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con_ritmo

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Everything posted by con_ritmo

  1. Don't lower the tension of the strings... but don't just take my word for it...here's what Thomastik strings have to say.... http://www.thomastik.com/johcg...YPE=TIP&selected_ID=3 "Do not tune down your instrument if taking a break from playing If you are taking a break from playing: When not using the instrument for some time, you are strongly advised not to lower tension on the strings and instrument by tuning down any or all of your strings. This is not only superfluous, but is also detrimental both to the instrument and the strings themselves." I know some of the most recent synthetic cores are more resistant to being tuned down et al....but still...
  2. Busker, Unless you are referring to the beginner Suzuki Book 1 Perpetual Motion...which I don't think you are... I'm pretty sure what you have in mind is Moto Perpetuo by Novacek. Generally when people talk about moto perpetuo they either mean the Paganini one or the Novacek one. The Novacek gets played quite frequently. Primarily in first position...the notes themselves are not doubled but...groups of 2 note string crossings are repeated so it sounds like the notes are "doubled". If you go to cdnow.com and type in "moto perpetuo novacek" you can hear some audio samples from some cd's.
  3. Yes, every recording is merely a representation of the performance. Some representations are more "accurate" than others. And remember, the player, the instrument(s), and the room ALL have a part in the equation over how something "sounds". With that said, in terms of "clean" and "uncolored". In regards to mics: without question, it's DPA. In regards to preamps: Something like Millennia Media. Although many engineers fault Millennia for sounding too clinical and flat...and instead choose to use other real/lifelike/natural sounding pre's like Martech.
  4. Just adding another two cents...hopefully this helps somebody out, even though it's a bit out of the scope of the thread. Yes, small-diaphragm condensers are where it's at for "accuratish" classical recordings...although many orchestral film scores are done with large-diaphragm Neumann tube omnis. It's all about the color you want. I would like to add that close-micing is used primarily for live sound reinforcement applications...or for multitrack recordings where several mics are in close vicinity (to minimize phase/time issues). In traditional classical recordings, the interaction between performer and room IS part of the sound. There is no point recording in a great-sounding hall if you're going to close-mic to get rid of the room. Rather, you setup your mic positioning so that you get the desired blend between direct sound and indirect (echoes/reverb) sound. If you want less room move the mics closer. More room...move the mics back. There's a term called the "radius of reverb". This is where the direct sound and indirect sound are equal in level. If you are using omni mics (traditional classical recording mics)...you would use flat/free-field equalized omnis when recording inside the radius-of-reverb. Outside the radius-of-reverb you'd use treble-boosted/diffuse-field omnis. And again, it's DPA and Schoeps which offer omnis in all these different flavors. Critical classical/acoustic recordings are what DPA and Schoeps do. So if the engineer has these mics, it's a good indication that they'll know what they're doing when it comes to classical violin recordings. To me, a critical classical recording means NO SIGNAL PROCESSING. If anything, you get your sound with your mic choice, your mic preamp choice, and your stereo recording technique (ab, xy, ms...etc.etc.) For critical classical recordings...using stuff like compression and digital reverb is slander...(which doesn't stop some people though...) Save that for your multitracked and overdubbed pop recordings done in acoustically treated (read...dead) recording-studio rooms...well many of them.... FWIW I do sound as part of my living.
