Improving Acoustic Piano "Natural" Bass Notes...

[Jesus916]

Hi, I wonder if would be possible...

Well my piano is a babygrand and due to the size fact, it's bass registry miss some (not sure how to define it in english) presence?, power?, richness?

Apart from that sounds quite nice considering its size plus my tunner-man? its quite good and its able to shape other things but he says its nothing at all can be done to the instrument to improve its bass. Thats just the way it is he says

... so the question becomes clear after my explanation, right?
Can we do something about it with Reaper in post-production (is this correctly asked? ) while keeping the sound "natural"?

Thanks

[jrk]

The (bass) strings on a baby grand can be shorter than they are on many uprights. What I guess this means for the sound is that the fundamentals of the lowest notes are a bit weak (as is the bass generally), compared to a good upright (or grand).

You might be able to do something about this with microphone placement. Experiment. Maybe try a mic under the piano. EQ probably wouldn't help as much as you'd think - it's difficult to boost the bottom end without making things muddy, but you can probably do some good.

For solo piano, a baby grand isn't ideal. In a pop/rock mix it's less of a problem - may even work better.

P.S. Found this:
https://www.soundonsound.com/techniques/piano-recording

[Allybye]

Keeping the natural sound whilst enhancing it is not easy IMHO.

You might try a little mild modification with the techniques used on drums and bass guitars such as frequency band compression and gain make up whilst keeping the transients through adjusting the attack time.

It is not really my thing and I am sure others can explain how it is done better than me but a bit of experimentation and mild application might do the trick? You have nothing to loose. If you do not like it just dump it!

[Softsynth]

Even though the length of the bass strings is obviously a limitation on the sound quality it may not be just that, it could also be the room acoustics, or a combination therein.
Lots of experimentation with microphone positions are in order, and consider options to improve the room acoustics.

[Allybye]

^^^ yes I was just going to add that sort of comment too. I do not see any easy way to remove some of the poorer harmonics from the shorter bass strings of a baby unless it is using the mic higher frequency rejection from it's polar pattern. Moving the mic ever so slightly closer to bass string and angle the pickup pattern more away.

Suck it and see applies?

[Softsynth]

Yes, suck and see, plus a little know how.
https://www.practical-music-producti...cording-piano/

Also having a play with the highly realistic Pianoteq Standard or Pro microphone positioning will give you a good idea what to expect too, even though that doesn't model your own real room.

Might be interesting read for some:
https://larslentzaudio.wordpress.com...hones-the-r84/

[Jesus916]

Thanks guys

Just acknowling I have read this and that I will re-read, will check supplied links and will re-repost... Im really short of time now and therefore Im only going to address just one thing about the "propositions of trying different mikes positions or makes"

Its only my "logical talking" as I have not technical knowledge so in no way Im counter-answering you in any wrong way, not way! redundancy allowed

My inmediate and quick reflexion:
If the sound its not there from the source in the first place, as its the case, should not be the case that different positions or even the most expensive/better mikes for the task, the only thing it could do its to make a *"problem" thing even more noticeable?
I meant, we are not trying to "hide" nothing wrong but just trying to create a sound that its not there in the first place... do this reflexion of mine is valid with this in mind?

*Its not really a problem, thats not the right word

Will continuos later guys, thanks all

[jrk]

Originally Posted by Jesus916

If the sound its not there from the source in the first place, as its the case, should not be the case that different positions or even the most expensive/better mikes for the task, the only thing it could do its to make a *"problem" thing even more noticeable?

It's a matter of degree. If you hit that lowest key the string will be producing some 27.5 Hz - just not as much as a bigger instrument would. The higher overtones might be just as strong on both. The relative levels of harmonics is why two instruments sound different. Pretty much.

Mic positioning can help here since acoustic instruments don't radiate all frequencies equally at every point in all directions. Seriously, try micing underneath (try everywhere!), to supplement your normal micing. You'll almost certainly end up with multiple microphones anyway.

[Softsynth]

You're piano is what it is, however the options brought by multiple different microphone positions may yield pleasant surprises. Obviously the sound you hear from your piano while sitting at your instrument is different to the sound that the listener is hearing from a different position in the room, if they adopt a different position again the sound will change again.
Sometimes you can make a counterintuitive change for the better. You may be able to make a pleasing sound from your piano with careful use of EQ and reverbs, while also playing with plugins that define the stereo soundstage, even a little compression.

