I made my own by taking apart an AKG headset mic, and I've been happy with it. It had a frame similar to eyeglasses (but which went around the back of your head). I unbolted the little boom from the frame, and found the right sort of clothespin to clip it to the corner of my oversized chinrest, so that the mic points to a spot between the bridge and the f hole--pointing it right at the f hole tends to produce feedback.
It wasn't cheap at the time--$300 U.S.--but this was some years ago. There are probably some decent headset mics for less, now.
p.s. Martin Hayes uses some sort of lavalier-style mic, just clipped to the lower end of the strings. I thought I heard it rattle a bit during loud passages, but otherwise his sound was of course deluxe.
I've experiemented with so many mics that I've found unsuitable that I've now resorted to a Yamaha electric fiddle when playing with the full ceilidh band and a Tim Phillips electro acoustic for smaller gigs. The best of the ones I tried was probably and AKG.
One of the best you can get is the Baggs mic. I use all the time and it has great quality. It'll set you back about 200 Euro. Anything better would cost an awful lot more. A new mic is going on the market soon but it will cost a lot.
The Schertler DYN is a great contact mic that takes about 60 seconds to mount and unmount. It might be a little pricey. Check out http://www.lnrmusic.com/ and note that he'll do a LOT better on price than what is advertised on the web site. I use the DYN-M which is meant for mandolin but the only difference is the length of the chord. I noticed a used one for sale at www.mandolincafe.com in the classified section.
Another less expensive option (although it's a pickup not mic) is pickuptheworld. You can also find this at LNRmusic.
I bought an ATM35 and had some success with it. I might try it again this weekend. If you are used to playing into a mic, a pickup/clip-on takes getting used to. It's very in-your-face and you can't really back away from it.
My brother uses a mic that attaches to the strings behind the bridge. It picks up too much fingerboard noise for my tastes.
I also had an ATM35 and it did nothing but cause trouble - it fed back constantly, we often had trouble getting levels (even the highly experienced and qualified BBC Radio 2 sound engineers had 'issues' with it!) and the connection to the mini-xlr that connects the mic itself to the pre-amp was faulty, causing popping whenever I moved. This defied the point of the mic - I bought a clip-on so I could have more freedom on stage than when using an over head! Apparently this faulty connection has been a feature on many ATM35s. It's a shame, because, despite these problems, when we eventually got a couple of clear notes from it, it was a nice tone.
However, it could of course just be my fiddle that it doesn't like! Despite all my problems, I have heard good things about it, and it's obviously working for Jode So I'd say if you're interested in that particular model, or actually, this is probably sound advice for any mic: find somewhere you can go and try it, and test it thoroughly, through as many amps/systems as you can, and give it a good blasting as well - don't be timid!
The ATM35 isn't actually intended for fiddle - it's listed as suitable on many websites, but it's actually a drum/wind/brass instrument mic. Obviously these instruments have very different properties to the fiddle, so could explain my problems.
Lauren MacColl uses a Audio-Technica Pro 35x. I've not heard much about this mic, but she recommends it very highly, and it sounded great when she was using it at Cambridge Folk Festival, with no apparent problems. This is probably going to be my next mic!
I’ve done a good bit of audio engineering and one of the most common problems I encounter is cheap connectors that go POP! Lots of products are well-designed, but in the cost-control phase of development, connectors are an obvious place to save a few rupees. The good ones might cost 50% more, but are worth it in the long run.
Another cost-cutting item is the pre-amp. This is the first stage of amplification and *should* have precision components. But precision = cost = lower profit or higher price.
If you have a popping connector, look into replacing the cable and connector with high-quality stuff. The best mic cable connectors are Switchcraft and Neutrik.
Tize and Rocksox, I can't make a full recommendation on the ATM35, even in controlled surroundings. Afterall, I only used it one weekend!! And I was sitting for all the gigs. It was great for the quieter gig, just me and a bouzouki. It was bad in the loud pub, especially with a drum kit.
What's the difference between the ATM35 and the AT Pro 35x? They are both Audio Technica. One is more expensive than the other.
We use an AT 35x Pro for TJ Hull's fiddle and we've had great success with it. The 35x Pro is the one without the belt pack, that has an XLR connector on the other end. It requires phantom power from the PA mixer. It's tougher to find, I usually have to ask a sales person for the exact model. It's the more expensive one, but I've found a number of them (I keep them in my recording studio, and have gotten some for friends, too) for at or under $150. The ones with the belt pack usually go for up to $120. I don't think that there's any particular problem with the models with the belt pack, I just choose the others because there are fewer connections/parts that might be liable to fail. <GG>
On loud stages, or with a band with electric instruments/amplifiers onstage, or with real loud monitors, condensor mics can feed back easily. We don't have those situations, since we only use our mics when we perform as the trio, the Culchies, and we can keep the stage monitor volume low, and TJ doesn't need a lot of monitor volume coming at him.
