I'm using a simple...don't know the correct name for it...wooden hoop type with 2 rows of 8 pods double-strung. No membrane on it, just the hoop and the "janglers". It provides a clear and crisp sound. To subdue it, I just roll off the high end in a channel EQ and put it down in the mix. Just your basic tambo'.

Hope this help!
-Johntodd

Tambourines do often present a challenge in recording. The tambourine that sounds perfectly good played live can become brittle and harsh when recorded. If you have a choice of mics I would first reach for a ribbon... probably my FatHead. They tend to roll off naturally at the upper frequencies, where condenser mics often have very lively top ends.
If not a ribbon, next choice would be a dynamic... even an SM57 or 58 would give a good result. They will also help smooth out the wild dynamics a little. The tambourine is capable of generating very strong transients which can easily overload a mike or preamp, so watch the levels and experiment with varying distance from the mike.
Then eq to taste and serve with gravy!

Jeff

He's right about those transients! I find myself backing off the gain quite a bit even with the SM57 I use for it.

As with any instrument the better the quality the more likely you are to get a good recording. IMO it is all about the "zils" or jingles and the tuning of the head if you are using the drum type

Its all about the quality of the instrument. Heavy sturdy frame with good jangles is the tickett. LP is a good place to start. I also think you'd be better off with a dynamic mic or a ribbon over the condenser.

I have RhythmTech with brass jingles that I get good results with.

I have had lots of luck with run of the mill tambourines imply by using good recording techniques. Press record and see what you hear. If it's not perfect, think about what you don't like and ways to improve. Like if it is sticking out too much with dynamics, add some compression. Too much presence, back away from the mic to add some ambiance. Too much sizzle, use a different mic (dynamic or brand) or change EQ...

With me, it's been an SM57, with preamp gain down pretty low, in a fairly dead room (about 1/2 dead - 1/2 alive), roll off the high end with a shelving EQ, and back it way off in the mix. I use no compression, but I will use a noise gate for times when the tambo isn't playing. Also, cut everything from about 500hz down - kill it off completely since the tambo doesn't have anything down there. That's my tambo, though. Yours may have different needs.

Watch those transients!

I tend to record close to the mic anyway, hence, the lower gain settings.

If you can find an old tarnished tamb they record great, less high end, I quit a band I was in for 5 years, but kept the tamb

Tarnish affecting high frequencies?!? LMAO!!!! Sorry. I've studied horn making and related subjects and this statement just doesn't reflect reality of instruments.

TheJackAttack, post: 357148 wrote: Tarnish affecting high frequencies?!? LMAO!!!! Sorry. I've studied horn making and related subjects and this statement just doesn't reflect reality of instruments.

Interesting... let's chat this one a bit. A horn vibrates, but tambo janglers collide. Perhaps the tarnish interferes with the collisions?

I'd like to see someone do an experiment on this. I have only one tambo, though, so I won't. :(

no it does, I have a brand new same brand tambourine and one that has been on tour, it 100% does, just like jazz drummers don't clean their cymbals to dull them out a bit, this is very common just maybe not in the brass and woodwind community

Janglers may collide but that collision creates vibration. Now if by tarnish you mean all sorts of McDonald's Quarter Pounder and Fries grease and a few sausage bits from Pizza Hut which cause dirt et alia to stick to the instrument, then yes, that could affect the vibration of the janglers. Verdigris. Tarnish by itself wouldn't count as such. Think about all the symphony orchestras that have tambourines, tam tams, sus cym, bells, etc in all sizes and timbres. If those things are shiny it's only because they came from the factory with a poly lacquer coating. Otherwise they are dull and kept clean by wiping down with appropriate cleaner/cloth.

no I am talking about 5 years of sweating on stage playing I will see if I can dig up both on my tambs and try to do a comparison, most stuff is in storgea right now

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I think you percussionists (benefit of the doubt ;-) ) need to start looking into annealing procedures and patterns as well as cryo treatments. These are all much more controllable and repeatable than burying in the ground and "aging" through use. Plus there has been beau coups research done by the other instrument craftsmen already. I know of a horn bell manufacturer that has 16 different annealing patterns which all produce clearly measurable differences scientifically and then combine that with the different alloys that particular guy uses and you have a wealth of tonal possibilities.

Lastly, be careful of getting sucked into marketing and unproven though widely spread "facts".

It will depend on the song, you can try a live room (not too live like a bathroom) backed away from the mic for another sound. May sit in your mix better again depending on the song and what you want. Experiment and have fun. No boundaries.

I would never by a buried cymbal!! However I can say that I 100% use my older tambourine (same model) for recording becuase it is duller sounding

A client this week, suggested bending a bunch of the little jingly discs on a tambourine, to change the overall tone a bit and reduce the length of the jangle. Haven't tried it yet. MORE TAMBOURINE! Screw cowbell.