Thats what I was thinking. Maybe I'll also try the KSM141 overheads in my drum room.I generally use an SDC from above.
And I will be working in Boulder in a couple months. We should do sushi again!I generally use an SDC from above.
The violin on this track was recorded with an AT 853 just above the violin.
More recently, I've been using the black Rode NT1 with great results
Luckily, this is really just an accent part for a 'John Denver' type of pop tune for a client. It's not a solo violin type of thing. Cello would work better for the song, but this will be fun.I'm with the others. Direct sound without a nice room is rarely good without treatment. I've done a few ELO tribute live shows, and the small condensers clipped on sound brash and hard, but with the low mids up a bit and the HF backed off and some darker medium reverb the sound can be quite 'real'.
My own trick/tip is to listen to the violin in your recording space and categorise it into warm/cold, hard/soft, mellow/brash and then use a small condenser on the warm/soft/mello instruments and a dynamic on the hard/brash/cold ones.
You also need tact and diplomacy as few violinists have really heard how their instrument sounds to an audience, only that weird close perspective they get when playing. as a result when they hear your carefully captured recording they can be quite scathing. NOT as bad as trumpet and trombone players, but similar.
Here you go Jimmy.I'm with the others. Direct sound without a nice room is rarely good without treatment. I've done a few ELO tribute live shows, and the small condensers clipped on sound brash and hard, but with the low mids up a bit and the HF backed off and some darker medium reverb the sound can be quite 'real'.
My own trick/tip is to listen to the violin in your recording space and categorise it into warm/cold, hard/soft, mellow/brash and then use a small condenser on the warm/soft/mello instruments and a dynamic on the hard/brash/cold ones.