Method Brasswind
6/4/03
4:15 PM
Page 1
Recording
brass and
woodwind
Getting down large blown instruments can be tricky, so here Keith Gemmell
offers some important guidelines on recording each instrument, plus a tutorial
on punch-in/punch-out recording with Cubase SX/SL and Logic.
BIOGRAPHY
Keith
Gemmell
Keith can usually be
found in his studio
recording library music
and producing
commercial MIDI
software. A professional
sax player for many
years, he also
publishes educational
audio products for
woodwind and is the
author of three books
on Cubase and Logic.
Occasionally he gets
out to do a bit of music
tech lecturing.
Upon reflection
Recording the clarinet is a slightly more 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 mid and
lower frequencies. So a reflective floor will render a
more brilliant sound. If youre recording in a home
environment or project studio with a carpeted floor,
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MTM04.Method Brasswind
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MTM04.Method Brasswind
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Micing up
Generally speaking,
choosing and placing
mics for recording
brass and woodwind
instruments is quite
straightforward,
provided common
sense prevails.
Condenser mics with a
cardioid pattern yield
good results. Mic
placement depends
very much on where
most of the sound
actually comes from:
brass from the bell,
flute from the
mouthpiece and sound
holes. However,
particularly with the
woodwinds, the sound
emanates from other
parts of the instrument
and its better to keep
the mic at a
reasonable distance
from the player. Brass
instruments emit high
SPLs another reason
to keep your distance!
066
Breath control
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 cardioid mic about 2.5 metres
above the ground and about 2 metres in front of the
flautist. Aim it towards their mouth. If you have the
luxury of a second mic, place it about 90 degrees to the
players right.
There is another method; place the mic above and
slightly behind the player to reduce breathiness. Aim it
towards the finger holes. But if its a breathy sound
youre 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 to use a pop shield.
Keep on tracking
The chances are that a good many of you are guitar
players. Its 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, and it can be an expensive business.
Good brass and sax players dont 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 on the understanding
that a paid session will be forthcoming if a recording
deal is secured. Its often easier to ask a single player, a
mate perhaps, to do you a favour.
You may not be experienced at arranging for horns,
and if that is the case, one advantage of working this
way is 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 are more than
capable of working out a few simple harmony lines.
July
2003
MUSICMUSIC
TECH magazine
Month
2003
TECH magazine
MTM04.Method Brasswind
6/4/03
4:16 PM
Page 4
SE Electronics SE2200
My original choice for the budget
mic here was the excellent
all-rounder, Shure SM57 (100).
But a newcomer to consider is the
excellent Chinese-made SE2200
condenser. It utilises a large
1-inch gold-sputtered
diaphragm, features a
cardioid polar pattern
and has a 10dB
pad for high SPLs.
It sounds good,
looks great and is
supplied with a
shockmount in a
nice aluminium
flight case.
Good value.
>
>
>
Dont tinker
If a decent mic has been selected and correctly placed,
the actual recording process should be fairly painless.
01
02
Price 140
Contact Sonic Distribution 01582 843900
www.seelectronics.com
03
>
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MTM04.Method Brasswind
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Common practice
As with vocal recording, dropping in and out is
common practice when tracking, and relieves pressure
on the performer (see the tutorial). This is important
with trumpet and trombone because both of 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, its time to
consider the need for EQ and compression. There may
>
Place the mic a fair distance away from brass to avoid accentuating
higher frequencies. And placing it off-axis produces a mellower tone.
Micing up
Which mic to use and where to place it for different brass and woodwind sounds.
INSTRUMENT MIC PLACEMENT
Saxophone Close to the bell
SOUND QUALITY
Bright, forceful
Clarinet
Flute
Full-bodied,
warm, intimate
Above the bell and Natural
aimed at the keys
Close to bell
Bright
Close to
Warm, breathy
sound holes
low register only
Above sound holes Natural
aimed at lowest keys
Close to mouthpiece Breathy, intimate
and sound holes
Above the keys
Natural
Trumpet
Close to bell
Bright, punchy
Natural
Trombone
Bright, punchy
COMMENTS
OK if you require a harsher tone
rock solos, perhaps
Nice for quiet solos will pick up
key noise
Good recording practice resulting
in a well-balanced sound
Not ideal somewhat unbalanced
Nice for quiet solos in the lower
register will pick up key noise
Good recording practice resulting
in a well-balanced sound
Nice effect for solos. A pop
shield may be needed
Good recording practice resulting
in a well-balanced sound.
Not ideal, unless you wish to
destroy the players tone!
MICROPHONES
Good quality condensers, cardioid
vocal mics work prefer Shure SM57
to SM58.