How to record string instruments successfully
As both a violinist and recording engineer, I’ve spent a great deal of time testing out different techniques, equipment, and approaches for successfully recording string players. The problem is that stringed instruments are so dynamic, and each one has such unique timbres, they can be difficult to capture in an authentic manner when recording. Any recording engineer, or string player who has ever tried to record a stringed instrument, has probably experienced this difficulty before. Well, since people often ask me what the best approach is, I figured I would try and shed some light on the subject for those of you who are interested.
The short summary is that your recording technique and equipment of choice will ultimately depend upon what type of tone and sound you are going after. I’ll give you some basic directions for starting points, though, with the understanding that you should build upon that advice to fit your own needs.
Pickups vs. Mics: There are two main choices for recording stringed instruments: a pickup or a microphone, or even a blend of the two if you want to get fancy. In my experience, I’ve found pickups generate a nice, crisp attack and articulation on the notes, but can be somewhat flat and “velvety” when it comes to tone. This might be desirable if you are recording, say, fast fiddle music that has a lot of quick ornaments and accents that need to have “bite” to them. Getting a good balance over all four strings with a pickup usually requires the outside help of an EQ, though (whether that is on your amp or in your digital audio workstation [DAW]). Microphones, on the other hand, tend to capture more of the overtones and natural sound of the instrument. Their attack is not as pronounced, though, since the contact is more ambient and not direct with the instrument. You’ll also pick up surrounding noise with a mic (be it from another instrument or noisy street outside), whereas a pickup is more isolated. I prefer using microphones, because of their ability to capture the authentic timbre, but I recommend trying out both approaches if you haven’t ever experimented with them and see which one works better for your needs.
Mic choice and placement: If you decide to use a microphone, you’ll need to figure out, first, what type to use, and second, where to physically “place” it in relation to the instrument you are recording. Mics come in all shapes and sizes, and you can spend anywhere from a few bucks up to thousands, but it is important to know the difference in types before you go shopping. Generally there are two types of mics: dynamic microphones and condenser microphones. Dynamic mics are primarily used for live performance, and are not very “sensitive” in comparison to condenser mics. They are generally cheaper than condensers and can be used for recording, but I don’t recommend it. They won’t give you a large dynamic range, have narrow directional fields, and you have to get them uncomfortably close to the instrument to get a decent level. Condenser microphones are very sensitive and are primarily used for recording. There are large-diaphragm (good for cello and bass) and small-diaphragm (good for violin and viola) models, and they can be placed further away from the instrument and have wider directional fields. Note: condenser mics do require phantom power (48V) in order to work, so make sure your audio interface or mixer is able to supply that before you go out and buy one.
Now for placement. Assuming you’re using a condenser mic, you’ll want to have some space between the instrument and the microphone. For violin and viola players, I generally place a small-diaphragm mic above the player’s right side anywhere from 3-5 feet away from the f holes, and point the mic directly at them. (Violinists and violists can move a lot while they play, and their bows cover a wide range of motion, so make sure the mic and stand are comfortably out their way.) For cellists and bass players, I’ll place a large-diaphragm mic directly in front of the bridge, or slightly lower, anywhere from 1-2 feet away, and point the front of the diaphragm directly at the bridge. I recommend putting on a pair of headphones and having the player play while you listen to the recorded signal and adjust the mic placement to find the “sweet spot” where it sounds best.
Finally, if you’re getting into recording, you’ll need some other gear to complete the setup. You’ll want a DAW which these days is typically a computer with audio recording/editing software (i.e., Garage Band, Pro Tools, Logic, Ableton Live, Cakewalk, or Digital Performer to name but a few) and what’s called an “audio interface,” which is simply a box that converts the signal from analog to digital and vice versa. You’ll probably also want some monitors, headphones, mic stands and cables, too. If you are using good-quality microphones, it’s worth having a decent interface, otherwise you won’t be taking advantage of the mic’s full capabilities. As you get further into recording strings, you can start to experiment with plug-ins and effects like compression, reverb, chorus, and delay. You’ll quickly find it is easy to manipulate the sound once it has been recorded. Don’t be afraid to experiment with the whole process either—often the best tunes use creative or original techniques to achieve a desired sound.
