Mic Archive

Viola

Range
C3–A6
Overtones to
about 6.2 kHz
Peaks up close
up to 115 dB SPL
Sources
107 independent: not from a mic maker

Range

C3 to about A611131 Hz – 1.76 kHz

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

C stringC3–F#3powerful, rich and dark
G stringG3–C#4rather veiled; projects less
D stringD4–G#4rather veiled; projects less
A stringA4–A6penetrating, 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

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

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 dBat 6 m; single viola, maximum level9
80–90 dBat 3 m; violin/viola, single musician secondary13
85–105 dBnear 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 dBat 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

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 helps9,1

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

Mics

  1. Neumann TLM 193 2 sourcesClose, spot
  2. DPA 4060 2 sources, 1 from a mic makerClip-on
  3. Shure SM81 2 sources, 1 from a mic makerSpot, named, no placement given
All the mics sources name, by setting and role (21)

Studio and stage

Close

  • DPA 4011C (earlier version of the DPA 4011A)1 source from its own maker

Clip-on

Named, no placement given

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

Spot

Named, no placement given

The 6 setups behind this: placement and quotes

Studio

Close

Clip-on

Spot

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

Problems to watch

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

Sources

  1. DPA Mic University: How to mic a violamanufacturer · dpamicrophones.com
  2. Shure: How to Choose the Best Mics for Brass, Wind, and String Instrumentsmanufacturer · shure.com
  3. Mix: Sound Reinforcement for the Boston Pops: Miking the Orchestra (BSO live mix engineer Steve Colby)magazine · mixonline.com
  4. Shure: Microphone Techniques for Live Sound Reinforcementmanufacturer · 2007 · music.arts.uci.edu
  5. HomeRecording.com forum: How do I record viola? (2004)forum · homerecording.com
  6. HomeRecording.com forum: microphone for violin/viola (2003)forum · homerecording.com
  7. Mix: The Changing Landscape of Orchestral Recording (engineer Steve Smith, Music Works Studios)magazine · mixonline.com
  8. Production Expert: Free strings recording techniques (Mike Thornton, 2020)magazine · production-expert.com
  9. Sound On Sound: Recording StringsHugh Robjohns · magazine · 1999 · soundonsound.com
  10. SoundGirls: Recording an Orchestraeducational · soundgirls.org
  11. Vienna Symphonic Library Academy: Violaeducational · vsl.co.at
  12. SHARC Timbre Database v2 (Gregory Sandell): harmonic analyses of McGill University Master SamplesGregory Sandell · academic · github.com
  13. Representative noise levels table with orchestra noise guidance (UK Sound Advice material)eclass-b.uoa.gr
  14. Forum Acusticum 2023: Skalevik, Sound levels at musicians' ears from classical instruments during solitary practiceMagne Skalevik · academic · 2023 · dael.euracoustics.org
  15. 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
  16. Noise & Health 20(93): Noise Exposure and Hearing Loss in Classical Orchestra Musicians, a Five-Year Follow-Upacademic · 2018 · pmc.ncbi.nlm.nih.gov
  17. 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
  18. AKUTEK (BNAM paper): Skalevik, Sound levels in symphony orchestra musicians (with O'Brien's Queensland dosimetry table)Magne Skalevik · academic · akutek.info
  19. Sound On Sound: Recording A String SectionHugh Robjohns · magazine · soundonsound.com