Reply: The GLM-200E is already wired with the pickup in Fishman's V-200M pickup/mic system. Although Crown does not make a chinrest clamp, Fishman has worked out a way to mount the mic on a fiddle. The mic-mounting gooseneck is attached to the Fishman jack bracket, and the mic is pointed toward the instrument near an f-hole. The best placement will vary depending on the instrument.
I play the fiddle using a GLM mic and I need to find a better way to mount it than the couple of clips that came with it. Any ideas?
Reply: Some fiddle players insert the GLM-100 inside an f-hole. The signal from this mic position requires some EQ to sound natural, but provides very high gain before feedback. The cable can wrap around the chin rest as a strain relief.
Others clip the GLM to the bridge using the supplied lavalier clip, or just twist-tie the mic to the bridge. Some tape the GLM near an f-hole with drafting tape (first making sure that the tape will not damage the violin's finish).
Another method: Rubber-band some windscreen foam around the mic cable about 1.5 inches from the mic capsule. Stuff the foam in the tailpiece, and position the mic so it "floats" over the fiddle body, midway between the tailpiece and bridge.
I've been surfing the net for info about how to properly position my GLM-200 on my fiddle and found your site. I stick a bit of blue tack on my tailpiece between the G and D strings, and rest the mic in it so it is sitting just behind the bridge facing down. I love the warm sound and the freedom of movement. I have two big problems though: one is I occasionally exhale onto the fiddle and get a massive roar. The other is I get a lot of fingerboard noise, thudding and bumping as I cruise through my jigs and reels. Any advice on how to treat these problems and not lose the nice sound I'm getting with the mic in that position?
I'm using a GLM-200 to mic my fiddle and am still working to find the easiest/best way of temporarily mounting it. I know at least one fiddler that uses a GLM-100 inserted into the eye of his fiddle's f-hole, but when I tried this with my GLM-200 I got quite a bit of feedback, which has discouraged me from pursuing this idea! Is there a difference in the response of the two mics that would cause a problem with this method in the 200 and not the 100?
Reply: Here's a suggestion on shock-mounting the GLM to a violin:
Take a regular-size microphone foam windscreen, or some foam rubber from a pillow, and cut a strip of foam about 1" x 3" x 1/4" thick. Wrap the foam strip around the GLM mic cable, about 1.5 inches from the mic capsule.
Stuff this foam cylinder under the tailpiece (between the tailpiece and the violin body). The mic capsule will "float" between the strings and body on the tailpiece side of the bridge. Make sure the front of the mic is aiming at the violin body (it's labeled "Front").
For breath protection, you might want to attach some thin silk or nylon fabric to the top surface of the strings on the tailpiece side of the bridge, so that the mic is covered by this wind filter. There will be an airspace between the mic and fabric.
You might also cut low frequencies on your mixer's violin channel below 200 Hz, because wind noise is mostly at low frequencies. That low-cut will reduce handling noise as well.
If the sound is too bassy, roll off or turn down some low frequencies (at about 200 Hz) on your mixer's equalizer until the sound is natural. That will reduce feedback as well. Similarly, if the sound is too trebly, turn down the high frequencies around 10kHz until the sound is natural.
Since a violin is a resonant cavity, putting a GLM inside is exacerbating any feedback. The GLM-100 has an omnidirectional pattern, while the GLM-200 has a hypercardioid pattern. The hypercardioid pattern is severely degraded by putting the GLM-200 inside the violin, so it's better to keep the GLM-200 outside the violin.