  5. quote: Originally posted by: bnewtonPA First off - I would try very hard to convince your friend that a large hall is not the place to accomplish what you're after. The sound maybe very nice to listen to there, but it will be very hard to get a good recording. To catch the "aura' of the hall, you'll now need at least two more mics - 2 close and 2 down the hall... it's headaches that I wouldn't want to deal with for a simple project. I would much rather get a good clean pc of music to "tape" (shows my age a bit), then in post processing, I could easliy put you in that hallway [iF I knew what the hallway sounded like]. SM57-58's have been the workhorses of live audio for a very long time. They're good at what they do. I have them both, and I"ve also used them to record with reasonable results. HOwever, if you want to buy mics that suite this particular project, the B1s would be a better choice since they're fairly transparent. I really don't agree that a professional studio is the place to waste money for a project that seems so simple. I disagree. The right hall is all you need...and 2 mics on their own can do a beautiful job. And because it's only 2 mics the job really becomes less than simple. just moving a mic one centimeter off can affect the recording. For a critical classical demo recording, adding in artificial reverb is NOT the way one wants to go. Usually you can hear stuff like that a mile away (even some of the convolution ones)...so don't record in a dead space (most recording studios) so that the ambience can be digitally added later. It will most likely be second-rate to the real thing. here's the bottom line: we're in the comparison business. many things sound pretty good on their own. it's how something compares to something else. a solo violin recording with a shure sm57 can sound pretty good until you compare it with any reputable violin mic. same goes for the behringer b1. let's say you have two equal players. one has a great demo recording and the other has a mediocre one. i'd probably pick the one with the better recording. you're going to do it once, so you might as well do it right. this is not a place you want to skimp on...or is it?
  6. From the mics mentioned, only the Rode NT5 would be semi-suitable for your needs. For the purposes of recording a violin demo...any of the other mics that you listed would be simply throwing your money away. Consider that the Rode NT5's are $400ish new for a pair, I'd put my money elsewhere...for $500 you'd get something like this: ]http://www.mercenary.com/sto2microphone.html]http://www.mercenary.com/sto2microphone.html ">http://www.mercenary.com/sto2microphone.html but in the end I again would suggest that you hire a professional to do the job...the results will be much more satisfying and much cheaper. for example... ">http://www.dmtrentals.com/ratebook.html#eq one can rent a DPA 4006 for $50/day. So for $100/day (for a pair) ...you can rent a mic that is used on PROFESSIONAL classical cd's everywhere. A stereo set matched pair of DPA 4006's cost almost $5000. and on the cheap, one can rent something like a gefell m300 ($900 mic, so $1800 for a pair) for only $15/day. ">http://www.micworks.com/ why plunk down hundreds and hundreds of dollars ...for mid-grade reqcording equipment...for one simple demo recording ...when one could rent truly professional tools for so cheap? the problem is that most of these places will only rent to audio professionals...which goes back to my original suggestion of hiring someone to do the job.
  7. If this is an important one-off demo, the most cost-effective thing would be to hire a professional to do the recording. You'd probably get the best result this way too. Make sure the person doing the recording has DPA or Schoeps (pronounced SH-ehhhh-ps) microphones. I'd use that as a litmus test. That would be an indicator that they are suitably equipped and knowledgeable to do acoustic violin recordings. Even if they didn't have 'em, they could rent them (but don't tell them that). I'm amazed at the amount of PROFESSIONAL (not some garage project studio) studios out there that will just have a fancy German vocal microphone up and record everything through it. The proper way would be to listen to the player, evaluate which microphone(s) would best suit the purpose, and then start switching out to different microphones and evaluate which ones provide the best result. That's litmus test #2.
  8. The more one tries to control the bow, the less control one actually achieves...and then the bow stroke is not straight...you get the hopping, etc.etc. You have to let the bow think it's doing what it wants to do. That's the concept. In the end, with proper technique, it really feels as if the violin is playing itself. So the short answer is: Too much tension, too much gripping, too much extraneous muscle movement...too much hand "control". If you move only from the upper arm and shoulder (and not the elbow/forearm), you can cover just about the entire bow stroke with very little movement. Properly balanced, you can just about play the entire length of the bow with only gravity and your thumb. (no other fingers in contact with the bow). The source for your bowstroke is going to come from your upper arm...not your hand. This will help keep those unnecessary muscle inputs (which are causing the bow jitters) to the minimum.
