In my opinion, I believe it to be the responsibility of the violinist to handle their mic requirements. Think again my friends. A possible solution yes, but an omni will do exactly what it says on the tin. 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. Despite what you and I may think, this isn’t the reality for many professional violinists. Guarneri violins are a little bit above 1 KHz, while Stradivaris are a little bit lower. Although it will minimise bleed from unwanted sources, there is always the chance that a particularly loud stage or audience will lead to unwanted frequencies making their way into your signal which will then be fed to the desk. Well you certainly have some options guys let me tell you. The above graphics show, how and where the sound of the violin is projected. 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. He currently consults and lectures internationally and functions as manager and producer at Tonstudio Tessmar in Hanover, Germany. There are many different ways of playing the violin. For example: If you sing with the letter “UUU”, no matter, what note you sing, it will always resonate with a frequency of 300 Hz. You can find more precise information here:https://www.remic.dk/news/the-astonishing-art-of-sound-reproduction/. Miking a violin or viola can be a very challenging task. Of course the chances of this happening are minimised when using the mics i’ve mentioned, but if you find that this issue is a consistent problem amidst the band/venues you’re performing in, you may wanna think about re-evaluating your mic preference. Most musicians, including the one sitting right here writing this, are well aware that money don’t grow on trees. Violinists, whatever your preference is, make it something that you take into your hands. How safe is the connection from the cable to the transmitter? However, also in a studio situation, it might be meaningful to use the specific sound of REMIC microphones. That being said, i’m sure you will come across the odd situation where a violinist rocks up to gig without a mic solution, which of course means you’re gonna have to come to the rescue. He previously held positions at the highly regarded record label Deutsche Grammophon as well as 18 years with Sennheiser as artist relationship manager. Studio environments, all variables taken into account and controlled, multiple takes to swap out and re-arrange mic placements across, more often than not, large quartets of string players. 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. There are many ways to capture the sound of a violin in a normal “classical – classical” recording situation. Email for invoices: remic@invoiceportal.dk. 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. Using a special pickup microphone for classical instruments is not really new. Gregor Zielinsky is a Grammy winning producer/tonmeister and expert in 3D audio. Like coll´ arco, col legno or pizzicato. Store Kongensgade 40H In order to find out how to close mike a violin, while keeping its specific sound, let us have a look, how the sound of the violin is actually created. If you continue to use this site we will assume that you are happy with it. These artefacts belong to the sound of the violin. First off, take account of the pointers I listed above. However, frankly said, we are pretty much aware, that the results of these common attempts are quite often not very convincing. 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. The attack response of the violin has an average length of 10-100 milliseconds. Also bare this in mind when placing your player on the stage, as this could lead to bleed into the mic from the front. It has an enormous influence of the artistic expression which the musician wants to give to his interpretation. “Oh come on Matt, there’s gotta be a downside here?” Ahaaaa! Practical experiences have shown that a placement of the microphone behind the violin can produce a warmer sound with much less noise artefacts. 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. You as the engineer really have to call it depending on the variables of the gig. In all honesty, this is quite a reasonable assumption to make given the nature of the instrument. This can be a relevant technique, in case a sound and reproduction like this is necessary. After all, what’s the use in throwing fifty potential mics at you and going “Ready. This is true for vowels as well. This is usually reached after the attack phase of the note. This first phase is the most important for any kind of sound.