Mic Archive

Instrument

Tin whistle

A six-hole fipple flute of metal or plastic, central to Irish and Scottish traditional music. Also called penny whistle, Irish whistle; low whistles are longer and wider and sound an octave or more lower.1

Also called penny whistle.

Range
D5–D7
Sources
5 (5 independent)

Recommended mics

Mics sources recommend

9 setups from 5 sources, 5 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.

On stage

Close

  • Shure SM581 independent source
  • cardioid dynamic with foam windscreen, pointed at the top hole1 independent source

Clip-on

  • clip-on flute mic (strap or clamp type)1 independent source
The 3 setups behind this: placement and quotes
  • Close Shure SM58
    live, ~1 in (3 cm) from the window, 60-90 degrees
    I generally use a Shure 58 vocal mic and am very happy with it; it means I can also do background vocals through the same mic.2
  • Clip-on clip-on flute mic (strap or clamp type)
    clip-on
    One suggestion has been to use a flute mic (the strap/clamp on type); instrument mics should capture the frequency much better.2
  • Close cardioid dynamic with foam windscreen, pointed at the top hole
    close, live dance
    The most consistent sound comes out the hole at the top by the player's mouth; a foam windscreen can help cut breathing noise.3

Studio and stage

Close

  • AKG C3000B1 independent source
  • Shure SM581 independent source
The 2 setups behind this: placement and quotes
  • Close AKG C3000B
    8-12 in away, about 3 in for low notes
    I use an AKG C3000B for both whistle and bagpipes, at about 8-12 in away, closer for lower octave stuff.2
  • Close Shure SM58
    studio, budget; or live close
    If you want a dynamic just go SM58, it is incredibly popular (forum poster).4

Studio

Named, no placement given

Close

  • AKG C414 XLS1 independent source
  • Neumann KM 841 independent source
  • NoHype Audio LRM-V1 independent source
  • Oktava MK-0121 independent source
  • flat (boundary) condenser, about 12 in from the tone holes (woodwinds)1 independent source
The 4 setups behind this: placement and quotes
  • Named, no placement given Audio-Technica AT2035
    studio, budget
    AT2035 is a super popular budget condenser (forum poster, for tin whistle).4
  • Close NoHype Audio LRM-V or AKG C414 XLS
    close, studio
    The ribbon mic controls the tone of the whistle in a polite manner; the C414 XLS comes close but is a tad too truthful. ... The AKG C414 XLS comes close, but it is a tad too truthful and does not tame some of the piercing frequencies.4
  • Close flat (boundary) condenser, about 12 in from the tone holes (woodwinds)
    close
    Woodwinds: place a flat condenser about 12 inches from the tone holes.5
  • Close Neumann KM 84 or Oktava MK-012
    about a foot above the hands (woodwinds)
    Mic a flute from above with a KM 84 or MK-012 about a foot over the hands for a rich recording without excessive breath noise (woodwind section). ... Mic a flute from above with a KM 84 or MK-012 about a foot over the hands (woodwind section).6

Range

D5 to D71587 Hz – 2.35 kHz

D whistle; low whistles go an octave or more lower

The sound

Air through a fixed windway (the fipple) hits a sharp edge at the window; opening holes from the bottom shortens the tube; the upper octave is reached by blowing harder. Clarke-style rolled-metal whistles sound airier and less pure than cylindrical Generation-style whistles.1

Where the sound goes

Sources disagree on where the sound comes out. Jeff Kaufman, a contra-dance sound engineer, says for flutes, recorders and whistles the most consistent sound comes from the hole at the top by the player's mouth, with the rest only setting the standing-wave length. Paul Stamler says for woodwinds generally most of the sound comes from the first open hole (that is, not the mouthpiece or end), so a mic about a foot over the hands gets a rich sound with little breath noise. A forum poster says the sound comes out of the windway, so that is the part to hold close to the mic.3,6,2

Recording it

A poster on Chiff & Fipple says small-diaphragm condensers are said to suit woodwinds slightly better than large ones, and names budget picks (AT2035, MXL 770 and 990, Rode NT1, a Shure SM58 if you want a dynamic). One player who tried an AKG C414 XLS, an SM57, an Audix VX-10, a Beyerdynamic M58 and a large ribbon (NoHype LRM-V) found the ribbon tamed the piercing frequencies politely, with the C414 close but "a tad too truthful"; he cautions against putting a ribbon in a direct air stream. The same thread advises trying 3 in to 2 ft, and aiming the window at, slightly off, or 90 degrees away from the mic. Search-result text from other Chiff & Fipple threads (pages not opened) gives 12-18 in out and above the window, side-address condensers, and an SM58 about two feet away. Bartlett: for woodwinds a flat condenser about 12 in from the tone holes; for a flute, halfway between mouthpiece and tone holes, 6-12 in. Stamler: a KM 84 or MK-012 about a foot above the hands. Use a foam windscreen to cut breath noise.4,5,6,3

On stage

A Shure SM58 about an inch (3 cm) from the window and at about 60-90 degrees to it works for a band member, who can share it with backing vocals; he adds a pre-amp and compressor. A clip-on flute mic (strap or clamp type) is suggested, since flute mics are made for the third octave. One player uses an AKG C3000B 8-12 in away (about 3 in for low notes) for whistle and bagpipes. Kaufman points a cardioid dynamic at the top hole with a foam windscreen.2,3

Problems to watch

Breath and wind noise (use windscreens or socks; keep a ribbon out of the air stream); level jumps between low and high notes; feedback with a close live mic.4,2,3

About the range

A D whistle plays D5 to D7, two octaves; low whistles go down by an octave or more.1

How loud

Sound pressure level measurements as published. Different kinds of figure (a playing level, a peak, a dose at the player's ear) can't be compared with each other, and neither can figures at different distances.

Playing level
52–66 dBat 1 m; Generation D whistle, notes from low D to high G (low D 52, low G 53, high D 59, high G 66, high B 64 dB), measured with the Sound Meter Lite app on a phone8
68–92 dBat 0.61 m; Generation G whistle at 2 ft: common notes 68-72 dB, A5 92 dB9
74–104 dBat 0.61 m; Susato G whistle (medium bore) at 2 ft: common notes 74-76 dB, A5 104 dB; a very-small-bore Susato G read 76-82 dB on common notes9

None found. The high octave is shrill; Chiff & Fipple posters use a compressor to level low and high notes and tame the top octave.4,2

Sources

  1. Wikipedia, Tin whistlereference · en.wikipedia.org
  2. Chiff & Fipple forum: New advice: How to mic a whistleforum · chiffandfipple.com
  3. Jeff Kaufman: Contra Dance Sound, Mic PlacementJeff Kaufman · engineer · 2012 · jefftk.com
  4. Chiff & Fipple forum: Recommendations On Microphones For Recording Tin Whistle?forum · chiffandfipple.com
  5. ProSoundWeb: A Guide to Microphone Techniques for Studio Recording, page 5Bruce Bartlett · educational · 2016 · prosoundweb.com
  6. Recording Magazine: Tough-To-Record Instruments From A to ZPaul Stamler · magazine · recordingmag.com
  7. Professional Composers: Orchestral and Acoustic Instrument Range Charteducational · professionalcomposers.com
  8. Jeff Kaufman: Quiet PennywhistleJeff Kaufman · engineer · 2014-02-11 · jefftk.com
  9. Chiff and Fipple forum: High (and yes, I do mean high) A whistle, page 2 (post by Tinkerer)forum · 2008-07-10 · chiffandfipple.com