A Review of Microphones for Recording Violin

Introduction: I have tried a lot of microphones in search of the one that best reproduces the natural violin sound. This is difficult, because most mics distort the sound in some way by spiking certain frequencies and reducing others.  For classical music, the goal is usually to reproduce the sound as accurately as possible. (Especially since attempts to process the sound later are rarely rewarding.)  Since mics with a "flat" frequency response are also the most accurate, these seem to work best for recording classical violin.

And, for classical music, small diaphragm condenser mics seem to work best because they offer fast transient response, which is also crucial to accurate sound reproduction.

Several condenser mics seem to stand out from the crowd:

Neumann KM-140

Either of the Neumann KM-140 or KM-184 works well and is the choice of many recording studios for strings.  These Neumanns are perhaps the standard to which other mics for recording violin can be compared.

Neumann KM-140 costs about $1,300
Neumann KM-184 costs about $1,600

Neumann KM-84

The KM-84, an older version of the KM-184, is also an excellent mic. It is a little darker than the 184.

Unfortunately, the KM-84 is a bit noisy.  Still, there are many studios who swear by them.

Schoeps CMC5 

Schoeps CMC5 Body with MK4 Capsule



Another wonderful choice is the Schoeps CMC5 body with an MK4 capsule, which has a very flat frequency response and transparent sound.  The Schoeps seems to have a little less treble than the Neumanns. This is because the Neumanns have a small treble spike and are not quite as flat as the Schoeps in frequency response.

Each Schoeps MK4 costs about $1,700 (and you need a pair!)
 

AMT 404

AMT 404

On the less expensive end, AMT (Applied Microphone Technology) recently released condenser studio mics  (AMT 404, set of 2) that have a very flat frequency response and are great for the home studio. They are also much cheaper than competing options (around $240 for the pair!).  

Royer R-121

Royer R-121

Although they are frequently recommended for recording acoustic violin, I have NOT been happy with ribbon mics, such as the Royer R-121.  To my taste, these mics lose a lot of the character of the violin and makes the sound seem one-dimensional.  They cut off a lot of the high-end.  (This may seem good when comparing the Royer to a cheap condenser mic, which can make the violin sound overly bright and harsh.)  Royers really are best for acoustic guitar, electric guitar, and brass.

AKG c451E

AKG c451E

Another frequently recommended mic, the AKG c451E, sounds very harsh to my ear and has heavy treble emphasis. This mic is really best for percussion and acoustic guitar.






 

Apogee Duet

Audio Interface: Don't forget that your choice of audio interface is also very important.  If you have a mac, you will need one that supplies phantom power (48 volts to power the mics).  For the mac user, the Apogee Duet with phantom power is a great option for around $500.  There is really no competition for the duet in that price range.  Because it has only two inputs, the duet is cheaper than other, similar models with multiple inputs that can cost over $2000.



 

Mic Placement: Also, your choice of mic placement and number of mics is important.  Recording in stereo is crucial to the classical sound, and, for the best results, mics are usually placed at least three feet from the violin and often overhead.  One mic might be used to capture the violin more closely, and the other to capture the "room," which can add body and reverb to the sound.  Experimentation is often the best way to find optimal mic placement.

The "room" is also very important.  Small diaphragm condenser mics are very sensitive, and will pick up virtually every sound in the vicinity, even the hum from your refrigerator.  So try to make the room as quiet as you can (even if you have to unplug that refrigerator!).  A big room is usually better than a small one. (small rooms can make the sound seem muddy or poorly defined).  High ceilings are usually good.  Breaking up parallel walls helps minimize echoes and reflections.  Furnished rooms can do the same.  Hardwood floors are very good for the sound.

And if all else fails, there is always the recording studio.....

I would like to play in an adult community orchestra. Who should I contact?

Why play in a community Orchestra? For adults, community orchestra is a good way to put all that practicing to work by allowing you to participate in a fun, social activity. Minnesota has an absolute plethora of adult community orchestras, many of which have been around a long time and have rich histories and ties to the community. Meet in a fun, supportive environment, perform in concerts attended by the public, participate in rehearsals led by very capable and sometimes phenomenal conductors, and play exciting repetoire. How to choose one among so many? You might try calling a few of the conductors and see if their program is a good match for you.

