My fiddle Page
Spring 2002
I have recorded these songs at Rosza Recoding Studio, MTU in Michigan Tech University. I have played the violin. This was my first experience in music recording. Below, you see an essay about my recording experience that could be useful for you. Here are some of the songs that I have recorded.
1 Good Lady (.mp3) (jazz, from Jazz fiddle Wizard)
2 Tune Down (.mp3) (jazz, from Jazz fiddle Wizard)
3 You Can't Appear Again ( .mp3) (jazz, from Jazz fiddle Wizard)
4 Sweet Memories (.mp3) (Blue grass)
5 Under the Double Eagle (.mp3) (Blue grass)
6 Dreamer's Waltz (.mp3) (Blue grass)
7 Black and White Rag ( .mp3) (Blue grass)
8 Gardenia Waltz (.mp3) (Blue grass)
9 Elgar Salut D'amour (.mp3) (Classical)
Violin: Chekad Sarami ( video)
Piano: David Bezzotte
Recording Engineer: Chekad Sarami
Rosza Recoding Studio, MTU
In Spring 2002, I took the Recording class and I have recorded a total of 17 tracks an endeavor that has taken me approximately 60 hours of recording time, and about the same amount of time spent mixing and mastering. The music that I have recorded consists of violin and piano duets, violin solos, piano solos, chorus in jazz, blues, bluegrass, and classical; however, the majority of my recording experiences are related to the violin and piano. In this essay, I would like to discuss various aspects of the recording process that concern: microphones, microphone placement, pickups, different sound effects, and other studio equipment such as protocols, and Control C24.
I have used three different microphones for piano compositions; the Blue mouse (in the center of the board) and DPA 4011 and DPA 4011 next to it, placed fairly close to the instrument. If using more than on microphone, then in mix down a person has more options. The main thing to remember is to try to get good balance from all frequencies of the piano. In general, it is very important to recording that a person tests the level before going through the recording session. Someone may want to play a scale from the lowest to highest note of the instrument with different dynamics to adjust the level. In this way, a person can check the tuning of their respective instrument. Moreover, for instruments such as the violin it is crucial to make sure that it has fresh strings.
For recording, I have conducted even more research. Since it is a simple instrument, it needs more work to get a better sound. I have a Fishman pickup and a Fishman GII preamp, which are ideal for live performing. Since I was playing in an acoustic group, it didn't sound the best - pickups are devastating to the instrument blends. Therefore, I used a microphone; a person may want to try using a pickup if he/she wants to mix violin with non-acoustic ensemble.
Additionally, I would set the volume so the microphone sounds good at approximately 2 inches from the sound hole or tailpiece. Close microphone placement will deliver less of the sound of "air" and natural room echo. The echo can be simulated to some degree with an electronic "reverb" effect. A very close microphone technique will give a more "electric" tone. One technique I have tried is to microphone the violin from underneath as well as overhead, with the bottom microphone in the opposite position to the overhead microphone, and phase reversed. By adding a little of the under microphone a person can add body and warmth to the sound because of the addition of more of the soundboard sound. It is also a good idea the violin player be on a reflective floor, as opposed to carpet because the sound emanating from the soundboard will reflect back off the floor and add to the fullness of the sound. As determined from my research, the best microphones for violins would be Condenser Microphones, among them; the AKG C-1000s is an excellent live and recording microphone. For my recording session I have used the DPA 4011, and Rode NTK. I prefer to record with the Rode NTK.
The day before a recording session, it is a great idea to come setup and test everything as far as microphone positions, protocols, and headphones levels, click tracks, etc. Also, if a person is recording a chorus or group of string instruments they need to make sure everyone is wearing headphones.
In the first project we had a hard time playing in the studio since we didn't know how to punch in. Thus, we had to play the entire song, allowing for the occasional minor messup to require going back to the top of the music, and playing again. But in the second project, things were much easier. There is an option in protocols that lets you punch in with pre-roll and post-roll. Using this technique I recorded myself. It is very important to set the spot that you want to punch in at to the first beat of the measure and somewhere where the music is not too busy. Also, it's a good idea to cross fade the connection between two takes.
After recording the instrument, it is time for mix down - which is very important. For classical music, I sent both piano and violin to the lexicon to get the same kind of reverb Also, I set it to wet, and the decay to 1.37 sec. This gave me a classical warm sound.
I've used effects sparingly - a bit of compression helps. Likewise, if your music uses open spring, especially E, equalization which reduces the treble "scream" a bit is good. I used compression and equalization for both Jazz and Bluegrass music.
Since the music was basically for violin, in an effort to amplify the violin track, I duplicated the violin track in protocols. I also tried to shift the track with very small phase like 20-30 ms, but I personally didn't like it for the classical ones.
References ( I guess some of links are dead/outdated by now!!):
General Recording:
1. http://homerecording.about.com/
2. http://www.recordingwebsite.com/
AMPLIFYING ACOUSTIC INSTRUMENTS:
3. http://music.calarts.edu/~chung/gear/(This is an excellent source for recoding violin, Joel Glassman, the author of the article gives you almost anything you need to record your violin)
4. http://www.barberatransducers.com/onamp.htm
5. http://www.jazzfiddlewizard.com
6. Jazz Fiddle Wizard, by Martin Norgaard [book/CD set, Mel Bay Pubs.]
7. Johnson, Herman Master Fiddler: 39 Solos by America's Legendary Fiddler. Book/CD Set. Solos, Published by Mel Bay Pub. Inc.