  9. If you can play loud...most likely you can play soft. However, if you can play soft, that doesn't mean you can play loud. One should always practice achieving the loudest most effortless sound possible. A sound which is loud but doesn't sound loud...even at the maximum it should sound as if you could play even louder if needed. Up against the bridge at the sounding point...with the bow hair FLAT at all points of the bow. That's a way to play loud. Generally for solo work, the stick stays directly above the bowhair...for weight...and for springy resistance/shock absorbance. Now because the strings slope downwards from the bridge to the scroll...when the bow hair is flat on the strings...it may look as if the bow is tilting forwards...because of the slope. In reality, the hair is flat on the strings, and the stick is directly above the hair.
  10. Sbarton At this stage, the fastest way for you to learn would be to keep all your fingers down as much as possible. If you look at the way professionals play through fast (and even slow) passagework...from a distance it's almost visually imperceptible as to which fingers are on the string and which aren't. All you really see is the hand moving from position to position (for the pieces you mention your hand is going to stay in first position)...you don't see their fingers moving. Ultimately in the end...you're not thinking finger to finger so much...rather it's hand position to hand position. This is part of the "frame position" which Roy Sonne mentioned. And to get to that point, keep as many fingers down as is possible. Train your hand this way, and things will come much easier later on. And I too would introduce the 4th finger asap and use it as much as possible too.
  11. there are so many different reasons why something like this could happen...i will only touch on a few. why is you computer running so slow? it's probably a combination of 3 things: 1. winxp is loading too much stuff up on startup. antivirus programs, internet security programs...file indexing, etc.etc. really slow down your system. don't load them on startup. 2. your computer is already infected with a virus/spyware/malware. the first thing an effective virus does is to cripple your antivirus program. so you think your av program is working when in reality it isn't. 3. there is something wrong with your internet provider and/or internet connection. go to dslreports.com and run their utilities to check your connection. __________________ it isn't really so much how powerful your computer is...it's how much you are taxing it. running background programs and services will all slow down your computer....especially something like norton antivirus. i consider norton to be a virus in of itself. do a google search for optimizing win xp for speed....something like musicxp.net...there's really good ones out there if you go look for them. they'll explain how to do the following stuff: 1. click start->run-> and then type "msconfig". under the msconfig program, click on the "startup" tab. that's just some of the stuff that gets loaded when you run windows. you don't need to run the VAST MAJORITY of the stuff that's loaded here...so uncheck almost everything. most of the time when you install a new program it loads a part of itself up on startup...when in reality you can run the program find without anything being loaded on startup. microsoft office. adobe acrobat, quicktime viewer, real player, etc.etc.etc. 2. don't load any antivirus programs, spyware programs on startup. those really slow down your computer. with prudence you can eliminate a lot of threats without relying on software solutions. a. browse the internet with firefox and not internet explorer. www.getfirefox.com b. don't download your email directly to your computer. use sites like gmail and yahoo instead. c. buy a router and use its firewall instead of using the windows firewall. d. DO NOT run or open most of those cute things that people send you via email. e. Think before you just click on anything you see on a website. every now and then you can run spybot to do a check on your system...but don't load it up on startup. if you think something's suspicious, scan it with the virus scanner. but don't load up the scanner on startup. 3. make sure your virtual memory is set to a fixed number...vs. a variable one which windows manages. 4. start->run->type "services.msc" and kill all unecessary windows services...like file indexing http://www.speedguide.net/read_articles.php?id=1404 5. get more RAM memory. get a better video card so that your computer doesn't have to do as much work. once you get your system clean and efficient the bottom line is: USE FIREFOX NOT INTERNET EXPLORER DO NOT download your email to your computer with something like microsoft outlook. instead use yahoo or gmail. DO NOT run those programs that get sent to you via email.
  12. quote: Originally posted by: Hank Schutz When I play (violin) with added "intensity," for example, during a concert, my left bicep gets somewhat sore and my left hand and fingers experience a tingly numbness. Ideas welcome. It's tension/pressure/too much muscular effort...etc. Keep everything loose and relaxed...especially for those moments of "intensity". When you're really tight, you block the bloodflow, your natural breathing can be affected...etc.etc....so that's why it feels similar to your hand "falling asleep". well, a big imho.
