Handbells are technically percussion instruments with strong attack transients and comparatively soft, long sustain controlled by the performer. Sound from individual bells "bloom," as the attack decays into sustain. A typical handbell set covers two octaves, and the nature of the instruments means that these be spread across a playing surface, each bell then lifted to strike. Bells arrange in pitch, low notes to the player's left, progressing higher moving to the right.
Close miking techniques do not work well for handbells. The strength of the initial strike is such that distortion could occur without registering on peak meters. This can be disastrous in the digital audio realm. Though careful monitoring and use of pads to buffer the input can avoid input overload, being too close to the bells themselves will produce unwanted emphasis on those bells closest to the mics. The acoustic space of the performance is an important part of the handbell sound.
Approach handbell performances in a manner similar to chamber orchestras or choirs. An ORTF microphone configuration will likely generate best results. Two microphones are placed seven inches apart, capsules facing away from each other at an angle of 110 degrees. Performance conditions dictate placement of the microphones with relation to the handbells. For example, if there is an audience or a conductor. Consider 10 feet from the bells a minimum distance for mic placement.
Using an ORTF mic array is based on omnidirectional small capsule condenser microphones. This style of mic generally provides the best off-axis reproduction. That is, sounds approaching the mic from the side match the sounds entering the front of the capsule. As basic as that sounds, most mics have different frequency response as the sound source moves to the side of a microphone. This is not a desired characteristic in this application. Substitute cardioid pattern mics to reduce audience noise. Move the angle of the mics to 90 degrees in this case.
Handbells in a good-sounding acoustic space create a naturally vibrant sound. The need for signal processing such as compression or additional reverb probably indicates problems with microphone position. Move the microphone array toward or away from the handbells to reduce or add more reverb or to add or reduce attack transients. The angle of the mics is also given as a starting point. A shallower angle will give more bell sound and less ambience and will also narrow the stereo image of the recording. Increasing the angle will capture more ambience but may leave an apparent "hole" in the center of the stereo image.