Graham Pellettieri
Music Editor
Strings and Strings Charts
The short summary is that your recording technique and equipment of choice will ultimately depend upon what type of tone and sound you are going after. I’ll give you some basic directions for starting points, though, with the understanding that you should build upon that advice to fit your own needs.
Pickups vs. Mics: There are two main choices for recording stringed instruments: a pickup or a microphone, or even a blend of the two if you want to get fancy. In my experience, I’ve found pickups generate a nice, crisp attack and articulation on the notes, but can be somewhat flat and “velvety” when it comes to tone. This might be desirable if you are recording, say, fast fiddle music that has a lot of quick ornaments and accents that need to have “bite” to them. Getting a good balance over all four strings with a pickup usually requires the outside help of an EQ, though (whether that is on your amp or in your digital audio workstation [DAW]). Microphones, on the other hand, tend to capture more of the overtones and natural sound of the instrument. Their attack is not as pronounced, though, since the contact is more ambient and not direct with the instrument. You’ll also pick up surrounding noise with a mic (be it from another instrument or noisy street outside), whereas a pickup is more isolated. I prefer using microphones, because of their ability to capture the authentic timbre, but I recommend trying out both approaches if you haven’t ever experimented with them and see which one works better for your needs.
Mic choice and placement: If you decide to use a microphone, you’ll need to figure out, first, what type to use, and second, where to physically “place” it in relation to the instrument you are recording. Mics come in all shapes and sizes, and you can spend anywhere from a few bucks up to thousands, but it is important to know the difference in types before you go shopping. Generally there are two types of mics: dynamic microphones and condenser microphones. Dynamic mics are primarily used for live performance, and are not very “sensitive” in comparison to condenser mics. They are generally cheaper than condensers and can be used for recording, but I don’t recommend it. They won’t give you a large dynamic range, have narrow directional fields, and you have to get them uncomfortably close to the instrument to get a decent level. Condenser microphones are very sensitive and are primarily used for recording. There are large-diaphragm (good for cello and bass) and small-diaphragm (good for violin and viola) models, and they can be placed further away from the instrument and have wider directional fields. Note: condenser mics do require phantom power (48V) in order to work, so make sure your audio interface or mixer is able to supply that before you go out and buy one.
Now for placement. Assuming you’re using a condenser mic, you’ll want to have some space between the instrument and the microphone. For violin and viola players, I generally place a small-diaphragm mic above the player’s right side anywhere from 3-5 feet away from the f holes, and point the mic directly at them. (Violinists and violists can move a lot while they play, and their bows cover a wide range of motion, so make sure the mic and stand are comfortably out their way.) For cellists and bass players, I’ll place a large-diaphragm mic directly in front of the bridge, or slightly lower, anywhere from 1-2 feet away, and point the front of the diaphragm directly at the bridge. I recommend putting on a pair of headphones and having the player play while you listen to the recorded signal and adjust the mic placement to find the “sweet spot” where it sounds best.
Finally, if you’re getting into recording, you’ll need some other gear to complete the setup. You’ll want a DAW which these days is typically a computer with audio recording/editing software (i.e., Garage Band, Pro Tools, Logic, Ableton Live, Cakewalk, or Digital Performer to name but a few) and what’s called an “audio interface,” which is simply a box that converts the signal from analog to digital and vice versa. You’ll probably also want some monitors, headphones, mic stands and cables, too. If you are using good-quality microphones, it’s worth having a decent interface, otherwise you won’t be taking advantage of the mic’s full capabilities. As you get further into recording strings, you can start to experiment with plug-ins and effects like compression, reverb, chorus, and delay. You’ll quickly find it is easy to manipulate the sound once it has been recorded. Don’t be afraid to experiment with the whole process either—often the best tunes use creative or original techniques to achieve a desired sound.
