Mic Suggestion for Violin, Upright Bass, Acoustic Guitar?

A

alfandango

New member
I'm considering a new mic purchase for home studio recording. I currently have an SM57 which I use for Amps but I need a few affordable options that could be used for violin, upright bass and acoustic guitar.

I understand each of these are quite different instruments but suggestions for a great all-rounder would be much appreciated.
 
I am not a big fan of the 57 but it is probably the most versatile mic ever made. Options I suggest are the EV 308 or Beyer M201 for dynamics.
 
Thanks, the SM57 was a great investment and great for a lot of uses but absolutly horrible for acoustic instruments. Will research those two you suggested :)
 
Something reasonably extended and neutral and figure doing some eq.. for example you might not need a lot of the real high top tones for the bass.
Cad 179 is a very decent mic that adds variation in pattern and tone (by focus', proximity effect
 
Check out Niaint mics for violin and Niaint x s for acoustic guitars.
Some people like to use kick drum mics on bass I'm no expert but I do like a 57 on a bass cab
 
Depends on your budget tbh, but there's plenty of mics out there that should do the trick;

Oktava MK012 with Cardioid and Omin capsules would be great for acoustic guitar and violin and probably double bass with some careful placement.

A smoother sounding LDC like an older Rode NT1 (not the "a" version) or Avantone CK7 i've found do a grand job on all three and would be very versatile for recording other sources if needs be

Possibly even a ribbon mic like an Apex 205, although you would need some preamps with a lot of clean gain, be willing to EQ the tracks (but ribbons do take EQ beautifully), and would probably be less versatile for other things but for acoustic guitar, violin and cello (i've not tried it on double bass) ribbon mics sound incredible.
 
Tomm Williams said:
And in the $300 range, the Senn 421 is another multi-use contender.
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Voiced for close mcing. It's a nice mic but it's low end is compensated for near field work.
For these three task- I'd rather have extension giving (sometimes) more body than you need and tailor it down if need be.
 
mixsit said:
Something reasonably extended and neutral and figure doing some eq.. for example you might not need a lot of the real high top tones for the bass.
Cad 179 is a very decent mic that adds variation in pattern and tone (by focus', proximity effect
Click to expand...

:thumbs up:
In fact any omni microphone will be the best recording of an upright bass that you will ever get.
 
I've been trying this out -on my guitar.
Freedom of Expression - ExplorAudio H-Clamp
http://www.audixusa.com/docs_12/specs_pdf/M44.pdf
.. set for tone, and still get to move w/o f***ing it up :p
Any who.. from what I've gathered, the omni caps (or mics/patterns..) just tend to sound nice in general.
It's the isolation factor that kicks in on my situation.
Two more '44's on the way, one's hopefully going to land on the upright (ATM-25 on a kick stand's sounding good for now). On Achoustic night (..a nod to the Pattersons :) we're running two of the Cad's and an AT4047mp in fig-8 for the 'steering effect.
The Cad isn't as rich and full as the AT, so the AT gets roving' vocal duty. Bu the Cad does fine.
 
moresound said:
:thumbs up:
In fact any omni microphone will be the best recording of an upright bass that you will ever get.
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Justsomeguy said:
It took me 10 years to discover the true joys of Omni and Fig.8 polar patterns. Now i can't get enough!
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I know!
I guess for everyone reading - I start about three feet away and about three feet from the floor with the microphone. Facing straight up.

One may have to play a bit with those measurements but it's a good stating point.
 
My Choice

My absolute top preference for Violin and Stand up Bass is a Cascade Fathead ribbon(preferably with the Lundahl Tranny) but for acoustic guitar I don't like it at all really.

The ribbon Mike takes the harshness out of the violin and when recording upright if you mic it fairly close pointing the null in the figure eight at the point where you pluck it gives you a wonderfully full sound without too much slap.
 
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