Well, taking advantage of this excellent video I wanted to share with the readers of Fundamental Frequency, thought I'd share some tips when recording string instruments. The mandolin and violin are two of my instruments favorite. They are so organic, and notebooks, which the performer is one flesh "with the musical instrument.
The violin and mandolin has lots of character, a sound almost "raw" a bit rough at times. But they can be sweet and subtle. As you can see in this video, but the musical performance is nearly flawless, in terms of audio quality there is much to be desired, especially as she was wanted to "sweeten" the sound of the instruments. Mandolin sometimes sounds like classical guitar and violin synthesizer takes a character at times.
This is mainly because the recording was done using some form of tablets, instead of miking the instruments. It also appears that they spent a little hand with the post production, and to my taste, too much effect. Surely there will be enough EQ.
Taking into account some considerations on stringed instruments, and how you record, you will be able to capture a more natural sound. Takes into account when reading my advice, which I personally like to listen to a recording of an instrument idiosyncrasies. I like to get a sound rather crude, with some imperfections here and there. As always, everything depends on the situation, and how you want the producer and artist.
course guiatarras talking about in this mini tutorial, we speaking of acoustic guitars, steel string or nylon. Electric guitars are another story altogether.
of stringed instruments ... - not the strings that produce sound:) The strings transfer their vibrations to the bridge, and it transmits them to the "cap" or upper body of the instrument. This makes the air inside to resonate, and produce sound. It is always better as a guitar top is solid wood and not plywood.
- Sometimes it breaks the rule, and of course the driver is the ear. I have a guitar Yamaha F350 superbarata plywood, even the lid. And it sounds better than many solid wood I've heard. The F series of Yamaha guitars are an excellent investment.
- Sound
NO out the holes in the body of the stringed instrument. Whole body vibration (especially the cover), projecting the sound in all directions.
- old Strings: MAL, new strings: WORST. Seriously, sometimes quite used ropes may have a more even tone, and can better sustain the tuning new strings. Do not misunderstand me, when you go to record change your strings. But do not change just before recording, the strings have to go through a process of stretching, after which no longer cede, and keep the pitch.
- Everyone knows the sound of a finger slides along a string of an acoustic guitar, and produces a squeak. All string instruments produce sounds "secondary" similar. Do not fear them, are not defects, are part of the character of the instrument. Of course we speak here not exaggerated and unobtrusive noise generated by poor technique of the interpreter.
recording string instruments ... - definitely need a microphone outside
to capture real character of the string instruments. The pickups (guitar pickups) electroacoustic, useful and high quality it is, is an "imitation" of sound electromagnetic real. A single pill is not able to grasp the intricate interactions between all parts of a stringed instrument, because all parties contribute to the final sound.
- Even though the instrument has a microphone inside
, pill instead of a solenoid, will not capture a natural and open sound. Would hear a speaker from within his cabinet! When we hear the instrument, the waves have already been "developed" in the air. Also the sound has already interacted with the environment, and these reflections also take the microphone.
- In any case it is best to record the amplification system that contains the instrument (microphone or pickup electromagnetic) along with the signal produced by an external microphone. This will give you options when mixing, it may signal a certain character is you want to emphasize, then tries to combine the two and make the best of both to create the desired sound.
- When recording the two signals as explained in the last paragraph, there are two things you should consider. First, you have problems POSE phase that thin sound, or give you a nasal and distant character. This can occur if you record the same source, using two different media (including two microphones). Find out about the issue and how to deal with, because it goes far beyond the scope of this tutorial. But I will say that there are several ways to solve problems of phase, even with plug-in. Second, you should use EQ sections to use them you want sonic spectrum of each signal. For example, the signal of an electromagnetic pickup can be very useful to enhance the sound of the plectrum on the strings. But to avoid phase problems, and to get a clean sound, it is worth filter out all other frequencies that are not wanted, or that are redundant with the other signal.
- Need a condenser microphone. Dynamic microphones are not SENCIBLES enough to capture all the details of a stringed instrument. As always, the application and heard the shots. An acoustic guitar with steel strings running a tearing rhythm is a good candidate for a dynamic microphone, which could give a somewhat more aggressive sound. As for condenser microphones is also worth considering the small diaphragm. These will give you a little less bass response, which in any way in most cases, filters to mix. It also attacks the notes will be a bit rich and defined. If you have a descente acoustic space, trying to prove other
polar patterns, especially the omni, which can lead bass sound much more natural, and a generally more open and "large."
- There are no rules written in stone on which to place the microphone to get a good sound. The only golden rule of the microphone that I dare to state is: "Never be miking the most strident of the source." In the case of a stringed instrument, that part is the holes in the body. The round in the case of guitars, and holes in "F" for orchestral instruments and mandolins. Gujer goes by too much air, and sound that will get rather dirty in the lower middle and low, with a blur. A good place to start testing is the part where the neck joins the body, about a foot away. If you want less bass and more sound of the strings, turn up the microphone to head. If you want more bass, Draw closer to the body, without actually putting it right in front of one of the holes. Some resonances miking bass can be caught behind the bridge, either side of the street, or behind (yes, nothing prevents you mic the guitar from the back of the interpreter). Although in my experience this is useful only when the string instrument has a role in the piece, and he wants to give weight and even balance throughout its frequency range.
- Of course you're limited to using a single microphone. For example, for a guitar, you could use a large diaphragm behind the bridge, another large diaphragm as well, where joins the neck and body. And one more, this time a small diaphragm, near the head, pointing to the dishes. Then combine to achieve the desired sound, or if for example somewhere in the song need more body, active since the back of the fret. Then you need more sound of tearing, and ropes, you activate the small diaphragm. Not to get into stereo miking techniques, which obviously would need 2 microphones ...
- Sometimes a bit of distortion or saturation give the violins those extra harmonics that need. Of course you have to be sooo subtle, we want to make it appear that Van Halen is playing instruemntos conductor.
I hope my tips help you get better recordings.
Finally, I urge you to dare to test the sound of your stringed instruments, leaving a little more raw. Do not worry about the noises, sweetened or both. You will see as though at first it sounds a bit odd, then give you a sense of naturalness and realism.
