In this series, we are going to look at how to record a wide range of sound sources from a solo vocal through guitars, bass, piano strings, brass, woodwind and percussion, before moving onto the drum kit. In part 9 we are going to look at recording percussion including Congas, Timbales, Cajon, Djembe and a variety of shakers including the tambourine.

Throughout this series, we are using some excellent videos produced by Audio Technica and they naturally profile their own mics. But of course, you don’t have to use the specific Audio Technica mics they recommend. Take note of the type of microphone they recommend, like a large-diaphragm cardioid condenser or a hypercardioid dynamic microphone and chose one of that type that you prefer and/or own. What makes the biggest difference to the sound is where you place the microphone, not the particular brand and model of microphone.

There are a large variety of Latin percussion instruments. Each with its own unique demands when it comes to miking. Lets’ start with some Latin percussion…

Congas

Try a pair of cardioid large-diaphragm condenser mics on the congas. Position the mics about 9″ above the outside edge of each conga. This position will maximise the isolation for the widest possible stereo image.

Timbales

For timbales, try a pair of cardioid large-diaphragm condenser mics with the pads engaged to handle the large dynamic range of the drums. Place the mics about 19″ above the outer edge of each timbale to capture a proper balance of shell, head and cowbell. Again, keeping the mics above the edge of each drum will widen the stereo image.

Cajon

On the Cajon, we recommend using two mics. The first is a cardioid large-diaphragm condenser mic positioned about a foot in front of the instrument to pick up the bulk of the sound. Second, we use a ribbon microphone about 8″ from the port on the back to capture the low end. Keep the mic from sitting directly in front of the port to protect it from the high SPL there.

Djembe

For a djembe, we recommend a similar approach with two mics. Again, a cardioid large-diaphragm condenser mic on the front of the drum to capture most of the sound. Then a figure of eight large-diaphragm condenser mic to capture the extreme low end on the bottom of the drum. Using a figure of 8 mic extends the low-frequency response of the mic without making it too roomy.

Hand Percussion Or Shakers

Hand percussion can provide just the accent you need to fill out and drive your song. It provides spice and momentum. Paul Drew says…

“One of the most useful group of instruments in music production is live percussion. In fact, I would recommend that every producer has at the very least a tambourine and an egg shaker. These reasonably priced instruments can be the final element that makes your production come to life.

I have two tambourines, one has a gnarly aggressive sound that is perfect for hard-driving productions, and the other has a sweet less aggressive tone that fits perfectly into slower tempo smooth productions.

I also have two egg shakers, and the differences between the two are pretty similar to the tambourine's but with such a high-frequency instrument the differences are a lot more subtle.”

In many of the greatest rock songs, a good piece of hand percussion provides the perfect addition. Here are four basic tips for recording hand percussion properly, so it sits just right in your mix, regardless of the effect you’re looking for.

1. Position Head-On - We’ll start with a shaker and a small-diaphragm cardioid condenser microphone. Placing the mic directly in front of the shaker will emphasize the accents and capture a full and defined sound. The closer the shaker is to the mic, the louder the accents will be relative to the rest of the sound.

2. Position Across the Capsule - Recording a shaker across the capsule will cause the accents to flatten out and create an undefined sound with less body. This is ideal for a shaker that sits back in the mix.

3. Use a Pair of Microphones - A pair of ribbon microphones in a Blumlein array can add an extra dimension and realism to a dynamic instrument, like a tambourine. Gently panning these microphones to either side of the desired position in the stereo field can provide a sense of space that a mono mic can’t provide.

4. Capture Room Ambience - For a more vintage sound, back the percussionist off the mic and capture some of the room ambience. Try a cardioid tube condenser mic about four feet away from the instrument to capture a balance of space and direct sound.

With these four methods, you’re ready to record your hand percussion. Experiment with distances and positions to find the perfect sound and stereo image for your mix. Paul Drew offers some great advice on recording hand percussion…

“Tambourines can be tricky to record properly, to say the least. When I first started recording I only had a reasonably priced large-diaphragm condenser microphone as my main microphone. Every time I recorded a tambourine I would make sure that the levels on my preamp and DAW were not peaking, but when I came to playback, it would sound like I had recorded it too hot and the peaks were very distorted.

Then I discovered the secret weapon for tambourines: Dynamic Microphones. Most condenser microphones can't handle the high SPL of a tambourine when close micing, sure some have a pad switch but even then they can still distort. In my opinion, I would always recommend recording with a dynamic microphone. Get yourself a Shure SM57 or an SM7b and you will get great results at a very reasonable price. If you can't afford a dynamic microphone this month, then move well back from your condenser.

Shakers are a lot more forgiving although you'll still need to give some distance to your LDC.”

5 Tips For Recording Hand Percussion - Expert Tutorial

In this premium tutorial for Production Expert, James Ivey shows you 5 of his favourite tips for recording hand percussion like tambourine and shakers.

1. How to turn a very ordinary sounding tambourine into a powerful sounding one by playing two instruments taped together to combine their sounds.  

2. Three different playing positions to get three different note durations out of a single tambourine. By simply tilting the instrument over when it is struck you can get 3 very different durations of note. 

3. It goes without saying that the microphone you chose will play a massive part in how your percussion track sounds but with a little planning you can get the right tone with mic choice alone. James shows how recording with either a multi-pattern condenser mic or a ribbon mic can completely change the sound and "vibe" of a track. 

4. The distance you are away from the mic makes a difference. We all know this as the proximity effect but it's not just something that affects the voice. James shows how the playing position relative to the microphone can change the dynamics of a shaker part. 

5. For this final tip, James found himself raiding his children's toy cupboard for their toy instruments. Some of which only cost a small amount but they sound great when played the right way.