  13. musicality is a relative value...it is subjective. you can have world-class musicality...and it won't be good for everyone...for example, heifetz had world-class musicality, and still some people don't agree with it. otoh, intonation is an absolute value....as is rhythm. you're generally either in tune or out of tune. you are in rhythm or out of rhythm. and there really is no end to good solid intonation. the more you work at it, the more you hear... but that's the key, one has to work to develop the finest of sensitivities towards intonation. in regards to the perlman example.... taking excerpts from a performance out of context can be meaningless. look at the links that chronos posted on just, equal, and pythagorean temperaments. the same Bb on our violins change depending on the context. and then comes the different colors that one can apply with our intonation. in regards to half a hz here or there making a difference...this again goes back to how sensitive one's ear is. to an ear that isn't very sensitive, being 2 cents off may sound the same as being spot on. but if one CAN hear the difference, 2 cents off is out of tune. and that's that. intonation is explicitly locked to our tone production...and vice versa. a good tone will allow one to hear intonation more easily...and being in tune will allow the violin to sing better (taking advantage of sympathetic vibrations). oftentimes, when someone is playing a top-spec violin...they'll comment "it's so easy to play, it's like it is playing itself. it's so easy to play in tune..." this is because our sense of intonation comes from overtones (and resonances, sympathetic vibrations...etc.) a good violin can produce rich sonorous overtones...so it's easy to hear the intonation. otoh, a student's beginner violin may not...and it will be comparatively much harder to hear the intonation. overtones and resonances are also reason why the key of d major is so easy to play on the violin...because we can hear the intonation so much easier. it's the reason why we tune perfect fifths. the violin just sings better. and this is where we get into the finest details of intonation and hz... it is when we are tuning our open strings so going back to "does half a hz matter?"...when we are tuning our open strings it sure does. when comparing fundamentals...the difference is pretty invisible...but when comparing the overtones, it will get exposed...one can hear the beating of the overtones. and if one is solely comparing fundamentals, think of the consequences if one is going up the fingerboard. sure that open d is only about "half a hz" off in equal temperament (it's not, but lets go with the half-a-hz analogy). but that means that the d on the A string is about 1 hz off. and the d on the E string is 2 hz off. and then consider the overtones of each... first overtone of the d on the E string becomes 4 hz off...and it just multiples as you go up the ovetone series...and since our ear picks up to 20,000hz...well, we have a long way to go. someone who cannot hear the practical difference between equal-tempered fifths and perfect fifths...probably isn't even locked on to the pitch they think they're tuning to. so they're even more than half a hz off...making everything even more worse. different temperaments aside, remember that most of the good available tuners have an accuracy of +/- 1 cent...which means that two strings that read "in tune" on a tuner...can actually be off by 2 cents. nevertheless, a tuner is a good tool for developing intonation. if one can appreciate how a c#/Db on the equal-tempered piano is neither a c# NOR a Db on a violin...one can appreciate the finer details that our violin affords us in regards to tuning. if we can lock in those perfect fifth tunings...it will afford us that much more sensitivity to every note that we play on the violin. having our open strings tuned to perfect fifths locked within a cent...allows us to always start from a consistent base when we practice...which helps our fingers to consistently hit their proper notes in tune...vs. having to constantly adjust from day-to-day depending on our (lack of) tuning. bottom line: does being half a hz off make the violin unplayable? of course not. who said that it does? but does such a sensitivity towards pitch make one a better player? a better sounding player? you bet it does.
  14. i agree with both of the viewpoints presented by andrew and mrlucky... in regards to mrlucky... galamian had steinhardt practicing the violin....with only his bow and no violin. in this manner steinhardt could develop and refine his bowhand muscles. zukerman talks about managing the weight and balance of the bow... in regards to andrw... from kato havas i picked up the notion of how we are a very thumb-centric species...after all it is our opposable thumb that defines us. in this manner, if the bow is resting on the strings, we can actually guide/direct/balance the bow with only the thumb and no other fingers. when one realizes the full potential of this concept....it really really really frees up the entire bow hand....and arm with it...and left arm/hand with that...and....
