b1 vs b-1 for violin

[sathyan]

I've been using a Nady SP-5 ($8) dynamic with my violin and the sound I'm getting is too thin and a bit uninteresting. Gain is insufficient so I've been close-micing - so no room acoustics. If there is to be coloration, I prefer a warm sound.

I will use this with a tube mic pre/limiter (does phantom power) into a Yamaha mixer. Will be recording in mono (due to costs). Genres: classical, country, celtic


Which of these (or others around $100) would you choose? Any comments on these condensers would be appreciated (be they with violin or other stringed instruments - such as acoustic guitar)


Studio Projects B1
Behringer B-1
Oktava MC012
MCA SP1
Samson C01
Marshal MXL 603



My microphone stand uses 5/8" - will this work with all microphones?

thanks
Sathyan

http://inkmusic.org

 

[jnorman]

while any of the mics you mention will be a significant improvement over what you are using, none of them are particularly good at instruments which have lots of inherent high freq overtones like violins. fortunately, there is a reasonable solution that may well be in your price range if you shop carefully - the DPA 4060. the 4060 is a stellar quality miniature omni mostly used for theatrical work, but makes a wonderful studio mic for all types of acoustic instruments, and is fabulous on violin. the 4060 is only about $350 new, and can be had for as little as $150 or so used on ebay - keep your eye out for one of those, and you wont be needing to upgrade mics again in 2 months...

 

[Son of Mixerman]

Ive used the B1 on Violin with good luck, I also use the 603s in a a spaced pair config along with the B1 and it sounded pretty surprising. Location, location and location are critical to getting any acoustic intrument to work well with any mic.



SoMm

 

[chessrock]

none of them are particularly good at instruments which have lots of inherent high freq overtones like violins.

That's kind of the key, right there. This is one of those areas where duller-sounding mics with less funky colorations and peaks in the higher frequencies are desirable. That's why ribbon mics are very popular for brass and strings.

 

[Tornadobass]

I'd agree...I've done some close mic'ing of a violin with a pair of SD condensors and thought the sound was overly bright. I need to try out a warmer mic for comparison.

 

[Son of Mixerman]

I'd agree...I've done some close mic'ing of a violin with a pair of SD condensors and thought the sound was overly bright. I need to try out a warmer mic for comparison.

Actually you need to back the mics off to something like 3 feet to 6 feet away. Close miking certain acoustic instruments is only gonna suck no matter what mic you stick on it.
The main reason is that acoustic instruments are designed to project their sound to an audience, that mean the bloomage is going to be somewhere other than right next to the instrument, have you ever stuck your ear right next to a violin and had it sound good? Im a firm believer in micing an instrument with its design in mind, once you do that youll see that adding some distance and allowing some room to the sound is where a majority of the warmth comes from. In live situations with acoustic intruments, close micing is a must, but its usually with wireless mini-condensors and heavily eq'd. Another key is to make sure the violin is a warm sounding violin, some of them are screech factories and not worth the wood they are are carved out of.

SoMm

 

[Tornadobass]

Good point...I'll try some distance with the pair of condensors...in an X-Y setup?