Technical Theory

Using my experience and knowledge of mics I have previously used, I would use a set of Rode NT5's, one for the neck and one for the sound hole. This microphone is a cardioid condenser microphone mainly used for acoustic instruments. Because even the lowest notes on an acoustic guitar are fairly high frequency, so the total range of a guitar when it comes to frequency would be mid to high range. Its frequency range is 20 Hz - 20 kHz. A reason why a condenser mic would be better than a dynamic mic is because it can pick up more sensitive sounds that a guitar can produce. Loads of this does depend on what style is being played. For example a condenser mic is highly recommended for a clean but soft sense of playing. The sound that comes from the guitar is mainly in one place which is the sound hole. This is why this mic is good because it has a cardioid polar pattern which is great for picking up sound mainly from the front. Though the sounds made on the the neck of the the guitar aren't that loud, the Rode NT5 will still be able to capture the more subtle sound like slides. 

Monitor speakers vary in models, makes, size and shapes. They also vary in frequency and field specifications. For example there are 3 different field ranges, near-field, mid-field and full range. When it comes near-field monitors, they are preferred to be used for more low sounding tones which is basically any bass guitars or lower octave synths or notes. An example of a near field monitor are the Yamaha HS80M monitors. With mid field monitors, they cover the more mid to higher ends or treble. An example of a mid field monitor are the KRK ROKIT Powered 10-3. With full range monitors, it covers all low to high frequencies. An example of a full range monitor are the BEHRITONE C50A monitors. If a comparison was to be involved, ideally you would have one set of full range monitores or one pair of near fields next to one pair of mid fields.  

A mixer is essentially a master controller for the studio. They have several separate channels with the same effects on each one. There are faders that control the volume of each channels individually as well as a master output fader. This is used to determine how loud you want the out put a channel to be. There are panning effects. Panning directs to sound to either the left or right speaker. This would be used in songs to help give a sense of space with in the song. There are gain knobs for each individual channels as well as the master gain which determines how sound is let through into the channels. Gains on individual channels are used to balance out the sound input which should be at 0. There is a cue button which allows the producer or who ever is behind the desk, to communicate with the artists or musicians that are being recorded. There are also knobs that add EQ. Also, a mixer can also be used as a controller for music software such as logic. 

Unit 16

Budget:

21/05/13
10 full price tickets @ £6
17 advance tickets @ £5
13 guest list @ free
0 students @ free
33 beer/wine @ £1.50

-£100 band fees (£60/40)
Ice, fruit -£7
£1.50 x 33 = £49.5
£6 x 10 = £60
£5 x 17 = £85

£194.5 - £107 = £87.5 profit

22/05/13
No tickets sold as it was a free show
14 beer/wine @ £1 (lower price as customers were mainly students)

No expenses
£1 x 14 = £14 profit

23/05/13
36 full price tickets @ £6
7 advance tickets @ £5
8 guest list @ free
2 students @ free
36 beer/wine @ £1.50
9 juice @ £1
£6 x 36 = £216
£5 x 7 = £35
£1.50 x 36 = £54
£1 x 9 = £9

band fees -£160 (£80 per band)
extra bar stock -£64.49

£314 - £224.49 = £89.51 profit

In the first performance the profit was quite good. The only proper expenses taken into account was the band fee. Even though the fruit was also an expenses, it was a minor one. A few ways I could think of possibly increasing is making ice at home and bringing it in or buy fruit at a market that could potentially be cheaper. For example at a market you can buy a bowl of mixed fruits for a pound. Also the the acts that are peforming can pay a charge for performing at the venue or can make the band fee's cheaper.In the second performance, just a profit it was turned.

For the final performance roughly the same profit was made. But in this case the expenses were significanlty more thant the first performance with the band fees being higher. Also the expenses extra refreshments were way higher than the first performance. This happened because we ran out of stock when it came to refreshments but this was unexpected. A way this could of been tackled in the future is by noticing how much the band fees were. Determining the out come form these profits and breack down of the money, logic dictates that the higher the band fee is, the more popular they are and the bigger the audience will be. This in turn will mean that the tickets sold will be higher and the same goes for refreshments. If we would of noticed this, we could have been prepared by buying a larger stock than usual assuming that this was going to happen. There for there wouldn't of been an extra bar stock need or if there was one needed, it would of been a lot less.