  15. you can try this, it won't be completely effective...plus it's meant more for pop record mixes (vs. classical recordings) ...but it may help... http://www.analogx.com/content...oad/audio/vremover.htm
  16. bapiano, i absolutely agree with everything that you have written on this thread. and yes, they did come from a tapeop article...(which is why i put "reprint" next to the link)..and if you look at the article it has tapeop plastered at the beginning. in the end, the avenson mic is the stapes mic which was originally made (still made?) with those panasonic capsules that cost ~$2.50....same as with the earthworks microphones that I use and recommend. it's just good for people to know what they are buying before they plunk down the money. for the same price as a pair of avensons (new), or a used pair of earthworks sro/tc20 or earthworks sr69/sr71/sr20 (darn name changes...) one could buy a baby dpa 4060 new...or two dpa 4060's used. ...just something to consider. on an unrelated note, i just noticed today that fletcher no longer sells earthworks...i wonder what happened there.
  17. ok, i found the diy article that was the source of the avenson microphones... http://prosoundweb.com/recordi...ic/buildmic_16_1.shtml (a reprint of it) a "$20" mic...apply some modifications to it (to allow phantom power and to increase the maximum spl, etc.), and voila you have the avenson mic. essentially they are using the same/similar capsule to the one found in the el-cheapo $40 behringer ecm8000...and the ones in the earthworks. one should know that before they plunk down $500 for a pair (they used to cost roughly $250/pr i think)...for essentially a $20 DIY mic with modifications. still, some people say they are worth it. if one was in the market for the avenson's, also consider the earthworks tc20/sro's...find whichever one you could get cheaper and go for it. or just get some behringer ecm8000's to get an idea of how things could be.... know that if you go the avenson/earthworks tc20/sro route...for violins you're only getting a recording setup as those mics are not ideal for live sound reinforcement (on violins). here's what i use for violins... Live setup: 1. cardioid mic: earthworks sr69/sr71/sr20 (they're all the same mic) put the mic on a stand and go. because it's cardioid it cuts out the sound behind it for better isolation...flat frequency response. good sound and a reasonable-enough price that i won't be crying if someone drops it. 2. omni mic: dpa 4060 ok, it's an omni mic so it picks up sound in all directions. but, it's really small (smaller than a pea), so you clip it right onto the violin...the close micing distance offsets the omni pattern. it's just about the best (if not the best) omni lavalier mic out there...and its recording capabilities are good enough (it sounds great, and it's a bit quieter than the avensons/earthworks tc20/sro) that dpa essentially put it in a traditional mic body and released it as the dpa 4091. i use this when i'm playing in large groups and need more sound isolation/greater freedom of movement...i plug it into a wireless unit and i'm good-to-go. again, i recommend this mic as a good "do-it-all" mic for the violin. clip it onto the violin for live sound...use it for recording, etc.etc. i'm thinking about using a dpa 4088 that i have ....because it's cardioid i would get a bit more sound isolation for those arena rock sound levels...but i need to figure out a way to elegantly attach it to the violin...and have to see if it sounds ok on the violin...as it's really meant for voice. Recording: omni: schoeps mk2 expensive but worth it. in the same league as the high-end dpa's but cheaper. there better be something super-special going on for me to even considering taking them to a live event.
