Mic positions test samples:
I recently recorded the audio for a commission I led resulting in Steven Snowden‘s solo timpani + electronics piece, “The Taos Hum.” I’ll upload the video when it’s finished. However, I took only a few minutes (time in the hall was limited) to make 5 different audio recordings of the sample mic positions for the project. I move them around until I found a nice balance between articulation and tone/resonance. You’ll only see 4 photos, but 5 positions played in the audio. Position #2 is the same for audio clip #2 and #3. One the implements changed just so you can hear the difference between mallets and hotrods.
I have included photos of each position, quick listing of each position and a description of the resulting sound, and a brief audio sample of each position. NOTE: the audio samples are all in one file. They’re divided by a few seconds of silence. Sorry for the roughness of this posting, but some of you asked…so here it is!
AT2035s (2)
Logic Pro X
— no effects added here —
One: 3 feet above. two 2035s between drums. Looking flat centered between drums
– tons of attack, little resonance and tone
Second: 3 feet above. 2.5 feet away from drums. Mics at 45 degrees pointed to center between pairs
– tons of attack, little resonance and tone
Third: same as second but with hot rods
– tons of attack, little resonance and tone
Fourth: 3 feet away from drums. 15 degrees pointed centered between pairs. Diaphragm is about 6-8 inches above head.
– pretty well balanced. Tons of tone and resonance. Good attack. Perhaps tip toeing on more resonance than attack. Still pretty close to balanced, though.
Fifth: 3 feet away from drums. Diaphragm about 12-15 inches above head. 15 degrees to the center of the drums.
– best balance between attack and resonance/tone.


Position #1



Position #2



Position #3



Position #4