Any EQ hints for violin and cello?

[MPC 1720]

There are both at our church and I want to get a good starting point for setting EQ on them.

[WK154]

Welcome MPC. Your question needs more detail and so let me direct you to this first then you'll understand why eq may be the least of your problems.
http://www.soundonsound.com/sos/apr99/articles/recstrings.htm
Unfortunately there are no DL's presets for good reason.

[robbocurry]

Years ago we used c-ducer stick on mics to great effect on strings & drums - helped us with feedback probs we had - back in the 80s!!

[Wynnd]

If you have a very flat system, start with the EQ flat HPF set.  (I use 100 htz)  But that's the way I start everything.   Unless you're running a very loud system, that ought to be a good starting place.  I do have a couple of exceptions that have more to do with the mic used.  (Got a couple of mics that are pitiful on the top end.)  If you have a condenser mic, that might be a better choice on the violin.  (Love the overtones from them.  Watch the trim on them, they tend to be hot mics.)  The cello should work pretty well with any decent mic.  That's my take on things.  (But keep in mind that systems are flat without serious prep work before the gig.)

[CyberHippy]

Wynnd is on the right track.

I would adjust the hpf to a higher point on the violin, sweep the filter up until the violin no longer has any "body" to the sound, the back it off until it sounds natural again.

Leave more bottom end in the cello, especially if solo or just with the violin - if they're playing along with a full band with bass and drums you may need to hi-pass it higher to take care of the mud in the bottom that comes from multiple bass-type instruments.

A small (pencil-type) condenser should sound good on the violin, SM-57 or equivalent should be fine on the cello, or if you have a larger diaphragm dynamic mic on hand like the SM7 or one of Heil's mics I'd go with that (I love the PR35 on cello).

In both cases aim the mic at the f-holes, being careful to place is so both the playing range and resting position of the performer can be achieved without accidentally tapping the mic  - classical musicians are less microphone-aware than our rock, folk & gospel players.