Twin Cities Orchestras for Adults. (Name, Conductor, and Phone Number, if Available).
Please submit updates to this list using my contact form.

Adult Community Orchestras

Abendmusik, Bill Kempe, 612-457-0476
Allegro Sinfonia, William Stuber 612-707-8144
Bloomington Symphony, Akira Mori
Century College Orchestra, Elliot Wilcox, 651-696-6189
Chapel Strings, William Stuber, 612-707-8144
Minneapolis Civic, Cary John Franklin, 612-332-4842
St. Paul Civic, Ed Forner, 651-696-6189
Colonial Church of Edina, Steve Ramsey, 612-827-0657
Dakota Valley Chamber, Steve Ramsey, 612-827-0657
First Unnitarian Society, Gabriel Diaz-Alatriste, 612-377-6608
Golden Valley. Tom Schneller
Health Sciences Orchestra, Jim Riccardo, 651-722-8474
Imp Ork, no conductor
Inver Grove Heights
JCC (St. Paul) Joseph Schlefke, 651-698-0751
Kenwood, Jeff Stirling 651-850-5207
Linden Hills, Jeff Stirling, 651-850-5207
Metropolitan Civic, William Schrickel, 612-871-7605
Minnesota Philharmonic
Minnetonak Civic, Jon
Minnetonak Symphony, Roger Hoel, 952-935-4615
Mississipi Valley, Ed Shlueter, 651-722-7867
Northeast Chamber (Fridley), Jeff Stirling, 651-850-5207
Roseville String Ensemble, Jim Haines, 651-633-0453
St. Anthony, Carol Jensen, 612-788-3516
St. Croix Valley
St. Marks, John Nygaard, 651-688-0250
Southeast Chamber Ensemble
3 M Club, Elizabeth Barnes, 612-699-5375
The Cities Orchestra, Larry Reynolds
Woodbury Orchestra, Garret Lamain, 612-890-6608

Can you help me identify my loose viola strings?

The following string identification chart is for viola players! Now you too can iID those loose strings!

Viola String Identifier

List of Strings Identified in the following chart (in soft, medium and strong):
Corelli Alliance
Corelli Crystal
Kaplan Golden Spiral Solo
D’Addario Helicore
D’Addario Pro-Arte
D’Addario Zyex
Pirastro Aricore
Pirastro Chorda
Pirastro Chromcor
Pirastro Chromcor Plus
Pirastro Eudoxa
Pirastro Eudoxa-Oliv
Pirastro Eudoxa-Aricore
Evah Pirazzi
Pirastro Flexicor
Pirastro Gold
Pirastro Obliato
Pirastro Oliv
Pirastro Piranito
Pirastro Permanent
Pirastro Synoxa
Pirastro Tonica
Prim
Prim Synthetic Core
Thomastik Dominant
Thomastik Precision
Thomastik Spiracore
Thomastik Superflexible
Jargar
Jargar Silver Sound
Larsen

Which rosin brand is the best?

First, what is rosin, and how does it work?
Rosin is a resin collected from one of about a hundred different types of pine tree throughout Europe, Asia, North America, and New Zealand. Rosin comes from from living trees by tapping -- just like maple syrup. After the resin is collected, it is sometimes mixed with other tree saps from different species of trees to create a unique formula. This formula is then purified by straining and heating it in large vats until the resins are completely melted. Once cooked, the concoction is poured into molds. After the mixture sets, the rosin is polished and placed in cloth or another type of housing. The color of rosin is determined by when in the year it is collected. If the resin is tapped in late winter or early spring, it will be gold or amber in color and hard when set up. As the seasons change to summer and fall, the color of the resin darkens and the consistency softens. Rosin works by keeping the bow hair stuck to the string. The bow pulls the string in the direction of the bow motion until the adhesion breaks. Then, the string snaps to its original position and vibrates, to create sound.

So, Rosin. So many brands to choose from. But how do we evaluate which one sounds the best? This is a very difficult question to answer, because players have different preferences for how their rosin functions, and what sound or feel they are looking to derive from it. But one thing is very clear: cheap rosin (usually in the rectangular shape inside a wood housing and costing a couple of dollars) is NOT a good choice for any player, except for perhaps a beginner. Why? Because this rosin tends to stick to the strings like glue and feel and sound grainy.

