Bowed strings

Viola

Bowed strings: Violin, viola, cello and double bass. Many sources write for strings as a group, and viola advice is often 'as for the violin', so advice for the family shows on each member's page.

Part of the Bowed strings family; that family's advice shows here too.

Range: C3–A6
Overtones to: about 6.2 kHz
Peaks up close: up to 115 dB SPL
Sources: 10 (7 independent)

Recommended mics

Mics sources recommend

26 setups from 10 sources, 7 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 and stage

Close

DPA 4011C (earlier version of the DPA 4011A) maker's advice1 source, 0 independent

Clip-on

DPA 4060 series maker's advice1 source, 0 independent

Named, no placement given

Shure PGA27 maker's advice1 source, 0 independent

The 6 setups behind this: placement and quotes

Close DPA 4011C (earlier version of the DPA 4011A)
close, pointed at the body
4011C pointed at an area enhances timbre, bow or finger sounds; proximity effect adds body (paraphrase).¹
Clip-on DPA 4060 series
close, clip (4060/4061/4062/4071)
DPA lists its omni miniature lavalier series for the viola (product list on the page).¹
Named, no placement given Bowed strings advice Shure PGA27
string instruments
PGA27 is "designed for clear capture of your string instruments" (the only mic Shure recommends on this page).²
Named, no placement given Bowed strings advice Shure PGA27
string instruments
PGA27 is "designed for clear capture of your string instruments".²
Named, no placement given Bowed strings advice Shure PGA27
string instruments
PGA27 is "designed for clear capture of your string instruments".²
Named, no placement given Bowed strings advice Shure PGA27
string instruments
PGA27 is "designed for clear capture of your string instruments".²

On stage

Clip-on

DPA 4099 CORE+ for Violin maker's advice1 source, 0 independent

Spot

AKG C451 (earlier version of the AKG C451 B)1 independent source
AKG C5351 independent source
Shure SM811 independent source

Named, no placement given

Shure Beta 98S maker's advice1 source, 0 independent
Shure KSM109 maker's advice1 source, 0 independent
Shure KSM137 maker's advice1 source, 0 independent
Shure KSM141 maker's advice1 source, 0 independent
Shure KSM27 maker's advice1 source, 0 independent
Shure KSM32 maker's advice1 source, 0 independent
Shure KSM44 maker's advice1 source, 0 independent
Shure PG81 maker's advice1 source, 0 independent
Shure SM81 maker's advice1 source, 0 independent
Shure SM94 maker's advice1 source, 0 independent

The 6 setups behind this: placement and quotes

Clip-on DPA 4099 CORE+ for Violin
clip-on, stage
The 4099 CORE+ may be the ideal solution for live or home studio use; supercardioid, good isolation, less feedback (paraphrase).¹
Spot Shure SM81
spot, viola section miked from behind and slightly upstage
Violas are also miked from behind and slightly upstage. Since the viola section sits stage-right of the conductor, the top of the instruments face more directly toward the microphones (SM81 preferred for strings, paraphrase)³
Spot AKG C535 or AKG C451 (earlier version of the AKG C451 B)
spot, viola section from behind and slightly upstage (alternative to the SM81)
acceptable alternatives are AKG 535 and 451 (paraphrase)³
Named, no placement given Bowed strings advice Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure SM81 or Shure SM94 or Shure PG81 or Shure Beta 98S
listed for strings
Listed under "Strings" in the Shure Microphone Selection Guide (no argument given).⁴
Named, no placement given Bowed strings advice Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure SM81 or Shure SM94 or Shure PG81 or Shure Beta 98S
listed for strings
Listed under "Strings" in the Shure Microphone Selection Guide (no argument given).⁴
Named, no placement given Bowed strings advice Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure SM81 or Shure SM94 or Shure PG81 or Shure Beta 98S
listed for strings
Listed under "Strings" in the Shure Microphone Selection Guide (no argument given).⁴

Studio

Close

MXL 6031 independent source
Neumann TLM 1931 independent source
Oktava MC0121 independent source
Royer R-1211 independent source
Shure SM7 (earlier version of the Shure SM7B)1 independent source
large-diaphragm condenser1 independent source
microphone1 independent source
ribbon microphone1 independent source

Distant

cardioid condenser1 independent source
small-diaphragm condenser1 independent source

Clip-on

DPA 40601 independent source

Spot

Neumann TLM 1931 independent source
cardioid condenser1 independent source

Named, no placement given

condenser (large-diaphragm or small-diaphragm condenser, 1.5-2 m above and in front)1 independent source

