In this series, we are going to look at how to record a wide range of sound sources from a solo vocal through guitars, bass, piano strings, brass, woodwind and percussion, before moving onto the drum kit. In part 6 we are going to look at recording strings, both solo instruments and as an ensemble.

Throughout this series, we are using some excellent videos produced by Audio Technica and they naturally profile their own mics. But of course, you don’t have to use the specific Audio Technica mics they recommend. Take note of the type of microphone they recommend, like a large-diaphragm cardioid condenser or a hypercardioid dynamic microphone and chose one of that type that you prefer and/or own. What makes the biggest difference to the sound is where you place the microphone, not the particular brand and model of microphone.

Solo Strings

For centuries, bowed string instruments have played an important role in music from all around the world. These instruments are known for their complex and expressive sound, which can be challenging to capture in the recording studio. As part of our basic recording techniques video series, here are some tips to take the mystery out of recording bowed string instruments.

The fundamental sound of any bowed string instrument is comprised of two parts: first, the contact of bow on string (this is where the high end and “scratch” comes from); second, the resonance of the body (this provides the warmth and character of the instrument). When recording string instruments your goal is to position the mic so as to achieve the desired balance between these two parts of the sound.

When recording the violin, position a small-diaphragm cardioid condenser instrument microphone approximately 3 feet from the player. This will allow you to capture a defined, yet full and warm sound from the solo violin. For a warmer sound try a large-diaphragm cardioid condenser microphone.

The same basic principles apply when recording the viola. If isolation is a concern, you can use a small-diaphragm cardioid condenser microphone and bring it in closer to the instrument. Be certain to balance brightness and body, remembering that you may be able to cut through a dense mix with a more up-front and articulate viola sound.

There are two key things to be aware of when recording the violin or viola: try to get your player not to move around too much and pay attention to any bleed from the headphones. Preventing bleed is important, as string players often remove their headphones from one ear during recording.

A multi-pattern condenser microphone set to cardioid or a large-diaphragm cardioid condenser microphone will capture the rich low end of the cello’s fuller-range sound. Position your mic between the bridge and f-hole and about 18 inches away from the instrument.

To mic a double bass (also sometimes called an upright bass, which is the name used in non-classical settings), place a large-diaphragm cardioid condenser microphone about 17 inches from the centre of the f-hole. Angling it slightly toward the bridge will help you capture both the detail of the bow and the full low end from the f-hole without the sound becoming too boomy.

While the complexity of string instruments may still present challenges from time to time in the studio, these techniques should provide you with a strong foundation for capturing full, invigorating string sounds.

Want To Know More About Recording Solo Strings?

Audrey Martinovich has produced 2 articles that cover recording a wide range of stringed instruments which include, and go beyond the orchestral strings, that we have looked at in this article.

1. In How To Record Various Acoustic Stringed Instruments - Part 1 she covers recording acoustic guitar, cello, and mandolin.

2. In How To Record Various Acoustic Stringed Instruments - Part 2 she covers recording a ukulele, violin, double bass, both plucked and bowed as well as a harp.

Small Strings Ensemble

A strings section can be anything from 3 or 4 players through to 20 to 30 players. In this section, we are going to focus on what is often described as a string quartet, made up of 4 players, violin 1, violin 2, viola and cello.

There are a multitude of stereo miking techniques that can be used when recording small musical ensembles. Capturing an authentic sound is paramount. Here we are going to demonstrate three of the most common approaches to properly capture the small ensemble.

1. Stereo Condenser - A stereo condenser microphone is ideal for this technique. It can either be two large-diaphragm cardioid condenser microphones or a mid-side pair comprising of a single cardioid and one figure of eight mic in one housing. This provides you with maximum flexibility and ease of setup when recording in stereo. These stereo mics usually offer three output modes: one standard mid-side output and two internally matrixed stereo modes of 90 and 127 degrees. In the example in the video, the mic is set to mid-side mode and positioned 45 inches up and 5 feet out from the centre of a string quartet.

   You do not have to use a stereo mic, instead, you could use two separate microphones in either XY or MS configurations but remember for MS you will need one to be in cardioid and the other in figure of eight. If you haven’t got a figure of eight mic, then you will need to stick to an XY pair.

2. XY Pair - Position two AT4051b cardioid condenser microphones in an XY pair, each placed 45 degrees off-axis from the centre. Set the elements as close together as possible, as this will ensure that sound hits both elements at the same time, allowing for maximum phase coherence. The cardioid pickup pattern of each microphone provides a realistic stereo image that isn’t overly wide. In the example from our video, the two AT4051b small-diaphragm condenser mics are placed approximately 48 inches up and 6 feet away from the centre of the ensemble.

3. Blumlein Array - Utilising the Blumlein Array technique enables you to produce a spatially accurate recording with more ambience than you will get from an XY pair. To create a Blumlein Array you will need to arrange two bidirectional or figure of eight mics, which could be either large-diaphragm condenser mics or ribbon microphones and get them as close together as possible, 90 degrees off-axis from one another. The Blumlein Array should be placed 42 inches up and 7 feet back from the centre of the group.

With these stereo microphone techniques, you’ll be able to produce professional-quality recordings of any small musical ensemble.

Need A Larger Strings Sound?

Earlier in this article, we mentioned that a strings section could be as large as 30 players. The easiest way to achieve this is to hire a decent studio and 30 players, but what if you cannot afford this. Can you create a large strings section with just 4 players?

In our article Recording A Strings Section. Can You Fake The Sound Of An Orchestral Strings Section And Save Time And Money? James Ivey set out to demonstrate how it could be done with the help of the Elite Quartet led by Peter Ivey and yes that is James’ father.

has been involved in many different recording projects in his long and illustrious musical carrier which started out when he joined Her Majesty’s Royal Marines band as first study Violin, second study Tenor Horn.

“When I record as part of a full orchestra it’s a very different process to a small chamber group or quartet session. Playing as part of a large string section means there is safety in numbers. All the players in the top orchestras are more than capable but the more players there are, the more the slight errors get swallowed up by the larger ensemble. Orchestral playing is also much more, turn up, play what the conductor tells you, then go home and collect the fee.

A multi-track session is a much harder day at the office. First of all, you are playing the piece a number of times which is physically more demanding, especially when it’s a taxing or challenging piece to play. There is also the added complexity of having to play in time with parts you have already recorded. I’m not a fan of the click-track but in this case, it might have made James’ job easier if we had recorded to a click.

The other challenge is to make each of the multi-track sound a little different. In an orchestra you have maybe 20 different players, playing 20 different violins which all sound very different. We are only recreating the different positions and in turn, distances away from the microphones, so to make it sound even more authentic we have to play each take or pass slightly differently. One take I might try to play happy, the next day the next slightly more forcefully. Each different musical emotional twist will help make the final combination or mix of all the takes sound like a symphonic string section.

Lastly, there is also the fee to consider. There are times when if, as a player, you play more than one instrument you get what is called a doubling fee. Does playing the same part twice or three times mean you are playing more than one instrument or doing more than one musicians job?

Want to know how Peter and James Ivey got on then check out our article Recording A Strings Section. Can You Fake The Sound Of An Orchestral Strings Section And Save Time And Money?. We have pictures, an explanation of the techniques used and audio examples for you to listen to.