Microphone Positions (as an example: Yamaha CFX)

Find more details about the microphone setup of all our Synchron Pianos in the respective Instrument Manual:

Stage A

Concert D-274

Bösendorfer Imperial

Fazioli F308

Stage B

Blüthner 1895

Bösendorfer Upright

Bösendorfer 280VC

Fazioli F212

German Upright

All close microphones are essential for a more player-oriented mix. They give you the impression of sitting in front of the concert grand piano.

The two Schoeps MK 4 microphones are arranged in an ORTF setup and are an option for your close set of microphones. They were positioned as close as possible over the strings in the hammer area. These microphones will be essential when going for a modern sound as used in all kinds of popular music.

The 2 ribbon figure-eight capsules of the Royer SF 24 are arranged in a classic "Blümlein" setup, creating a great alternative sound to the Schoeps MK4. Their position is in the player’s area, resulting in a very natural, reactive sound (with the typical fast-responding sound characteristics).

Steinway D only "ORTF" setup of a Neumann M-149 stereo pair, capturing the beauty of the Steinway D with the analog warmth and richness only a legendary tube microphone can provide.

The two Sennheiser MKH 800 microphones are also arranged in an ORTF setup, resulting in a warm, bright, and wide sound. The Piano is centered in this microphone set.

Compared to the Mid 1 set, the two Sennheiser MKH 8040 provide a more focused and harder (direct) sound. Once again, the piano is in the center of this microphone set, arranged in an ORTF setup.

The Main Decca Tree microphones of each recording session, often referred to as "main" or "tree", are arranged in a Decca tree setup. With the DPA 4006, we decided to use very neutral microphones in order to capture even the smallest detail of the fantastic Stage A at Vienna Synchron Stage. Used in a stereo mix, you can easily hear where the piano is placed. In a surround setup, the Decca tree microphones will be the feed for your front L-R speakers.

The main surround microphones are positioned in a special way: As a wide AB setup, but with cardioid microphones. In a stereo mix, you can use them as so-called "Wides" or "Outriggers" to create an even more spacious impression. In a surround setup, those microphones should be used for your rear speakers.

The "High Left"-"High Right" and the "High Left Surround"-"High Right Surround" microphones are both arranged in AB setups, but this time spotting the fascinating reflections of the ceiling in Stage A.

In stereo mixes, you can use them as an alternative to your main mics or down-mix those much more diffused signals. The sound could be described as more "sparkling" and reverberant than the main mics.

In a surround mix, you can also use them as alternatives to your surround and main mics or mix those sources to your liking. Used in an Auro3D or Dolby Atmos mix, these microphones should feed your top or ceiling speakers.