I think the ticket prices were fair but if anything, they could of been slightly higher because adults were the majority of the audience. As for students attending , I think advertisements around the college could have been increased even though it was during exam times thats why numbers were low. Overall it a profit was generated on both the main nights which was the main point of charging and the bar was needed because it effected income by quite a bit

Major Music Project

When it comes to organising a live event or performance, there are crucial roles that exist to pull of the event or show successfully. These roles are:

• Sound Engineer - is a person that is in charge of the total output and quality of the sound. They also mic up the equipment such as amps, drum kit etc. They goal is to effect all the sounds so they all level, and there's no feed back. For a live performance this role is very important. An amazing musical act can be ruined by terrible sound engineering by putting too much reverb on vocals or making an instrument over powering. If this was done was done where it was a showcase to record labels, opportunity to be signed or get session work is most likely lost. 

• Artists or Musicians/Performers - are the people or person playing on the night of the event. If it weren't for the performers or artist then basically there is no show or entertainment, ultimately not needing the rest of the staff. 

• Stage Managers - are the people or person that organises what is placed and where it is placed on the stage. This role can help make the show smoother and less complicated and also look nicer. Though this role isn't as important as others, it does add extra to the show.

• Visual and Lighting Engineers - are the people or person to that add extra effects and provide light for the performers. As well as practical use, they are also have a decorative use. They help make the performance a "show" and add a professional element to the event. This role is fairly important. They can show images that relate to the songs being performed to help get a message across that are embedded in the lyrics or can display colours that help set the mood to a certain genre of music being played E.g. vibrant colours for upbeat happy sounding music or softer colours for a more relaxed type of music.

• Box Office Staff - are the staff that work at the box office. Though this role doesn't seem as big as others like sound engineer, it is important because this involves things like budget and profits. The staff sell tickets at a set a price and count how many are sold. From this, the profits are counted. This can also be the foundation for the budget where the money made from tickets can be used for things like resupplying refreshments for the bartender to sell.

• Bartender - is the person that works at the bar. They sell or hand out refreshments that have been asked for such as alcohol or snacks. This role also helps turn a profit which can add to the foundation of the budget.

When it came to the our final performance, "Signed", us as a class individuals were given such roles simular to the roles that were previously explained. My role, which was also assigned to Bea as my co-worker in this, was that I was in charge or promotion. This being the generation where social networks are taking over, I decided to start by making a facebook event a few weeks before the actual event. This was updated ever few days to see who accepted the invite etc. John was in charge of the poster which turned out well due to it looking very appropriate and relevant to the theme of the event. Sinai and Christina where in charge of the of the visual effects changing the lighting to colours that suited the song which helped set the mood. On top of my role as promoter, I was also a performer and bartender. During my time as the bartender, I had to make sure customers where giving me tickets that were bought at the box office instead of taking cash up front. Also I had to keep notifying superiors when we were low in stock of refreshments.


Overall I was pleased on how the performance turned out. The sound engineering was good, the set up and staging was very clever and nicely set out. There was a main stage for the live bands and some acoustic acts and there was an totally separate acoustic stage  This worked very well with the set list because it allowed band members to prepare while an acoustic act was playing. The lighting was consistenly appropriate through out the show. There were a few faults that occurred in the first show, like as a drummer,I could not hear the bass coming out of my personal monitor, but after the kinks were all worked out in the first show, the other shows we very smooth and executed nicely. Everything gelled together nicely and evenly which helped form our set list. We started with a nice upbeat live song which was "Locked out of Heaven" by Bruno Mars which basically welcomed the audience with a positive vibe. Acoustic songs were put in the middle of the set list to help the audiences ears rest a bit from the live performances. Then we ended it with another upbeat song because we wanted to end with a bang. On one performance it was "Work It Out" by Beyonce, then on another day it was "Erase Me" by Shevelle Anderson.  In my opinion, "Erase Me" was the best song to end with because it had everyone playing to there comfortable strengths and was the best received when it came to the audience's reaction. This reaction was a extremely positive and had the audience dancing and enjoying themselves a lot, which mean we finished on good terms with all the audience that attended.

If I were to do anything differently it would be to prepare more. In the first set on wednesday at 2, the set list was too long. This ended up in having no interval with then led to me not having time to set up the drum kit I usually use in my preferable way. This also led to other problems with the drum kit like the bass drum peddle being jammed by the leg of the snare drum and the toms facing away enough that they were unable to be hit properly. To counteract this mistake in the future I would do a full set run to se how the transitions between bands, players and equipment goes.

