RECORDING January 2023 - 18

Log
L Session
Taiko Tracking
At Sound City Studios in Tokyo, Japan,
I used a Sennheiser MD 421 as
my close-up dynamic mic, a Beyerdynamic
M500 hypercardioid ribbon mic
above the drum and two rare Japaneseedition
RCA 74 mics provided by the
studio. Given my obsession with ribbon
mics, I absolutely had to try them while
I was there!
placing mics on and around the taiko is
that the mic's placement has to be compatible
with the musician's playing style:
most taiko drummers hit the drum from
above, but they also strike the sides of
the drum. They also hit the drums with
such force and power that you don't
want your mic to be hit by one of those
massive bachi sticks-few mics would
ever survive such an impact.
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L Session
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L Session
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The other factor to consider when
L Session
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If you are recording or amplifying
taiko drums during a live performance,
in playing styles such as kumi-daiko,
the player hits the drum sideways and
leans towards and away from the drum,
or hachijō-daiko, where two players
hit both sides of one drum. All of the
above with affect your mic placement
decisions.
Mic Experimentation
Throughout the years I've experimented
with many different approaches.
Once I recorded Kaoru with a variety of
large diaphragm condensers. I used Latvia's
JZ Mics (the Black Hole, the Amethyst
and the Vintage 11, among others)
as close mics and then a HUM Audio
RS-2 stereo ribbon mic from high above
as an overhead/room mic.
Other times I have used Sennheiser
MD 421, Shure SM57 and BETA 57
dynamic mics as close mics and used
JZ Black Hole condensers as overhead
mics. As with all things audio, there is
never any right or wrong way to do something,
and often the best results are
found at the intersection of techniques
and styles.
Chillin' with a Chijin and More
On the Sound City Tokyo sessions, I also got to record the talented Anna Sato
(annasato-primitive-voice.com), who plays various traditional instruments such as the
sanshin (a type of Okinawan and Amami Islands musical instrument precursor of the
mainland Japanese shamisen), the tategoto (a type of koto but with steel strings, often
also referred to as Burmese harp), and the chijin taiko (a smaller type of taiko that
uses horsehide as its skin and is strung with tension ropes and wooden wedges that
allow for the instrument to be tuned or pitched with a hammer, similarly to a tabla).
On this occasion, I recorded the chijin with an MD 421 as well. I might have used
a large diaphragm condenser in another situation, but since other drums were being
played simultaneously in the same room, I wanted to use a unidirectional cardioid
dynamic mic to minimize bleed.
As with previous Trasfrontera entries, by the end of January 2023, you will be able
to see videos of these recording sessions on YouTube and experience these exotic
drums and instruments for yourself. Search the word Trasfrontera on YouTube-you
will be glad you did.
Variety Is the Spice of a Recording Life
One of the things I most love about my job is traveling to other countries to record
musicians and, more so, to learn about the instruments, traditions and their sounds.
Then I apply my experience in recording sounds with different types of mics according
to what is suitable for the situation.
Japan is one of my favorite destinations to visit. Seeing these Japanese musicians in
action and hearing their traditions come alive through their bodies and playing was
a true privilege and taught me so much about passion and discipline.
The world is a big place. Get out there and record it!
Marc Urselli is a GRAMMY-winning engineer working out of New York City and
London. Read about his current projects and past successes at marcurselli.com
18 RECORDING January 2023
Trasfrontera Japan,
TAIKO DRUMS,
Kaoru Watanabe and Anna Sato
Anna Sato holding her
Sanshin shamisen with her
Chijin drum on the side
http://annasato-primitive-voice.com http://marcurselli.com
RECORDING January 2023

Table of Contents for the Digital Edition of RECORDING January 2023
