The distance for the normal recording condition should be approximately 1,5 meters or more. Steady… PICK ONE!” Exactly, not much point at all. Article by Gregor Zielinsky. However, that attack phase of the “d” is softer and longer, than the transient of the “t”. Store Kongensgade 40H The above graphics show, how and where the sound of the violin is projected. During this phase the sound has stabilized, and the complete spectrum of the violin will develop. Determining how to mic violin for live performance is always going to be difficult, particularly when all the advice out there is for the individual playing in an ensemble, orchestral or studio environment. In higher regions we will have a resonance around 1KHz. Is that really too much too much to, Thinking about putting your custom Taylor on a flight with nothing more than a gigbag to protect it? Practical experiences have shown that a placement of the microphone behind the violin can produce a warmer sound with much less noise artefacts. These are the “Studio/Live” microphone, named “REMIC V5200 Studio/Live”. The task that we want to have a special focus on here is: Picking up the sound of a violin in situations, where you need to have the instruments loud and separated from other instruments. If you continue to use this site we will assume that you are happy with it. This might not always be possible, especially not in an orchestra situation. Condensers (nine times outta ten) will always be preferable, and if you happen to have a small diaphragm shotgun that you’d ordinarily use for symbols or acoustics, this’ll work just fine on a violin. Mostly, cardioid versions of these microphones will deliver good results. A hyper-cardioid pattern for instance (the first mic) will pick up most of its frequencies directly from the front, with a small amount of bleed from the rear. You can easily adjust the sound of the REMIC according to your taste with the help of a multiband EQ. If you are recording or amplifying in a very loud situation, it is suggested to use the Live “LB” version. If the situation is not that difficult, and you may not have the loud rock band on the stage as well, it is suggested to use the Studio/Live version with omni directional polar pattern. These different styles produce very different transients, spectra, and stationary states. The polar patterns describe, which frequency range is projected in which direction of the instrument. Using the “Live LB” versions, can produce a kind of “nostalgic” sound, producing a spectrum that might remind you of classical movies. So, with that little spiel taken into account, what kinda options do we have when we’re looking at condensers. At the very least, experiment with placement of change your mic to something with a lower sensitivity. The resonance can be heard and measured during the so called “quasi stationary” phase of the sound. The microphone distance should be around 3 feet away from the violin, and it has to be strategically placed where the bow meets the strings. This is usually reached after the attack phase of the note. The shield cannot be seen in any way and does not change the sound of the mike at all. In this case, we are looking at the violin and viola as well. Friends opinions, bands opinions, MY opinions are all well and good, but when all is said and done the choice is yours. In my opinion, I believe it to be the responsibility of the violinist to handle their mic requirements. If it might be necessary to avoid noise artefacts, and or if you want achieve a warmer sound, one can also move the microphone behind the string player. Ribbon microphones, which have a special sound, usually have a figure eight pattern. There is also a dedicated version for violas as well. That being said, if you happen to be part of a string section playing in a loud environment, a little bleed may be preferable (amongst the section that is). Can the musician set up the mic by himself and can he/she plug in the cable into the transmitter by him/herself. And guess what, it gets even better. Besides the actual musical sound of the string, the violin has some noise artefacts, which are caused by the bow moving over the string. Or as some clever guy once said: More in-depth info can be found here:https://www.remic.dk/news/the-art-of-close-miking/, REMIC V5200 Series Violin Microphone mounted under the Fingerboard of the Violin. These artefacts belong to the sound of the violin. Think again my friends. We know very well that string players are very sensible about their instruments. By “classical-classical” recording we mean recording a solo string instrument, a string quartet or an orchestra for the purpose of a “normal” classical recording, of a “normal” classical piece of music, with a normal microphone setup, using instrument miking spot mikes. However, when they are picked up too emphasized, they will usually be regarded as disturbing. C/O Laigaard Accounting ApS Which would suck! After all it is a matter of taste, of course! Without wishing to rub salt into the wound, the issue of sound isolation is still an important factor to consider. I guess I’ll just figure this one out myself… Truth be told, I didn’t happen across my first acoustic electric, The Harmonica, that understated little silver box that lives at the bottom of every musician’s gig bag! This position represents many of the elements of the violin sound we want to capture – the sound of the soundboard as well as ‘bite’ when the strings are plucked or bowed. However, as a violin player on a professional stage, you should know the difficulties (and the lack of consistency) that’ll come around from not addressing this problem from the off. However. As great an idea as this is, bare in mind that if you move a directional condenser closer to its audio source, the bass end will become more prevalent in the mix. There are many ways to capture the sound of a violin in a normal “classical – classical” recording situation. He currently consults and lectures internationally and functions as manager and producer at Tonstudio Tessmar in Hanover, Germany. Using a wireless transmitter when performing with an acoustic string instrument, in this case a violin, usually raises the following questions: (Of course, there are many more questions, concerning the whole wireless topic. More info about EQ’ing can be found here: https://www.facebook.com/groups/1274102739368320/permalink/1285817934863467/. Courtesy of PPV Verlag: Dr. Jürgen Meyer: Acoustics and the Performance of Music, Courtesy of PPV Verlag: Dr. Jürgen Meyer: Acoustics and the Performance of Music. But it can produce a very warm, intense and attractive sound. This article describes how to mike violins in special loud situations, as well as in normal, common situations. Here’s the thing. Ever wondered why a 58’ on a vocal or a 57’ on a guitar amp are almost unquestioned performance norms? These little things are amazing, not only for their portability, but also for their ability to be clipped on to your violin, giving you the freedom to move around whilst maintaining the same mic placement. There are many ways to capture the sound of a violin in a normal “classical – classical” recording situation. If they’re sticking with a condenser, remember that the ones with a super-cardioid pattern will pick up signal from the rear of the mic.