If you use a gooseneck, you can place the mic a short distance from the instrument if you prefer. Using an omnidirectional microphone – like the 4006ES Omnidirectional Microphone or the 4061 Miniature Omnidirectional Microphone – allows you to pick any one place, close to the instrument. Using an omnidirectional microphone is appropriate when you want to pick up the full sound of the instrument and you can maneuver it (using a gooseneck) a short distance away from the instrument. ![]() Omnidirectional (pressure) microphones have the great advantage of picking up sound evenly from all directions (although some “omnidirectional” microphones are slightly directional at the highest frequencies). For more information, read the Mounting the microphone section below. If you prefer more volume, positioning the mic closer to, or pointing at, the F-hole, is ideal yet this may result in a more “boxy” sound. This placement can appear to be too “harsh” but offers a unique combination of natural string sound as well as high audio separation onstage. This position represents many of the elements of the violin sound we want to capture – the sound of the soundboard as well as ‘bite’ when the strings are plucked or bowed. The spot under the bridge, between the strings and the deck, is a good position to mount a mic. The overtones and many fine details of the violin require a microphone that handles high frequencies and has a high-level of accuracy as well. ![]() The radiation pattern is very complex and it might require some experimenting with the microphone placement to find the desired sound. The violin is considered to be a high-pitch instrument and it is the smallest in the violin group.
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