Graham Pellettieri
Music Editor
Strings and Strings Charts
Tags: audio, digital, mic, microphone, pickup, placement, record, recording, strings, technique
Comment
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Comment by Graham Pellettieri on September 1, 2009 at 11:04am -
Dennis - That is a tough problem to solve, but I would say you have 2 main options:
1) Experiment with placement of the bass. Bass frequencies travel better than any other frequencies, so no matter where your bass player is on stage, chances are the audience will be able to hear them just fine. The mic, however, will pick up those sound waves from the bass more if the bass is pointed directly at it, (because the air moves the diaphram). Try having the bass player angle the F holes (and amp if they are using one) away from the mic, or set up the mic to the side or behind the bass player. I know it doesn't make the stage / musician set up too easy, but it will probably help with the bass distortion problem. Another thing you can try is to put padding under the mic stand (i.e. carpet or foam) and use a shock mount - which will help dampen the bass vibrations that travel to the mic. If neither of those things work, it might be time for another solution:
2) A different mic - You could use a different mic with a "low pass filter" or "bass cut" on it. There are a decent number of condenser mics out there with switchable settings on them. Some will have multiple polar patterns (omni, cardiod, figure 8 etc.) and some will have "high roll off" switches that can soften the brightness / high end, and there are also ones that will have "low pass filters" or "bass roll off" on them - and that is what you want. Using that low pass filter will allow you to dampen or cut back the bass frequencies, without affecting the mid and high range frequecies. In other words, your singers / guitar / mandolin or other players will sound the same, but the bass will drop in comparison, and the mic won't pick up as much of it. AKG makes a decent number of mics with these "switchable" options on them. You can even get one with switchable polar patterns (including omni so you can keep the 360 setup) and a low pass filter switch on it too! Check out the AKG Perception 420 for starters.
Sean - that is true that some engineers use the "head model" to authentically represent what we hear. I personally prefer to spread my mics further than that, as you get a wider stereo spread that allows you to hear like your ears are 10 feet apart! (Which I would do if I could) :) Some mic manufactures have started to build that "X/Y" stereo pattern right into one mic though, for example, check out Rode's NT4. If you don't use an X/Y pattern like that, I'd still recommend using a "matched pair" - which consists of 2 matched mics - so one "ear" sounds the same as the other. For instance Rode sells the NT5s as a matched pair.
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Comment by dennis on August 31, 2009 at 5:44pm -
This is good information. Thanks for posting it.
As an amateur musician who dabbles occasionally recording small groups of 3 - 5 performers with a large 360 degree condenser microphone in the middle (old-time music), one problem I have is what to do with the upright bass player? It severely distorts the overall recording. In a live performance, you can't send the bass player behind a wall as is done in a recording studio. Any suggestions on successfully recording an acoustic group on stage with one microphone without the bass player distorting the recording?
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Comment by Sean OBrien on August 17, 2009 at 8:54am
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I'm surprised you didn't mention a head. I have heard that classical music recording uses 2 microphones (binaural ?) set at the ears of an artificial head with no subsequent mixing.
What type of mics would you recommend for this setup?
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Comment by Dominic Joelson on August 17, 2009 at 2:24am -
Thanks. I love to play the guitar and I just don't know how to record it properly. I always end up getting bad output. Thanks. How To Get Taller
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Comment by Erin Shrader on August 14, 2009 at 4:15pm -
I've always been recorded with two mics. (The latest recording set-up included a vintage ribbon mic.)
The most natural-sounding recordings of my fiddle were miked front and back. We forget that stringed instruments project in all directions and that the resolved sound that we hear as a listener is made up of all of it, as well as the room. I worked with the same engineer for many years. He first listened with his ears, moving around the fiddle as I played, even crawling around underneath it, then set the mics and listened with headphones. It took some time, but he only had to figure it out once.
Also, don't undersestimate the contribution of a great pre-amp to a great recorded sound.
As a musician, and not an engineer, I think it's important to keep working on mic selection and placement until the engineer gets the sound thatyou want to hear. It can take awhile and be frustrating, especially when everyone wants to just get going, but it can be done and it's worth it. Editing, mixing, mastering, and selling a recording that doesn't sound like you is torture.
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Comment by Graham Pellettieri on August 14, 2009 at 2:21pm
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Hi Folks, Thanks for the great comments.
