well here's something I really do know something about! :>
Tim, hopefully you'll get this before the session. If not, then hopefully it's good info for everyones memorybank. And damn-it! Everyone should be recording more saxophones anyways!...
First of all, sax is actually a lot different to record than a trumpet for a number of reasons. Mainly because almost all of the sound of the trumpet comes from the bell, the trpt is a very directional sound source (and always moving). The sax on the other hand has sound coming from the bell and whatever keys may be open at that particular time. If most of the keys are down, then a lot of the sound comes out of the bell. If a lot of the keys are not pressed, then there is less sound coming out from the bell. *That's why a close miked sax can be a pain in the ass with proximity effect if you're close miking in cardioid!* Not only are those bell notes going to sound louder, they're going to be more bassy as well. That's one of the reasons that an RE-20 with its "no d" (no proximity effect) is the favorite live mic of many sax players.
In terms of technique and the resulting sound, basically the closer you get to the bell the more agressive and pop sounding it'll be. Sometimes that's what you want.
But for a jazz setting I'd start with the mic about chin high to the player, 2-3 feet out (directly in front), and pointing at the top of the bell (or the left hand). From here you can come in as close as 1 foot from the bell if you want.
For jazz, best results are usually the large diphragm condensors but not one that's too bright. I've never been too thrilled with dynamic mics for jazz cuz they just don't seem to work as well from a distance. And up close you get what we talked about earlier. Even my RE-20 doesn't do it for me... Well it's not bad, but just not nearly as good.
I've never thought about trying a D112. If you use it you'll have to tell us how it worked. I've never used a ribbon mic so I can't offer an opinion from experience but I have heard that they do work well.
Light compression always works for me. No compression is risky cuz the sax has such a big dynamic range. Too much compression and you might lose the naturalness essential for a good jazz recording.
Now here's a different thought that's worth bearing. If there aren't any vocals in these recordings you can use a pair of small or mid diaphragms and place them out in front of the group in a good room and place the musicians accordingly. This works great for a live sound. (and use some closer mics for fill and balance)
Okay enough babble for now. I hope this helps (somebody)!
:>saxman72<:
By the way? Who's the sax player? I lived down in LA for 8 years and know a lot of the players from there.