The 14 setups behind this: placement and quotes

Close microphone
close, 12 to 24 inches straight above the f-holes; omni if the room is good, cardioid/hypercardioid closer if the room is poor
12"-24" straight above the f holes on the viola (sonusman)⁵
Close ribbon microphone
close, over the headstock at the height of the player's head, pointed at the chin; behind the viola also works
rent a ribbon mic ... over the headstock at head height aimed at the chin (petimar, paraphrase)⁵
Distant cardioid condenser
close, single mic; try behind the player's ear; in a dry room about 1 m away and above, aimed at the viola
Placement of the mic is the most critical thing! ... a single cardioid mic in a good position (Stradivariusz, paraphrase)⁵
Close MXL 603
close, single mic
603 is a hypercardio so it will take more acoustics than the cardio (Stradivariusz)⁵
Close Oktava MC012
close, placement not given (violin/viola)
Oktava MC012 sounds great (Chris Parsons; beat a U87, Royer SF1 and AKG C3000 on his violin)⁶
Close Royer R-121
close, over the headstock at the height of the top of the player's head, pointed at the chin
over the headstock of the fiddle, at the height of the top of my head, pointed at my chin (petimar)⁶
Clip-on DPA 4060
clip-on, on a custom violin mount
sounds just incredible (jnorman, on a DPA 4060 with a custom violin mount)⁶
Close Neumann TLM 193
close, placement not given
the least expensive large-diaphragm condenser he found useable for strings (jnorman, paraphrase)⁶
Close Shure SM7 (earlier version of the Shure SM7B)
close, up close
perfect for up close bowed intruments (atlas)⁶
Spot Neumann TLM 193
spot, close mics on the viola section
Neumann TLM193s on the violas⁷
Distant small-diaphragm condenser
close, brought closer to the instrument when isolation is a concern (otherwise about 3 feet from the player, as for violin)
The same basic principles apply when recording the viola. If isolation is a concern, you can use a small-diaphragm cardioid condenser microphone ... bring it in closer to the instrument.⁸
Close large-diaphragm condenser
close, for a warmer sound (violin/viola principle)
For a warmer sound try a large-diaphragm cardioid condenser microphone.⁸
Named, no placement given condenser (large-diaphragm or small-diaphragm condenser, 1.5-2 m above and in front)
section or quartet, 1.5-2 m
Quartet or small section: a mic 1.5 to 2 metres in front and above the violins (paraphrase; viola covered with the section).⁹
Spot cardioid condenser
spot, on the viola section
Spot microphones in cardioid or wide cardioid ... violas (paraphrase of the spot-mic list)¹⁰

Advised against

Close condenser microphone
close, on axis to the f-holes
micing on axis to the f holes gives too much bow sound (petimar)⁵
Close 2 × stereo pair
pair, stereo recording of a solo viola
a stereo recording of viola would be overkill for the style described (sonusman, paraphrase)⁵
Close dynamic microphone
close, on strings
i dont like dynamics on strings. (jnorman)⁶

Range

C3 to about A6¹¹131 Hz – 1.76 kHz

VSL: C3-A6 (harmonics to E7); most parts stay below E6.

C string	C3–F#3	powerful, rich and dark
G string	G3–C#4	rather veiled; projects less
D string	D4–G#4	rather veiled; projects less
A string	A4–A6	penetrating, nasal, forceful

Open-string spans (non-overlapping); "reach" is how high each string is normally played (VSL).

Overtones reach about 6.2 kHz (the highest harmonic within 40 dB of the strongest, at a moderate level; louder playing reaches higher)¹².

Where the sound comes from

bow noise (noise): worst close to the bow and strings⁹

The front plate is the main radiator over most of the range, but the beam width and axis change with frequency, and some bands come out mostly behind the player.⁹

The sound

Like the violin but with a body that is small for its pitch: its main resonances sit relatively high, so the lowest notes have a weaker fundamental and a nasal colour.

Where the sound goes

The same front-plate radiation as the violin, with a beam that changes with frequency (SOS plots drawn for violin and cello). No viola-specific pattern found.⁹

Recording it

As for the violin: above and in front; about 2 m for a soloist, 1.5–2 m over a quartet
Close: a cardioid pointed at the body adds proximity bass and body; a supercardioid clip mic isolates it on stage
Watch: in a quartet the viola sits in the middle of the texture and can get lost; a spot mic helps^9,1

Estimate: Not found in the sources checked (general practice): Watch.

Playing techniques

Sul ponticello / sul tasto: more / fewer upper partials, as on the violin
Con sordino: cuts partials above about 2 kHz; darker, quieter
Pizzicato: plucked; blends well with the harp¹¹

Problems to watch

A close mic changes tone as the player sways.
Condensers with a presence peak sound hard on strings.^9,19

Good to know

Body size: the viola's main resonance sits about eleven semitones above its lowest note (on the violin about six), which gives the weaker, veiled low notes¹¹

How loud

Sound pressure level measurements as published. Different kinds of figure (a playing level, a peak, a dose at the player's ear) can't be compared with each other, and neither can figures at different distances.

