This page will be periodically updated with demos focusing on specific articulations or sections, as they become available. Where possible, demos will be presented as an interactive mixer, allowing you to audition each microphone and dial in your own mix.

Basses Staccatissimo

This articulation responds dynamically to playing speed, selecting the most appropriate style of staccatissimo.

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JVLN Audio Mixer

Music: Far & Away Suite by John Williams (adaptation)

  1. Tree:
    The classic “Decca Tree”. Three microphones spaced in a triangle (LCR) high above the conductor’s podium, providing a sonic overview of the orchestra for a balanced perspective of depth, clarity, and accurate spatial imaging. The backbone of the “room” mics!
  2. Outriggers:
    These are a wide extension of the Tree, commonly known as “string boosters”. Most often used in conjunction with the tree for a “full” stereo image, but can be used as the primary room mic if a wider room sound is desired.
  3. Surround (aka Ambient):
    This is a distant stereo perspective captured from the back of the room, and very high up. They work particularly well as part of a surround or Dolby Atmos mix.
  4. Vintage Pair:
    A stereo pair of famed Coles 4038 ribbon microphones capturing an impressively wide image with a highly desirable tone. An excellent choice to bring focus to a section without the close proximity of the Spot mics, or as the primary room mic when you want to “take the edge off”. (refer to “Mix 2” of Bass Staccatissimo demo)
  5. Mids (aka Mid-distance):
    A stereo pair of tube mics lower than the tree, and further into the orchestra. It offers a great alternative to Spot mics when you want to bring out definition while retaining space and distance.
  6. Room Sides (aka Mid-Room):
    A microphone placed at each side of the orchestra in line with the back of the string section, at the same height as the tree and outriggers. Optimal for surround and immersive formats, or use to provide some wide room support to the vintage pair.
  7. Spill (aka Bleed):
    This is the combined signal of the spot mics from the other sections within the same family. For example, the Spill mics for the Basses instrument is made up of the signals from the Violin, Viola, and Celli spot mics. This simulates the natural “spill” of one section into another during a live recording session. It can help provide some ‘glue’ and cohesiveness to a mix.
  8. Spots (aka Close mics):
    This is the closest perspective on offer. The spot mics were positioned carefully to still maintain a level of distance that flatters the section, as opposed to focusing on a single player. This helps with avoiding the harshness and brittle quality often associated with close-mic’d string instruments. Best used when panned to match the positioning of a section as heard in the Tree or main room mics, and lowered to the point where you can still hear it adding some detail without overpowering the room mics.