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Horns

Discussion in 'Brass' started by backinthelab, Jul 24, 2007.

  1. backinthelab

    backinthelab Guest

    Hey all, it's been a while now! I still check on the posts from time to time, but really havent' had anythign I've needed help with....until now.

    I have a horn section coming in to track over an ongoing project. They include two trumpets, sax, and trombone. Question is, what's the best way to go about micing them?!?! I was thinking maybe put them in a 1/2 circle around my ELUX 251 set to omni? Or, do I mic each horn individually? I dunno, I've never had to mic an ensemble before. Are there certian horns that might give me trouble? Is there a certain position of how they should be lined-up? This will be my first time dealing with a set of truly "professional" musicians and I want to get this right!

    Any help would be greatly appreciated!! Thanks!
     
  2. Cucco

    Cucco Distinguished Member

    I wouldn't really suggest the approach of a sing omni within a circle of musicians. Especially not a dual diaphragm (multi-pattern) omni.

    What mics do you have available to you?

    Depending upon the type of music, close mic'ing or individual mic'ing of each instrument may be appropriate. (Think Mighty Mighty Bosstones). On the other hand, if a more cohesive sound is desired, mic'ing the section with a single pair might be appropriate (think Big Bad Voodoo Daddy).

    For jazz (or any directly related genre), I would go stereo pair and let the musicians blend themselves. Pan the pair naturally around the leads.

    For rock or country, I would go with a individual mic scheme (with perhaps an overhead pair just for giggles or for stereo reference - you know, to make sure your panning of the individuals makes sense.)

    Of course, any of those horns sound good through a dynamic mic or a ribbon mic. The 251 is a great mic though! If you have a couple (why not, they're cheap, right???) you could do a stereo pair with them. Otherwise I would go with a couple 57s or similar. If you feel compelled to use the 251, I would use it on bone or sax (particularly if it's a tenor or bari sax!)

    If it's rap.....hmmmm...then I want to hear the rap album that uses trumpets, bones and saxes!

    Cheers!

    J.
     
  3. backinthelab

    backinthelab Guest

    Thanks, Cucco, I figured you'd be the master on this!

    A little more info...it's for a funk/jazz piece. So, lot's of one-hits and punchy riffs.

    Here's what's in my mic cabinet for use:
    AKG C-414 B-XLS
    Audio-Technica 3060
    BLUE Kiwi
    BLUE Woodpecker
    Earthworks QTC-40 Matched Pair
    Rode NT3 (x2)
    Rode NT5 Matched Pair
    Royer R-121
    Sennheiser MD421 (x2)
    Sennheiser E604 (x3)
    Sennheiser E602
    Sennheiser E609
    Shure KSM 44
    Shure Beta 87A
    Shure SM57 (x5)
    Soundelux ELUX 251
    Soundelux iFet7

    I have a nice live room about 14' x 24'. Does that help?
     
  4. TheFraz

    TheFraz Active Member

    I would go about single miking them. I find the Sennheiser MD421 to be great for horns. I have used them both for country/bluegrass and ska. and it worked great in front of each horn. I found them to be rather easy to set up also.
     
  5. Cucco

    Cucco Distinguished Member

    You certainly have a lot to choose from!

    I don't know anything about the Woodpecker, but if it's anything like the other ribbons, it should do well!

    I would try this -

    Trumpet 1 on the front side of the 121 and the bone on the rear side.

    Trumpet 2 on the front of the Woodpecker

    421 on Sax. Some people prefer ribbons on sax, but I like letting the reediness cut through the mix hence the use of an edgier dynamic.

    Then, I would put the Earthworks up as a spaced (AB) pair. Be careful with placement - avoid the halfway point in the room (for everything - no instruments or mics there!)

    However, all of the above would just be my starting point. If it worked...great. If not, I would start changing radically. I can tell you, as a musician, I never mind having a studio engineer tweak to get the right sound. I almost always consider the engineer to be a hack if I walk in to the studio and the mics are already set up and we start rolling immediately.

    Cheers!

    Jeremy
     
  6. backinthelab

    backinthelab Guest

    Thanks fellas! I'll let you know how it turns out! Should be in the next couple of weeks, depending on their current touring schedule.

    I usually use the Woodpecker on bari sax, but will try out the 421 with it next time. Seems to be a good/logical choice.

    On a business note, the band I'm working with now should have their album complete in the next two months. I'll drop your name to them when it's ready for mastering. 13-14 tracks total, all AWB-style funk. You interested?
     
  7. Cucco

    Cucco Distinguished Member

    Nice.

    Let's chat off-line regarding the mastering.

    My e-mail address in the profile block below is correct.

    Cheers!

    Jeremy
     
  8. TheFraz

    TheFraz Active Member

    you do mastering eh?

    i have been looking for an affordable mastering house. I plan of producing an album this winter (professional studio and all, not some basement recording), and i would hate to see the quality lost on some shoty affordable mastering house.

    I may have to keep in touch with you about this. your website has me fairly impressed, and you definitely strike me as some one who is not talking out of their ass.
     
  9. backinthelab

    backinthelab Guest

    Nothing like to power of a good forum such as this to drum up some business! I'll talk to the guys at tomorrows session and get back with you!
     

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