Abstract
Through their training and education, aspiring recording engineers often encounter literature on the radiation patterns of typical musical instruments. The study of this information can greatly inform the placement of microphones and facilitate one's learning about the way acoustic instruments work. These musical acoustics studies, however, typically employ an anechoic or near-anechoic environment to minimize reflections from interfering with the instrument under test. Since the recording engineer works almost exclusively in environments with reflective surfaces, this causes a disconnect and can inhibit a full understanding of the relationship between the instrument and its environment. A case study of the acoustic grand piano is presented in which the instrument and the non-anechoic room are presented as a single, coupled acoustic system. Over 1300 measurement points are used to characterize the instrument/room combination. The study is conducted in both a small recording space and a large scoring stage, yielding non-room specific results that show areas of high frequency energy that are not present in typical anechoic measurements. Exploration of these differences and potential causes are presented.
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