Playing level
up to 72 dB	at 6 m; single viola, maximum level⁹
80–90 dB	at 3 m; violin/viola, single musician secondary¹³
85–105 dB	near the left ear; violin/viola near the player's left ear secondary¹³
74 dB(A)	at 1.5 m; solitary practice, O'Brien 2013 Queensland study as tabulated by Skalevik (EAA Forum Acusticum 2023), 54 m3 practice room, 23 min LAeq; 2 violists, mic 1.5 m in front¹⁴
Peaks
104 dB	at 3 m; violin/viola, single musician secondary¹³
115 dB(C)	0.1-0.5 m from the ear; 1 opera and 3 symphony orchestras in Poland, meters on tripods 0.1-0.5 m from the players' ears, group rehearsals, concerts, performances (Pawlaczyk-Luszczynska et al. 2011)¹⁵
Player's exposure (dosimeter)
78.7 dB(A)	violas and cellos in a ballet pit (Le Petit Prince), 360 h basis¹⁶
92 dB(A)	player's shoulder; Finnish National Opera orchestra, dosimeter on the shoulder opposite the instrument (Laitinen et al. 2003); Die Walkure, 3 players¹⁷
84–88 dB(A)	player's shoulder; Finnish National Opera orchestra, dosimeter on the shoulder opposite the instrument (Laitinen et al. 2003); individual practice¹⁷
83.8 dB(A)	0.1-0.5 m from the ear; 1 opera and 3 symphony orchestras in Poland, meters on tripods 0.1-0.5 m from the players' ears, group rehearsals, concerts, performances (Pawlaczyk-Luszczynska et al. 2011); 32 samples¹⁵
85.3 dB(A)	player's ear (dosimeter); Queensland Symphony Orchestra dosimetry 2004-2007, mean LAeq per session (O'Brien data, tabulated by Skalevik); 79 sessions¹⁸
88 dB(A)	left ear; solitary practice, O'Brien 2013 Queensland study as tabulated by Skalevik (EAA Forum Acusticum 2023), 54 m3 practice room, 23 min LAeq; 2 violists, left ear¹⁴

Sound On Sound: a viola can play as quietly as a violin but "can not perform as loudly", peaking at about 72 dB SPL at six metres (violin: 45-80 dB SPL at six metres). Player exposure, Le Petit Prince ballet pit (A-weighted, 360 h basis): viola and cello together 78.7 dBA on average.^9,16

Sources

DPA Mic University: How to mic a violamanufacturer · dpamicrophones.com
Shure: How to Choose the Best Mics for Brass, Wind, and String Instrumentsmanufacturer · shure.com
Mix: Sound Reinforcement for the Boston Pops: Miking the Orchestra (BSO live mix engineer Steve Colby)magazine · mixonline.com
Shure: Microphone Techniques for Live Sound Reinforcementmanufacturer · 2007 · music.arts.uci.edu
HomeRecording.com forum: How do I record viola? (2004)forum · homerecording.com
HomeRecording.com forum: microphone for violin/viola (2003)forum · homerecording.com
Mix: The Changing Landscape of Orchestral Recording (engineer Steve Smith, Music Works Studios)magazine · mixonline.com
Production Expert: Free strings recording techniques (Mike Thornton, 2020)magazine · production-expert.com
Sound On Sound: Recording StringsHugh Robjohns · magazine · 1999 · soundonsound.com
SoundGirls: Recording an Orchestraeducational · soundgirls.org
Vienna Symphonic Library Academy: Violaeducational · vsl.co.at
SHARC Timbre Database v2 (Gregory Sandell): harmonic analyses of McGill University Master SamplesGregory Sandell · academic · github.com
Representative noise levels table with orchestra noise guidance (UK Sound Advice material)eclass-b.uoa.gr
Forum Acusticum 2023: Skalevik, Sound levels at musicians' ears from classical instruments during solitary practiceMagne Skalevik · academic · 2023 · dael.euracoustics.org
JOSE: Evaluation of Sound Exposure and Risk of Hearing Impairment in Orchestral Musicians (Pawlaczyk-Luszczynska, Dudarewicz, Zamojska, Sliwinska-Kowalska)Malgorzata Pawlaczyk-Luszczynska et al. · academic · 2011 · portal.ciop.pl
Noise & Health 20(93): Noise Exposure and Hearing Loss in Classical Orchestra Musicians, a Five-Year Follow-Upacademic · 2018 · pmc.ncbi.nlm.nih.gov
Applied Occupational and Environmental Hygiene: Laitinen et al., Sound exposure among the Finnish National Opera personnel (2003), Aalto repository preprintHeli M. Laitinen, Esko M. Toppila, Pekka S. Olkinuora, Kaarina Kuisma · academic · 2003 · aaltodoc.aalto.fi
AKUTEK (BNAM paper): Skalevik, Sound levels in symphony orchestra musicians (with O'Brien's Queensland dosimetry table)Magne Skalevik · academic · akutek.info
Sound On Sound: Recording A String SectionHugh Robjohns · magazine · soundonsound.com