We know very well that string players are very sensible about their instruments. You may instead try re-addressing the placement of the condenser by simply moving it closer to the violin, in the hope this’ll increase the isolation of the signal. The other method is by using a microphone that can be attached to the violin itself. In my opinion, I believe it to be the responsibility of the violinist to handle their mic requirements. Denmark, Email: info@remic.dk 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. We use cookies to ensure that we give you the best experience on our website. These are the “Studio/Live” microphone, named “REMIC V5200 Studio/Live”. There are many different ways of picking up and recording violins, as well as other string instruments. These mics are both expensive and fragile guys, and there really is no way of sugar coating that fact. 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. Ever wondered why a 58’ on a vocal or a 57’ on a guitar amp are almost unquestioned performance norms? These artefacts belong to the sound of the violin. Finally, all REMICs are having a built-in windshield. In this case, we are looking at the violin and viola as well. You can find more precise information here:https://www.remic.dk/news/the-astonishing-art-of-sound-reproduction/. 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? Email for invoices: remic@invoiceportal.dk. In a studio situation you might also want to use patterns like wide cardioid, omni, or even figure of eight microphones. Yes, the one sacrifice you will have to accept is that the rich warmth of a condenser will never be recreated by a dynamic, but at this stage in the game, i’d say your main priority is establishing a good quality, untampered signal. 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. After the decay phase, the next important part is the sustain part, which is also called “quasi stationary phase”. I hope these tips have made you violin players slightly less afraid of what to the next time you grace the stage, or at the very least has made you feel that the power to do something about your mic situation is very much in your hands. After all it is a matter of taste, of course! Don’t worry, I haven’t forgotten about you, but at the same time there was a reason I put you lovely lot in second. And guess what, it gets even better. 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. Practical experiences have shown that a placement of the microphone behind the violin can produce a warmer sound with much less noise artefacts. Which can be a musical sound, spoken word, or any other sound. Usually this is called close miking. And there is the Live Mic named “REMIC V5200 LB”. This gives it the dark sounding “ooh” kind of sound. A formant around 400 Hz, which is usually very strong when playing the G-String. The soundboard of even the smallest violin will act as a reflective soundboard to anything that comes into contact with it. So here goes. A wide-diaphragm condenser mic is a typical choice for miking violins or violas, though a ribbon mic can be also be a very good choice for certain styles of music. The latter tend to give a smoother, more mellow sound, while the former retain more edge and detail. You can counteract this by either adjusting the EQ on the desk, or using an omnidirectional condenser. More info about EQ’ing can be found here: https://www.facebook.com/groups/1274102739368320/permalink/1285817934863467/. This is especially relevant if you use a common microphone, where the mike is placed in a little distance to the violin. This might not always be possible, especially not in an orchestra situation. But I’ll leave that one in your capable hands. The aim with all of this is to make this a non issue for you as a player. Basically, REMIC MICROPHONES is offering two types of the violin/viola microphone. During this phase the sound has stabilized, and the complete spectrum of the violin will develop. This being said however, a condenser will always operate at a high output and frequency sensitivity regardless of its pickup pattern. Choose the Appropriate Microphone for the Recording If you want to capture the sound of the violin, use the right type of microphone. And it can also help to suppress the noise from a strong breathing musician. 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.


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