Video Killed The Radio Star

Over the years tech has evolved in the music industry. First it started with the phonautograph, which was expanded on later by Thomas Edison to become Gramophone. This worked by etching groves with a stylus in cylinder shape made from lead, tin foil or wax. The recording of that track created was then played back through a tracing needle, which ended up producing vibrations. Though this essentially kicked of music production in terms of selling music and producing it, when it came to mass production, it wasn’t very efficient at all. After this was invented, electrical followed by magnetic recording. This eventually led to the cassette tape being made. Then came the Digital Audio Recording era. This was used on tapes for a while before CD’s were made, then nowadays everything is digitally done online with iTunes and downloading mp3 files etc.

This part of the subject affects both music makers and consumers simultaneously. Essentially when it comes to technology, business and industry, a cycle is applied. Besides the evolution on what music was recorded on and other aspects of music technology such music players and software’s used to make music have evolved too. The evolution of music technology also corresponds to the genres of music that have been made. As things have gotten more technical and advanced, more sounds have been made which in turn, ended up giving birth to genres like dubstep, house and electro. 

When it comes to music production technology such as soft wares, better quality songs have been produced because more technical aspects have been added and done more intricately giving songs a unique sound or feel. It has comes to terms where a genres can be separated by a few effects and sounds. If it weren’t for the evolution of music tech some genres that exist today, would not exist.  In general, besides the pioneers/inventors of music, music consumers are all potential music makers.

In my opinion the evolution of technology for music has quite literally labelled decades or eras. For example in the decade of the 80’s, there was a period of time where disco was dominating in the music world, which was called the disco era. If scenes behind the face of music can define a time period long enough to be called an era, then it has a substantial amount of power in terms of influence and consumption, because the music made does not just affect consumers by being heard, but affects other aspects such as fashion.

 

The business world can potentially make or break an artist. It has many sides to it. For example an artist can get a great record deal, become successful and live a celebrity life, or they can sign a record deal that wont be so great because it will ask the artist to do things that they are not comfortable with, which can vary from making music the artist doesn't particularly like to selling them selves for the sake of media.

 

The same is with endorsements. You can be endorsed by a company that won't ask for much and can also lead to big pay checks and free merchandise. This can be by a company you like and want to be endorsed by but there is another side. A company that you want to be endorsed by can also make an artist do things which they might not be comfortable with. For example a drinks company might want an artist to have the drink on stage with them while they play live on stage.

 

Another flip side to this is that an artist can also take charge of this business aspect by making they're own record label or making they're own brand of item. For example jay-z founded and made rockafeller records and now signs artists like Rihanna. Dr Dre is another example but of both record label and a brand of item. He made the record label Aftermath Entertainment and signed Eminem and 50 Cent and has recently signed Kendrick Lamar. Dr Dre is also CEO of his brand, Beats Electronics. Some of his artists represent Beats headphones or speakers but depending on the business aspects, the contract of being signed may or may not state that if you close the deal with Aftermath Entertainment, you have to represent for Beats Electronics. 

 
In my opinion, the business world is a multi-faceted one. But it is a compulsory part of the music life because this covers important terms like the artists income, production of songs, publicity, events and advertisements. As for effecting consumers, The signing contracts part doesn't do much where as the endorsement part does. For example, bringing up Dr Dre again, if someone is a fan of Eminem, 50 Cent or Kendrick Lamar and they all advertise Beats Electronics, a typical consumer mindset would think that I like that artist and they use Beats therefore I should buy Beats.

In this video there is an obvious showing of a new product which is clearly advertising it (2:43-2:50)





The business world has many intricate parts because there are many things that branch off excluding jobs involved with the industry which brings us on to our final part.

 

Industry roles are the parts withing the business world or as I refered to it before, the more intricate parts. This include parts like music producer, artist manager, events manager, PR etc. Overall, all these parts have to pull there weight and do a good job to help whoever they're working with become successfull. Otherwise it holds the group back slightly if one slacks. For Example if music producer does a good job help making songs and making them sound really good and the events manager books loads of gigs at great venues but the person in charge the PR department does a rubbish job then they cant spread the word of the artist even more at these gigs and it wont have the full blown impact to new consumers of that artist.

But when it comes to industry, it has changed a lot over the years. Back in the days, a traditional record label would depend alot on the artist. The record label would give the artist a sum of money, expect them to sell records, then what money they make from that, pay it back to the record label. Nowadays something called the "360 deals" exists where they take a cut from all sections of your deal to accumilate and get the money back E.g. they take a share of your merch, live performance income etc.

