# Violin mic recommendations



## Matt Riley (Jan 30, 2019)

I'm going to be recording a violinist and need to rent (or maybe buy) a good mic. Which mics would you recommend? I'm hoping to save money and rent since I don't think I'll be recording violinists more than once or twice a year. Renting will limit me to what's available locally though so I would be open to buying if I need to. 

I'll be using my Apollo Twin interface and good cables.


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## jamwerks (Jan 30, 2019)

The Chandler Limited REDD Microphone is one of the best. U87's are often used also.


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## studiostuff (Jan 30, 2019)

My suggestion is to find a great local recording studio, well-versed in classical recording. Get their advice and record with them. The session will go faster, will go well and produce good results. Less stress for you...

It may cost you more to go that way, but I'd much rather have a great recording that cost me a little more than I wanted to spend, than I would have a mediocre recording. You won't care about the money is a few months. But if the recording is crap, you will cringe every time you play it for someone in the future forever...!

The elements of a great violin recording to me include: a great player w/a great instrument, a great room, an experienced engineer... the microphone is sort of way down the list as far as I'm concerned.

Depending on the program you are trying to record, there are lots of variables. I'd spend a little more to be really satisfied with the recording. I've already said that, haven't I? 

To answer the question: I like an older U-87 (not the new ones), an AKG 414 can work. (Very commonly available rental mics.)

There is a long list of useful mics depending on the program.

Distance between the mic and the instrument is a big deal to me. I'd suggest a track of close up mono, a mid-distance D Tree sort of rig, and an omni pair back a little more in the room.

Best of luck!


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## studiostuff (Jan 30, 2019)

Jeez... I can't stop!!

Where you live, you are very likely to have great rooms for location recording, and great location recording engineers...!

I'd put the word out that you are looking for a location recording engineer who is king of all of them. Check out what that person has to say. There have to be some great church and civic spaces that might not cost you anything (perhaps a modest donation). 

The location engineer will have a list.


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## Vik (Jan 30, 2019)

Another vote for AKG 414 and U87.


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## Matt Riley (Jan 30, 2019)

studiostuff said:


> Jeez... I can't stop!!
> 
> Where you live, you are very likely to have great rooms for location recording, and great location recording engineers...!
> 
> ...


 Thanks for this. There’s actually a fantastic studio down town Minneapolis in the warehouse district that I’ve used in the past. I thought about it for this particular project because it would definitely save me time. I’ve gotten some decent results with a borrowed mic in my in my office too. I might still go the studio route, just wasn’t planning to spend so much money on this particular project.


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## studiostuff (Jan 30, 2019)

A recording program at a local college or university might just do it for free... Their gear and room may be better than your office.


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## wst3 (Jan 30, 2019)

I want to second the thought that the room is much more important than the microphone. I would not agree on the U87 or C414 unless you are after a really bright recording - which may be the case.

If you have a good room, and a good instrument, and a good player consider a good ribbon microphone. While a vintage RCA may be a bit out of reach don't discount modern ribbon microphones from the likes of Royer, AEA, and Shure. My first choice for a warm but clear (meaning still lots of high end, just not shrill) sound would probably be the AEA R92, which can be placed quite close without too much proximity low frequency buildup. Like most of the Royer microphones, and the Shure KSM313, the ribbon is offset in the microphone body so that you get two different sounds depending on which side you use. The effect is a little more obvious with the AEA R92 compared to the Royer R101, I haven't tried it with the Shure.

Now if you do go to the studio you may want to try their recommendations first, since they know the room. If you can rent a ribbon that they don't have that might be the best bet?


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## Gerhard Westphalen (Jan 30, 2019)

wst3 said:


> I would not agree on the U87 or C414 unless you are after a really bright recording - which may be the case.


+1 unless its for a more pop oriented track. Definitely wouldn't use those for someing classical. I'd suggest a good ribbon or a good SDC. If you want Neumann, I've heard that the U89 is a little better than the U87 for this. You might also want to try the Townsend L22.


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## studiostuff (Jan 30, 2019)

I totally agree with the ribbon mic suggestions... 

Again, could depend on the purpose of the recording. My U87 and my 414 are not what I'd call bright mics. 

I use any playback of a recording from my KM184 pair to remove paint from walls.


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## Scoremixer (Jan 31, 2019)

Violin recording and sound is very contextual, so it's hard to give good advice in isolation... 

However, it's safe to say in most situations you'll be relying on a fair amount of post-production to get the final sound to where it needs to be, so I wouldn't worry too much about trying to find the 'perfect' thing. Even the world's finest violin players sound a bit shabby under the scrutiny of a close mono spot mic.

Some suggestions - if you can get a good pair rather than a single mic that'll help with a feel of spaciousness even if the room isn't anything special. Without knowing anything else Neumann TLM170s would be my first choice. The new reissue U67s and fet47s are also really good, in the unlikely event someone has those for rental or demo where you are. KM84, U89, Schoeps with Mk4 or mk21 capsule are also great choices that might be more readily available in the field.

Ribbons can be great but I'd be reluctant to use them in isolation unless you're deliberately going for a folkier sound. The lack of top end "air" on a ribbon can accentuate the perception of upper mid screech that comes from a close miced violin, and it's very hard to put that missing "air" back in afterwards - especially if you're intending to multitrack a single player to build a section.

As always YMMV


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## al_net77 (Feb 1, 2019)

I think that all you need to consider are two things:
- where will you record?
- what is your budget?

*For the first (place):*
If you do have a nice room to record in, then your work will be more intesive but your result will be better. You will have to find a nice spot in the room to catch "that" sound (so a pair of good omnis would be nice) but also a decent cardioid mic would be ok. From low to hi: Telefunken M60, Sennheiser MKH 8040 (8020 for omni), Schoeps CMC6 + MK4 (MK2 for omni). You can try with a Neumann TLM 193 (cardioid only version of TLM 170), but I would prefer small diaphragm for strings, and TLM 193 is a medium diaphragm. I would not recommend large diaphragm like C414 or U87.
If you DO NOT have a nice room, then all that you need is a good cardioid (better two) and some post processing for reverb. Sound will be more "sterile" and more prone to your post processing, so you could consider some cheaper mic, i.e. the Beyerdynamic MC-930.
My advice is to get a pair at least; stereo is way better for solo recording. You could also consider a classical M/S setup, like MKH30 + MKH40.

*For the second (budget):*
If you are very low in budget skip this 
My opinion is: get the better you can afford, within the most valuable mics. Don't be fooled by low prices. Try to get some used one, if you can trust the vendor or if you can try it.
The reason is that if you are doing it twice a year you will be in need to resell your gear when your job will be done, so if you get a valuable mic you are essentially moving your money, with with less loss compared to economic microphones. I learned it in the hard way.


So, my short advice is: if you can afford it take a pair of MKH 8040 (or 8020 if you have the right room); you will have fantastic result with minimal loss when reselling.

Hope this helps


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## Henu (Feb 1, 2019)

Second many others, either 414 or a ribbon one, depends on what sort of a sound you're after. One way to do it is to use ribbon for close miking and 414's for the room.

As a sidenote, I once recorded a classical solo violin accidentally from 50 cm away using a Neumann. The recording was done in half an hour....the mixing took WAY longer than that. :D


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## Henu (Sep 19, 2022)

Three and a half years later, I was unsure should I use a ribbon as I'm recording a violin player tomorrow so I searched a bit and stumbled into... my own post. So I think I'm just going to follow my own advice.


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