[Allybye]

Yes a good mic may capture the problem bits more (if they are missed by a poor mic!) but it's advantages can sometimes be used to effect, reducing the probkem bits....such as it's polar pattern can not only be different but also more consistent accross a frequency range, (That latter point is oftem missed) so you can use those variable to your advantage be the mic considered to be better or poorer. With a (every) polar pattern usually the lower frequencies are less rejected than the higher ones and you can use that characteristic.

It is not all about on axis flat frequency response (or enhancement) or noise or maximim sound pressure level.

[kirk1701]

I agree that the piano is what it is. Play to its strengths rather correct its weaknesses.

That said, you might try a sub enhancer plugin once you've got a good recording. Brainworx has a freeware sub filter that may work.

https://www.plugin-alliance.com/en/p...subfilter.html

[serr]

Think of it the other way around way when you eq it.

It sounds unnatural to you with the bass register subdued. Eq it to sound "natural".

[fixerdave]

hi, slightly off topic but do any of you know how a piano note strings are tuned? there are 2 or 3 strings per note. are they tuned to be exactly the same frequency or are they slightly off to produce a slow beat / modulation. Just curiosity, I've often wondered. dave

[Jesus916]

thanks again guys, and please forgive me once again by not re-answering inmediately specifics posts. Im nicely surprised by the amount of answers if so a little bit overwhelmed cos my knowledge is very much near nothing hahahaha and I need to deep-digest some replies and to look into the supplied links. Thats why Im not answering one to one posts/sugestions just yet

Before even looking said links....

- Yes some EQ or similar answer is the ONLY answer I was expecting/thinking I could get when posting this initially.
*Now I will be forced to open an EQ post too, hahahahaha

- Interesting too, Kirk suggestion which I will have not thought of by myself at no time. I will check the link with interest

- The room (Softsynth) I believe sounds good enough - of course it could be improved but good enough, specially (this is all theory I been gattering from here and there hahaha) if I capture the sound before reflections
*It was a point where the sound on my room was driving me nuts with reverberations all over the place (I dont got this piano for that long) and after settling up on the house few months (we were all locked down), and after finally being checked by its first tunner-man, the problem persisted BUT after having it had a second tunning some 6 months later by someone else who claimed he could really do wonders to the tunning, SO HE DID, and now it sounds like I say, to my ears, way more than good enough. to the point, that I can get even good enough recordings just with my mobile. But thats not the way we wanted, isnt it?

*Mind you, this week the piano its sounding particularly not as good but acoustic piano change its sound for different climatic situations and I believe/hope that its a very temporary thing

That said I do have Pianoteq (which sometimes I use with either my digital but hardly not as it sounds good enough on its own as its a high quality digital piano but of course its not he real thing, not even close to the real thing despite being a some-home top end digital and also (very rare) I used with a 61 Arturia Keylab MK2 which I hardly used to be honest as once again do not compares at all BUT may can try your suggestion testing with Pianoteq mikes despites are all different mikes are mines I believe

- And again, not less interesting the micing or miking? suggested by many of you guys follow-up answers. I was not expecting that at all as possible solution. I stop now saying this anymore

I got plenty room (meaning tools, not space) for miking as I have 10 ins between the UR-44 and the Zoom H6 thought my mikes are nothing special

- The stereo one that comes with the Zoom (just the stereo x/y as mind dont include the mid side capsule)
- An Stereo Rode NT4
- A Rode NT2A (poli-pater)
- A pair of matched Saramonics SM-R500 (pretty much exactly in quality as the Rodes NT5)
- And 2 dynamics sm57 and 58

Then again this brings to the "old issue" the less you get into all this, even checking/asking/investigating never mind getting down to it , the less you play BUT you cannot have everything, can you? Is fun anyway
*Well its fun when you dont start recording and after many takes you always failed somewhere

Many thanks again to every1 and I will be catching up with every single post, be sure

[Jesus916]

Originally Posted by fixerdave

hi, slightly off topic but do any of you know how a piano note strings are tuned? there are 2 or 3 strings per note. are they tuned to be exactly the same frequency or are they slightly off to produce a slow beat / modulation. Just curiosity, I've often wondered. dave

Its not easy for me to translate this accurately as translations are not literal but I will try my best.

