Role in the mix
The piano is an orchestra in a single instrument: its fundamentals run from A0 (27.5 Hz) to C8 (4186 Hz), with harmonics beyond 10 kHz. In pop and rock mixes it is often harmonic/rhythmic (eighth-note chords, ballads, gospel), in jazz and classical it is the protagonist with wide dynamics, and in lo-fi and hip hop it is a colored, filtered sample. The main problem is that the left hand occupies the zone of bass and guitars (80–300 Hz) and the right hand the zone of the voice (1–4 kHz). In full mixes it is sculpted; in piano-and-voice tracks it is kept whole.
Recording and choosing the sound
- Grand piano: spaced pair (or ORTF) above the strings at 20–40 cm, aimed toward the hammers and the low/high strings; or a pair close to the hammers for pop and rock; ambient pair for classical (1–3 m). Lid open.
- Upright: pair behind (soundboard) or above with the lid open.
- VSTs: Piano V (Arturia), Keyscape, Pianoteq, Native Instruments Noire/The Grandeur, Spitfire, FL Keys (stock, basic). Choose the mic perspective (close, player, ambient) according to the genre, before EQ.
- Chris Lord-Alge on piano (Inside Track): SSL EQ with a boost around 5 kHz to counter the lack of brightness, compression and a long reverb shared with the orchestra.
Gain staging
Peaks −12/−8 dBFS; wide natural dynamics (crest factor 16–22 dB in classical). VST velocity: check the curve (in FL: Channel settings → velocity mapping or in the plugin).
Corrective EQ
- HP 40–60 Hz (solo piano or classical) up to 100–150 Hz in a full pop mix with bass (the left hand must not double the bass).
- Mud 200–400 Hz: −2/−4 dB Q 1 (very common on VST pianos and close recordings).
- Box/honk 500 Hz–1 kHz on uprights: −2/−3 dB.
- Hammer hardness 2–4 kHz: −1/−3 dB or dynamic EQ on fortissimo passages.
- Pedal and mechanical noises: HP and editing; pedal noises sit at 50–150 Hz.
Creative EQ
- Pop brightness +2/+4 dB at 5–8 kHz (shelf) or 10–12 kHz for air.
- Warmth +1/+2 dB at 100–200 Hz in ballads.
- Telephone/lo-fi: band-pass 300 Hz–4 kHz.
- Mid/side: in dense mixes, cut the lows on the sides only.
Compression
- Pop/rock: VCA or opto, 3:1–4:1, attack 10–30 ms, release 100–300 ms, 3–6 dB.
- Ballads and jazz: opto (LA-2A) 2–3 dB or none; use volume automation.
- Classical: none or 1–2 dB, low ratio.
- Parallel for pop pianos (more sustain and body without losing attack).
- Lo-fi: heavy “pumping” compression with sidechain from the kick.
Transient shaper
Attack − for VST pianos that sound too “hammered”; Attack + for rhythmic pianos (house piano, gospel); Sustain − to shorten the pedal in dense mixes.
Saturation
- Tape (Studer, J37, Kramer) for pop and soul warmth.
- Lo-fi: RC-20, saturation, light bitcrush, wow & flutter (Fruity Delay 3 with time modulation, Vinyl/RC-20), LP 6–8 kHz.
- House piano: saturation and compression for an “M1 piano/sampled” sound.
Delay
- Pop: subtle tempo-synced delay on melodic phrases.
- Ambient and neoclassical: long filtered delays.
Reverb
- Classical: hall 2–2.8 s, pre-delay 15–30 ms.
- Pop ballad: plate or hall 1.8–2.5 s, pre-delay 20–40 ms; CLA uses a long hall reverb (Lexicon) shared with the orchestra.
- Jazz: room 1–1.5 s.
- Full pop: short room or low plate.
- HP 150–250 Hz and LP 8 kHz on the return.
Modulation
- Light chorus on 1980s/1990s pop pianos, tremolo as an effect, Leslie on piano for a psychedelic sound.
Stereo and panning
- Pianist’s perspective (lows on the left, highs on the right) or the audience’s (reversed): choose and stick with it.
- Pan of the two mics 50–100%; in full mixes narrow it (Fruity Stereo Shaper, mixer Stereo separation) to 50–70% width, because a wide piano takes up the whole stage.
- Mono low end below 150 Hz in mixes with bass.
- Check the correlation: spaced pairs can drop close to 0.
