Which technique of micing a marimba
Hollis, Benjamin. Lecture 5. The best practice is to mount the mics to the horizontal bar at the bottom of the frame, pointing upwards at the bars.
Another improvement could include creating a device to constantly drop a mallet on the marimba to more accurately answer the question. Walker, James. A wooden floor reflects the tones of the marimba and resonators, so the entire room fills with the sound and the overtones.
Physics of Musical Instruments. Mallet Jazz.
Marimba microphone placement
Just remember that the recording studio is a completely different artistic arena than a live performance. A change of sticks can completely alter the tonal character. Follow the rule as a general rule for placing spaced pairs of mics. If you want a condenser, I like the sound of the Avantone CV For example, isolation is important because leakage from another instrument could cause phase cancellation and ultimately reduces the ensembles stereo image rather than building it. The study not only has importance for Woodland but for other high schools within the area because it enables other pits to replicate the experiment to find the best microphone technique to allow the other pits to also have the best microphone technique on their marimbas, or other mallet instruments. Completely overcoming all these difficulties simultaneously is not entirely possible and the best solution in my experience tends to vary from situation to situation. Then, set up one speaker one meter to the left or right of the marimba and five meters ahead of the marimba, also set up the speaker one meter to the opposite side of the marimba, and five meters ahead of the marimba. So from the perspective of the microphone, you would be looking down and forward at the marimba. Although Jim Casella and Jim Ancona suggest to mic from above, the sound is reflected from the bars and slows down as where the sounds coming out of the bottom of the resonators and go straight to the mics. To avoid phase cancellation, use the rule Walker.
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