Instrument
Shaker
- Sources
- 9 (9 independent)
Mics sources recommend
15 setups from 9 sources, 9 of them independent of any mic maker. Each mic shows how many sources name it for that role, and how many of those are independent. Listed alphabetically: there is no ranking.
Studio
Close
- Coles 40381 independent source
- Neumann U 47 (clone)1 independent source
- condenser (unnamed)1 independent source
- microphone (type not named)2 independent sources
- passive ribbon1 independent source
- small-diaphragm condenser1 independent source
Room
- condenser (unnamed)1 independent source
- microphone (type not named)1 independent source
- tube condenser1 independent source
Main pair or array
- Shure KSM1411 independent source
- ribbon pair, Blumlein1 independent source
Distant
- Neumann KM 184 / Audio-Technica AT4051b1 independent source
- microphone (type not named)1 independent source
Overhead
- Electro-Voice 635A1 independent source
- Neumann U 871 independent source
The 15 setups behind this: placement and quotes
- Close microphone (type not named)close, stay about 6 in from the mic
stay 6 inches away from the mic's when doing shakers etc. (JohnnyConga)
1 - Room condenser (unnamed)distant, farther away to capture room ambience
For shakers, toys, claves and bells, condensers placed farther away to capture room ambience (Tonio, paraphrase)
1 - Close microphone (type not named)close, shaker directly in front of the mic, emphasises accents
Placing the mic directly in front of the shaker will emphasize the accents and capture a full and defined sound.
2 - Main pair or array 2 × ribbon pair, Blumleinpair, two ribbons in a Blumlein array, panned either side of the shaker's position
A pair of ribbon microphones in a Blumlein array can add an extra dimension and realism.
2 - Room tube condenserroom, about four feet away
Try a cardioid tube condenser mic about four feet away from the instrument.
2 - Room microphone (type not named)top, hung high above the player pointed down, in a live room
Hang the mic up high above the player pointed down.
3 - Distant microphone (type not named)distant, 3-6 ft from the mic
If it jingles, rattles or scrapes, give yourself a good 3 to 6 feet from the mic for clarity and believability.
4 - Close condenser (unnamed)close (distance not given); cut 3-4 dB around 6 kHz
Javier Garza uses condenser mics on shakers and tambourine, cutting 3-4 dB around 6 kHz (paraphrase)
5 - Main pair or array 2 × Shure KSM141stereo pair 4-5 ft away, near reflective surfaces
relatively unhyped small-diaphragm models
6 - Overhead Electro-Voice 635A or Neumann U 87distant, out a bit and higher up, like overheads
his favorites for shakers, tambourines and cabasa are the EV 635a and Neumann U87 (drumsound, paraphrase) ... I often place percussion mics out a bit, but also higher up, like overheads (drumsound, paraphrase)
7 - Close passive ribbonclose (distance not given)
a passive ribbon worked nicely on the shaker (Phobos, paraphrase)
7 - Close Neumann U 47 (clone)close, about a foot away
Used a U47 clone about a foot away on shaker; ribbons on shakers maybe more like a foot away (digitaldrummer, paraphrase)
8 - Distant Neumann KM 184 / Audio-Technica AT4051bdistant, 3-5 ft from the source (unless an egg shaker), for fuller arrangements
3-5 feet from the source, unless it is an egg shaker (Nick Sevilla; LDC U47 in omni for sparse arrangements)
8 - Close Coles 4038close, a little closer than tambourine; a ribbon for chunky shakers, an SDC for crisp ones
For shakers, records a little closer, using a Coles, a ribbon for chunky shakers, or a small-diaphragm mic for crisp sounds (cgarges, paraphrase)
8 - Close small-diaphragm condenserclose, 30-60 cm away, slightly off-axis
a small-diaphragm condenser 30-60 cm away, aimed slightly off-axis
9
Advised against
- Close microphone (type not named)close, shaken across the capsule
Recording a shaker across the capsule will cause the accents to flatten out and create an undefined sound with less body.
2 - Close close mic in a dry roomclose, in an acoustically dry space
Any shaker tracks I've recorded close and in dryer environments (acoustically) have had a harsh, scratchy sound
3 - Close ribbon micclose
stay far, FAR away from ribbon mics for this stuff (Nick Sevilla; other posters like ribbons)
8
Frequency bands
| rattle | 3 kHz – 12 kHz | shaker loudest 3.5-4.5 kHz; cabasa loudest 8-16 kHz |
|---|---|---|
| body | 1 kHz – 3 kHz |
Own analysis: 1/3-octave band levels of the first second after the hit (dB re loudest band), plus a 12 ms attack window and spectral peak picking. A band is listed where the level stays within about 10-15 dB of the loudest band (weaker bands are given with their level). "tone" = clear spectral peaks; "noise" = dense or broadband energy. Measured from: Virtuosity Drums LShaker_Shake1D_rr1, Cabasa1_Rub_v1_rr1.
Sounds it makes
| Shaker | energy mostly 3-10 kHz |
|---|---|
| Cabasa | steel beads: 5-16 kHz |
| Maracas | not measured; similar to the shaker |
The sound
Many small beads hitting a shell: pure noise, with a brightness set by the bead and shell material.
Recording it
Sources
- My Conga Place forum: suggestion for percussion recording (2007 thread)
- Production Expert: Get A Great Percussion Sound - Free Percussion Recording Techniques (Mike Thornton, 2020, with Paul Drew and James Ivey)
- ProSoundWeb: In The Studio: Hand Percussion Recording Tips (Jon Tidey, 2014)
- Recording Magazine: Drumming and Drummers and Mics - Oh My! (Paul Vnuk Jr. with David Blascoe)
- Daley, D. (2006) Recording Latin Percussion, Sound On Sound
- Senior, M. (2015) Session Notes: Recording Percussion, Sound On Sound
- Tape Op message board: Percussion session today - HELP (2021 thread)
- Tape Op message board: Upping my percussion recording skills (2020 thread)
- Violet Recording: How to Record Percussion (editorial team)