This placement can appear to be too “harsh” but offers a unique combination of natural string sound as well as high audio separation … Not only that, but we’ll also have a breeze over the different mic options that could be suitable for your scenario, as well as a couple pointers on stage placement as common mistakes. 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. Furthermore, the cables of the REMICs are very soft, giving the musician a lot of trust, that it will not harm their instrument. The other scenario is a very simple and totally valid one. Don’t rely on the venue or the engineer, as worst case scenario, they may not have anything to offer you. Now this is a tricky one without a doubt. Anyways, thanks for stopping by to check out this post, and feel free to fire me over a question anytime! This gives it the dark sounding “ooh” kind of sound. I’m sure this word is something you’ve stumbled across a fair bit, particularly if you’ve already got going on the research for violin friendly mics. As we saw earlier, the sound of a violin is very specific. Like coll´ arco, col legno or pizzicato. As I’m sure you engineers know, an omni mic differs from a directional in the sense that it picks up frequencies from all angles surrounding the mic. In this case, we are looking at the violin and viola as well. The cardioid pickup pattern is usually best for this application, but a bi-directional or omni pattern can be very effective when recording in a … Usually, condenser microphones with a small diaphragm are used, such as microphones from Neumann, Schoeps or Sennheiser. For instance, the closer to the f-hole you go, the more low end you’ll get. Micro adjustments of a mic such as this will also allow for a wide breadth of tonal options. 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. Some people would even use omni or figure eight patterns. We will describe, how microphones from the company REMIC MICROPHONES, will help to solve situations in a way, which is unique until today. Which can be a musical sound, spoken word, or any other sound. A possible solution yes, but an omni will do exactly what it says on the tin. Although I understand the need to isolate them as best you can, please don’t shove them into a corner at the back end of the stage. Using a special pickup microphone for classical instruments is not really new. After all it is a matter of taste, of course! DK-1264 Copenhagen K Relying on you to sort out their mic needs if you’re a vocalist or a guitarist is one thing, as the room for error is pretty small. This can be very important in outdoor situations. Which would suck! Mostly, cardioid versions of … Please take into consideration that using such patterns can be dangerous and should only be used in very controlled situations. Violin players take up a lot of space, it’s simply the nature of what they do. Of course, this can also be played in a very soft way, so that especially the noise artefacts will be suppressed, mainly in piano dynamics. Practical experiences have shown that a placement of the microphone behind the violin can produce a warmer sound with much less noise artefacts. Guarneri violins are a little bit above 1 KHz, while Stradivaris are a little bit lower. https://www.remic.dk/news/the-astonishing-art-of-sound-reproduction/, https://www.remic.dk/news/the-art-of-close-miking/, How to mike violins in common studio recordings, How to set up a wireless mike on a violin, Playing together with some loud “competitors”, like a rock band. This is true for viola, cello and other acoustic string instruments as well. This might not always be possible, especially not in an orchestra situation. 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! On reflection, i’d say try an omni mic if one is to hand and it will give you the richest sound, but if the venue or your particular gig is too loud, then i’d go for a directional condenser. Above all, I’d say the main seller here, is that condensers are known to absorb an extremely large frequency range, high sensitivity and output level that, when used alongside something like a violin, creates an incredible depth and warmth to the sound through the various nuances they’re capable of capturing. The above graphics show, how and where the sound of the violin is projected. These mics are both expensive and fragile guys, and there really is no way of sugar coating that fact. The distance for the normal recording condition should be approximately 1,5 meters or more. Here’s the thing. There are many ways to capture the sound of a violin in a normal “classical – classical” recording situation. For decades, some of the greatest songwriters, band, I just want everyone I invite round to at least be aware of my unparalleled musical capabilities! I’ll keep this one brief, as if I was to be honest with you all, using dynamics with something as audibly delicate as a violin would only be for one of two reasons…. Article by Gregor Zielinsky. After the decay phase, the next important part is the sustain part, which is also called “quasi stationary phase”. A formant around 400 Hz, which is usually very strong when playing the G-String. 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. So, you’ve found. Miking a violin or viola can be a very challenging task. Last, but not least, the polar pattern of the instrument is important. But as it regards all the specific sound characteristics, it will deliver a perfect violin and viola sound, which sounds really natural. REMICs can be delivered with TA4F and Lemo connectors for Shure, and also 3.5 TRS as well as Lemo-3 connectors for Sennheiser transmitters. (If you enjoyed giving this post a little read, you may like the article I wrote on “Why are violin bows so expensive?” Go check it out and lemme know what you think. And there is the Live Mic named “REMIC V5200 LB”. Friends opinions, bands opinions, MY opinions are all well and good, but when all is said and done the choice is yours. Read more on Gregor’s profile page. There is also a dedicated version for violas as well. If you’re like me and tend to love a read, but walk away only remembering the absolute basics, remember these…. It’s essential that these mics are kept away from prying eyes, as replacing them will be costly as hell. The soundboard of even the smallest violin will act as a reflective soundboard to anything that comes into contact with it. Let’s kick it off with the condenser. This being said however, a condenser will always operate at a high output and frequency sensitivity regardless of its pickup pattern. 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? As we described earlier, if you have a normal studio recording, you may want to use common microphones. There are many different ways of playing the violin. If you’re two weeks into the purchase of your brand new $400 condenser, and this happens to you, it could in all seriousness put you out of the gigging game for the foreseeable future. However, there are also some relevant parts, that are projected to the rear, like 200-500 Hz or 800 Hz. In all honesty, this is quite a reasonable assumption to make given the nature of the instrument. Cardioids are an awesome option for any violinist out there, but like anything in the mic world, it comes at a price. However, that attack phase of the “d” is softer and longer, than the transient of the “t”. This can be changed by the artist, and is of course a very important way, to form the sound. Store Kongensgade 40H He currently consults and lectures internationally and functions as manager and producer at Tonstudio Tessmar in Hanover, Germany. The attack response of the violin has an average length of 10-100 milliseconds. If you love the idea of a condenser at one point down the line but currently can’t stretch to the price, yet need to get on the circuit quick, by all means go and grab yourself a dynamic.
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