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mpdonahue 20th December 2018 05:13 PM


Originally Posted by TMetzinger (Post 13695534)
Nothing (add gain) - Nothing (add gain) - Nothing (add gain) - Nothing (add gain) - WHOA TOO MUCH!

I always go back to Onno Scholtze's sage advice about spot mics...Turn them up till you can just hear them, then turn them back down 6 dB.

As always, YMMV.
All the best,

emenelton 20th December 2018 05:26 PM

I put PSP Micro Warmer on the TYMP spot, it thickened the sound and removed the immediateness.

Still had to get the ability to 'hear' the difference between having the level proper vs turning it down completely. It's quite tricky to discern between the proper level with a spot and still have it not be a noticeable 'paste job'.
It's basically when you listen to your mix and you 'don't' think that the TYMP is 'lacking' which allows you to move on. That can be as good as it gets.

studer58 30th October 2020 09:43 AM

Firmly in the spirit of either 1) perpetual curiosity or 2) never being satisfied or 3) needlessly revisiting the already-built wheel...I'm wondering if this thread really, fully covered the topic of where to place a tympani spot mic and which models work best in that role ?

My experience has been that if placed too high (above 6 feet) above the instrument it simply becomes a catch-all area mic for everything nearby, and it also fails to capture that 4k and above 'impact' pulse which defines the leading edge of the mallet attack....there's always enough of the rumbly, ill defined tubbiness picked up by main pair and outriggers ?

If there's one thing I want a tymp mic to deliver, it's the sense of impact of the mallet strike...which then gets followed by the rumbling swell of the front-row mics pickup of the instrument.

Yannick advocated for a very close placement (at drumskin height) while others recommend a much higher elevation. A recent video posting by Plush (in another thread) showed him placing mics for a piano recording...with a close pair of spaced cardioids aimed very close to, and a fraction lower than, the lip edge of the piano curve.

He explained that this was designed to mitigate the brightness and close-up presence of lid reflections and hammer impacts....and I wonder if a similar approach might work with the tympani, thus approaching Yannick's suggested location. This would have the added bonus of avoiding the 'catch-all' nature of a significantly elevated mic above the drumskin.

Any thoughts or experiences with the large-ensemble (wind band or string symphony) tymp miking conundrum, which might move this subject ahead from where it was left a few years ago ?

fred2bern 30th October 2020 10:05 AM

I use a pair of KM184s, around 1m50 over the skins and a super low cut to only keep the impact of the mallet attack.

studer58 30th October 2020 10:16 AM


Originally Posted by fred2bern (Post 15076783)
I use a pair of KM184s, around 1m50 over the skins and a super low cut to only keep the impact of the mallet attack.

Thanks Fred that would put the mics not far above the player's head , and presumably pointing down at the centres of each drum's skins. So you're not picking up much leakage of nearby instruments, brass etc...due to the lowish height ?