But one thing is very clear: cheap rosin (usually in the rectangular shape inside a wood housing and costing a couple of dollars) is NOT a good choice for any player, except for perhaps a beginner. Why? Because this rosin tends to stick to the strings like glue and feel and sound grainy.

For some reason, most of the finer rosin is circular and often encased in cloth. When it is darker, it tends to be stickier. When lighter, it tends to glide more over the instrument. If you are a player who likes to “dig in,” or you have a violin that responds well to pressure, a dark rosin may be your choice. You might even opt for cello rosine (such as the Hidersine), for its extra grab.

For those of you who like the feel of a lighter, smoother rosin (or you tend to under-rosin your bow to avoid the feel of excessive grain, grit, or stick, a lighter rosin might be your choice. Often, some of the finest rosin brands will offer different formulations to suit the tastes of both those who prefer a darker rosin and those who tend to opt for the lighter versions.

Below is a list of rosins and descriptions. Although you may find this list helpful, experimentation and trying different brands is the best way to choose your preferred rosin.

One top choice of the pros is Andrea Rosin (formerly Tartini Rosin). This Rosin is relatively expensive (around $30.00) and comes in several varieties from the lightest version (termed “Paganinni”) to the darkest, which is designed for cello but often used by violinists searching for that rich, dark sound.



Pirastro (of string-making fame) sells a large line of rosins, largely named after its string brand. There is Pirastro Gold, tonica, Eudoxa, and Oliv, among others. How much difference there is between these is questionable but they are an affordable alternative to “the block” cheap rosiin at around $10.00

Jade Rosin is another popular and reasonably-priced option that seems to work well for a wide variety of bows and players. It is considered to produce a smooth yet firm grip.

Liebenzeller rosin is a particular favorite of mine. In fact, I have carried this rosin around for almost 20 years. Unfortunately, it is temporarily discontinued, but if you can find yourself this rosin, you will find that it comes infused with various metals from gold to nickel to copper, that lend the rosin different characteristics and grips.

In the end, most of the rosins priced above $8.00 or so are reasonable choices, and the biggest factor as to which one you prefer is whether you want more grip and grit (softer, darker rosin) or a lighter and smoother feel (lighter, harder, rosin). You might even be surprised at which option you prefer in the end -- after all, your particular bow and violin may have preferences of their own!

Who are some of the top American violin and bow makers?

Violin and Bow Making is very much alive in America today. We even have some of the nation’s top luthiers in our own backyard. Below are some of the greats still making violins and bows (even as I write!) whose instruments and bows I have had the privilege to play.

Jennifer Becker, violin maker, is the daughter of Carl Becker (of Carl Becker and Son, Chicago, established in 1901), whose violins and cellos are considered some of the best modern instruments available. Here she is pictured with her father in 1992. Jennifer is currently making custom instruments she says are designed to fit the tone preferences of her customers. These instruments take her two years to complete (at a minimum!) They are typically made in the summer and varnished over the next year and a half. The Beckers believe the secret is in their varnish, which allows the instrument to vibrate freely. This varnish has a characteristic reddish color and the violins are not marked to give the appearance of age. I have had the opportunity to play several of Jennifer’s instruments. I have found these instruments to be warm but brilliant, with an easy response and a full-bodied tone. That “plastic” sound I sometimes detect in other modern violins was completely absent. Jennifer Becker is definitely a first-class maker if you are interested in a modern American violin. She lives and works in Lakeville, Minnesota and can be reached at 612-508-5739. These violins are sold at around $28,000.

Roger Zabinski, bow maker, is a favorite of Minneapolis area professional violinists and in fact I have been lucky enough to try three of his violin bows and one of his viola bows. These bows play and look beautiful, and Roger Zabinski is truly such an expert at his craft that he can make to order a bow that will have the playing characteristics desired by the purchaser. His bows go for between $2,500 to $5,000, depending on the fittings. Although Pernambuco wood is in short supply (you may notice many of the modern “pernambuco” bows sold today have become quite thick due to a shortage of higher quality wood), Zabinski’s wood is still of the highest quality and I have seen a recent flamed wood bow with an ivory frog and gold fittings recently commissioned by a colleague that was just stunning. His wood tends to have a slightly reddish appearance and is fairly light in color.