Sidechain
- Dynamic EQ at 1–4 kHz from the vocal.
- Ducking from the kick in lo-fi and house (2–4 dB).
Automation
- Fader rides to follow the vocal and sections (in piano and voice this is the main job).
- Different HP and width between verse (full piano) and chorus (sculpted piano).
Differences by genre
| Genre | Treatment |
|---|---|
| Classical | pair + ambience, no compression, natural hall |
| Jazz | close + room, light opto, room |
| Pop ballad | full piano, plate/hall, brightness at 5–8 kHz |
| Full pop/rock | HP 100–150 Hz, compression, narrow in stereo |
| Gospel | dynamic, room, moderate compression |
| House | M1 piano sample/“house piano”, saturation, sidechain |
| Lo-fi / hip hop | sampled, LP, saturation, wow & flutter, ducking |
Common mistakes
- Wide piano full of lows in a mix with bass and guitars: mud.
- Excessive compression in ballads.
- Stereo perspective inconsistent with other instruments.
- Reverb with no HP: mush at 200–400 Hz.
- All MIDI velocities identical.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Channel peak | −12/−8 dBFS | Wide natural dynamics. |
| High-pass | 40–60 Hz / 100–150 Hz (full pop) | Room for the bass. |
| Pop compression | 3:1–4:1, attack 10–30 ms, release 100–300 ms, 3–6 dB | Stable piano in the mix. |
| Ballad compression | Opto 2–3 dB | Musical dynamics. |
| Classical | 0–2 dB | Naturalness. |
| Width | 50–70% in full mixes | Does not take up the whole stage. |
| Mono low end | Below 150 Hz | Compatibility with the bass. |
| Ballad reverb | Plate/hall 1.8–2.5 s, pre-delay 20–40 ms | Depth. |
| Classical reverb | Hall 2–2.8 s, pre-delay 15–30 ms | Concert hall. |
| Lo-fi | LP 6–8 kHz, saturation, wow & flutter | Sampled character. |
| Vocal sidechain | Dynamic EQ 1–4 kHz | Coexistence. |
Frequencies to watch
| Range | What to do |
|---|---|
| below 40–60 Hz | High-pass (100–150 Hz in full pop mixes): the left hand does not double the bass. |
| 50–150 Hz | Pedal and mechanical noises: HP or editing. |
| 100–200 Hz | Warmth: +1/+2 dB in ballads. |
| 200–400 Hz | Mud: −2/−4 dB Q 1. |
| 500 Hz–1 kHz | Upright honk: −2/−3 dB. |
| 2–4 kHz | Hammer hardness: −1/−3 dB or dynamic EQ. |
| 5–8 kHz | Pop brightness: shelf +2/+4 dB. |
| 10–12 kHz | Air. |
| 300 Hz–4 kHz | Band-pass for lo-fi or telephone effects. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Perspective and velocity | Piano V / Keyscape / FL Keys | Suitable mic position, velocity curve | Right sound at the source. |
| Corrective EQ | Fruity Parametric EQ 2 / Pro-Q 3–4 | HP 80 Hz; −3 dB at 300 Hz; −1 dB at 3 kHz | Cleanup. |
| Compression | Fruity Limiter COMP / CLA-2A / SSL | 3:1, attack 20 ms, 3–4 dB | Stability. |
| Creative EQ | Fruity Parametric EQ 2 / Pultec / SSL E-Channel | Shelf +3 dB at 6 kHz | Brightness. |
| Saturation | Distructor / Kramer Master Tape / J37 | Light | Warmth. |
| Stereo | Fruity Stereo Shaper / Spreader (Low Bypass + Mono) | Width 60%, mono < 150 Hz | Space. |
| Reverb (send) | LuxeVerb / Fruity Convolver / Valhalla VintageVerb | Hall 2.2 s, pre-delay 25 ms, HP 200 Hz | Depth. |
| Dynamic EQ in SC | Pro-Q 3–4 / Trackspacer | From the vocal | Coexistence. |
How to check the result
- Stereo piano correlation > +0.3; close to 0 indicates a problematic spaced pair.
- Piano energy below 120 Hz low relative to the bass in full mixes.
- 200–400 Hz band not dominant (compare with the reference curve).
- Crest factor: 16–22 dB (classical), 12–16 dB (pop).
- L/R balance consistent with the chosen perspective.
- Reverb return with no energy below 150 Hz.