Best microphone for recording my saxophone
- Thread starter luispa
- Start date
I did a new test. This time I increased the distance between the saxophone bell and the microphone. Also, I included a new contender, a cheap Audio Technica Pro 25.
Perception 200
Tascam LD-74
MXL 990
Audio Technica Pro 25
I noticed increasing the distance improves the microphones performance but there's more ambient sound, my new favorite is the Tascam LD-74 because it picks less ambient reverberation. I'm excited about how could one of these SE Electronics Reflexion Filter Pro Ambience Control reduce the ambient reflections in my recordings.
I included a cheap kick drum microphone to this test, the Audio Technica Pro 25. Before comparing the 4 mics I got a positive impression because I perceived fuller than the condensers. But after comparing all mics I realized it lacks of low end and sounds shrill and harsh but it convinced me that a better dynamic microphone could work.
Perception 200
Tascam LD-74
MXL 990
Audio Technica Pro 25
I noticed increasing the distance improves the microphones performance but there's more ambient sound, my new favorite is the Tascam LD-74 because it picks less ambient reverberation. I'm excited about how could one of these SE Electronics Reflexion Filter Pro Ambience Control reduce the ambient reflections in my recordings.
I included a cheap kick drum microphone to this test, the Audio Technica Pro 25. Before comparing the 4 mics I got a positive impression because I perceived fuller than the condensers. But after comparing all mics I realized it lacks of low end and sounds shrill and harsh but it convinced me that a better dynamic microphone could work.
Bobbsy
Boring Old Git
I've use my Reflexion Filter quite a lot for spoken word recording when forced to work in less than perfect rooms and can attest that it works well. Never tried it on a sax though but I suspect it would likely do what you want.
My one concern is that, for the full effect, the relative positioning of Filter/Mic/Sound source is critical--difficult enough with a talking head but probably a curse-word-inducing fiddle for your sax. Not impossible...jut a fiddle.
My one concern is that, for the full effect, the relative positioning of Filter/Mic/Sound source is critical--difficult enough with a talking head but probably a curse-word-inducing fiddle for your sax. Not impossible...jut a fiddle.
JefferySmith
Member
The SE Electronics Space is really built like a tank and works better than the other filters I've used. But it requires a very sturdy stand (one built to hold a reflection filter as well as microphone).
Thomas Hartkop
New member
Hi,
Over the last 45 CDs that I have recorded in the last seven years, about 20 have had horns. For saxophones I usually use a Neumann TLM 103, for trumpets a U87, for trombones I use AKG 414 XLS. Or, if a trombone player is timid, I will put an AT ATM 350 onto his horn.These seem to be about the most transparent for these instruments. For a clarinet and baritone sax I also use the TLM 103. It seems to show the sonic qualities of the instrument. It all is in the positioning the microphone however. That is the key. You can get a lower level microphone this sound good but it needs to be positioned correctly.
But, the toughest instrument to record is the female voice. I typically am now using U87 or an Avantone CV-12. For male vocals I will use either a Neumann M149 or U87.
Double bass I will usually use two microphones. A Cascade FatHead and an ATM 350.
Tom
Over the last 45 CDs that I have recorded in the last seven years, about 20 have had horns. For saxophones I usually use a Neumann TLM 103, for trumpets a U87, for trombones I use AKG 414 XLS. Or, if a trombone player is timid, I will put an AT ATM 350 onto his horn.These seem to be about the most transparent for these instruments. For a clarinet and baritone sax I also use the TLM 103. It seems to show the sonic qualities of the instrument. It all is in the positioning the microphone however. That is the key. You can get a lower level microphone this sound good but it needs to be positioned correctly.
But, the toughest instrument to record is the female voice. I typically am now using U87 or an Avantone CV-12. For male vocals I will use either a Neumann M149 or U87.
Double bass I will usually use two microphones. A Cascade FatHead and an ATM 350.