I've also used an AKG c418, another clip-on condensor mic, both for fiddle and bodhran. It has a smaller head, so it rejects ambient sound a bit more, but it doesn't sound as good as the AT.
There are a lot of tiny "lavalier" cardioid condensor mics out that are specified for body mics for the theatre or broadcasters, and many of them sound great and are dead cheap. To use one of these, you'd have to fix up some sort of way to mount one on a fiddle. If it were in physical contact iwth the top or the bridge, it would sound unnatural, so it should be suspended over the strings, but it could be a good alternative.
I use the Audio-Technica Pro 35x. The only problem I have with it, is that if you play out doors and it is windy, you are going to get wooshing sounds. It has a wind screen, but, still wind can be a problem. On occasions I have had to try and stand in such a way that my back was facing the wind, so that I could prevent some of the wooshing.
Steve - Will TJ be using that setup when you play at the festival in Cincinnati on the 25th? It looks like a good mic at a good price but I'm interested to see how he mounts it to the fiddle.
Fiddle Mics...
Fiddle Mics...
Hello. I was wondering if anyone knew of any good clip on fiddle mics that aren't severly expensive, but still have good quality....
Thanks!
# Posted on September 11th 2005 by fiddleroxmysox
Re: Fiddle Mics...
I made my own by taking apart an AKG headset mic, and I've been happy with it. It had a frame similar to eyeglasses (but which went around the back of your head). I unbolted the little boom from the frame, and found the right sort of clothespin to clip it to the corner of my oversized chinrest, so that the mic points to a spot between the bridge and the f hole--pointing it right at the f hole tends to produce feedback.
It wasn't cheap at the time--$300 U.S.--but this was some years ago. There are probably some decent headset mics for less, now.
# Posted on September 11th 2005 by mickray
Re: Fiddle Mics...
p.s. Martin Hayes uses some sort of lavalier-style mic, just clipped to the lower end of the strings. I thought I heard it rattle a bit during loud passages, but otherwise his sound was of course deluxe.
# Posted on September 11th 2005 by mickray
Re: Fiddle Mics...
I've experiemented with so many mics that I've found unsuitable that I've now resorted to a Yamaha electric fiddle when playing with the full ceilidh band and a Tim Phillips electro acoustic for smaller gigs. The best of the ones I tried was probably and AKG.
# Posted on September 12th 2005 by Tarrantella
Re: Fiddle Mics...
One of the best you can get is the Baggs mic. I use all the time and it has great quality. It'll set you back about 200 Euro. Anything better would cost an awful lot more. A new mic is going on the market soon but it will cost a lot.
# Posted on September 12th 2005 by Roger O' Miller
Re: Fiddle Mics...
The Schertler DYN is a great contact mic that takes about 60 seconds to mount and unmount. It might be a little pricey. Check out http://www.lnrmusic.com/ and note that he'll do a LOT better on price than what is advertised on the web site. I use the DYN-M which is meant for mandolin but the only difference is the length of the chord. I noticed a used one for sale at www.mandolincafe.com in the classified section.
Another less expensive option (although it's a pickup not mic) is pickuptheworld. You can also find this at LNRmusic.
# Posted on September 12th 2005 by iampeterfonda
Re: Fiddle Mics...
Here are a couple of old threads on the subject.
http://www.thesession.org/discussions/display.php/6379
http://www.thesession.org/discussions/display.php/6223/comments#comment132541
I bought an ATM35 and had some success with it. I might try it again this weekend. If you are used to playing into a mic, a pickup/clip-on takes getting used to. It's very in-your-face and you can't really back away from it.
My brother uses a mic that attaches to the strings behind the bridge. It picks up too much fingerboard noise for my tastes.
# Posted on September 12th 2005 by Jode
Re: Fiddle Mics...
I also had an ATM35 and it did nothing but cause trouble - it fed back constantly, we often had trouble getting levels (even the highly experienced and qualified BBC Radio 2 sound engineers had 'issues' with it!) and the connection to the mini-xlr that connects the mic itself to the pre-amp was faulty, causing popping whenever I moved. This defied the point of the mic - I bought a clip-on so I could have more freedom on stage than when using an over head! Apparently this faulty connection has been a feature on many ATM35s. It's a shame, because, despite these problems, when we eventually got a couple of clear notes from it, it was a nice tone.