There is one string in the low registry notes, 2 on the middle and 3 in the high. All of them within eachother are to be tunned the very same without any alterations whatsoever. Actually when there is some sort of variations amongs them you could get some sort of undesirable different frequencies being able to produce a wavelike unwanted phenomenun known as "ghost or false beat" which are better to be avoided

Some more advance pianos, have a little extra string at the very back of each string, (I think only on the middle and high registry) which dont actually play when you hit the notes but which vibrate by sympathy and helps improving the sound, its called double or duplex scale. Im not sure if this latest meant to be tunned to the same frequency or actually just an octave above

In reality, about piano tunning, the most interesting overal element to be look to be succeed its something called temperament which I think it have two variants one of which which its the more common one used these days its the equal temperament or something like it which consist in for a number of phisycal reasons, gave very small variations in tunning among certain intervals - not the same notes. Not taking such approach would affect some tonalities which otherwise could be not well tunned and could leave the piano in fact, not well adjusted at all and make it difficult to be played in tune

You better looking yourself for a must well write explanation of this in english. Just look for equal temperament

And there its a much antique approach called "old temperament" again or something like it hardly used these days.
You get differents if you get the piano tunned in one or another temperament. The old temperamente sounds more "round and sweet" whitin its tonality. The advantage of the more commun used by far, the equal temperament its the overal versatility

Sorry mate, I am unable to explained any better in english, its even hard for me to understand in spanish so never mind hahahaha. At least using some of the definitions I provide here surely you could make searches in english and probably you will find what I miss in this explanation in other posts. Im sorry I can help any better on this

[Jesus916]

And should help, here its a real 1-1 scale representation of my studio/living room set up should this give you a better point of view/understanding. The ceilings are not high, some 2.40 mtrs and still searching for some matching furnishing for that empty wall where the TV is, but once again, by now, I can almost assure that based on the piano, the room dont sound bad at all, specially when compared with the way it used to sound before being well tunned when reflections were coming from all over the place, like Police sirens noises being returned from everywhere

[lizzard]

A weighted midi keyboard and a decent piano library will give better recordings .
I know its not the same performance wise but i dont miss my old baby grand any more .
There are just so many libraries and combined with a decent high power surround system gives you much more than what you had and never goes out of tune .

Just another approach that is better if your aim is to get good recordings.

[Jesus916]

Well, if we focus exact in your post as its, then you got a point and could even ALMOST say you right - even if you record the keyboard with a mobile phone you are more likely to get a better sound recording than a professionally recorded acustic hahahaha, and depending the digital you have as its my case you dont even need the library (I got some too) - but Im more interested in the "whole picture" if you know what I mean

And differently as you, I supposse I will get used to eventually if I have to for whatever circumstances (finger crossed) I dont conceive life without my acustic . I sit on the digital just and only when I play at night or very rarely during the day to give some "rest" to my ears but the experience its uncomparable by miles. Well you know and you even say so yourself

[fixerdave]

Jesus916, thanks for the answer, so more strings means louder and I suppose slightly off tune strings gives a piano a certain flavour depending on when it was last tuned.. need good ears for that job. dave

[vanceen]

I don't think anyone else has mentioned this, but I will.

A principle of mixing is that one way to make something sound brighter is make the other sounds a bit duller.

To make the bass in your piano sound stronger, you might try attenuating the other frequencies slightly. Then the bass will be louder relative to the other strings.

It's amazing how the ear adjusts to something like that.

One other suggestion... There are some extremely good sampled piano instruments out there as VST plugins. I have a nice Yamaha C7 here at my house, but I use Vienna Symphonic Libraries and Kontakt pianos for my recordings. They sound practically as good, and it's a lot less work than putting mics on the piano. If you really want to use your baby grand, you could consider playing the left hand on a sampler and the right hand on the piano.

[Jesus916]

Originally Posted by fixerdave

so more strings means louder and I suppose slightly off tune strings gives a piano a certain flavour depending on when it was last tuned. dave

Well, yes about the more strings... yes and no. Yes within the same key, the more strings the louder. Hence this is why exist (among other things as this ALSO change the colur that you mentioned) the left soft pedal so when you pressed moves the whole mechanism in order to where are three strings just make two hit etc etc but if you look at the whole keyboard as one then not, as actually the bass which only have one string sounds louder. Fair enough its a very thick string

Regarding the off-tune thing, I would dare to say no! (but Im not sure) and offtune string would just make the piano to sound actually off-tune. A good tunnerman? can shaped the hammers? in order to give your piano a different flavour within limitations obviously

[Jesus916]

Originally Posted by vanceen

A principle of mixing is that one way to make something sound brighter is make the other sounds a bit duller.

