Hi, I'm new to the group, please be gentle :-)

I've been trying to record some chimes, ( or marc tree, 'tuned' aluminium
rods suspended on a bar)

After a few takes, and playing with positioning, pre's, and mic's I've found
all of them exibit a slight crunching noise under the signal in varying
amounts.
I'm guessing this is to do with proximity, intermodulation and the extreme
inharmonic content of the high frequencies...?

Interestingly I loaded the 'Marc Tree' sound up in my Trinity rack, and
heard... the same thing (If a little worse).

I'm aware of this characteristic in mics, but it's not been a problem 'till
now.
AFAIK The concensus is to use smaller diaphragm condensers for this kind of
signal. (Maybe an Earthworks would be a good call here? 'cept I don't have
one :-))

The pre's I've used are a Soundcraft ghost channel and a Ted Fletcher T2.
Mic's tried include , Sennheiser ME series pencil and the Rode NT5s.
I also tried an M160 ribbon, thinking that the non-tensioned element design
would deal with the high end

which was interesting but pretty noisey and too directional for this
application

Monitoring/Recording with a LynxOne and decent monitor setup plus Sennheiser
HD600s for reference.

I want to get in fairly close for the effect I'm after and I realise this
would exacerbate matters.
I tried a tissue paper 'muffler' which did reduce the problem, but I wonder
if I'm barking up the wrong tree there...
Is there a trick I'm missing here or do I just keep trying various
permutations and get a 'best compromise'?

Many Thanks, Grant

In article , "Grant Sykes"
writes:

After a few takes, and playing with positioning, pre's, and mic's I've found
all of them exibit a slight crunching noise under the signal in varying
amounts.

This type of sound is a real challenge for mics and other gear downstream. One
thing you can do is to record at quite a low level. Even when the meters say
you are safe you can be still pushing the limits of the gear's headroom with
such sounds. Try -15dB as an average level and see if the distortion is less.
Also, I would say that a little distance from the mic should help too but I
understand you want to mic close so maybe thats not an option in this case.

Garth~


"I think the fact that music can come up a wire is a miracle."
Ed Cherney

Grant Sykes wrote:

I'm aware of this characteristic in mics, but it's not been a problem 'till
now.
AFAIK The concensus is to use smaller diaphragm condensers for this kind of
signal. (Maybe an Earthworks would be a good call here? 'cept I don't have
one :-))

I would tend to agree that a small diaphragm omni will tend to do better.
Basically, what you are describing is one of the more difficult things to
record, and it will not only show up major problems with any microphones
but also any monitors.

The pre's I've used are a Soundcraft ghost channel and a Ted Fletcher T2.
Mic's tried include , Sennheiser ME series pencil and the Rode NT5s.
I also tried an M160 ribbon, thinking that the non-tensioned element design
would deal with the high end

How about renting a pair of the Schoeps omnis, or the Sennheiser MKH 20?

Monitoring/Recording with a LynxOne and decent monitor setup plus Sennheiser
HD600s for reference.

If you have even _tiny_ top end coherence problems with your decent monitor
setup, this will show them up.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."