Mic Archive

Piccolo

Range
D5–C8
Overtones to
about 8.9 kHz
Peaks up close
up to 126 dB SPL
Sources
53 independent: not from a mic maker

Range

D5 to about C86587 Hz – 4.19 kHz

Piccolo in C, sounding an octave above written (written D4-C7). B7 and C8 only fortissimo.

LowD5–G5dull, rather hollow; few overtones
MiddleG#5–C7the most used register; delicate to piercing
HighC#7–C8piercing; the top notes forced and shrill

Overtones reach about 8.9 kHz (the highest harmonic within 40 dB of the strongest, at a moderate level; louder playing reaches higher)7.

The sound

An open pipe like the flute, an octave higher: few, fairly weak harmonics, and a clear breath noise on top.

Where the sound goes

No piccolo-specific source. The general woodwind statement applies (sound from the tone holes along the body, bell mostly a timbre filter). The highest notes are the loudest and most piercing, as the existing entry says.11,1

Playing techniques

  • Flutter-tonguing: a rolled R, a rough, buzzing tremolo
  • Trills: easy and bright up to about A76

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
96–112 dBat 3 m; UK Sound Advice table of representative noise levels, row 'Piccolo' (single musician) secondary8
102–118 dBnear the player's right ear; UK Sound Advice table of representative noise levels, row 'Piccolo (near right ear)' secondary8
90–106 dBnot stated; hearingconservation.org decibel chart, 'Sound Levels of Music' secondary9
Peaks
120 dBnot stated (peak column of the same table); UK Sound Advice table of representative noise levels, row 'Piccolo' secondary8
126 dBnear the player's right ear; UK Sound Advice table, row 'Piccolo (near right ear)' secondary8
Sound power
109.2 dBmaximum sound power level Lw (re 1 pW), no distance; Sengpielaudio table of maximum possible sound power, row 'Piccolo' secondary10

96-112 dB at 3 m, peak 120 dB, in the Sound Advice table of representative noise levels; the same table gives a "near the right ear" row of 102-118 dB, peak 126 dB (collated from several sources, weighting not stated). Both read from search-result text, because the PDF would not extract. At 3 m this is 4-7 dB above the flute line in the same table (92-105 dB); the flute row in this file's earlier section is the one to compare.8

Recording it

  • Distance: 1 m or more, level with the instrument or slightly above; the top octave is very loud and piercing
  • Mics: a small- or large-diaphragm condenser; a ribbon or a dark condenser tames the top
  • Watch: close up, breath noise and shrillness grow12

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

Mics

No mic is named by more than one source yet: each names its own.

All the mics sources name, by setting and role (3)

Studio

Contact

Stereo pair

The 4 setups behind this: placement and quotes
  • Distant ribbon (type only)
    close-to-room, start 4 ft (1.2 m) or further
    A ribbon microphone is recommended to tame the "shrill, piercing sound"; "Start with a distance of 4 feet and don't be afraid of going even further away."1
  • Spot microphone
    spot, one mic between the two flute players (one of whom sometimes doubled piccolo)
    the flutes had a microphone between the two of them (one flautist sometimes played piccolo, paraphrase)2
  • Spot Woodwinds advice Royer ribbon microphone
    spot, close mics on the woodwinds
    Royer ribbon mics on the woodwinds and low brass3
  • Contact Woodwinds advice 2 × Schoeps MK 4
    pair, stereo pair as overall woodwind pickup
    the woodwinds had a stereo pair of Schoeps MK4s as an overall pickup2

Studio and stage

Close

Spot

The 3 setups behind this: placement and quotes
  • Close Woodwinds advice DPA 4006
    close, about 5-10 cm from the instrument, aimed halfway between the mouthpiece and the left hand
    "Approx. 5-10 cm away from the instrument, aim the mic halfway between the mouthpiece and the left hand"; omni for lower sensitivity to wind and pop. DPA: the techniques apply to "other variants of the flute family".4
  • Spot Woodwinds advice DPA 4011
    spot, behind and slightly above the player's head, pointing at the finger holes
    "spot-miked behind and slightly above the head of the player, pointing at the finger holes" (4011 cardioid or 4015 wide cardioid). DPA: the techniques apply to "other variants of the flute family".4
  • Close Woodwinds advice condenser (type only)
    close, about 30 cm from the sound holes
    A mic placed about 1 foot from sound holes will produce a natural, well-balanced sound.5

Sources

  1. Recording Magazine: Recording the Flute (David Summer), piccolo sectionmagazine · recordingmag.com
  2. Sound On Sound: Jake Jackson: Recording The 2012 Olympic Anthemsmagazine · soundonsound.com
  3. Mix: The Changing Landscape of Orchestral Recording (engineer Steve Smith, Music Works Studios)magazine · mixonline.com
  4. DPA Mic University: How to mic a flute or recordermanufacturer · dpamicrophones.com
  5. Shure: How to Choose the Best Mics for Brass, Wind, and String Instrumentsmanufacturer · shure.com
  6. Vienna Symphonic Library Academy: Piccoloeducational · vsl.co.at
  7. SHARC Timbre Database v2 (Gregory Sandell): harmonic analyses of McGill University Master SamplesGregory Sandell · academic · github.com
  8. Representative noise levels table with orchestra noise guidance (UK Sound Advice material)eclass-b.uoa.gr
  9. Decibel (Loudness) Comparison Chart, hearingconservation.orghearingconservation.org
  10. Sengpielaudio (UdK Berlin): Stoerquelle - Musikinstrument? (maximum sound power of instruments)Eberhard Sengpiel · educational · 2006-05 · sengpielaudio.com
  11. Recording Magazine: Miking Brass and WindsBob Ross · magazine · recordingmag.com
  12. DPA Mic University: How to mic a flute or recordermanufacturer · dpamicrophones.com