[0:00] In this tutorial series, we get into the essentials of how to make you and your orchestral instrument sound and look better. In this episode, we talk about recording string instrument. 

[0:17] The main part of the tone is formed by the resonance and character of the body. Since the acoustic properties of wood differ from instrument to instrument, we have a wide variety in the sound spectrum. The sound also depends strongly on the individual´s bow technique, where the bow hits the string, its speed and pressure on the string make a big difference. And the bow generates a noise, that belongs to the typical characteristics of string instruments 

[0:38] The viola, as well as the violin, have an extended frequency spectrum containing high levels of overtones, which gives the instruments their typical character. They also have a large dynamic range, with really soft pianissimo levels. 

[0:53] For this reason, they should be recorded in a very quiet room. Low frequencies are radiated more or less omnidirectionally from the body, while higher frequencies are beamed upwards, perpendicular to the face of the instrument. 

[1:10] [Instruments plays] 

[1:39] Let´s take a look at a possible microphone position, for recording a viola or violin or viola is placing the microphone about 90 to 120 centimeters in front of the instrument and approximately 1 to 1.5 meters above it, looking down at the body, bridge, F-holes, and the point where the bow hits the strings. That would be a good starting point 

[2:01] Listen for a balance between the tone, the noise of the bow and room ambience. You can also use two microphones for a stereo setup; 

[2:13] In our tutorial series, we use a setup called AB, or spaced-pair, where we use two small-diaphragm condenser microphones spaced about 25 to 30 centimeters apart. You can choose between the Neumann KM184, cardioid pickup pattern, or the Neumann KM183, with an omnidirectional pickup pattern. 

[2:50] If the sound becomes too bright or harsh, and you have too many overtones, you can lower the microphone or change the angle, or move the microphone to the side, so that the player’s head blocks some of the frequency content. Always double-check microphone placement, as players often move while performing. 

[2:58] [Instruments plays] 

[3:33] The cello radiates sound in a similar way to the violin or viola, but the playing position is quite different, as now it is close to the floor. The reflections play a nice role in the sound, and nice wooden floors are preferred surfaces. But if you have to record on stone or marble floors, a small carpet might help. 

[3:58] [Instruments plays] 

[4:16] For cello, you can adapt the microphone techniques for the violin or viola. A distance of about 1.5 to 2 meters from the instrument and a similar height. Listen to the good balance between the full tone, bowing detail and the reverberation of the room. 

[4:35] To achieve a more direct sound, move the microphones closer to the instrument. For a more spacious and ambient feeling, move them further away. If the sound directly in front of the instrument is too harsh or has too many overtones, move the microphones on a circular path around the instrument like we did in our example. 

[4:56] [Instruments plays] 

Place the microphones at a moderate distance and angle them toward the body, bridge, F-holes, and bowing point to capture a balanced and natural sound. 

A good starting point is 90-120 cm in front of the instrument and 1-1.5 metres above, angled downward toward the instrument.

Try lowering the microphone, adjusting its angle, or moving it slightly to the side to reduce excessive brightness and overtones.

The A/B technique uses two microphones spaced apart to create a wider and more natural stereo image.

Start with microphones about 1.5-2 metres from the instrument and adjust the distance to balance direct sound, bowing detail, and room ambience.