However, it could of course just be my fiddle that it doesn't like! Despite all my problems, I have heard good things about it, and it's obviously working for Jode
So I'd say if you're interested in that particular model, or actually, this is probably sound advice for any mic: find somewhere you can go and try it, and test it thoroughly, through as many amps/systems as you can, and give it a good blasting as well - don't be timid!
The ATM35 isn't actually intended for fiddle - it's listed as suitable on many websites, but it's actually a drum/wind/brass instrument mic. Obviously these instruments have very different properties to the fiddle, so could explain my problems.
Lauren MacColl uses a Audio-Technica Pro 35x. I've not heard much about this mic, but she recommends it very highly, and it sounded great when she was using it at Cambridge Folk Festival, with no apparent problems. This is probably going to be my next mic!
# Posted on September 12th 2005 by tbag
Re: Fiddle Mics...
I've not tried it but have had this recommended by my teacher.
http://www.riml.biz/
# Posted on September 12th 2005 by Caraaz
Re: Fiddle Mics...
I’ve done a good bit of audio engineering and one of the most common problems I encounter is cheap connectors that go POP! Lots of products are well-designed, but in the cost-control phase of development, connectors are an obvious place to save a few rupees. The good ones might cost 50% more, but are worth it in the long run.
Another cost-cutting item is the pre-amp. This is the first stage of amplification and *should* have precision components. But precision = cost = lower profit or higher price.
If you have a popping connector, look into replacing the cable and connector with high-quality stuff. The best mic cable connectors are Switchcraft and Neutrik.
# Posted on September 12th 2005 by Bob himself
Re: Fiddle Mics...
Tize and Rocksox, I can't make a full recommendation on the ATM35, even in controlled surroundings. Afterall, I only used it one weekend!! And I was sitting for all the gigs. It was great for the quieter gig, just me and a bouzouki. It was bad in the loud pub, especially with a drum kit.
What's the difference between the ATM35 and the AT Pro 35x? They are both Audio Technica. One is more expensive than the other.
# Posted on September 12th 2005 by Jode
Re: Fiddle Mics...
We use an AT 35x Pro for TJ Hull's fiddle and we've had great success with it. The 35x Pro is the one without the belt pack, that has an XLR connector on the other end. It requires phantom power from the PA mixer. It's tougher to find, I usually have to ask a sales person for the exact model. It's the more expensive one, but I've found a number of them (I keep them in my recording studio, and have gotten some for friends, too) for at or under $150. The ones with the belt pack usually go for up to $120. I don't think that there's any particular problem with the models with the belt pack, I just choose the others because there are fewer connections/parts that might be liable to fail. <GG>
On loud stages, or with a band with electric instruments/amplifiers onstage, or with real loud monitors, condensor mics can feed back easily. We don't have those situations, since we only use our mics when we perform as the trio, the Culchies, and we can keep the stage monitor volume low, and TJ doesn't need a lot of monitor volume coming at him.
I've also used an AKG c418, another clip-on condensor mic, both for fiddle and bodhran. It has a smaller head, so it rejects ambient sound a bit more, but it doesn't sound as good as the AT.
There are a lot of tiny "lavalier" cardioid condensor mics out that are specified for body mics for the theatre or broadcasters, and many of them sound great and are dead cheap. To use one of these, you'd have to fix up some sort of way to mount one on a fiddle. If it were in physical contact iwth the top or the bridge, it would sound unnatural, so it should be suspended over the strings, but it could be a good alternative.
I hope this helps...
stv
http://www.cdbaby.com/Culchies
# Posted on September 13th 2005 by stv culchie
Re: Fiddle Mics...
I use the Audio-Technica Pro 35x. The only problem I have with it, is that if you play out doors and it is windy, you are going to get wooshing sounds. It has a wind screen, but, still wind can be a problem. On occasions I have had to try and stand in such a way that my back was facing the wind, so that I could prevent some of the wooshing.
As an indoor mic, it works great.
# Posted on September 13th 2005 by Anew
Re: Fiddle Mics...
Steve - Will TJ be using that setup when you play at the festival in Cincinnati on the 25th? It looks like a good mic at a good price but I'm interested to see how he mounts it to the fiddle.
Ken
# Posted on September 14th 2005 by RogueFiddler