I am attempting to
record a violin for the first time. I want a nice deep sound, but am
unsure about using stereo mic techniques such as M/S, X-Y or ORTF, for
example. I want to get the most natural sound possible with minimal
amounts of processing.
When
recording a violinist, it’s important to find the right room; violins
do not respond well to close miking techniques, and the rich tonal
quality of the instrument may be lost in a small, dead-sounding space.
Photo: Danchuter / Wikimedia Commons
The recording space is less than ideal: not a nice
reflective surface with good acoustics, which would lend itself to
distant miking techniques, but a small, treated, dead space that doesn’t
have an especially nice sound. Will I have to use close mic techniques
and artificial reverb, or can I get a reasonable sound out of the room?
I
have a pretty good selection of microphones to choose from and have
thought about using large diaphragm condenser mics, such as AKG C414s
but, if close mics are the way to go, I also have access to dynamics. I
want to capture the full, rich sound of the instrument and have looked
at some diagrams showing the frequencies present at different places
around the room; now I am wondering if I would need different types of
mics at different places? I will be using a PT8 HD system and have hired
a Neve desk. I might also add some tape warmth afterwards with a Studer
tape machine.
Via SOS web site
SOS
Technical Editor Hugh Robjohns replies:
If you want a natural,
full-bodied sound from a violin, you have to give it space. Close miking
will always sound coloured by comparison and there will be a
disproportionate amount of mechanical bow noise. Recording in a small,
dead acoustic will result in a small, dead-sounding recording, no matter
what you do in post-production.
When recording
music the priorities are the music, the performer and the place, in that
order. After that you can think about where to put the mics and the
types of mic to use. And only then should you think about preamps,
converters and recorders, for example. Your priority should be to find
an acoustic space worthy of the performance, and then work out how to
record there.
As far as the stereo techniques
are concerned, there’s really no point in close-miking a violin in
stereo. The instrument is not big enough to warrant it. However,
recording a violin performance in a nice-sounding room often is worth
doing in stereo, although whether you choose to work with X-Y, M/S or
ORTF, for example, will depend on the nature of the room acoustics, the
perspective you require, and the kind of stereo imaging you favour. All
those techniques (and more) can produce pleasing results in the right
situations.
For mic choice on a solo violin,
personally I prefer to use either small-diaphragm omnidirectional mics
(I think they sound significantly more natural than cardioid mics), or
ribbons. The latter tend to give a smoother, more mellow sound, while
the former retain more edge and detail. Which is best will depend on the
music, the instrument and the technique. For a stereo recording, my
personal preference would probably be X-Y ribbons or spaced omni
small-diaphragm condensers (with a spacing of about 30cm).
Whatever
mics you choose, though, avoid anything with a big presence peak and
invest plenty of time in experimenting with both the position and height
of the mic(s) around the player. You’ll be amazed at how dramatically
the sound and tonal balance can vary in different places, and with
different instruments and players! Finally, I’d suggest finding a room
with lots of wood; a wooden stage or wooden wall panelling (or a wooden,
vaulted ceiling) helps to maximise the tonal qualities of the
instrument.
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