In my opinion, labels are dying out. Nowadays artists want to be mainly independent because they want to maximise profits that go to them individually. Because loads of things can be done themselves nowadays for cheap, artsist dont want to be signed as much as they did before.

Grants Final Assessment Blog

22/5/13 - The first thing we recorded guide vocals and a guide guitar. Everyone apart from the players being recorded was behind the mixing desk.The rhythm guitar was being done through a DI box so that involves getting a jack to jack lead and putting it in the DI box. Then from the DI box to the floor box, its connected through jack to XLR. The guide vocals where recorded using a Titan condenser microphone that was connected through a XLR to XLR cable to the floor box. After the guides were recorded the bass was then recorded after. The techniques used to record that were a mix of DI box and recording the amp. The DI box was set up the same way as the rhythm guitar was done and the way the amp recorded was a Audix D6 was used and connected to the floor box with use of a XLR. Christina and Shevelle recorded the guides at the same time due to timing issues.

   

     

29/5/13 - In this session  was not there due to work else where involving the musical theatre students. I was in the band for Chicago. But as from what I hear from my colleagues, is that bass was re-recorded and lead vocals, electric guitar and back up vocals where recorded. The vocals, guitar and back up vocals were recorded in sections. The bass was recorded in one take. The vocals were recorded with an Titan and the guitar was recorded with the DI box.

30/5/13 - We decided to do drums and sax because thats all was left. For equipment to mic the drum kit we used:

• 2 x SM57
• 1 x Audix D6
• 2 x Rhode NT5
• 2x Sennheiser MD 421

All of these mic were connected a with XLR to XLR and was recorded in one take. After the drums were done, the sax was recorded using a SM57. We did a few takes, then did a final. Due to time issues, I couldn't retake a final take that had a mistake in it. But that problem was later fixed in the mixing part. When all recordings were done in the studio, the use of head phones were through out. The head phones were connected through a jack cable, and the head phone amp was connected from XLR to jack.

When it came to mixing, the first thing I did was group them with colours and bus channels. I added in markers so everything was organised. The drums where grouped into bus one where a new mixer channel was made which acted as the master output for the drums. Also did the same for guitar, vocals and back up vocals. 

In the final take for the drums there was a timing issue. So I grouped the drums using the dark grey box under the "I/O" section and then pressed edit selection through group settings. After that I highlighted all the drums, pressed flex and changed the setting to rhythmic. Then shortly after the audio was scanned and able to be edited. I made a few markers where the drums where out of time and flexed the drums into place. Although playing out of time wasn't good on a professional recording level, it did benefit me in to learning a new technique when it comes to mixing and logic, especially when editing audio. After the flexing, I added EQ's/ Compressors on each individual drum channel and changed volumes to help even it out.  

I added a punchy kick effect to the kick drum, over head mic EQ's to the overheads, rim snare EQ to the snare top and bottom and tom EQ to the tom channel. I added a punchy kick EQ to the bass drum because instead of it just turning it it up, the way I wanted to make it more prominent was not just through volume but to overall get a "fatter" sound. Because this style of music played has a reggae influence, the bass drum is scarce  but when played/hit, it is loud and big sounding making its place in the song which is either the one drop, steppers pattern (kick on 1 & 30) or steppers patter (kick on all 4 aka 4 to the floor). I added a rim snare EQ to both sides of the snare because like the kick drum, it is relevant to the reggae influence with in the song. A signature lick/sound in reggae is the rim shot, and adding the rim snare EQ to the snare will help boost the higher frequencies giving that slight ring of the resonating skins/ rim. The overhead EQ's where to help focus slightly more on the cymbals. This is good especially since there was a whole 16 bars that I hit the crash on. I also do a few fills that finish with a crash. The EQ will help the cymbals sound brighter and clearer. The EQ's for the toms help make the pitches between the toms more distinctive without actually tuning them physically. I then made the a master drum channel and added an arrange track because I added panning to the the first drum fill of the song. This gave the drums a sense of space and gave it some flair. I also added a drum compressor on the master drum channel to help squeeze it before being cut of by a limiter I added which stopped it from peaking. 

