Your favorite microphone, at the moment, to record saxophone in your studio – page 2 hair electricity dance moms

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I’m into mics like some folks (me included) are into saxophones. As a result, I have a pretty extensive mic locker. My wife (and business partner) knows very little about them so unlike saxophones – when I want a new one, I don’t have to justify it. Let’s face it – at some point having 6 tenor saxes, and shopping for a seventh gets a bit of scrutiny from the finance department. 3 main gas laws Not so with mics. I regularly run sessions with 10-20 live mics. A drum kit alone can have 10 if you’re "tight micing" the whole kit – say for that 80’s Steely Dan sound. Add three horns, guitar, bass, stereo piano mics, lead and backup vocals and you’re at 20 no problem…

….anyway – There’s a ton of great stuff out there. I use about three different mics on saxes depending on the session and my mood; Ribbon mics are fun, but can be quirky and are fragile – I wouldn’t recommend one as a go-to for sax, because of that. Many will fry if you forget and run phantom power to them, and they reflect your pre-amp’s quality a lot more than dynamic or condensor mics…Drops, falls, and high SPL’s can kill them too.

You should know – You already have a great sax mic – I have a stereo pair of the 4033’s you are currently using and I like them even better for the alto than the 414. I prefer the 414 on tenor though, but I’m not 100% firm on that. I think the 4033’s are underrated and have a nice ‘sparkle’ on top that is really nice on acoustic guitars too. Either way – the 414 is too close in response to your 4033 to be a good investment.

Whatever you do – Budget $50-$75 and get a used SM58 or SM57. I hang one on every session – you can use the track, or mix some of it in, or just discard it, but for roughly $60 – you can’t go wrong. More than once I have preferred the SM58 track to the one from a $3,000 mic. gas arkansas Yes- they color the sound a bit, but often in a great way. I keep one in my gig bag for emergencies and it has come in handy more than once.

I do, indeed, know and love my 4033, and I agree that it’s a semi-hidden diamond of an LDC mic. My good friend Sam Minaie, who is a fantastic mixing/mastering engineer in NYC (and also plays bass with the likes of Tigran Hamasyan and Ari Hoenig!), recommended that one to me years ago and I’ve gotten TONS of mileage out of it. I use it for professional home studio recordings nearly every day and clients have no idea I’m not using a mic that costs many times as much.

I’ve recorded on 421s several times, and I particularly like them for sax section work. gas and water I also love how the RE20 sounded when Michael Brecker used it live (I think that was his preferred live mic), and of course I love the Shure SM7B on vocals. So those dynamic mics will eventually be in my future, for sure, as will a ribbon like the AEA R84 (try one if you haven’t yet, it’s amazing on saxophones and brass, Ingrid Jensen and Matt Marantz use them a lot).

At the moment I’m so curious about the Gefell M930 that I may just buy one out of fascination. They have very little name recognition in the States but a sterling reputation by every engineer I’ve known who’s familiar with them. I’ve heard some folks prefer them to a u87 and they’re a third of the price, and they’re also smaller and easier to fit in tight quarters. Not switchable, I don’t think, but that really doesn’t bother me, their pattern seems to be quite beloved. Have you ever messed with Gefell mics?

I do, indeed, know and love my 4033, and I agree that it’s a semi-hidden diamond of an LDC mic. My good friend Sam Minaie, who is a fantastic mixing/mastering engineer in NYC (and also plays bass with the likes of Tigran Hamasyan and Ari Hoenig!), recommended that one to me years ago and I’ve gotten TONS of mileage out of it. electricity prices by country I use it for professional home studio recordings nearly every day and clients have no idea I’m not using a mic that costs many times as much.

I’ve recorded on 421s several times, and I particularly like them for sax section work. I also love how the RE20 sounded when Michael Brecker used it live (I think that was his preferred live mic), and of course I love the Shure SM7B on vocals. So those dynamic mics will eventually be in my future, for sure, as will a ribbon like the AEA R84 (try one if you haven’t yet, it’s amazing on saxophones and brass, Ingrid Jensen and Matt Marantz use them a lot).

At the moment I’m so curious about the Gefell M930 that I may just buy one out of fascination. They have very little name recognition in the States but a sterling reputation by every engineer I’ve known who’s familiar with them. I’ve heard some folks prefer them to a u87 and they’re a third of the price, and they’re also smaller and easier to fit in tight quarters. Not switchable, I don’t think, but that really doesn’t bother me, their pattern seems to be quite beloved. Have you ever messed with Gefell mics?

Cool man – I don’t own any Gefell’s, but they were the go-to mics at the studio I did my apprenticeship in back in the 70’s…I’ve recorded both my own vocals and sax on the M70 and loved it, but there were other factors like 2" 16 track tape and vintage compressors in the chain so how much of the magic was the mic, I’m not sure. The studio owner swore by them though. Unfortunately, my budget when I struck out alone afforded me a 1/4" 8 track and a couple of SM58’s, but I made at least 100 radio spots on that kit before I upgraded. I was more about the creative at that time than the gear because I just couldn’t afford to be gear oriented.

Cool man – I don’t own any Gefell’s, but they were the go-to mics at the studio I did my apprenticeship in back in the 70’s…I’ve recorded both my own vocals and sax on the M70 and loved it, but there were other factors like 2" 16 track tape and vintage compressors in the chain so how much of the magic was the mic, I’m not sure. The studio owner swore by them though. Unfortunately, my budget when I struck out alone afforded me a 1/4" 8 track and a couple of SM58’s, but I made at least 100 radio spots on that kit before I upgraded. I was more about the creative at that time than the gear because I just couldn’t afford to be gear oriented.

Hah! No, I haven’t been looking at the eBay one, and of course now I will. npower electricity power cut Fortunately, this isn’t a good time for me to buy gear, I just made a big cross-country move and it’ll be a few months before I can start tweaking out my studio. So I may have inadvertently cursed you to bidding on things you don’t strictly need! (If you do pick it up and work with it a bit, I would be VERY interested in the results.)

For what it’s worth, I am also very firmly in the camp of working with humble gear creatively to get great results. Brian Eno made magic happen with a DX7 and very basic recording gear, and he’s a hero of mine: an interview he did years ago in which he emphasized thoroughly learning to get the most out of what you have instead of buying "nicer" stuff always stuck with me. Great things can indeed happen with a couple SM58s and some knowledge, and I’ll get a lot more out of my 4033 even after I get some fancier stuff, for sure.