|
Photograph by Ian Burgess
|
THE PRODUCTS I ENDORSE AND WHY
I don't take a lighthearted view of the mutual
value endorsement arrangements. I would not endorse a product that I did not use or believe in, and am not in the
business of securing something for nothing.
Thirty-five years of playing to global audiences in a huge variety of venues, from major concert halls to small
clubs, has inevitably fine tuned my expectations and level of discernment.
I can break my amplification needs into three categories. A microphone, a pickup that is permanently attached to
the instrument, and a pickup that can be removed. The following companies have been kind enough to lend their support
via their excellent products.
MICROPHONE
Mark Serridge from Brüel & Kjaer microphones,
and Ralph Dunlop from 'Soundnetwork', came to my studio armed with a variety of B&K mics in order to establish
which one would most faithfully capture the 'voice' of my Violin. We carried out a series of tests recording straight
to DAT, omitting any EQ or effects. We compared the sound of the various B&K mics to my usual mics, a Neumann
U87 and AKG 414, and I was amazed at the results. One B&K microphone produced outstanding results. It was an
Omnidirectional Microphone, type 4006. It did not colour the sound at all. Not surprising really, as Brüel
& Kjaer are measurement equipment manufacturers, and their technology ensures that their microphones are accurate
to an extraordinary degree. I have rarely used another mic to record my Violin since that day, and it also accompanies
me to the studio when recording Steeleye Span's albums.
REMOVABLE PICK-UP
I have used a Fishman pickup for a considerable
time now, its principal attraction being that I can remove it from the bridge of my acoustic Violin when recording
with a microphone. I believe that anything attached to the bridge will in some way impair the acoustic quality
of the instrument. I use a preamp and have a 'Flat' sound in my monitor with a touch of reverb. This is the sound
I know well and have become used to playing with. The Fishman pickup responds sympathetically to my playing techniques,
including the high false harmonics that I sometimes incorporate into my playing. It reflects the character of my
old English Violin, and has never let me down on a gig.
I was recently sent the new Fishman 'Concertmaster' which combines both a pickup and a microphone built into a
very comfortable shoulder rest. The pickup is the same Fishman pickup that I have always used, and the AKG microphone
can be manipulated into a position over one of the 'F' holes to arrive at the best sound. The controls are on the
shoulder rest to combine the mic and pickup sound, and a stereo lead can give the sound engineer total control
over both signals. I have not had a chance to really explore the 'Concertmaster', but early indications suggest
that this idea has huge potential. I am currently talking to the designer about maybe using a different type of
microphone (DPA). I will update this information in due course..
PERMANENT PICK-UP
I have used a variety of pickups over the years
of the type that are permanently attached to the bridge. Recently however, 'Headway' have been kind enough to send
me several of their pickups to try. One is called the 'Band', and wraps around the instrument. I liked the sound
of this pick up immediately. Very natural (great pick up for emergencies). Headway also supplied a VL3 Active Acoustic
Violin Pickup and a Mandolin pick up, both of which I am waiting to fit to instruments. My heavy touring schedule
this year has prevented me from changing my current set up, but I am looking forward to having some spare time
to really try these pickups. I know some of my colleagues are using 'Headway' pickups and have only great things
to say about them.
INSTRUMENTS
Amongst my favoured instruments is a Bridge
'Octave' Violin. Initially, I sponsored the Aquila model, but one day at the 'Bridge' factory, Paul Bridgewater
handed me a Violin to try. Before I put bow to string I had no idea it was their new 'Octave' model, which is tuned
an octave lower than a normal Violin. The instruments are identical in appearance. It was a fantastic moment when
I first heard that sound coming out of the speakers. I explained to Paul that I tended to think of their normal
Violin as a spare instrument, and that maybe I should be endorsing the 'Octave' instead. It is that particular
instrument that I still have today. The first time I used it on a 'Feast Of Fiddles' gig, four of the other Fiddle
players ordered one, such was its impact. It's a truly great instrument. It now accompanies me on most gigs, and
I have put it through various pedals to great effect. I really love it. The appeal to me is the fact that I don't
think of it as a Violin, and never compare its sound to an acoustic instrument with a pick up. It possesses a beautifully
textured 'voice'..... there are times when this instrument has the resonance of a Cello or Bass. A most wonderful
instrument.
STOP PRESS! I am, with great anticipation, awaiting imminent delivery of a beautiful semi acoustic
Violin by the Australian Luthier, Paul Davies. I had the privilege of playing a cross section of his instruments
at the Port Fairy Festival (Melbourne) in March 2004, and am overwhelmed that Paul has 'tailored' one of his inspirational
Violins to suit my requirements. I'll keep you informed (3rd July 2004). See link to ARTS MUSIC |
|