Tom
Thomas Hartkop
New member
These are some photos of a few old-timers doing some sessions. The saxophonist is Detleff Eisman and the one booth and Del Carver on the trombone. TLM 103 on the saxophone, ATM 350 on the trombone.
The album is called Crosscut Saw, the band is The Fabulous Savoys. This will be released in the next few months In Southern Oregon.
wow that's some really nice microphones you've got there! interesting that you use a tlm103, I own that mic, have never understood the hate it gets, if you move it around it's capable of some great sound.
Thank you very much for your replies.
I'm still trying to find out the best way to do it with the resources I already have before to decide to buy a new microphone. I moved to a different room, bigger and quieter, with less reverberation. And did the recordings at three different distances for comparing how this affects the sound quality. I did this recording with only two of my microphones, the LD-74 and the Perception 200. I realized the Perception did a better job in this new conditions, I also realized my ATM50 headphones tends to darken the sound, mostly in the low register. Sadly, I used a different saxophone (Buescher Big B) which is a bit brighter than the Holton 241 I used in the previous recordings. Here are the samples:
You opinions and advices will be highly appreciated.
I'm still trying to find out the best way to do it with the resources I already have before to decide to buy a new microphone. I moved to a different room, bigger and quieter, with less reverberation. And did the recordings at three different distances for comparing how this affects the sound quality. I did this recording with only two of my microphones, the LD-74 and the Perception 200. I realized the Perception did a better job in this new conditions, I also realized my ATM50 headphones tends to darken the sound, mostly in the low register. Sadly, I used a different saxophone (Buescher Big B) which is a bit brighter than the Holton 241 I used in the previous recordings. Here are the samples:
You opinions and advices will be highly appreciated.
gecko zzed
Grumpy Mod
Sax recorded live with the band in the studio. Some bleed on the track. Here is a short sample.
Big Smoke sample
Mike = $50 Behringer C2, poked roughly at the sax from about a foot away (Sax player moved around a bit).
I'm not sure what value you will get from your experiments, because there is context to be considered: how does the sax fit within a mix?
Big Smoke sample
Mike = $50 Behringer C2, poked roughly at the sax from about a foot away (Sax player moved around a bit).
I'm not sure what value you will get from your experiments, because there is context to be considered: how does the sax fit within a mix?
Lt. Bob
Spread the Daf!
At some point you get to where all those clips are meaningless.
Most of them have their own charms and lots of them sound good, just in different ways.
I've been playing and recording sax for 50 years ..... for session work studios have used ALL kinds of different mics. Every engineer has his own favs . All the sax tracks I've ever done in sessions sounded fine regardless of the mic used.
I never tell an engineer what mic to use ..... because I don't think it really matters that much.
You usually end up sounding like you ...... just like with guitar a lot of the tone is just in the fingers.
In my own studio where I'm the engineer I tend to grab whatever's handy and work with whatever it sounds like.
Lately I've been having a preference for small diaphragm condensers but I'll eventually get bored with that and use something else.
Prior to the SDC I was preferring dynamics to LDCs.
I don't believe you can decide that one particular mic is THE best for recording sax ..... your taste changes and you hear differently from day to day.
Use a decent mic and play something compelling is all I look for personally and I have significant experience at it.
You can drive yourself crazy obsessing over all the differences from one mic to the next.
Most of them have their own charms and lots of them sound good, just in different ways.
I've been playing and recording sax for 50 years ..... for session work studios have used ALL kinds of different mics. Every engineer has his own favs . All the sax tracks I've ever done in sessions sounded fine regardless of the mic used.
I never tell an engineer what mic to use ..... because I don't think it really matters that much.
You usually end up sounding like you ...... just like with guitar a lot of the tone is just in the fingers.
In my own studio where I'm the engineer I tend to grab whatever's handy and work with whatever it sounds like.
Lately I've been having a preference for small diaphragm condensers but I'll eventually get bored with that and use something else.
Prior to the SDC I was preferring dynamics to LDCs.
I don't believe you can decide that one particular mic is THE best for recording sax ..... your taste changes and you hear differently from day to day.
