It can be particularly challenging to capture the full nuance and resonance of the cello in recordings. For someone who plays an instrument designed for un-mic'd classical music, I spend a lot of time doing the exact opposite. My music relies on treating my cello as if it is a guitar – lots of strumming and plucking. Additionally, I often record ethereal, high frequency bowed textures for my own music and for other artist's string arrangements. I've spent years experimenting with traditional cello mic'ing, trying multiple types of large diaphragm condensers in studios and at home. I'm generally satisfied with the overall sound of a standard large diaphragm condenser placed a few feet away from the instrument when it comes to traditional bowed cello tracking. However, I was left wanting in the realm of plucked and strummed textures, especially in both live and recorded settings. I felt that traditional cello mic'ing failed to pick up the incredible resonance of the internal body of the instrument: the boominess that draws me to mic'ing plucked and strummed cello in the first place. This led me to search for a way to mic closer to the body of the instrument without installing a permanent pick-up or contact mic – I am a classical musician by day, and these kinds of installations are frowned upon in classical settings and can lower the value of a higher-end cello.
I have used the Bartlett Audio Cello Mic: A reasonably-priced mini condenser that fits between the strings below the bridge with a foam piece. I've been satisfied with this mic for some time. It effectively captured the internal deep body resonance of my cello with a new closeness, with the added nuance of a brighter finger attack when strumming or plucking the strings. It achieved more of the rubber-bridge guitar-esque sound that I always strive for, but with an added depth. However, I have been dealing with an inexplicable buzz from this mic over the past few years which seemed to have no clear event that set it off. I tried adjusting the foam and ensuring that the buzz was not coming from my cello, but the noise persisted. It has permeated many of my recordings and is difficult to effectively remove without affecting the instrument's resonance. I also had complications related to a very low threshold for feedback while using the Bartlett mic in live settings. Though I am still quite fond of this mic overall, especially for its price point, these headaches left me searching for something a cut above.
I recently tried the DPA 4099 CORE supercardioid mic (originally reviewed in Tape Op #126) and dedicated Microphone Clip for Cello for the first time in a live setting at the Royale [theater] Boston. In the moment, I could not hear well enough to form a clear opinion of the mic, but its sturdy design and placement (hooking snugly with a rubber arch between top and bottom strings below the bridge with an adjustable mic arm jutting out to get close to any point of the cellist's choosing) piqued my interest. After testing the mic over several weeks in both recorded and live settings, I was extremely impressed. The 4099 has a flat frequency response from 20 Hz to 20 kHz but offers a distinct clarity and specificity of sound that I had not before experienced – picking up everything from the ultra-high frequency subtleties of the bow being pulled across the strings to the resonant boominess of the lower end. With the gain turned up, it almost has the effect of a contact mic, feeling as though you are experiencing the instrument under a microscope, hearing every last detail. If you want something that softens edges or filters out rough details, this mic may not be the one. However, the 4099's flat response captures an accurate, full-spectrum sound that can then be subtractively EQ'd as needed. Also worth noting is that the DPA Instrument Microphone Clip for Cello allows for precise mic placement because of the flexible arm that extends outwards, allowing cellists to avoid specificities of the bow pulling across the strings if you place it closer to the f-holes or vice versa. So far, my favorite placement has been to twist the arm to the side, placing the mic head as close as possible to the low body of the cello on the low string side. For me, this feels especially effective for achieving the boominess and fullness of the cello's low end while strumming and plucking. I have also seen others hook the mic onto the strings from underneath instead of above, allowing the mic arm to thread through the bridge from below. I have not tried this tactic yet, but all of this goes to show how many possibilities one has with this cello mic system! A gooseneck extension is also available for further flexibility in placement.
In a live setting, the 4099 CORE performed very well, and suffered from far less feedback than with my previous Bartlett mic (though close-mic'ing a cello in an intimate setting will always be problematic in terms of feedback). The DPA shined in terms of encapsulating the specificity of the instrument, making the live sound feel as natural and detailed as possible. To me, standard LDC mic'ing feels as if I am hearing the cello from a front-row audience perspective, the Bartlett mic sounds as if I'm inside the body of the cello (boominess with less specificity), and the 4099 sounds directly in front of the cello body, hearing every detail and nuance of the instrument's sound in addition to its fullness and resonance.
I have thoroughly enjoyed the way the 4099 CORE captures the details, quirks, and character of the cello. I love that the design invites flexibility and experimentation in the set up of the mic, which is a huge plus for cellists wanting to try out experimental recording techniques. Overall, it's of the most reliable and adaptable cello mics I've ever used.
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