Instrument
Koto
13-string Japanese zither on a paulownia body about 180 cm long, strings tuned by moving bridges (ji), plucked with three finger picks (tsume). Seventeen-string bass versions exist (Wikipedia).
- Sources
- 4 (3 independent)
Mics sources recommend
6 setups from 4 sources, 3 of them independent of any mic maker. Each mic shows how many sources name it for that role, and how many of those are independent. Listed alphabetically: there is no ranking.
Studio
Close
- Beyerdynamic MC 8341 independent source
- Neumann KM 1841 independent source
- Neumann TLM 170 (earlier version of the Neumann TLM 170 R)1 independent source
- Schoeps MK 4 capsule1 independent source
Main pair or array
- Schoeps MK 21 capsule1 independent source
The 4 setups behind this: placement and quotes
- Close Schoeps MK 4 capsuleclose, under the instrument near a sound hole
Schoeps MK4 used on koto; mic placed under the instrument near a sound hole (search-result summary).
1 - Main pair or array 2 × Schoeps MK 21 capsuleroom, spaced pair; main mic 6-8 ft away and 6 ft high
Spaced pair of subcardioid MK21 for room; main mic about 6-8 ft away and 6 ft high (search-result summary).
1 - Close 2 × Neumann KM 184close and room stereo
Koto, bass koto and shamisen recorded with Beyerdynamic MC834, Neumann TLM-170 and two Neumann KM-184, close and room.
2 - Close Neumann TLM 170 (earlier version of the Neumann TLM 170 R) or Beyerdynamic MC 834close
Koto, bass koto and shamisen recorded with Beyerdynamic MC834, Neumann TLM-170 and two Neumann KM-184, close and room.
2
Studio and stage
Contact
- Schertler DYN-K-P48 maker's advice1 source, 0 independent
The 1 setup behind this: placement and quotes
- Contact Schertler DYN-K-P48stuck on the body
Purpose-made koto pickup; natural, dynamic and detailed in live use and in the studio (search-result summary).
3
On stage
Multi-mic plan
- small-diaphragm condensers on short booms or desk stands from underneath; second mic over strings1 independent source
The 1 setup behind this: placement and quotes
- Multi-mic plan small-diaphragm condensers on short booms or desk stands from underneath; second mic over stringsdual: sound hole underneath plus over the strings between the hands
Candidate for dual miking: one mic at the sound hole underneath, one over the strings (search-result summary).
4
Range
about three octaves in a pentatonic tuning
Where the sound goes
A sound hole on the underside, plus the top (soundboard). Common advice (search summaries of soundforums.net and Gearspace) is dual miking: one mic at the sound hole underneath, one above the strings between the player's hands. Treat the mic like one for an acoustic guitar.
Recording it
Impact Soundworks recorded koto, bass koto and shamisen in a small treated room with a Beyerdynamic MC 834, a Neumann TLM 170 and two KM 184 through a Millennia HV-3D, close and room stereo. Gearspace summary: Schoeps MK4 or MK2S, one under the instrument near a sound hole, a spaced MK21 pair for the room, main mic about 6 to 8 ft away and 6 ft high. Live: small-diaphragm condensers from underneath on desk stands or short booms, or Schertler's purpose-made DYN-K-P48 contact pickup. Ask the player where the mic should go.
About the range
No sourced range. About three octaves in a pentatonic tuning (estimate).