Handbook for Sound Engineers

590 Chapter 16

together as possible and angled toward opposite sides of
the lectern, Fig. 16-184. The outputs can be summed
with no phase problems. The angle between the micro-
phones may be changed from the normal 90° if neces-
sary to obtain proper coverage.

16.13.4.8 Strings

Although strings could be close miced, this approach
usually results in an unnatural sound. Distant micing is
more appropriate but puts a greater demand on the room
acoustics. Obtaining a good string sound really requires
a good room of considerable size.
A string quartet might sound fine recorded in a rela-
tively small studio (2200 ft³ or 62 m³), but a large string
section needs more volume. Not only will a larger room
accommodate more players, but the microphone place-
ment will also be simpler and the results will be closer
to the actual sound of the section.
Each instrument could have a microphone, and this
would give the mixer complete control of the balance of
all the strings. But unless a great deal of time is avail-
able to obtain the proper balance, this approach is not
cost effective when recording highly paid musicians. It
does not guarantee the best results, either.
At the opposite extreme, a single microphone placed
at a point determined to provide the best overall balance
and sound could be a simple and quick way to get good
results, Fig. 16-185. This placement works well if the
engineer is familiar with the room and can rapidly
duplicate a setup that has been successful in the past. A
coincident pair can provide the same sound if stereo is
required.
Another technique is to mic the ensemble in
sections, Fig. 16-186, providing, for example, a single
microphone for the first violins, another for the second
violins, another for the violas, and so on. Cello and
double bass often have microphones to pick them up
individually in this type of setup.
It is also possible to set up microphones above each
row of players, or above each two rows. This method is

often used in conjunction with the single overall

microphone.

In a practice session, Fig. 16-187, the setup is often a

composite of all of these techniques: a single coinci-

dent pair at a distant point (perhaps 15–20 ft [5–6 m]

from the first row, and up as high as practical in the

room); a set of microphones over each section (one

microphone for every two players, up above the space

required for their bows and slightly in front of the

instrument); and individual microphones for the cellos

and basses (a foot or two in front of the instrument,

opposite the F holes). At the start of the session, the

overall microphone would first be monitored to deter-

mine what, if any, balance problems exist. If time

permits, the overall microphone position might be

changed to obtain a better balance. If the desired

balance cannot be obtained with the single microphone,

Figure 16-184. Lectern microphones for increased
coverage pattern.

Figure 16-185. Single microphone (or coincident stereo)

for string section recording. Optional microphones are

shown for cello and double bass.

Figure 16-186. String micing by section.

20 ft or more

Height 10 ft

or more

Cellos

Double

Violas bass

First violins

Second violins

Cellos

Violins Violas Double bass