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Old 30th October 2020 | Show parent
Lives for gear
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 ?