Timbales
- Sources
- 54 independent: not from a mic maker
Frequency bands
| tone | 250 Hz – 600 Hz | ESTIMATE: small, shallow metal-shell drums (13" and 14") tuned high, above rack toms |
|---|---|---|
| rim and shell | 2 kHz – 8 kHz | ESTIMATE: stick on the metal shell (cáscara) and rimshots |
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: none (estimate).
Sounds it makes
| Macho (13") | higher |
|---|---|
| Hembra (14") | lower |
| Cáscara (shell) | metallic click |
| Rimshot | ringing crack |
The sound
Single-headed drums on thin metal shells, tuned much higher than toms; played with sticks on heads, shells and rims, so metallic shell ring is part of the sound.
Recording it
- Where: a small-diaphragm pair overhead (XY), or two dynamics underneath pointing out at the rims
- Watch: rimshots are very loud; the overheads catch the cowbell and cymbal too4
Estimate: Not found in the sources checked (general practice): Watch.
Mics
- 13 setups from 5 sources, 4 of them independent of any mic maker.
- On top: the mics more than one source names for this instrument, in any role, the most named first. That is a count of sources, not our verdict.
- In the full list, each mic shows how many sources name it for that role, and how many of those come from a mic maker.
- Shure SM57 4 sources, 1 from a mic makerBottom, close
- Sennheiser MD 421 2 sourcesBottom
All the mics sources name, by setting and role (11)
Studio
Bottom
- Royer ribbon1 source
- Sennheiser MD 4212 sources
- Shure SM572 sources
Top
- AKG C4141 source
Close
Overhead
- Audio-Technica AT40511 source
- Neumann KM 1841 source
- Neumann KM 851 source
- Schoeps SMC51 source
X-Y
The 12 setups behind this: placement and quotes
- Bottom Sennheiser MD 421below, for cascara/side of drum
421 or other dynamic below, condenser above; flip phase when combining upper and lower (Eric Schilling, paraphrase)
1 - Bottom Shure SM57underneath and/or on top
SM57 underneath and/or overtop (Jim Gaines, paraphrase)
1 - Top AKG C414top, brightness
AKG 414 for brightness (Jim Gaines, paraphrase)
1 - Close Shure SM57 / SM58 / Sennheiser MD 421 / e604close, dynamic mics placed close
For congas, bongos and timbales, close-placed dynamic mics such as SM57, SM58, Sennheiser 421 or e604 (Tonio, paraphrase)
2 - Overhead condenser (unnamed)overhead, farther away to capture room ambience (timbale overheads, bells, cymbals)
For timbale overheads, bells, cymbals... condensers placed farther away to capture room ambience (Tonio, paraphrase)
2 - Top large-diaphragm condenser pairtop, about 19 in above the outer edge of each timbale, pads engaged
Place the mics about 19" above the outer edge of each timbale.
3 - Bottom Shure SM57under the drums, pointing out at rims
Two Shure SM57s beneath the pair of timbales pointed outwards towards their rims (Boris Milan)
4 - Overhead 2 × Neumann KM 184overhead X-Y pair
Pair of small-diaphragm condenser microphones, such as Neumann KM184s, overhead in an X-Y configuration (Boris Milan)
4 - Overhead Schoeps SMC5overhead, padded
I'll put some Schoeps SMC5 mics, padded, as overheads (Carlos Alvarez)
4 - Bottom Royer ribbonunderneath, catches the mid-range
Microphones that are a little dull, like the Royer ribbons, catch the mid-range (Carlos Alvarez)
4 - Bottom Sennheiser MD 421underneath, V shape pointing out
A couple of Sennheiser 421s underneath and pointed outward from each other in a 'V' shape (Sebastian Krys)
4 - Overhead Audio-Technica AT4051 or Neumann KM 85overhead, 3-3.5 ft above
Audio-Technica AT4051 condensers or KM85s about three to three-and-a-half feet above as overheads (Sebastian Krys) ... AT4051 condensers or KM85s about three to three-and-a-half feet above as overheads (Sebastian Krys)
4
On stage
Close
- Shure Beta 56A1 source from its own maker
- Shure Beta 57A1 source from its own maker
- Shure Beta 98D/S1 source from its own maker
- Shure SM571 source from its own maker
The 1 setup behind this: placement and quotes
- Close Shure Beta 98D/S or Shure Beta 56A or Shure Beta 57A or Shure SM57one mic aiming down between the pair, just above the heads
One microphone aiming down between pair of drums, just above top heads
5
Sources
- Jackson, B. (2004) The Big Beat, Mix
- 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)
- Daley, D. (2006) Recording Latin Percussion, Sound On Sound
- Shure: Microphone Techniques for Live Sound Reinforcement