For vocals I added a vocal EQ called Female Vox 1 to help boost the higher frequencies and to make them clearer. Because the vocals were already quite high pitched, I added some lower frequency so that it wasn't as piercing. Even after that, some parts of the vocals were still loud and sharp, so I then used automation in terms of volume, to even out the sharp/suddenly loud sounds. All of this stopped the vocals from peaking with out having to change much on the faders still keeping the vocals main priority in the song. For back up vocals, I added backing vocals EQ. I also added platinum reverb which added a wet echo effect making them distinguishable from the lead vocals. It also gave and effect of space and gave it some flair. Since the back up vocals were low in general, I turned them up on the channel fader making them easier to hear but still subtle. 

For guitar I turned the volume down on the master guitar channel and added a guitar amp pro. I used a preset call UK combo bright which made the guitar louder, cleaner and gave it "attitude". But since I didn't need the guitar louder, I turned the guitar down slightly on the gain of the guitar amp pro. As for Bass, I added a FET bass guitar compressor and a Bass amp. The bass amp I used was an American Stack - Top Class DI warm. This gave the bass a warm, fuller sound with out making it distort. This was relevant because in reggae, bass guitar is one of the lead instruments, so because this has a reggae influence, the bass must sound prominent enough.

Nothing got added to the sax apart from some automation. There was a riff played wrong and out of tune towards the end. So I automated it out by completely lowering the volume for that part until it was over, then brought it back up again. Apart from that, the Stereo out put arrange track was made because I added automation to that to fade the track out towards the end.

Disco! Disco! Disco! Punk! Punk! Punk!

When it came to disco and politics, it wasn't a happy combination to start with. There were lack of rights for the gay community. It was an oppressive time and there was a lack of freedom for minorities. But over time, things did change.

Disco started in the late 60's to the early 70's and involved 4 types of people that started it up; Latin, African American, Gay and Psychedelic Communities. The style/feel it has came from the genre of Motown music with gave it that funky feel. Disco was also influenced by funk, lating and soul. Disco also was a rebellion against the take over of all the rock that was being played at the time. One of the pioneers of disco was called DJ David Mancuso. He opened a club called "The Loft" which was a member only, private only club which was in his own home.

When disco was involved with politics, it was a hard time for the audience of disco. The audience mainly consisted of African American, Gays, and Latin, all of both genders. During this time period, right were scarce when it came to other ethnicities and sexualities and even genders. But as the civil rights were initiated, a ripple effect of rights came after. The civil rights are a class of rights that protects and individual's freedom. As this was taking effect, other rights/movements were as well, such as the Women's Liberation Movement and the African-America Civil Rights Movement. These movements were 2 out of the 3 essential rights that help disco become free. The 3rd essential rights act that completely set free disco were the Gay rights or LGTB rights. These set of rights are unfortunately still going on and being discussed. In some countries, gay marriage/partnerships are completely allowed where as in other countries it is not and can even be punishable by death. In the disco times, being gay was looked at as an "illness" and was not welcomed at all.

Gay people were seriously oppressed in those days. Many where "in denial" because they had to hide the fact that they were gay, other wise they would get harassed a lot verbally or even physically. But one event that happened which pushed the offenders back was the StoneWall riots. This helped the gay community strengthen up and blossom helping all the gay people that were being oppressed have more confidence and stand up the the offenders. After all of these happened, the disco era was a happier place. This was until a backlash happened and a decline in disco popularity occurred. This happened in the late 70's because a strong anti-gay group formed among punk/rock fans and musicians especially in the USA. Slogans such as "disco sucks" and "death to disco" were chanted at a big riot to stop disco.

July 12, 1979 - "The Day Disco Died" -

The effect of disco and its function in society had many branches. Drugs, dancing, sex and fashion where fairly big parts of the disco era. The type of drugs that where very popular in those time where the types of drugs that would "enhance" the experience of dancing and flashing lights. The drugs used where usually cocaine, amyl nitrate (poppers) and other drugs that made your limbs feels "loose" or "Jelly-like". At one point at they dispersed cocaine through the sprinklers at the famous studio 54 club in new york. All the drug taking induced a lot of the sexual promiscuity that was rampant and public. In the clubs a lot of the actual sex would happen in the bathrooms, exit stairwell etc. All of these would take place in underground gatherings as well as famous disco clubs.

The reason why I think disco was popular is because it is was a big general resistance to the oppression of politics. It was a breakthrough for many types of people that had different sexualities or were a different race. So many political activites were breached because of how vast the resistance was. Besides the riots and political action, the form of expression was all in and through disco. Disco in terms of how it effected the participants, is a juxtaposition. As much as the music makers and users used music to fight against politicians, they also used it to get away from the violence. Overall disco was popular and strong enough genre to go down in history as era.

