally significant, these microphones exhibit no proximity effect (change in LF levels), regardless of their distance from the piano strings or soundboard. The result is a remarkably consistent piano sound across the entire range of the instrument.
Click here for a hi-res image of Andrew McMahon performing with the Earthworks PM40 PianoMic™ System.
The SR40V always delivered, and was our ‘easy’ mic in terms of use. It didn’t require any EQ,...
Associate Professor at The Berklee College of Music. Holds a Masters Degree in Music Performance from The University of [...]
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