What inspired you to develop Traveling Pianos?

During the 2020 COVID-19 lockdown in Los Angeles, it was almost impossible to get recording artists to the studio to record our then-planned new libraries.  So the only options to create something new would be creating something from recordings that I, alone, could do.  And those options were either a new solo strings library (which I was NOT in the mood to do after the release of Lyric Series Strings Quintet), or to record my beautiful Yamaha G5 grand piano.  And my good friend John Walz (principal cellist - LA Opera) told me that the room where the piano sits has a wonderful sound with great acoustics!

 I knew that there were already so many great piano libraries out there, and also knew that it could be difficult to compete.  But, it was my only viable choice at the time.  So after a few "dry runs" at it, I sent a trial, "bare bones" version to a few professionals I know.  To my surprise, all responded quite favorably, and added that I should do it "for real".

How was TP recorded?

YAMAHA C7:
CLOSE MICS:

• 1975 AKG 414s w C12 capsules refurbed by Bob Katz direct wire (no patch bays) to original Neve1073’s mounted by Brent Averill.
• Bass strings @9” above where strings cross in center of harp.
• Treble strings @9” above where the harp separates extreme high strings from mid high strings.

MAIN MICS:

• 1987 Neumann U-87’s (never used before 2018 - new old stock) modified by Stephen Paul in 1987 and further modified by Toby Foster in 2018.
• Direct wire through Neumann v476b at edge of piano at ear height.

FAR MICS:

• Aspen Pittman GT44’s through V476b’s - spread 14’apart, 14’ back and 14’ up point up  and toward piano.
• All mics in omni mode except the ribbons which are figure 8 facing towrd piano and back of room.

Disklavier:  (Used to make sure all velocities were consistent)

1987 Yamaha C7f 7’6” Disklavier voicing and tuning by Jim Wilson LA Piano Service and Disklavier services by Yamaha USA and Peter White/Mark Hulibarger. Original piano setup by Hope Morrow.

"I used to use Matt Hyde type mic-ing in cardiod right over the hammers at 6” up facing toward pins for that very bright David Foster Pop punch through a track in pretty extreme stereo. Now I much prefer a combo of the fullness of the mid/low string crossing balanced with upper harmonics & resonance  over the high strings including or maybe especially the undamped extreme high strings. There’s a rich life and natural warmth to those harmonics.

The edge mic-ing technique I got from James Horner and  his engineers Simon Rhodes and orchestrator Simon Franglen who  essentially put the mics where vocal soloist would stand in the ‘crook’ of the piano. The room sounds big with a natural decay because of the perfect dimensions by Carl Yanchar and walnut floor with acoustic damping & diffusion only on the 6’ and under plane.

The ‘omni only’ approach came from my dear friend Aspen Pittman (Founder Groove Tubes and Aspen & Associates) whose opinion was that ALL mics behave better in omni - patterns are brought about by introducing electronics/phase manipulation.  I listened and agreed and have never gone back except when trying to isolate say an acoustic guitar from a voice or overhead drums from a kick pedal.

I just put my head inside the piano and listen for the sweet spot, stand at the edge and listen for the sweet spot and then listen to where the room wants to give back the best ambience. Simple really."
-Michael Lehmann Boddicker

 
YAMAHA G5:
CLOSE MICS:

• Audio-Technica AT4050s.
• “X-Y” array @8” above center of harp.

MAIN MICS:

• Audio-Technica AT4033s
• Placed at foot of piano body.

FAR MICS:

• Cascade Fat Head IIs - spread 16’ apart, 20’ back and 12’ up pointed toward piano.

What was your inspiration behind all the sound design style presets?

I wanted to offer something more than just the great-sounding pianos as they were out-of-the-box.  So I started by adding a cool "string" or "saloon" layer option.  I also customized the pianos themselves by focussing on different styles and placing them in different rooms.  It's almost as if you're "traveling" to these different spaces and styles.