  18. yes, i am recommending small-diaphragm condensers. that is the default fare for recording violisn. what chronos put plus... large diaphragm mics tend to be more "colored' and small diaphragms are more "accurate". this color can be independent of their frequency response. plus, small diaphragm capsules can be pretty smooth off-axis....so that they are more consistent in their frequency response when picking up sound from the rear, back, sides, etc.etc. whereas large diaphragm mics aren't as smooth when picking up sound off-axis. The expense of all of this is that small-diaphragms are usually noisier than their large diaphragm counterparts. These are vast generalizations, but that's the general idea. Avenson STO's have a good reputation...but there's a problem. first they are sold in pairs for $500/pr. (outside the stated budget) second, i believe they use a commonly available panasoni- type capsule as the mic element (read:cheap). Actually the same goes for the earthworks, they use commonly-available capsueles... and apply tweaks tho get the performance. otoh, DPA is top-of-the-line and they manufacture their own stuff.
  19. quote: Originally posted by: Michael Darnton Con-ritmo, I'm interested in your mic recommendation, if you have one that's not in the price range of a used car. Under $200 would be especially nice, if also impossible. :-) for around $200 i'd shop the used market. look for a dpa 4060 used...they go for around $200 all the time...make sure it's one which has a microdot connector on it...and not some connector for a specialized wireless unit. you will need to purchase a special dpa microdot->xlr adapter to go with it though. 4060's go for around $375-400. that mic makes a decent recording mic, and a great live violin mic. so you'll have both ends covered. dpa stuck the 4060 capsule into their new 4091 mics which go for about $550... another option is any earthworks that you can find for the budget you're looking at....
  20. quote: Originally posted by: matzstudio quote: Originally posted by: bean_fidhleir quote: Originally posted by: matzstudio well i always thought - and still do - that there are ear focussed people and eye focussed people. i mean - if you can´t HEAR your bad intonation what´s the point of LOOKING at it? Mammals, especially humans, are wonderful pattern-matchers. But learning what note is 'correct' just by listening isn't possible--'correctness' is arbitrary! So the only thing anyone can do is learn what's 'correct' by using some other, canonical, source of information such as a needle that points to 'correct' (or a teacher who smiles and nods) when the note is played. Only when we've done that enough times to establish invariance are we in business. sorry, but the only way to judge a note´s correctness is by ear, whar else? would you judge a picture by giving it a good listen? only? a note's correctness can only be judged by the ear? pictures are for the eyes and music is for the ears...oh really? in the end does it boil down to listening? of course. but is it just the ear? is it ONLY the ear? heck no. would you play in an ensemble blindfolded? if so, i guess we don't need conductors. could you immediately tell what the audience thinks of your playing blindfolded? could beethoven tell whether or not his music was good using his ears? ...when he was deaf? nope, that had to turn him around so that he could see the people clapping. we are a visual culture. we see things. when we hear stories on the radio we imagine how the stories LOOK in our heads. you go where you look. visualize it. vision affects our hearing, vision affects YOUR hearing. auditions will have us play behind a screen so that we can't see the judges and the judges can't see us. when you're using the eq on the console, how many times have you adjusted the pot, and heard the resultant effect of the eq...only to later find out the eq was bypassed? visual reinforcement is a very powerful tool. for music. so i wholly disagree that you can ONLY judge a note's correctness with the ear and nothing else.
  21. quote: Originally posted by: Nonado quote: Originally posted by: scratchy rosin (It is also in equal temperament so not best for tuning other than the A string) However, the difference between fourths and fifths in equal versus just temperaments is only a couple of cents, undetectable for all practical purposes, The difference between perfect fifths (what violins tune to) ...and equal tempered fifths is VERY detectable. Perfect fifths and equal tempered fifths are off by about 2 cents...with perfect fifths being slightly larger. Two factors: 1. The difference stacks up. e->a is 2 cents off. a->d is 2 cents off. d->g is 2 cents off. g->c is 2 cents off (viola/cello) A->G is FOUR cents off. A->C is SIX cents off. This is enough for you to hear your G (and C) strings to be CLEARLY FLAT when compared to an equal tempered G and C...like when you're playing with a piano or a guitar. This is the reason why you have some violinists tuning "close fifths" when they're playing with a piano/guitar...so that their open string tuning better matches the equal-tempered tuning of the piano. 2. Overtone series. Sure the difference of equal vs. tempered looks miniscule when you're comparing the fundamentals...but the differences become multiplied when you start jumping up the overtone series. Considering how much we rely on overtones when deriving our sense of pitch...you start to hear things fall apart. fundamental pitch: perfect tempered e is 660hz. equal tempered e is 659.25hz. difference doesn't look bad right? fourth order overtone series: perfect tempered e is 3300hz equal tempered e is ~3296hz that's a difference of four hz...or an audible beat of FOUR times a second. ouch. then you factor in how the differences stack up...(example #1)... So for practical purposes, there IS a difference between perfect and equal tempered fifths. Truly.
