Mic Archive

Mallet percussion

Vibraphone

Mallet percussion: Marimba, xylophone, vibraphone and glockenspiel: tuned bars spread over a wide frame, so one mic rarely covers them evenly. Mallet type changes the spectrum and the attack.

Part of the Mallet percussion family; that family's advice shows here too.

Range
F3–F6
Sources
5 (4 independent)

Recommended mics

Mics sources recommend

8 setups from 5 sources, 4 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 and stage

Close

  • stereo pair, spaced, from above (type only)1 independent source
  • stereo pair, X-Y (type only)1 independent source

Contact

  • stereo pair, from below (type only)1 independent source

Bottom

  • Condenser pair (unnamed)1 independent source
The 4 setups behind this: placement and quotes
  • Close 2 × stereo pair, spaced, from above (type only)
    spaced pair above the bars; best stereo image and even coverage, risk of phase cancellation and mallet clashes
    Spaced pair from above: optimal stereo imaging, more even coverage than X-Y; picks up mallet contact (paraphrase)1
  • Close 2 × stereo pair, X-Y (type only)
    X-Y above; no phase cancellation, narrower image, mics can get in the way of mallets
    X-Y: no phase cancellation, but the image is weaker than a spaced pair (paraphrase)1
  • Contact 2 × stereo pair, from below (type only)
    pair under the bars; clear of the mallets, but frame rattles are amplified and less mallet contact is heard
    Pair from below: no interference with mallets, but rattles and frame noise are amplified (paraphrase)1
  • Bottom Mallet percussion advice 2 × Condenser pair (unnamed)
    12 in under the resonator tubes, spaced between high and low bars
    evenly spaced between the high and low bars, about 12 inches under the resonator tubes2

Studio

Main pair or array

  • Neumann KM 841 independent source
  • condenser, small diaphragm (Schoeps, model not named)1 independent source
The 2 setups behind this: placement and quotes
  • Main pair or array Mallet percussion advice 2 × Neumann KM 84
    stereo pair, room and image; large concert rosewood marimba
    Smaller-diaphragm mics like the Schoeps, B&Ks and the KM84s capture the room and give a nice stereo image (Narell, paraphrase)3
  • Main pair or array Mallet percussion advice 2 × condenser, small diaphragm (Schoeps, model not named)
    stereo pair, room and image
    Smaller-diaphragm mics like the Schoeps, B&Ks and the KM84s capture the room and give a nice stereo image (Narell, paraphrase)3

On stage

Distant

  • AKG C451 (earlier version of the AKG C451 B)1 independent source

Close

The 2 setups behind this: placement and quotes
  • Distant Mallet percussion advice AKG C451 (earlier version of the AKG C451 B)
    live (orchestra pops); about 7 ft above, over the low end, aimed toward the high end; one per pitched instrument
    I mike from above, at about seven feet, over the low end of the instrument and aimed toward the high end (Colby)4
  • Close Mallet percussion advice 2 × Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure SM81 or Shure SM94
    pair 1.5 ft above, 2 ft apart, aiming down (mallets list)
    Two microphones aiming down toward instrument, about 1 1/2 feet above it, spaced 2 feet apart5

Range

F3 to F66175 Hz – 1.4 kHz

Standard 3 octaves; some models C3-F6 (VSL).

LowF3–B3soft, does not project well
MiddleC4–B5clear, singing
HighC6–F6bright, short

Split is an estimate based on VSL's description (weak low register, brighter middle and top).

Tuning: Motor tremolo: variable-speed motors typically 1-12 Hz rotation (Wikipedia); Adams Alpha 40-140 RPM.7,8

The sound

Aluminium bars with few strong overtones and a long sustain; motor-driven discs in the resonators open and close to make the tremolo.

Where the sound goes

One mic gives uneven coverage of the range, which is why two are standard. Mallet contact is picked up by mics above, not below.1

Recording it

Estimate: Not found in the sources checked (general practice): Watch.

Playing techniques

Problems to watch

Frame and pedal noise: from below, "rattles and frame noise are amplified"; a beginner's thread complains of frame noise from the pedal, and a reply suggests EQ or oiling it.

Motor: none of the recording sources opened says what the motor does to a mic. A vibraphone forum thread says a pickup hung under the frame would not pick up frame or motor noise. This is a gap against the existing "Watch: motor noise".1,10,11

Sources

  1. Walker, J. (2000) Microphone Techniques for Vibraphone, malletjazz.com (from the CD-ROM Signal Processing for Vibraphonists)educational · malletjazz.com
  2. Hogan, J. & T. (2016) Accordions & Didgeridoos: Mic Techniques For 'Exotic' Instruments, Pro Sound Webmagazine · prosoundweb.com
  3. Mix (1997) Recording Jazz Combos (Andy Narell on recording Dave Samuels' marimba and vibes)magazine · mixonline.com
  4. Mix: Sound Reinforcement for the Boston Pops: Miking the Orchestra (BSO live mix engineer Steve Colby)magazine · mixonline.com
  5. Shure: Microphone Techniques for Live Sound Reinforcementmanufacturer · 2007 · music.arts.uci.edu
  6. Vienna Symphonic Library Academy: Vibraphoneeducational · vsl.co.at
  7. Wikipedia: Vibraphonereference · en.wikipedia.org
  8. Adams: Alpha vibraphone (specifications)manufacturer · adams-music.com
  9. Adams: Solist vibraphone (specifications)manufacturer · adams-music.com
  10. HomeRecording.com forum, Recording mallet percussion (2007)forum · homerecording.com
  11. Vibes Workshop forum, thread on vibraphone pickups (comments on frame and motor noise)forum · vibesworkshop.com