To make the bass in your piano sound stronger, you might try attenuating the other frequencies slightly. Then the bass will be louder relative to the other strings.

It's amazing how the ear adjusts to something like that.

The problem is that is not about loudness or brigtness and its opposite. Its about the bass needing to sound more "reacher", "fuller", "deeper". Im not sure how to describe it. I could not do any better in spanish neither perhaps lol

On top of that, if you were to rest to the lets called good (middle and high) in order to make the lets called bad, less bad... you can imagine the rest of the history hahahaha

Originally Posted by vanceen

If you really want to use your baby grand, you could consider playing the left hand on a sampler and the right hand on the piano.

Thats a good one, as even my digital without vst help sounds "nicer and more rounded", not louder, than the acustic, so probably helped by a good VST could...

... BUT believe me that this thought have very quick???? (fast come fast gone) crossed my mind at some point on the past but let it go immediately as not being possible, or so I think, as I would need to play two songs exactly the very same like a robot would do, an almost impossible task especially considering I got problems enough to get just one recording fully right from start to finish hahahaha. And never mind matching the audio which I think its imppossible, has to be matched with a video of the fingers hitting in synch too...

I was sort of hopping from some sort of "myracle" which obviously by the answers gotten does not seem to exist. And was also hopping that along the way, I could learn something to even improve the rest... if you can sort something bad, imagine what you could do with something good....
See, "the real problem" its only at the very low far end which only affect really to a very few pieces which now that I think about I dont even play since I got the piano, precisely because of that, because they dont sound nice even to be played, imagine it recorded...

But its neither that big a deal, not for "casual playing as its my case", nothing than playing other songs or using the digital for others, could not sort

It worthed a try and I did, thanks all

[peter5992]

Originally Posted by Jesus916

Hi, I wonder if would be possible...

Well my piano is a babygrand and due to the size fact, it's bass registry miss some (not sure how to define it in english) presence?, power?, richness?

Apart from that sounds quite nice considering its size plus my tunner-man? its quite good and its able to shape other things but he says its nothing at all can be done to the instrument to improve its bass. Thats just the way it is he says

... so the question becomes clear after my explanation, right?
Can we do something about it with Reaper in post-production (is this correctly asked? ) while keeping the sound "natural"?

Thanks

The simplest answer is to insert ReaEQ on your track and play around with the setting, bumping up the low frequencies a little bit. Trust your ears.

[Jesus916]

ReaEQ in particular, but also ReaCompression and ReaReverb, scares me to dead because it skip my comprehension how they work despite I have watched few tutorials, but I will do, Ill have to make a start eventually, I supposse its the only way to start overcoming this task

I can recognised when a final sound is wright (if some1 else did it wright) in terms of the very final desired sound, but I know Im there ONLY when Im there. I just dont understand how they work to arrive there and I got even dificulties in recognised what needs attention and for how much etc etc - it does not get on my head lol

*Its not just "Rea" its any make of them, and the more different parameters they have, more difficult the task - I believe I can destroy any recording by the time I end up touching so many given parameters LOL, if at least just were the "tipical" 3 buttons physical thing found in analogic consoles would make it easier for a thick-head on this stuff like me

I need to say on my behalf that is ony recently that Im ready to produce some nice enough recording to even be able to start practising with so I have had not many chances to experience with this. And even worse, it seems so hard to find tutorials about this matter to be applied ONLY to piano (not digital piano), which make the task even harder not having something more specific to rely in

Thanks

[martifingers]

This discussion about acoustic vs virtual piano is beautifully illustrated in the work of someone you may not know- Nahre Sol?

She has a truly superb YT channel including a video on mic placement etc.:
https://www.youtube.com/watch?v=bAoAMfY_XIw
And plenty of truly inspiring pieces including using virtual instruments
eg: https://www.youtube.com/watch?v=8HpVobJs1FQ

[serr]

It sounds like you believe that any eq alteration of the piano sound is not "correct". That it biases or damages the natural sound or something.

There isn't really any root sound of the piano that is "correct" though!

The room you're in alters the sound.
The floor under the piano alters the sound.
Where you listen in the room alters the sound.
How many extra people are in the room alters the sound.
Mic placement technique alters the sound.

