The Shure KSM44 can work very well on sax. The ElectroVoice RE20 is a really good sax mic too. I've heard some great recordings using the Neumann TLM-103, but I have no firsthand experience of this setup.

John

I believe PA micing and studio micing to be different things at times.

The Shure 58 is a very often used mic in PA micing. It is very rugged and will last a lifetime, not very susceptible to feedback and with a frequency response tailored to PA use. The Shure 57, often used in studios for snare micing, is the same capsule with a bit different grill and could be used equally well.

Gunnar Hellquist

Hmmm...now, why would anyone want to mic a sax? :lol:

Do you know the definition of a "Gentleman?"

A gentleman is one who knows HOW to play the sax but CHOOSES not too.

Oh, okay, I'll let it go.

For recording sax - I like tubes. Tube mic + Tube pre, maybe even cascaded.

For PA on sax, the 58 works just fine. Though I would probably use the Senn 421.

Lot's of people dig ribbons on sax too. With my limited experience with ribbons, I can't comment on that.

J.

Hey now Jeremy... Some of us here still happen to be woodwind players (and I resemble those remarks.. er.... sorry... resent those remarks! :? :P )

What is the purpose of micing the sax? If you are just at a restaurant and it is for the PA only, the 58 is fine. There are better sound reinforcement mics, but considering that at a restaurant, few will actually be listening, it will work...

Now for a session or a live concert in an auditorium, I'd use very different mics. My first mic to reach for would be the Royer R122 microphone, the second would likely be a Neumann UM57. In general, I like ribbon mics on saxes- be it a Royer, Coles, Beyer or RCA. The Neumann UM 57 is one of the few condenser mics I like- the tube in it makes a huge difference... It has a big fat warm sound and can be beautiful on sax (it is my favorite brass mic, too).

I'm not a fan of most contemporary condenser mics when close micing a sax. The accenture of the top end of the spectrum just isn't particularly attractive to the sound of a mic. The couple that I have used and thought are ok- the Shure KSM44 or perhaps 32 as well, The Microtech M930, or the Neuman TLM170 (As I said in the other thread, I consider it a bit limp sounding, but up close that lack of sound can help keep the production noises/edge out of the recording).

--Ben

i don't think anyone had a choice but to listen. Twas rather loud for the venue. Especially in certain bands that gave my stomache quite an unpleasent rumbling while eating.

The sax player I work with live uses an AT 831 clip on...HATE IT!

I used the same guy, same sax, here at the studio for a gospel/blues project using an RCA SK46 ribbon...LOVE IT!

I know someone will correct me (they always do...:) ) but I think sax is like violin - they can be overwhelming in the top end, so a mic that naturally rolls off the highs (like a ribbon of killer dynamic) is my first "go to"....

I'm currently using & reviewing a new microphone from MXL, the V6.

Until the review is published, I'm not able to say much (or quote myself! hahaha), but I can tell you it's a excellent choice for Saxophone, and the cost is quite reasonable. It's NOT a chinese mic, either - built here in the USA in LA, they say. (Perhaps the element itself is chinese, I dunno yet...)

You can read more about the mic itself at:

http://www.wave-report.com/archives/2004/04461101.htm

I can tell you I've used it as recently as this past weekend on Donny McCaslin (tenor, alto & flute http://www.donnymccaslin.com/ as well as dozens of other musical applications, all with excellent results. Contact me privately, if you like, and I'll tell you more about it.

ghellquist wrote: I believe PA micing and studio micing to be different things at times.

The Shure 58 is a very often used mic in PA micing. It is very rugged and will last a lifetime, not very susceptible to feedback and with a frequency response tailored to PA use. The Shure 57, often used in studios for snare micing, is the same capsule with a bit different grill and could be used equally well.

Gunnar Hellquist

While the capsules for the Shure SM57 and SM58 are similar in appearance, specs, and installation, they are not the same thing. The SM57 uses a R57 capsule and the SM58 uses a R59 capsule...and is the reason for the ~$20 difference in cost b/w the two, not the grill.

Midlandmorgan wrote:

I know someone will correct me (they always do...:) ) but I think sax is like violin - they can be overwhelming in the top end, so a mic that naturally rolls off the highs (like a ribbon of killer dynamic) is my first "go to"....

This hugely depends on the mouthpiece, reed, and (most of all) the concept of the player. Hire the player whose sound and approach matches the music and sort the rest out later.

Rich

chriscavell wrote:
While the capsules for the Shure SM57 and SM58 are similar in appearance, specs, and installation, they are not the same thing. The SM57 uses a R57 capsule and the SM58 uses a R59 capsule...and is the reason for the ~$20 difference in cost b/w the two, not the grill.

I do not agree with this statement. It is possible that Shure has changed the elements but I used to repair Shure mics 20 years ago and the specs (and price) of the element itself are identical. The reason for the different specs of the assembled mic is due to the windscreen shape. IMHO the ball windscreen is the reason for the ~$20 difference in price.