Recording saxophone, brass and woodwind instruments can be a confusing business. Which microphones do you choose and where exactly do you place them for the best results?

There I am, in this rock ‘n’ roll band, happily riffing away in the background, when suddenly the lead singer turns around and heads my way. “Take it away Mr. Sax man,” he yells and shoves his microphone deep into the bell of my saxophone. I promptly oblige but the harsh, nasty sounding racket echoing round the hall doesn’t even remotely resemble the tone I’ve spent years perfecting. Why? Because the singer has mistakenly assumed that the sound of a saxophone comes only from the bell. It doesn’t. The sound is pretty much distributed between the sound holes and the bell.

Admittedly, that was a live scenario as opposed to a carefully controlled studio environment. Different guidelines apply and different microphones are used, but a fundamental principle, for recording brass and woodwind instruments has been demonstrated; listen carefully to determine exactly where the sound comes from. Positioning your mic is where the skill comes in, where art meets science.

The next step? Decide upon a suitable microphone. Generally speaking, recording brass and woodwinds is a relatively easy business using good directional mics.

Most professional studios tend to favour expensive condenser models, typically AKG C414s or Neumann U87s but if your budget is tight, good results can be achieved with a quality dynamic mic such as the trusty Shure SM 57 (£100).

Professional model AKG C414 B-XLS - A large diaphragm mic ideally suited to recording sax, woodwinds and brass. Switchable between five patterns - omnidirectional, wide cardioid, cardioid, hypercardioid and figure eight - it has a flat frequency response and a clean, full bodied character. With 10dB and 20dB pre-attenuation pads it copes with the highest SPL from the loudest brass players. A classic.

An increasing amount of budget condenser models are also arriving on the market such as the SE2200 (£140). A little higher up the scale is the Audio Technica AT3035 (£175). There are plenty more to choose from.

Mid-range model AKG C3000B - If you can’t afford the C414 the C3000B also has a large diaphragm and provides an affordable alternative. Designed for the project studio it’s switchable between cardoid and hypercardoid patterns. Good results will be obtained on flute, clarinet, saxes, trumpets and trombones. It’s also fitted with a10dB attenuation switch. Use it when recording brass instruments.

Budget model SE 2200 - My original choice for the budget mic here was the excellent “all-rounder” Shure SM57 (£100). I’ve changed my mind and decided on the Chinese made SE 2200 condenser. It utilises a large 1 inch gold sputtered diaphragm, features a cardoid polar pattern and has a 10dB pad for high SPL. It sounds good, looks great and is supplied complete with a shockmount in a nice aluminium flight case. Good value.

I happen to play the most commonly used woodwind instruments that you’re likely to encounter - saxophone, clarinet and flute - so I’ll deal with those first.

Keep your distance (recording the saxophone)

Contrary to popular belief the sound of a saxophone doesn’t come just from the bell.

Well, it does but only when the very lowest notes are played because that’s the only time all the sound holes are actually closed. Most of the sound comes from the the main body of the sax itself.

So where’s the best spot to place the microphone? Not directly over the bell unless you require a very bright, punchy sound. A more natural sound is achieved by placing a cardoid mic between 1m and 1.5m in front of the instrument, above the bell and aimed at the middle of the instrument. This technique captures the entire frequency spectrum. If you need a more intimate, warm and full bodied sound, move the mic closer - nearer the sound holes. The sound characteristics of a saxophone, particularly the tenor, are close to those of the human voice. If you already posses a shaped response mic designed for vocals, it’ll probably do a good job on saxes too.

Upon reflection (recording the clarinet)

Recording the clarinet can be a tricky business. Like the saxophone, the sound emanates from both the sound holes and the bell of the instrument. However, unlike the sax, the bell points downwards. As a result, the higher frequencies are projected to the ground and reflected back where they join up with the lows and mids. So, a reflective floor will render a more brilliant sound. If you’re recording in a home environment or project studio with a carpeted floor, try standing the clarinettist on a flat piece of wood large enough to catch the reflections.

The clarinet has a very large range of well over three octaves split into distinctive sounding registers. Deep, rich and woody in the lower, first register; think ‘’Peter and the Wolf,” liquid and mellow in the second, high and quite piercing in the third. There’s also a weak spot called “the break”. So, it’s worth finding out from the player, before you start recording, which registers they are likely to use most.

Position a cardoid mic between 1 and 2 m in front, above and slightly to the side of the player (to minimize key noise) and aim it towards the lower keys. Some experimentation with positioning might be needed. I sometimes use two mics, one about 0.5 m above the keys and another, some distance from the bell.

Two other reed instruments that you may encounter are the oboe and bassoon. Cardoid mics placed over their sound holes at a reasonable distance will provide a natural and well balanced sound. Placing mics near their bell will result in a bright but not necessarily nicer tone.

Breath control (recording the flute)

Flutes are different again and some experimentation may be necessary. The sound is projected from both the mouthpiece and the sound holes. Where you place the mic will depend on the type of sound you want - breathy or pure - and the skill of the player.

For a natural sound, place a cardoid mic, about 2.5 m up from the ground and about 2 m in front of the flautist. Aim it towards their mouth. If you have the luxury of a second mic, place it around 90 degrees to the player’s right.