Don't think of grabbing that eq as a compromise that skews the sound away from the "proper" sound. Think of the "proper" sound you hear in your head as the official proper sound that is your goal. Think of making that eq move as a correction to bring the piano sound to be "natural".

That's how this is done!

Altering your mic placement is another option to experiment with.
Is there more low end in a slightly different spot over the bass strings?
What about projecting out of one of the holes in that top structure. (The 2nd hold where we sometimes put a dynamic mic as a "cheater" mic?)
What about the underside of the soundboard?
Maybe there's a spot some distance from the piano in the room that works out to capture?

[phoo]

Perhaps the easiest thing to try is to use multiband compression - ReaXcomp. Use this instead of more extreme EQ, along with EQ, and before or after static EQ.

Start with it flat, no compression on any band. Experiment with the lower two bands, slight compression - 1.2 to 1.5 ratio, and just enough that it touches the normal playing level. Not enough to hear. Lower the threshold a little at a time to get a feel for how it changes things.

Start with no auto-makeup, but kick it in, especially the low range. Maybe all that's needed a touch down there.

(Another trick with ReaXcomp is that is supports expansion, though that's probably not something for this. Ratios less than 1.0 are expansion ratios - 0.5 expands at the ratio as 2.0 compression for example.)

A little can go a long way to making up for deficiencies. Overdoing is WAY too easy as well. (I know a lot about overdoing)

Also, some of the perceived deficiencies may be that the other notes are sticking out, or too much in the higher harmonics when playing higher. It's all relative, as as been mentioned.

[jrk]

Originally Posted by Jesus916

ReaEQ in particular, but also ReaCompression and ReaReverb, scares me to dead because it skip my comprehension how they work despite I have watched few tutorials, but I will do, Ill have to make a start eventually, I supposse its the only way to start overcoming this task

As quite a few people have suggested, microphone placement is where you should probably start.

It's relatively easy to place a stereo pair (either your NT4 or your SM-R500 if you prefer a spaced pair) to get a reasonable picture of the piano. Do your best here first.

You'll probably use an additional microphone to enhance the bass. (your NT2 ?)

You might try starting with something like this:



But experiment! For instance, changing the height of that NT2 a few centimetres could make a big difference to the sound when mixed in with the stereo pair, or if you find the NT2 is picking up too much "attack" consider putting it underneath, or changing the angle. Or try it at the foot of the piano. Some EQ on the NT2 might be helpful, maybe cut the high end. Only you know what you want. And the rest of us aren't in the room with you!

[Jesus916]

Thanks *Martifingers*, yes, coincidentally I saw these and others Nathre Sol videos...

Im in no way against "changing the sound" via any EQ act *Serr*, - I just dont know well how to do it. I wish I knew hahaha

Actually, just by theory (I dont know in the practice) I think that if it can be done, will be easier that way than using the "miking tips" that you guys are giving me

Why I think so?:
Well because the EQ, well managed, perhaps could "change the colour" while mic placement can only be as good as the instrument in the best case scenary. But this is what I was thinking, if you guys say could improve I will try other combinations

*phoo*, thanks, I will need to read your post few more times to digested

But definitely No, to the second part of your post. The piano is fine everywhere else and its only the bass that is not up to the expectations but again this is "normal" due to its very nature for the short size of its not long enough strings.
I meant, is not that the low end its just not good when played against the highs, its just not good anytime and even playing on its own if you know what I mean lol

Thanks for the tips *jrk* and taking the time for the graphic etc. I will try. Im going to try actually this coming weekend. I will show you guys the result and if some1 its bored enough and think can improve it with an EQ... feel free to ask - it will just be a some 3/4 minute record with some 3/4 files

*However something that you already mention it happens to be so already. ie, if something I learned is that with this piano at least (only acustic I ever have), if I put the mikes too close to the keys the attack becomes too too noticeable

I might do as in your picture but changing the NT2 to the very rear of the piano but aligned with and facing the lows, what you think?

*Unfortunately its true however that for the time being I have not piece ready to be recorded (precisely for this same reason) using the very low end but I supposse that while Im in the recording session (since I will have all the "mess" around lol) will be not much extra trouble playing/recording some bass and lets you guys hear it...

Thanks everybody

[serr]

Originally Posted by Jesus916

Thanks *Martifingers*, yes, coincidentally I saw these and others Nathre Sol videos...