Eddy - Sorry, but I haven't used one of those Zoom H4s yet. Just looking at the features available on it though, you might try experimenting with the compressor EFX module, and perhaps try using an external mic or two, plugged into the input(s) to get different results with the higher notes on the violin. A higher bit depth / sample rate might "smooth" things out too, if the texture of the tone is problematic.
Misti - A follow up blog on mixing and mastering is a great idea, and I'd love to include one as soon as I have the chance. In the meantime, some quick tips for you are to pan your strings while mixing them in your sound field. Try and do it in a realistic way (i.e. violin 1 panned to the left, V2 slightly left, viola slightly right, cello further right). Don't be afraid to use reverb and other effects on strings, but keep in mind that a little bit can go a long way. If you find the dynamics of the strings are too extreme compared to the rest of the instruments/band, you should consider compressing the strings by themselves, either with a plug-in or post-processing to make them more consistent within the mix.
Ira - you are completely right, ribbon mics are a wonderful solution for recording strings - very smooth and silky sounding. I was reluctant to mention them because of their price point, but after researching some more, it appears they have become more affordable lately. Great comment!
Stephen - I agree, it is hard to find a good reverb for strings. In Pro Tools, I actually like to use the stock plug-in as a "Room 1 - Medium or Large - about 32% wet." I also use Logic Pro, and prefer the Space Designer plug-in medium sized "halls" and "rooms" for that software. If the plug-ins aren't working for you, Lexicon makes some great outboard reverb units to use in the studio. As for live performance, I'm afraid I don't have any reccomendations there - it's been a while since I've worked in the live setting - I'm mostly in the studio these days. You might check in at one of my favorite forums for more audio gear advice though: gearslutz.com
Hope that helps!
-Graham
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Comment by eddymontreal on August 13, 2009 at 10:09pm -
Thank you for the information! I always find it too complex when it comes to understand what is involved in a recording; you explain it in a very transparent way.
I have a Zoom H4 hand-held recorder that I use mainly for practice purposes. I just noticed Zoom has a new model (the H4n). The results of such a recorder are OK I guess for the purpose it serves. But the violin sounds awful especially the higher notes. Are you familiar with these types of recorders and do you recommend any special "recording settings" to get the maximum out of the H4?
That would be great if you have any tips!
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Comment by Misti Yang on August 13, 2009 at 8:16pm
- Very informative post. Do you plan on doing a follow-up on how to mix and master strings? We just finished up tracking and are moving on to mixing and mastering, so your insights would be timely and helpful. Finding information specifically for recording issues facing strings players is tough! Thank you.
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Comment by Ira Kraemer on August 13, 2009 at 6:27pm - A mention of the velocity or ribbon microphone should be included in this discussion. For many years they were not avilable as they were considered obsolete. They were very delicate and required very careful placement. The advantage of the veloicty or ribbon mic is the extreme natural and smooth response they provided. With the extreme dryness of digital recording they have made a come back in that they give a warmer sound. At one time they were extremely expensive if you could find one in good operating condition. RCA was the major manufacturer and the models 44BX and 77 DX were the icons of the American recording and broadcasting industry during the golden age of recording. For the last 4 or 5 years we have seen a influx of Chinese made ribbon microphones which are quite excellent and affordable. It should be noted that the output is not high and the use of a mixer is suggested. They are self powered like the dynamic microphone and the use of phantom power will destroy the element in this type of microphone. If you are looking for a smooth warm sound consider the ribbon microphone. Heifetz recorded his electrical recordings for RCA Victor using the 44 model ribbon microphones.
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Comment by Stephen Katz on August 12, 2009 at 6:34pm -
Thanks for the post, Graham. It's great to hear advice from a string player. On a somewhat related topic: what do you recommend for reverb software? For recording I use TL Space (convolution) with Pro Tools LE/Digi 002 Rack. It's decent, though I have to do a lot of tweaking to get the boxiness out of it, and I find the interface confusing and counter-intuitve. Reverb in live settings is more of a problem. I amplify w/pickup and mics, do lots of looping, and have yet to find a clean, rich live reverb unit. My old Ensoniq DP2 has died, and I have seen nothing new to replace it at the $600 price point. Any suggestions?
-Stephen
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