Award-winning sound supervisor and founder of Audio Dept UK, Richard Meredith has revealed the technology he used on the third series of Channel 4’s music competition, The Piano.
The show, hosted by Claudia Winkleman, sees amateur pianists perform a piece of music of their choice in some of the UK’s busiest train stations.
According to Meredith, the technical brief from the production team was to keep things low-key and let the “realness” of the performances shine through.
“To accomplish that, we needed compact, high-performance equipment that works subtly in the background while delivering outstanding sound. That’s where DPA and Wisycom came in,” he said.
Meredith mounted two DPA 4099 Instrument Microphones directly inside the pianos for a low noise floor, high dynamic range and practical versatility. “We chose the 4099s because they just work. No rehearsal. No fuss. They can handle anything—from delicate ballads to high-energy, percussive playing,” he explained.
As each pianist plays, commuters often stop and listen, becoming an impromptu audience. But the noise of the station could easily drown out a performance. So, Meredith designed a battery-powered PA system hidden under the stage, fed with a Wisycom wireless system. To ensure robust transmission in the congested RF environments, Meredith deployed Wisycom MTK980 Wireless Rack Transmitters and Portable Receivers.
Meredith relied on DPA’s 2061 Lavalier Mics for Winkleman and show judges Mika and Jon Batiste. “The 2061s, coupled with Wisycom MTP61 Wireless Transmitters, were able to capture even the quietest moments — nervous whispers, emotional reactions — without any noise issues,” he said. “They handled everything from subtle dialogue to joyful outbursts, and we barely needed to touch the EQ. Their noise floor is very low, and the clarity is stunning.
“We had to be agile — there wasn’t room for a big sound crew with all this complex rigging. With DPA and Wisycom, we were able to keep things minimal but still maintain maximum quality. The real magic of The Piano is in those quiet, unguarded moments.”
Following the initial rounds, the show moved to The Glasshouse in Gateshead for a public concert, where Meredith was tasked with producing a refined live recording with a full audience. For a more open, cinematic sound, he rigged two Steinway grands with a pair of DPA 4099s, along with a pair of 4011s, chosen for their tonal accuracy and visual discretion. “These are massive instruments,” Meredith said. “We benefited greatly from the four mics per piano, which gave us a full range of sound. The 4011s took us to another level.
“The 4011s were a dream for capturing the full dynamic range and spatial depth of the instrument, along with extra depth and an ultra-extended lower end. I wanted something discreet as the cameras constantly feature close-ups and utilising the extension cables helped keep everything virtually unnoticeable on camera. The combination of the DPA 4099 and 4011 mics accommodated a wide range of styles and the broad tone of the piano in a very compact and discreet way.”
The string accompaniment for the finale performances were also miked using 4099s, while Meredith opted for the 2061 for Winkleman, Mika and Batiste. Again, Wisycom wireless was utilised for the production with Wisycom MTP61 transmitters feeding MCR54 receivers in an MRK16 rack.