Im in no way against "changing the sound" via any EQ act *Serr*, - I just dont know well how to do it. I wish I knew hahaha

There's nothing wrong with cheating to get there!

No one is giving you a quiz on guessing the exact right frequency immediately.

Some of the low notes are too quiet or not 'deep' enough sounding?
Push up some low end. Move the frequency back and forth until you center on what you wanted to hear boosted.

Now flip that around and try it the other way. Turn down all the highs with a shelf eq instead of turning up some bass range. See if that sounds better.

You probably already know how bass and treble controls work. That's a two band (two control) eq.
Pull up ReaEQ on a track and play with it for a bit. It's just an eq. You'll be able to turn notes or ranges of notes (musical notes or frequencies) up or down.

[Jesus916]

I checked again last night some tutorials in basically little more than EQ for dummies and I sort of got the ideas a little bit clearer than when I checked other "normal tutorials" which confused me to dead lol

[jrk]

Originally Posted by Jesus916

*However something that you already mention it happens to be so already. ie, if something I learned is that with this piano at least (only acustic I ever have), if I put the mikes too close to the keys the attack becomes too too noticeable

Yes, this is typical. It's one might do for a "pop" sound.

If you room sounds good, and you want a softer / rounder / less attacking sound there's nothing wrong with putting your microphones further away. Or mixing close & more distant pairs.

Originally Posted by Jesus916

I might do as in your picture but changing the NT2 to the very rear of the piano but aligned with and facing the lows, what you think?

Yes, the foot of the piano is worth a try.

I'll be honest, it's a long time since I recorded a real piano. The last time was a short (but not a baby) grand in an old house with a proper music room. That was easy, 1 microphone at about 2.5 metres, 1.5m off the floor. Sounded just like a piano

[Jesus916]

The room its another mistery of nature hahahaha

When I only had the digital sounded fine but when I bough the acustic and while it were delivered I put some acustic squares foam in the walls (as seen in the picture I attached earlier - which is a exact to scale replication of the room included furnishing - as I was expecting a lot of noise problems). I also bough some bass traps which I never used)

From there on, the digital sounds worse, not bad, but worse as without the room foams, as, in the near distance, on my position, I can hear reflections which were not there before having put the panels

Then the acustic piano arrive... wow, it was crazy to me, was like reflections all over the place coming from absolutely everywhere, like a police siren fiuuu, fiuuu, fiuuu.... not way to describe it better

It was just when the covid lockdown starts so no way to get in the tunner *1 that was supposed to come. Finally another tunner *2 come but he says, and really so it was, that the piano was not bad in tune (the piano is almost brand new though second hand but travelled a good few hundred miles)... so he end up tunnig anyway, the piano sounded a little better but not very different really as it was never bad to start, and whats worse, the reflections keept the same way. It was not nice at all to play it, it was driving me nuts. Funny enough this man claimed he knew tunner 1 and was actually his teacher in tunning (tunner 2 was tunner 1 teacher years ago)

I was trying to guess what on the world I could do with the room to get the problem sorted...

Couple of months later, the tunner 1 call and told me he could finally come and he would like to come even knowing it been already tunned (I kept conversations with him telling him about the problem...), he play, look a bit a few things and told me: "Do nothing to the room, let me tunned first BUT, you just got it tunned and its the very start of the summer which in our location he claimed, was the worse for the pianos so he asked me to wait a few months till November actually but told me to be patient and to do nothing with the room...

I called him in octuber hahahaha, I dont know what in the world tunner 1 did but WOW! the piano sounded gorgeous and the reflections (on the acustic) were gone... I couldnt believe it. Actually because by now I cant remember how bad it was before, sometimes I wonder if before was just an ilusion of my head and never happened really

BUT NOT, because exactly today - for a second, I dont know what I did and the reflections come back but luckuly, as far as they come they were gone away again inmediately, it was like I just pressed some sort of switch on the piano somewhere if you know what I mean. - it was so rear an unreal.... however, was gone.
Luckuly only happened this time and maybe this time could have been just an ilussion on my head. Finger crossed this is been the case

*The "reflections" when playing the digital piano is not a problem (and they are just minimum anyway) as I only play it now with headphones and if anytime its used to record the reflections will not affect anyway.

Sometimes I wonder if I should maybe just take off all the acoustic wall foam

Uffff, I cant believe all I just write. I was just going to put a short answer... LOL - Im not going to take it off now that its all written...