Which microphone to studio record a Saxophone ?
- Thread starter Humbardi
- Start date
witzendoz
Senior Member
I have used, Shure SM57, SM58. Sennheiser 421. AKG 330BT, C2000B or C4000B, Fathead Ribbon (no name), almost anything, they all sound good but all sound different, what was the budget?
Alan.
Alan.
Bobbsy
Boring Old Git
I've also used everything from an SM57 to a U87 on sax and they can all sound good. Quite often, more important than the mic choice is the mic placement.
You need to decide up front what sort of sax sound you want. Crisp and clear? Go for a condenser. Smooth late night jazz, I'd choose a dynamic (and I'm "Mr. Condenser" on this forum).
Ones to think about: If you want the condenser sound, I've had very good results from an sE1A small diaphragm condenser. It's also small enough that, in a pinch, you might be able to use it on one of those fittings that clamp to the bell of your sax if you move around a lot. Beyond that, name the LDC of your choice but you have to be good about not weaving away from the mic.
A smoother sound? I have a liking for the Sennheiser MD421 on sax...nicely smooth and the shape lends itself to pointing at the bell.
Or just play with the do-everything 57.
You need to decide up front what sort of sax sound you want. Crisp and clear? Go for a condenser. Smooth late night jazz, I'd choose a dynamic (and I'm "Mr. Condenser" on this forum).
Ones to think about: If you want the condenser sound, I've had very good results from an sE1A small diaphragm condenser. It's also small enough that, in a pinch, you might be able to use it on one of those fittings that clamp to the bell of your sax if you move around a lot. Beyond that, name the LDC of your choice but you have to be good about not weaving away from the mic.
A smoother sound? I have a liking for the Sennheiser MD421 on sax...nicely smooth and the shape lends itself to pointing at the bell.
Or just play with the do-everything 57.
Condenser microphone
Dear Alan : I actually have a Shure SM57. So , I want to have a condenser to get the "crisp and clear sound". My budget can go up until $200.
I am in Venezuela, South America
Thanks Humbardi
Dear Alan : I actually have a Shure SM57. So , I want to have a condenser to get the "crisp and clear sound". My budget can go up until $200.
I am in Venezuela, South America
Thanks Humbardi
There are some dynamics that would do this, like the Sennheiser e906 for instance. Often you get more quality for your money with dynamics and lesser the chance for that tsss inherent with condensers, particularly budgetary ones.
If you still want a condenser I find the Se Electronic Magneto to be a sweet and quite usable microphone in that it doesn't have so much presence but rather sound more in vein with a Neumann. And the X1 from the same brand is quite good too, slightly higher quality with pad and roll-off switch.
Who is playing the sax?
The sax can sound different at different intervals from the microphone and an experienced player will know how to use the microphone to their advantage.
I would use a Shure SM57 and experiment from there.
The sax can sound different at different intervals from the microphone and an experienced player will know how to use the microphone to their advantage.
I would use a Shure SM57 and experiment from there.
Bobbsy
Boring Old Git
Very true that the player makes a big difference to the sax but I understand where the OP is coming from. The differences between a dynamic and condenser is very dramatic on a sax. I wasn't kidding when I used the example of "late night soft jazz" vs. a crisp, bright quality that cuts through the mix.
If the crisp, bright thing is what's wanted, then I repeat my suggestion of an sE 1A . I don't know prices or availability in Venezuela but it would fit the budget both here and in the UK--and I've used it successfully many times when I need a bright sax sound, both recording and live.
As an aside (and dragging this OT) I think I'm more prone to use SDC mics in areas that many people use and LDC--I find them incredibly useful for a lot of things and often easier to position (which is important since position is sometimes as or more important than mic choice).
If the crisp, bright thing is what's wanted, then I repeat my suggestion of an sE 1A . I don't know prices or availability in Venezuela but it would fit the budget both here and in the UK--and I've used it successfully many times when I need a bright sax sound, both recording and live.
As an aside (and dragging this OT) I think I'm more prone to use SDC mics in areas that many people use and LDC--I find them incredibly useful for a lot of things and often easier to position (which is important since position is sometimes as or more important than mic choice).
witzendoz
Senior Member
You know a lot of the sound is in the mic position, I have attached 2 photos, the Alto sax has a AT3525 condenser on it, notice that I did not point it directly into the horn as a lot of the sound comes from the body of the sax and I wanted to pick that up, the baritone sax has a AKGC4000B on it, also not pointed down the horn. We recorded the horn section together to get a live feel for the brass section. This positioning can be done with an SM57 so if you have been pointing down the horn point it more towards the body of the sax, you get a much warmer sound. The selection of mics in this case was to get the sound we were after, a soul hard hitting brass section, I could have also used SM57's and 421's on this and got a good sound but went for the condensers. If I wanted a more mellow jazz sound I would have probably use some ribbon mics on the sax's.
bouldersoundguy
Well-known member
There are lots of ways to record sax, but here's one I've used successfully:
Have the sax player face into a corner of a room that has no treatment. Put an RE20 on a boom stand over his head aimed into the corner angled down at about 45°.
Have the sax player face into a corner of a room that has no treatment. Put an RE20 on a boom stand over his head aimed into the corner angled down at about 45°.
witzendoz
Senior Member
If you read the original post but, the budget is $150 upped to $200, may have a hard time getting a RE20 for that. The technique you mentioned gives an interesting sound but is not suitable for everything.
Alan.
bouldersoundguy
Well-known member
Hence the "lots of ways" comment. I bet other mics would work.