Luis B. Bellini, violin maker, Jackson Heights, New York. I remember trying my first Bellini in his shop when I was fourteen and searching for my first full sized violin. These instruments have a beautiful and painstakingly aged appearance. The sound is typically powerful and a little edgy with almost a soloistic character. Bellini’s violins are almost always reproductions of the old masters, whose work he has devoted his life to studying and reproducing. These violins are priced around $25,000.

Tetsuo Matsuda, Violin Maker, was born in Japan and currently makes violins in Illinois. He has several models, of which the Guarneri is my favorite for its wonderful projection, evenness, and responsiveness. Like the violins of the old masters, the Guarneri Matsuda I tried was capable of a wide range of tonal colors from warm and sweet to edgy. The instruments are priced at around $20,000.
However, I should add that some Matsuda owners have complained that over time, their instruments have grown increasingly bright almost to the point of harshness. I have heard that the reason for this may be that the varnish applied initially is designed to make the violin sound brilliant and open from day one, but that as this varnish gradually dries over time, the instrument loses its initial beauty of tone.

Can you show me pictures of great violins?

Although most violins will toil in anonymity, some violins and some violin and, indeed, the entire body of work of some great luthiers, have been passed down through the generations as examples of the greatest the craft has to offer.
With names like Amati, Guarnerius, Stradivarious, and Guadignini, it is clear that the Italians rule the roost.

Violins are notoriously difficult to photograph, but hopefully these will give you an idea of the appearance of some of the greatest violins ever made.
Joseph Guarnerius del Gesu, Cremona, Italy (1626-1698)



Antonius Stradivarius, Cremona, Italy, (1644-1737)




Nicolo Amati, Cremona, Italy (1596-1684)

I need to rent a violin. What store is best?

Violins may often look the same. But like a human voice, each sounds different. And some sound better than others! Your choice of which violin to rent, even the small sizes, can greatly impact both a student’s progress and enjoyment of the instrument. A good instrument has a clear sound, easy responsiveness, and minimal squeaking. A poor violin can sound scratchy, feel unresponsive, and be so difficult to play, it is virtually impossible to produce a tolerable sound, let alone a good one. Certainly, the larger the instrument the better then tone. But even the smallest sizes can sound pretty good, but may be hard to find.

Although there are several general music stores that carry excellent violin rentals, the best place to rent a violin is from a dedicated violin shop. These shops have expertise in choosing fine student violins that sound excellent and are kept in good condition and repair, with high quality fittings and strings.

Note: I do not receive any teacher kickbacks or compensation for recommeding these shops. They are not paying me for any kind of advertising. What I do gain are relationships with honest and knowledgeable shops that treat their customers well and are able to provide both me and my students the best equipment and service that our area has to offer.
____________________________________________________________________________________________________________________________
House of Note

7210 Minnetonka Blvd, St Louis Park, MN 55426
contact: Sheila Graves
(952) 929-0026


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I have a collection of loose violin strings. How can I identify them?

Oh no, a loose string collection! I have to admit I have one too. I’ve included several means of identifying your strings (pictures and charts) that include some of the most common strings. Hopefully, this string identification information will be of some help to you.

If you are unable to identify your strings even after using this chart, you can use our new service for identifying strings.


Photos:





Violin String Color Codes






Very complete string identifier chart


The strings identified in these photos, tables, and charts (in three gauges, light, medium, and heavy) are as follows:
Corelli Crystal
Corelli Alliance
Corelli Alliance Vivace
D’Addario Helicore
D’Addario Pro Arte
D’Addario Zyex
Larsen
Pirastro Eudoxa
Pirastro Evah Pirazzi
Pirastro Gold
Pirastro Obligato
Pirastro Tonica
Pirastro Oliv
Pirastro Eudoxa-Oliv
Prim
Thomastik Dominant
Thomastik Infeld Red
Thomastik Superflexible
Thomastik Vision
D’Addario Helicore
D’Addario Prelude
D’Addario ProArte
D’Addario Quantum
Euro
Goldbrokat
Huayin
Jargar
Larsen
Lewis
Pirastro Black Label
Westminster
Pirastro chorda
Pirstrao Obligato
Pirastro Synoxa
Pirastro Aricore
Pirastro Eudoxa Aricore
Pirastro Flexocor
Pirastro Chromcor
Pirastro Piranito
Pirastro Tonica
Pirastro Permanent