Events that occurred in the disco era also happened with punk in the UK. But in this case, the procedures were simular but the intentions/morals were the quite the opposite. Instead of a gradual rise to victory, this was a much stronger rebellion.

Punk in its self are several things such as, a genre of music, fashion sense and subculture. Punk, the genre of music, started in the USA, UK and Australia in the mid 70's. It is usually edgy and hard sounding with songs that are rebelling about politics. Punk music is related to rock because it was used as a term to describe garage rock. Over time the popularity grew and particularly in the UK and bands like the Sex Pistols and The Clash help spread the sound. Like disco when Punk was mixed with politics, it was not a nice story. During the Punk era, a lot of political crisis' were happening. There was a major recession and a lot of financial problems that resulted in lack of jobs. This is what inspired/motivated the style and type of lyrics and sound punk had, because it was how they expressed themselves.

All aspects of punk rock is associated with anti-goverment, anti-establishment or "D.I.Y" ethos. This means do it yourself. One company that help motivate this way of thinking was called Punk Zine. This was a magazine company that released a monthly issue to help the audience of punk since the government was not supporting people, which is the one of the reasons why Punk was born and a key motive for the genre. This monthly issue was called "Sniffin' Glue".

When compared, Punk went through similar problems as disco but it was the punk/rock crowd that took over after disco and essential killed it through oppressive and violent behaviour. Both era's went through problems due to politics but disco when through more of a "gaining rights/independence" fight where as punk went more of a "rebellion/ Anti-establishment" fight. Disco's method was more of a political/academic way of dealing with there problems despite the rebellion of the stonewall riots. Punk was more of a violent/ loud way of fighting the oppression of the government, though their music was a form of an expression.


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Grants Work Recording 2

For the bass we used 2 tracks to record, one recording the bass through the Amplifier with the Audix D6, and the other to record the bass with a DI box. The reason why we used both is because as well as the clean quality of the DI box, we wanted to capture the warm acoustics of the bass. The is diagram of how it was done. 

A D.I. box connects line level output signals to microphone level input, through a XLR cable and does this through connecting a jack cable to the bass guitar. The D.I. box then transforms this line level signal into a microphone level output. It then sends it to the floor box, which goes straight into the mixer. This output comes through an XLR output. There is also an XLR input, which is used to connect the Bass and D.I. box to the amplifier, through an XLR to Jack cable. The D.I. box requires an external power source which must contain 48 volts.

When it came to the mixing desk to record the bass, we connected them to a separate track each. For example DI box in channel 1 and the Audix D6 in channel 2. Then we balanced the levels between the 2, to get the cleanliness of the bass coming from the DI box and then the warmness from the amp.These where simultaneously recorded. 

When it came to drums we used:

Rhode NT5 x2 in the XY stereo set up (Overheads)

SM57 (Snare)

Audix D6 (Kick drum)

When the drums where recorded, 4 tracks were made. It was one track per mic. We had to turn the channels into mono rather than stereo so we could arm the tracks and record at the same time. The mics were set up the same way before. The SM57 holstered close to the snare and because it is a dynamic mic, it can take more louder because it isn't as sensitive as a condenser mic. The Audix D6 was shallowly placed within the Kick drum. This mic was used for the bass drum because it is recommended for lower frequencies which is was the kick drum produces. The overheads where placed above the kit. They weren't placed to the kit because they are condensers and are more sensitive than dynamic mics. These mics also require a (48V) power supply. The overheads where there to pick up mainly the crash, ride and toms. But instead of putting on them on separate mic stands, we used the XY mic formation. This technique will give a balanced signal that the over heads will receive. 

Originally the piano was supposed be the first to be recorded but because of player issues, I had to record drums first to set the tempo, rhythm and feel. The piano was then recorded after the drums were done. What we used to record the piano was 2 rode NT5's. 1 was placed at the higher end of the piano, and the other at the lower. The reason why we never changed the type of mic when it came to the lower end of the piano, is because the lower end of the piano is quite high in frequency. Also the sensitivity you can use and play on a piano will be caught by the condenser mics because they are sensitive picking up delicate sounds. Knowing this, the NT5's were high suited to record the piano. After setting up the mics and connecting them to mixer, we changed them to mono so we record both of them simultaneously. After that, the piano was recorded to playing of the drums that were recorded earlier. 

The Mics/Equipment we used (RODE NT5, AUDIX D6, SM57, DI BOX)