Vibraphone
- Range
- F3–F6
- Sources
- 54 independent: not from a mic maker
Range
F3 to F66175 Hz – 1.4 kHz
Standard 3 octaves; some models C3-F6 (VSL).
| Low | F3–B3 | soft, does not project well |
|---|---|---|
| Middle | C4–B5 | clear, singing |
| High | C6–F6 | bright, 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
Playing techniques
- Motor: rotating discs in the resonators make a periodic swell (tremolo)
- Pedal and mallet damping: control the sustain
- Bowing: long, pure, sustained tones6
Recording it
- Where: two mics about 45 cm (1.5 ft) above the bars, spread across the range
- Watch: motor noise5
Estimate: Not found in the sources checked (general practice): Watch.
Mics
- 8 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.
No mic is named by more than one source yet: each names its own.
All the mics sources name, by setting and role (10)
Studio and stage
Close
Spaced pairX-Y
Contact
Stereo pair
Bottom
Spaced pair
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 tubes
2
Studio
The 2 setups behind this: placement and quotes
- Main pair or array Mallet percussion advice 2 × Neumann KM 84stereo 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 source
Close
- Shure KSM1091 source from its own maker
- Shure KSM1371 source from its own maker
- Shure KSM1411 source from its own maker
- Shure KSM271 source from its own maker
- Shure KSM321 source from its own maker
- Shure KSM441 source from its own maker
- Shure SM811 source from its own maker
- Shure SM941 source from its own maker
Stereo pair
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 SM94pair 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 apart
5
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
- Walker, J. (2000) Microphone Techniques for Vibraphone, malletjazz.com (from the CD-ROM Signal Processing for Vibraphonists)
- Hogan, J. & T. (2016) Accordions & Didgeridoos: Mic Techniques For 'Exotic' Instruments, Pro Sound Web
- Mix (1997) Recording Jazz Combos (Andy Narell on recording Dave Samuels' marimba and vibes)
- Mix: Sound Reinforcement for the Boston Pops: Miking the Orchestra (BSO live mix engineer Steve Colby)
- Shure: Microphone Techniques for Live Sound Reinforcement
- Vienna Symphonic Library Academy: Vibraphone
- Wikipedia: Vibraphone
- Adams: Alpha vibraphone (specifications)
- Adams: Solist vibraphone (specifications)
- HomeRecording.com forum, Recording mallet percussion (2007)
- Vibes Workshop forum, thread on vibraphone pickups (comments on frame and motor noise)