Recording horns

[trbguy]

Any tips? I really don't have a studio, but a living room and a rehesal room to use. Any recommentations for a budget mic, positioning mic etc.. And tips to use in commercial studio? I tend to have some recording sessions where i'm asked to, but to find a recording engineer with knowledge about horns rather than rock instruments....priceless

[TrevCircleStudios]

If you had a great sounding room at your disposal I'd say a nice stereo pair of ribbons 4-6 ft out. experiment a bit with the configuration (spaced versus x-y). If you don't have a good room then spot mic with dynamics (Shure SM7/EV RE20/Sennheiser MD421).

Bear in mind that the sound takes a little time to develop on wind instruments. As a good rule of thumb, however long the instrument is from mouth to bell is about the same distance that will be the best spot to put your mic from the bell. When you bring a bad room into the equation you have to really balance the sound coming from the instrument against the colour the room imparts to get yourself to the best point you can.

Hope this helps!

[trbguy]

Most of the time I've been playing in studio it was just one large diaphgram condenser put 1 foot from the bell. Result has always been muddy and nasal sound. So the distance you suggest makes really sense. Any tips to playing section stuff to prevent leaking from a mic to another, still having enough distance to have a good sound? What is the thing we gain using stereo pair for single horn?

[TrevCircleStudios]

Originally Posted by trbguy

Most of the time I've been playing in studio it was just one large diaphgram condenser put 1 foot from the bell. Result has always been muddy and nasal sound.

Now you know why

Originally Posted by trbguy

So the distance you suggest makes really sense. Any tips to playing section stuff to prevent leaking from a mic to another, still having enough distance to have a good sound?

You could use the null side of ribbon mics to good effect if you want more separation. Arrange each player so they are in the null point of the other's ribbon mic

Originally Posted by trbguy

What is the thing we gain using stereo pair for single horn?

Not so much for a single horn (unless you are particularly shooting for that), if you wanted to capture the horn section as a coherent unit this would be more useful.

[trbguy]

Not so much for a single horn (unless you are particularly shooting for that), if you wanted to capture the horn section as a coherent unit this would be more useful.

So you mean recording it as it is, with just one stereo pair or pair for each horn?

How much do you think there is difference between ribbon and condencer? Anything else, but quality of mic itself? Different pattern? Anything else I might be missing?

Thanks

[TrevCircleStudios]

Originally Posted by trbguy

So you mean recording it as it is, with just one stereo pair or pair for each horn?

Just one pair for the whole horn section

Originally Posted by trbguy

How much do you think there is difference between ribbon and condencer? Anything else, but quality of mic itself? Different pattern? Anything else I might be missing?
Thanks

Both the tonality of the mic and the pattern of a ribbon works well for recording horn sections IMO. Don't just take my word for it though. Try it and compare. As ever, YMMV.

[trbguy]

Just one pair for the whole horn section

So the balance of section must be good. There's not much you can do afterwards?

[TrevCircleStudios]

Originally Posted by trbguy

So the balance of section must be good. There's not much you can do afterwards?

yup. spot on

[dvdan]

hi trbguy
guessing you're a trombonist? me too! As trev has stated here, a great section of three or five or even more players should balance themselves out. Arrangement has a lot to do with the sound as well.
The real secret is great, accomplished players with just a couple of well placed mics in a room that is not too small. Again as Trev says, distance from the musicians is the key to allow all the sounds to gel together. On a budget, dynamic and ribbon mics are the order of the day, expensive LDCs are very good for solo instruments. Royer 121s are really sweet on brass - especially trumpets. Anything in fact.

dan

[trbguy]

Yes, I'm trombone player, really nice to have trombone player company here.

Best sound I ever had was made by vintage sony mic, if I remember correctly it was a C-38.

Unfortunately recording is only a hobby for me, so no fancy studio or expensive ribbon mics for me, except when doing freelance trombone gigs at commercial studios.

[TrevCircleStudios]

Take a look at Cascade Fatheads. Maybe you can even persuade DV to stock them!

[trbguy]

Really good tip. In case anyone else is interested here's link Click me Ribbon mic for 160 dollars. Have you tested these yourself? DV really should stock these. Thanks

[trbguy]

By the way how and why is Blumlein Bar used. Saw one on Cascades web site.
What's the idea here

[TrevCircleStudios]

Originally Posted by trbguy

By the way how and why is Blumlein Bar used. Saw one on Cascades web site.
What's the idea here

Read and ye shall see:

X-Y and Blumlein Stereo Recording

[trbguy]

Originally Posted by TrevCircleStudios

Read and ye shall see:

X-Y and Blumlein Stereo Recording

Thanks didn't find that before

Is there big difference between matched pair and just two mic's of same brand and model?