I've got a sax player coming in............

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slidey

slidey

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Tomorrow.......................

So out of the mics I list here maybe some experienced players, engineers could direct me a bit ;)

OK for close to the sax I'm think dynamic......
Senny MD43, 431mkII
EV PL80,88,95
Beyer M201
Shure SM57,58
AKG D112

I also have (with thoughts of close micing)
Neumann KMS105
Calrec 652,656
Senny lavalier

for room sound
Neuman TLM103
AKG solidtube
SE electronics 2200A

that's what I've got so please don't reccomend I go & buy the latest "make it sound awesome omnicardiodhyperdynamicribbon" thank y'all very much
 
Forget close mic'ing a sax. People see live saxes mic'ed on the bell with clip-ons, or sax players blowing into a 57 buried in the bell, and mistakenly think that's a good way to record sax.

It's not, unless you are going for a very "honking" sound.

The sound of the sax, like all woodwinds, comes only partially from out of the bell. An equally important component of the sound comes from all the little holes beneath the keys. The best way to capture the true sound of the sax is to mic from far enough back that the mic can pick up the whole instrument.

This means at least 30" away. On a side-address mic (like the TLM 103), place the mic approximately parallel to the body of the sax (as the player holds it) about mouth level aimed at a downward angle towards the center of the instrument. You may need to fine-tune the placement (height, distance, and direction aimed) depending on how much key-click and mouth air noises you are picking up, which will differ from instrument to instrument and player to player.

As far as mic choice, I would stick with one of the group you designated as "room mics", i.e. large diaphragm condensers. I don't know the SE mic at all, but the TLM 103 or the Solidtube would be my choices out of all the other ones listed. (The SE might be fine too - just don't know it.)

Of course, whichever of the above you aren't using as the main mic, feel free to set up as a more distant room mic. It may or may not end up being useful, but it can't hurt to have it.

Good luck tomorrow.
 
aaaaaaaaaaarrrrrrrrrrrrrrrrrgggggggggggghhhhhhhhhhhhh

right after using the search function I'm leaning towards using a senny 431 & my solidtube for the room

I would still like to see if any of my other mics would be recommended before I start recording....................cos' it would take a while for me to try & test each of the mics I listed to see what worked best

obviously placement is going to be a big thing when it comes to getting the sound

& I forgot to mention that it was a tenor sax I'll be recording & I'm looking for the full, nice,big, maybe even breathy sax sound

& did I mention he's coming in tomorrow at 1pm......................middle of the farkin night!!!!!
 
littledog said:
Forget close mic'ing a sax. People see live saxes mic'ed on the bell with clip-ons, or sax players blowing into a 57 buried in the bell, and mistakenly think that's a good way to record sax.

It's not, unless you are going for a very "honking" sound.

The sound of the sax, like all woodwinds, comes only partially from out of the bell. An equally important component of the sound comes from all the little holes beneath the keys. The best way to capture the true sound of the sax is to mic from far enough back that the mic can pick up the whole instrument.

This means at least 30" away. On a side-address mic (like the TLM 103), place the mic approximately parallel to the body of the sax (as the player holds it) about mouth level aimed at a downward angle towards the center of the instrument. You may need to fine-tune the placement (height, distance, and direction aimed) depending on how much key-click and mouth air noises you are picking up, which will differ from instrument to instrument and player to player.

As far as mic choice, I would stick with one of the group you designated as "room mics", i.e. large diaphragm condensers. I don't know the SE mic at all, but the TLM 103 or the Solidtube would be my choices out of all the other ones listed. (The SE might be fine too - just don't know it.)

Of course, whichever of the above you aren't using as the main mic, feel free to set up as a more distant room mic. It may or may not end up being useful, but it can't hurt to have it.

Good luck tomorrow.
Click to expand...

man you rule

many thanks
slidey
 
The 201 will give you a nice tight sound, not in the bell, 6-10" out, then do what you were gonna do with the Solidtube and you will have a great couple tracks to work with. You'll get a natural delay that'll sound really unique. Once you find the "sweet spot", nail his shoes to the floor (those guys can't stand still and moving 2" will change the whole eq.)
 
yes aye, yes aye

I was gonna use the 201 pretty much where BK suggested along with the solidtube where littledog suggested & use the TLM103 for room ambience

I'm gonna record it in my kitchen, as I realised whilst clapping a random rhythm that it actually sounds A-one in there providing I remove the ringsom woks that hang on the wall. The ambience therefor will come from my living room which also sounds good

man I'm excited

Thanks guys
 
Sennheiser 421 and 441 are pretty much the standard go-tos for sax. I've not tried a 431, but if it's characteristics are close to either of it's brothers that might be the one to work with. A'd also - belive it or not - like the 57 on the sax as well. This whould be for nearfield miking, however.

Miking outside the nearfield of the sax like littledog recommends can be good if you have a good room and if bleed is not an issue. If your room does not sound "right" in the farfield miking or if you are not recording the sax solo, then I'd bring it in to about 12" out, positioned above and out from the bell. Tilt the mic up and down to fine your desired balance between best of sound (which usually is not right in the bell) and the amount of key clacking you want to register, Usually somewhere between the bell and the lowest key is farily close.

G.
 
The MD421 is pretty hot sounding, the MD441 sounds a lot smoother, great sax mic. The M201 isn't bad either, but I'd go with Little Dog, a LDC will do just fine. It may need a little EQ tho.
 
WELL!!!!!!!!!!!!!!

it went absolutely A-one in every respect

I ended up using the M201 where BK suggested & the solidtube where Ldog suggested I also used an SE2200a pointing away from the player to capture the room

The solidtube is the bulk of the sound & for a bit more sharpness I added in the m201.................so far (& I don't think it needs it) there is absolutely no EQ

thanks to all who gave their 0.02pence, cents, drachmas, whatever the currency is where you are, euros etc etc

one happy scot
Slidey :D :cool: :)
 
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