Anyone ever use a 414 on Violin/Viola?

[licendrivr]

Hey all - I have an acoustic violinist/violist coming in next week, and I was thinking about using a 414.

Anyone ever try this?

Any other recommendations?

[Dave Martin]

IO really don't like them in that applications. (Of course, I haven't ben happy with 414 ULS's in ANY application.) What other options do you have?

[licendrivr]

My other options are Neumann TLM 170, Neumann U87, and Audio Technica AT4033

[robmix]

I have. My mentor Bruce Swedien used to use them all the time on solo strings and sections as well, usually through a Neve 1084. For me the key is to keep your distance. Unless your the player, violin was never meant to be heard close mic'ed. Of course viola's were never meant to be heard . . . opps did I say that ? Sorry, a bit of orchestra geek humor.

You might also throw up your TLM-170 for comparison.


Rob

[malice]

Nobody is mentioning ribbons ???

oh, I just did ...


good


malice

[cajonezzz]

Originally posted by licendrivr
Hey all - I have an acoustic violinist/violist coming in next week, and I was thinking about using a 414.

Anyone ever try this?

Any other recommendations?

Howdy. I record quite a bit of solo viloin/cello (wife is a violinist, we stack her a lot to create sections) and I have to agree with Robomix.....try and not go too close. Tough to do if you have a too live room.

We just picked up a TLM 170 the other day but I haven't triey it on violin...
We've had good luck with the u87 and a royer 122....

414 seems a little brittle....
craig

[Bob Olhsson]

Originally posted by robmix
...the key is to keep your distance...

The original 414s were great for strings provided you didn't get too close. I've never tried the black ones or later which might not work as well because they haven't got as much top end.

[robmix]

Originally posted by malice
Nobody is mentioning ribbons ???

oh, I just did ...


good


malice

Actually, I usually record upright bass and cello with a combination of royer 121 and AKG 414 TLII but haven't tried the combo on violin.

Rob

[fifthcircle]

I usually hate 414's on strings... The top end is just far too harsh. The only exception is sometimes I'll use 414 EBs (with the CK-12 caps) on low strings.

Of the mics you mentioned, I've used the TLM 170s with great results on high strings... You get a big sound, but it isn't overly hyped sounding. Also, when you record, try positioning the mics off axis of the top. That way you avoid the sound of the rosin of the bow on the string and you get a much purer sound...

--Ben

[Overdrive]

I do. Often use whatever there but for Violas I prefer C451B, bright and light. The Low mid viola benefit from the airy 451. Distance is a key here, air is your friend. At least 100cm and more or you risk your head being teared off by high mid craze.

[Thickskinnedsob]

I have used a U87 for violin and it worked just fine. It's got a duller high end which is often a plus for violin.

[7rojo7]

I tried a C12 on Mark Feldman (in a booth) once and he said that it sounded like one of his students, I put up a U67 and he liked it more.
I tend to let the musicians in on the decision process, especially when they're awesome.
Same player, I've also put up 3 C12s (one on the floor in omni and a stereo pair above (C24 in blumlein)) on string quartet (not for classical work) on occasion and it's awesome. I never went for our 414s because I had 5 C12s but our 414s and 422 sounded nice too, some don't.
The other mics. should all work nicely, put them all up and see which one sounds best.

[jajjguy]

String instruments vary a lot in sound instrument to instrument, and often this is dictated by what the player can afford, rather than what's appropriate for the song. If the instrument is dull or lacks focus, a thin/bright mic may help, even if you'd not normally choose it.

I play cello, and my instrument has a bright sound that I normally like, but for one session a Coles ribbon helped bring out the deep/warm part of the sound, which really helped that track. Lately I've really enjoyed earthworks QTC, which seems to capture both the brightness and the depth, very realistically.

One of the few times I've liked the sound of a C1000 was micing a very dull sounding viola that was to be a solo instrument, rather than buried in a section.