Another method - place the mic above and slightly behind the player, to reduce breathiness. Aim it towards the finger holes. But if it’s a breathy sound you’re actually after, place the mic closer to the player and aim it between the mouthpiece and the first group of sound holes. You may need a pop shield.

The heavy mob (recording brass instruments)

On to the heavyweights - the brass instruments. The two most commonly used members of this family are the trumpet and trombone. What do they both have in common? Volume. High sound pressure levels (SPL), up to 130 db. Take care. Some mics, such as ribbons, may not be able to cope. Condensers with a large diaphragm and flat response are usually best. Use the pre attenuation switch though, to cope with the high SPL. The AKG D112 Bass Drum mic also does the job, particularly with the trombone. If possible, avoid mics designed specifically for vocals. They’ll work with saxes but their shaped response will exaggerate the higher frequencies.

Where the sound comes from is obvious - from the bell. However, although the higher frequencies are projected in front of the bell, the lower ones are spread over a wider area. So, once again a mic placed too close will result in a very bright but not necessarily pleasing sound. Place a cardoid mic about 2 m in front of the player and move it further or nearer according to the acoustics. Having it slightly off-axis by about 30 degrees will produce a mellower sound. On-axis will be bright.

Keep on tracking

The chances are that a good many of you reading these words of wisdom will be guitar players. It’s also likely that some of you would relish the opportunity of overdubbing a complete horn section on your songs. Unfortunately, many project studios are short on space. Also, it can be an expensive business. Good brass and sax players don’t come cheap. After all, playing these instruments to a high standard requires years of practice. However, you may be lucky and manage to persuade a complete horn section to play on your demos for free (beer and sandwiches thrown in of course). This will most likely be in lieu of a paid session once a recording deal is secured. It’s often easier to ask a single player, a mate perhaps, to do you a favour.

You may not be experienced at arranging for horns. If that’s the case, one advantage of working this way will be the chance to build a horn section, track by track with the help of the players musical knowledge. Most ‘’blowers” are trained musicians with a good deal of musical theory under their belt and more than capable of working out a few simple harmony lines. It’s advisable though to do a bit of preparation, in the form of a simple chord sheet. If you can, jot down the main lead lines as well, no matter how crudely. That, combined with you singing the lines will help the player get the gist of things and save a lot of time and frustration all round.

A few words of advice here - keep it simple. The best and most effective brass writing is usually on the lean side. Use very high notes sparingly, especially if intended for the trumpet. Save them for a climatic effect. Although you will probably be tempted to harmonise those brass lines at every opportunity, don’t forget the power of unison. Doubled lines, sometimes an octave above or below, are not only simple and quick to record but can provide a powerful sectional sound.

If you’re using a multitrack machine you’ll need to reserve a few tracks. Three will probably be enough. If you’re recording with a DAW such as Cubase or Logic then track availability will not be a problem. However, your computer’s processing power (CPU) will be a determining factor, particularly if you’ve already laid down a substantial amount of audio.

It’s just an illusion

All this tracking and doubling of one instrument can become a little tiresome after a while, both for the player’s chops (embouchure) and the listener’s ear. One instrument, one player, brass or reed, layered repeatedly can end up sounding rather bland to say the least. One way round the problem, in a project studio is to mix sampled brass and saxes together with the real thing. I’ve actually created a pretty convincing big band piece this way by tracking two alto and two tenor saxes myself and using a sampled baritone for the fifth sax. Nobody, so far has spotted the interloper. The brass section was made up entirely of sampled trumpets and trombones. The trick is to use a variety of brass samples for different parts.

Don’t tinker

If a decent mic has been selected and correctly placed the actual recording process should be fairly painless. Avoid tinkering with EQ. In most cases brass and saxophones will record fine without it. Aim at capturing a pure and natural sound. If you really feel the need for a twiddle, save it until later, at the mixing stage. That way, you’ll be better placed to make a judgement and be free to experiment. Remember, if you commit now and change your mind later, there’s little you can do, other than ask the player to do it all over again.

Compression? Again, avoid it if you can at this stage. Experienced brass and sax players will be in control of their instrument’s dynamics and will know how to project an even sound. Beware though, when setting levels. Ask the player to play as loud as they will be playing on the actual take. They don’t always do this when warming up. They’re saving themselves - for that high note which will take you by surprise just near the end of a perfect take.

Common practice

As with vocal recording, dropping in and out is common practice when tracking and relieves pressure on the performer. This is important with trumpet and trombone because both these instruments require a good deal of physical stamina. Frequent short breaks during the session will be needed (watch your beer stocks rapidly diminish).

When you reach the mixing stage it’s time to consider the need for EQ and compression. There may be areas where the higher brass notes will be louder than some of the lower ones. The same may be true of the saxophone, particularly if there’s been some screaming going on. In that case use compression by all means. But no more than necessary. EQ? Use it correctively, only when necessary, cutting rather than boosting. Having said that, it really depends on what’s happening around it. For example, on a busy tune full of guitars a slight tweak at the top end will help lift a tenor sax solo out of the mire. No rules really. Just use your ears and common sense.

Copyright: 2007 Keith Gemmell

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