Use a decent mic and play something compelling is all I look for personally and I have significant experience at it.
You can drive yourself crazy obsessing over all the differences from one mic to the next.
Steenamaroo
...
^ Great advice!
Thank you for your reply. I heard this sample in an old thread, very nice sounding. BTW, What's the band's name? I'd like to get more of their stuff.
I was considering to try with that kind of microphones, maybe a cheap one (MXL 603, MXL 991 or C2). If pencil style microphones do the job, then I'd try to get a better one (NT-5, AKG C451, AT 2031/4031).
That's a good question. I need to record samples to show how the reeds sound because I'm developing my own reed brand. The recordings should sound nice but at also realistic, I'd prefer to not use EQ or other artifacts because I would not being honest.
gecko zzed
Grumpy Mod
The band is the Matthew Ives Quintet, with Alex Howroyd on sax. Though all members are very busy musically, the band probably doesn't exist as an entity any more.
Given the subjectivity in defining what sounds "nice but also realistic", and how it is so easy to pursue an endless spiral of options in the pursuit of unattainable perfection, maybe you should simply opt for the combination of mike, placement and distance you like the best and use that as your benchmark. You can then compare the performance of different reeds using that same configuration.
On the other hand, it's possible that the inherent variability of sound in recording sax overwhelms any inherent difference in the quality of reeds.
Thank you. That's true, at some point everything is subjective.
That's true, I should dedicate less time to this and more to practice.
I guess I should test SDC and dynamic microphones, I would have a more complete idea.
The best microphone for me could not be the best microphone for you, I know that. As an example I can mention this link:
Alto Sax Ribbon Mic Test | recording hacks
The choice of the writer is not my choice at all, in fact I do prefer mic 6 while the author prefers mic 3 which I consider horrible.
I guess I'm getting crazy
Lt. Bob
Spread the Daf!
meh ..... I find 3 and 6 to both be ok recordingwise although they do sound different of course with 3 having a lot more high end and thus, gets a little shrill.
But to me this just reinforces what I said because on both of those clips I find his tone to be horrible and it shows thru both mics.
You are clearly on a mission to find the 'best' mic for you so good luck with the quest.
But ultimately you're going to sound like you.
That guy sounded the same to me in those two clips .... sure, they had different EQ response curves but his 'tone' was clearly recognizable in either clip.
Yes, but mic 6 is more forgiving for his horrible tone.
Lt. Bob
Spread the Daf!
he'd be better served to spend the time improving his tone. Every single one of your clips sounds better than his because you have much better tone.
Thank you for the compliment. Take a look at the link below, the alto saxophone was recorded with two ribbons and sounds delightful with every mouthpiece he plays.
Alto Mouthpiece Roundup Review ~ The Diligent Musician
I modified the Tascam LD-74 (capacitors swap and head basket mod), the difference is evident.
Despite the fact the stock LD-74 recordings were made a couple days before and my playing could be different, modified LD-74 sounds warmer and smoother than before, less shrill and fuller mid register. The LD-74 is my favorite microphone now, I like it better than the Perception 200. The modified LD-74 sounds far better than I could expect for a $30-$40 microphone.
Despite the fact the stock LD-74 recordings were made a couple days before and my playing could be different, modified LD-74 sounds warmer and smoother than before, less shrill and fuller mid register. The LD-74 is my favorite microphone now, I like it better than the Perception 200. The modified LD-74 sounds far better than I could expect for a $30-$40 microphone.
Last edited:
ibleedburgundy
The Anti-Lambo
I saw a killer live recording of the Average White Band where they have EV RE20s on most of the horns. I have an RE20 and love it, but so far I've only used it on guitar. I've used it as a close mic mostly but recently I backed it off about 16 inches and had great results on a clean reverby surf rock guitar sound (Rickenbacker 650 through a DOD delay pedal with just a touch of short delay into an Orange Rockerverb MKII combo with some reverb dialed in ---> RE20--->RNP ----> Digi 002).