Studio/Live vs. LB Extreme Live Models

When should I use the REMIC Studio/Live Model?

The REMIC (RED) studio/live model has an omnidirectional polar pattern and a moderate level of ambient suppression. However, the REMIC studio/live model can also be used in live context, where the sound of the instruments has to be “lifted” just a bit. e.g amplification of a symphony orchestra, classical string quartets, ensembles or jazz.

When should I use the REMIC LB Model?

The REMIC (GREEN) “LB” model has an angled figure eight polar pattern and is designed for “extremely loud” live performances, such as folk-rock, pop, rock and metal. It is designed to suppress a large amount of ambient noises and the polar pattern of this model mounted on the instrument is unidirectional and more specific:  An angled figure eight within the reach of the soundboard area – outside this area the polar pattern becomes omnidirectional. This model is designed for live productions with high level of sound pressure on stage and has an astonishing high gain before feedback as well as extreme suppression of neighbor instruments and ambient noise.

Please note that the sound response of the “LB” models are more “dry” and “woodish” in comparison to the “Studio/Live” models due to their high ambient suppression factor, but the LB  models can easily be EQ’ed for best results.

What is the Difference in Polar Patterns when comparing the Studio/Live vs. LB Extreme Live Models?

The REMIC Studio/Live model for violin, has an omnidirectional polar pattern. However, when mounted on the instrument (in this case a violin) the polar pattern becomes half spherical. The darker color on top of the instrument indicates that most of the instrument sound is captured of of this, the upper part).

The polar pattern of the REMIC “LB” Live (Extreme) model is an angled figure eight (in free air).

The front of the membrane of the REMIC “LB” model captures the movement of air molecules generated by the friction between strings and bow and the top of the soundboard (belly) of the instrument, (illustrated in light green).

The rear part of the membrane inside the REMIC “LB” model, captures the sound of the instrument by capturing the movement of air molecules from the soundboard only, via the acoustic channel ending up underneath the microphone. The darker green color illustrates the part of the violin of which the sound is captured by the bottom of the REMIC “LB” model.

This way the REMIC “LB” models captures approx. 80% of the sound from the body of the instrument via the belly and approx. 20% of the sound surrounding the instrument.

Built-In Windshield

Does the built-in windshield change the sound quality captured?

Choosing the variation with the built-in windshield will not change the quality of the microphone in other performance contexts.

Should I choose with or without the built-in windshield?

The built-in windshield is designed  to drastically reduce wind noise in open air performances. The windshield is placed inside the microphone and is therefore invisible and non-removable. With the built-in windshield option, you do not need to add any other windshields to your microphone. Around 75-80% of our customers buy our strings microphones WITH the built-in windshield. We recommend the built-in windshield as it is an extra added feature at no extra cost.


For how long is a REMIC MICROPHONE covered by warranty?

Please visit our page with terms and conditions to see more about our warranty and service:

Recommended Preamps

Which preamp should I use with my REMIC?

The ultimate (stand alone) preamp for any of the REMICs, are the FELiX from Grace Design: instrument-preamplifiers/felix/

Phantom Power

Will a REMIC MICROPHONE need Phantom Power?

Yes, all REMICs are based on a condenser microphone element designed for 48 volt of Phantom Power (VPP). The VPP can be provided by either a preamp, mixing console or an external power supply, like the Radial SB-48UB: