By 4dahaterz
Thu Aug 11, 2005 3:03 pm
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KEEP IT REAL: GET AN ORCHESTRA
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Whether you make hip hop, rock, dance music or death
metal, there's nothing like having a chance to add a real,
live violin, a grand piano, or a string quartet to your
music. If you had the chance to record a violin player on
your next song, would you know how to record it?
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Violin, Cello
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Recording a violin is not unlike recording an acoustic
guitar, nor is it unlike recording a vocalist. In
dynamics and timbre, the violin is more alike to the human
voice than any other instrument. Since the sound is
coming from the strings and sound holes of the instrument
(like an acoustic guitar), we can mic it accordingly.
When recording a violin or a cello, a pair of mics would
be ideal. However, a single cardioid condenser mic will
work well on its own. When using a single mic, set the
mic on a stand at about 7 to 9 feet above the ground,
aimed downard on an angle toward the body of the voilin.
This will capture the full dynamics that the violin
produces, while bringing out its natural resonance and the
ambience of the space. When using a pair of mics, set them
at the same height, 7 to 9 feet, about 2 1/2 to 3 feet
apart. An X-Y placement pattern will work here as well.
A cello produces the same dynamics, timbre, and resonance
as a violin, only a few octaves deeper. Keeping that in
mind, try placing one mic out of a pair closer to the
cello, and at level with the center of the fretboard. If
you are only using one mic, set it on a stand at about 3
feet high, 8 or 12 inches away from the fretboard.
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Grand Piano
----------------------------------------------------------
It seems that every recordist has his/her own trick or
technique to recording the piano. Some pro engineers
prefer to place two microphones inside the body of the
piano, under the hood. Others believe that to be a big
mistake. There is never any "right" answer, but there is
a way of tailoring your mic technique to get the sound you
want for your song. The best way to find the sound you
want, as always, is to experiment!
If you are using one condenser mic, open the hood of the
piano to its peak. Try placing the mic at about 5 feet
above the ground, facing the piano's strings from outside
the piano's body. Listen to the recording, if this is not
the sound you desire, try moving the mic. If you move the
mic toward the tail of the piano, generally you will pick
up lower tones. The further you push your mic toward the
keys of the piano, the more brilliance you receive. If
you are using a matched pair of mics, try both!
One technique that works very well is the use of PZMs, or
pressure zone microphones. These can be placed right on
the underside of the piano's hood, and these tend to
capture the resonance of the piano that other mics cannot
truly capture. Other engineers will place a dynamic mic,
like a Shure SM57, directly in a sound hole in the metal
frame above the strings. No matter which technique you
use, just make sure you understand what type of sound
you'll get from which mic placement-- then mix and match
to your taste.
compliments of www.zzounds.com
KEEP IT REAL: GET AN ORCHESTRA
===========================================================
Whether you make hip hop, rock, dance music or death
metal, there's nothing like having a chance to add a real,
live violin, a grand piano, or a string quartet to your
music. If you had the chance to record a violin player on
your next song, would you know how to record it?
----------------------------------------------------------
Violin, Cello
----------------------------------------------------------
Recording a violin is not unlike recording an acoustic
guitar, nor is it unlike recording a vocalist. In
dynamics and timbre, the violin is more alike to the human
voice than any other instrument. Since the sound is
coming from the strings and sound holes of the instrument
(like an acoustic guitar), we can mic it accordingly.
When recording a violin or a cello, a pair of mics would
be ideal. However, a single cardioid condenser mic will
work well on its own. When using a single mic, set the
mic on a stand at about 7 to 9 feet above the ground,
aimed downard on an angle toward the body of the voilin.
This will capture the full dynamics that the violin
produces, while bringing out its natural resonance and the
ambience of the space. When using a pair of mics, set them
at the same height, 7 to 9 feet, about 2 1/2 to 3 feet
apart. An X-Y placement pattern will work here as well.
A cello produces the same dynamics, timbre, and resonance
as a violin, only a few octaves deeper. Keeping that in
mind, try placing one mic out of a pair closer to the
cello, and at level with the center of the fretboard. If
you are only using one mic, set it on a stand at about 3
feet high, 8 or 12 inches away from the fretboard.
----------------------------------------------------------
Grand Piano
----------------------------------------------------------
It seems that every recordist has his/her own trick or
technique to recording the piano. Some pro engineers
prefer to place two microphones inside the body of the
piano, under the hood. Others believe that to be a big
mistake. There is never any "right" answer, but there is
a way of tailoring your mic technique to get the sound you
want for your song. The best way to find the sound you
want, as always, is to experiment!
If you are using one condenser mic, open the hood of the
piano to its peak. Try placing the mic at about 5 feet
above the ground, facing the piano's strings from outside
the piano's body. Listen to the recording, if this is not
the sound you desire, try moving the mic. If you move the
mic toward the tail of the piano, generally you will pick
up lower tones. The further you push your mic toward the
keys of the piano, the more brilliance you receive. If
you are using a matched pair of mics, try both!
One technique that works very well is the use of PZMs, or
pressure zone microphones. These can be placed right on
the underside of the piano's hood, and these tend to
capture the resonance of the piano that other mics cannot
truly capture. Other engineers will place a dynamic mic,
like a Shure SM57, directly in a sound hole in the metal
frame above the strings. No matter which technique you
use, just make sure you understand what type of sound
you'll get from which mic placement-- then mix and match
to your taste.
compliments of www.zzounds.com