Here are some tactics and concepts you might find handy for recording. Lots of of them will use to other devices also. Irrespective of whether you do it oneself or report inside of a studio or at stay performances, it is essential that you simply know how to have your very best seem, and what to do with it the moment you have got it tracked. Really don’t think that the engineer will know specifically the way to get it in your case – you can really need to operate jointly with saxophone lessons .
Like lots of acoustic devices, the sax data properly using the usage of a condenser mic. Condenser mics vary from dynamic mics in they generally call for a battery (or phantom electricity provided from the mixer) and possess a broader pick up sample that makes them considerably less valuable on phase for the reason that they have an inclination to feed back again. They offer a flatter response, which means that all frequencies are offered far more equally whereas dynamic mics will often be ‘coloured’ to bring out voice tones.
When recording having a condenser mic, you may ‘back off’ with it at eye stage approximately 3 toes clear of your face, or ‘close mic’ maintaining it aimed near the bottom in the still left hand around the bell as you would carrying out live. The majority of us have identified not to intention it down the bell as this tends to do some awesome problems if you let go together with a small Bb. Your preference of mic, playing fashion, and recording set-up will establish just exactly where to position it. If you are recording by yourself, established up a couple of tracks to report and review. You can need to have it afterwards to set the equalization (EQ).
The Neumann U87 may be the marketplace regular voice mic and sounds excellent on sax. If it really is large rate ($1,000 +) is outside of assortment you could possibly look at a Sennheiser 441. It truly is a dynamic mic which has a flatter response than those people designed for live vocal use. Even the Shure SM57 & 58 can perform well for rock & blues but you can expect to will need to EQ a little. My recording mic of choice will be the AKG C1000S. It brings out all the warm sax tones I can’t live without and works properly with other instruments, e.g. acoustic guitar and drum overhead. It was fairly properly priced at around $300. It can also be used stay, and doesn’t feed back as much as I could possibly have expected.
Using the direct in approach will require which you utilize EQ during mixdown. I discover that along with the right mic, I commonly will not need to have to change too much, but in case you are working with overdrive guitars and thick synth patches, you could possibly want a little help. In case you have sweepable midrange you could boost 5-8K for these upper-mid voice tones. Should you are using a dynamic mic like a Shure SM 57 or 58 be sure and boost the 300 – 350 lower midrange a bit to warm up the tone a bit. These mics drop off in that register leaving the sax sounding pretty tinny.
The next link in the recording chain is definitely the compressor. The compressor will bring up the volume on the soft parts and prevent the signal from getting too hot on the loud parts. It also allows you to move around a little so you are able to have some freedom of movement while doing your takes. I get the finest results in my home studio when plugging the mic directly into the compressor and the compressor directly in to the signal path. Should you will not possess a compressor, plug the mic directly in. Wherever possible, eliminate any unnecessary circuitry to have the cleanest signal. The track will get remixed and this is in which you should implement EQ and effects. The dbx 163X is a nearly foolproof compressor with only a stage set and compression slider to worry about. At the time the stage is adjusted (generally between 0 & -10) experiment to identify exactly where the slider goes. Together with the sax, around -21 is typically about right. You want just enough so that everything you play gets recorded at a good stage without sounding too processed.
Always add reverb post (during mixdown). This way you get the verb in stereo while leaving your track mono (better for placement during mixdown) Since with the delicate nature with the reverb overtones, they can get easily get obscured if they are recorded while tracking. Most processors possess a wide selection of presets to choose from. Because with the saxophone’s voice-like quality the hall and vocal plates operate very perfectly. For a funkier, far more Sanborn like audio try the small club settings with much more early reflections. You are able to use way more signal with these to achieve that kind of boxiness that appears good exactly where you do not want an audible trail.