  22. nickia, treat it like a professional gig. if a director tells me to "sit there and do nothing", i'll do just that. if i only have to play 3 minutes in an hour-long performance that's all the better for me! otoh, if i flat-out refused to play the entire concert because i wasn't performing in everything...well i probably wouldn't be hired again. so, it's a good lesson to learn this early on. don't worry about looks, stuff like this happens all the time in the professional world...you're just doing your job. as a general rule...don't do anything you haven't been asked to do, trust me on that one.
  23. regarding the edirol. well, stuff like that is a one-trick pony. if you like what it does, great. if you like the portability, great. i've heard recordings with marantz's more expensive version...it sounded usable for what it was. however, with both items you're sinking your $$$ into something with no upgrade path. if you don't need that ultra-portability, i'd get a more convention system that will offer you more options later down the road. in regards to "creative labs" stuff...i wouldn't touch that stuff for any type of serious or hobbyist recording. skip directly over to more prosumer stuff like maudio, echo, etc.etc. shure sm81 is a decent mic yes. is it a decent mic for recording classical violin? imho no. it is a colored mic which may do well for jazz, rock, fiddler styles which may benefit from the coloration. however if you're spending that kind of money for a recording mic you have lots of other options. which i'd look into first...in the end if i was making a purchase i wouldn't even consider an sm81. as for eq...NO NO NO NO NO. the rule in recording is to get the basic sound you want without even touching any eq. you get your basic sound with your mic choice and placement (and preamp, etc.) listening to the violin sound and then pulling -6db TWICE in your upper mids/hi's means that there's something fundamentally wrong with the current recording setup...even if it was for a multi-track pop recording where heavy handed eq is sometimes used. listen to the examples i posted above. those are flat, no eq. if you're close-micing a violin for a pop setting in a dense mix...well then the eq and mic choice you use depends on your mix...no cookie-cutter general "eq" settings are going to help. david, from looking at the settings you mentioned...if you really find yourself using that type of eq... you might be better served buying a warm mic like a beyer m160 and then using some proximity effect till you get the sound you want. the curves will then look a bit like what you're suggesting...without using any eq.
  24. quote: Originally posted by: Michael Darnton especially when it bounces off hard, close walls and sets up an interesting warble. :-) Currently ahh yes, phase cancellation! here's a page which describes it's effects... phase cancellation iscroll down to the "Phase Cancellation From Acoustic Reflections" part...
  25. For sure the violinist, violin, room, and mic placement all play a CRITICAL role. Most mics out there have a presence peak which just spells disaster (in varying degrees) when recording a violin. One often overlooked item which also contributes a LARGE portion of the sound is the mic preamp...many focus on the mic when the mic preamp is just so important as well. Here is an example of a violin recording made with some budget mics (mxl 603's) that were modified to sound better. mxl 603 thread at first listen the modified mxl mics may sound ok, but then compare them to some schoeps. (there is no comparison). attached is an mp3 recording made using some schoeps mics...sorry for the size. i wish i could give credit to the original engineer that recorded the mp3...but i have since forgotten. the mic position imho is not exactly how i would have liked either...the violin sounds a bit etched in this position. but anyways... while the mxl 603 recording has some processing on it...the schoeps recording is done straight without any processing. i know its not exactly a fair test, but both are examples of the recorded violin that are easily accessible.
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