Saxophone recording technique

It All Start With You

Experimented in the studio recording can be a lot of fun with interesting things to do. When you get all the right variables, they can inspire you to play well. Of course, even if you have a great mic in a large room and go through the best recording equipment, you can not sound too good if you have a horrible tone out of your horn. That is why it is important to take time to get the fundamentals down before heading to a recordingstudio.

With a good tone in the place, time well spent with good teeth in the studio can make you sound better, assuming you are working with an engineer who knew what a saxophone is ... Do not laugh! I was doing sound checks in places large and have a sound engineer asked if I would use the mic in my saxophone! Run, do not walk away from those people!

These days, some good engineers who may not have much experience with a saxophone. Many people will only work with bands that have a special line-updrums, bass, guitar, keys, and a singer. No matter what good you are in your career, learn a few things about the recording process will help to make your business sound a lot better.

At the beginning of my career, I did not pay much attention to the mic, processing gear, etc. EQ frequency's Now I do. I hand in the studio because I wanted to sound good. I heard that I played last year, and I do not like how much it sounds. Not what I play, but the sound is actually ... it mayhow engineers have EQ'ed or sit in the mix.
So, it all starts with you ... but it all could end up with the engineers!

Mics

The good news is that there are some very good engineers out there that can make us sound better. The first item in the bag of toys have a microphone, an engineer.
One of the first major recording project I was involved with in 1988 with Canadian singer / guitarist Colin James, who has signed with Virgin America at that time. We went toCriteria Recording Studios in Miami to work with renowned producer / engineer Tom Dowd, who signed Eric Clapton (Layla), The Allman Brothers, Leonard Skynard, and Aretha Franklin to name a few. We saw all the gold record artists depend on the wall, plus others such as James Brown (I Feel Good), The Bee Gees (Saturday Night Fever). All the songs we heard growing up, but amazing to be there for the first time. But the best is yet to come!

After meeting Tom Dowd, Ithat it has signed King Curtis and John Coltrane, two of the most influential sax players in history, where we were standing there! Now a saxophone player, I felt I was in good hands!

His priority is the mic Neumann U87. This model came out in the 60's, I know he recorded King Curtis Coasters session from the 50s and will use the Neumann U47 ... for Coltrane as well.

This mic is still the industry standard, because they are largediaphram mic to produce sound, the size of hot. They can be found in every large commercial studio, but not necessarily on a small project studio as the price of several thousand dollars each. However, I would not put the brakes on the project or record the session if the mic is not available.

At this time, the company that makes really good mic for under $ 500. For the CD I had just finished, Rock & Roll sax, I use a different mic, two people under $ 500 and one is $ 3000. ReallyThe cheaper the better is the Shure SM7 and AKG C1000.

Pre-Amp

On-line directly after the pre-amp microphone. This is just an amplifier that can improve your signal to the recording machine, Computer, etc. A pre-amp is the best way I have found to get a really sound "hot" saxophone. In essence, it has a level and the output button. You crank up the input gain in almost Knob, Red is not red-not because that will give you bad sound distortion. Just beforeDistortion is a fine line, you can experiment with it to verify the amount you want in your voice. I've used the low setting, somewhere in the middle, and really hot. It all depends on the sound you want for a particular recording.

Compression

Next toy to experiment with the compressors. I'm not a technical engineer (you may have noticed), but, basically, the compression on the saxophone would create a ceiling for the volume level of your voice and take note of each reachceiling level, which means that all the notes you will be even with each other in volume. If you go overboard with effects, you will hear a tone to manipulate, so once again, you have to experiment. Personally, I sometimes like that in my voice a little, it all depends on the song. If you listen carefully, especially with headphones, you will hear how to enlarge the things in the tone of the saxophone as breathlessness, spat in the bamboo, and even slightly reduce the sound made by a notebearings.

Equalizer

Even after beefing up your voice with the pre-amps and compressors, and more bodies may be added by hissing equalizer (eq).
For some extra sizzle or sparkle, I would like to add some high-frequency end, around 10k, but you need to experiment here. You can get the right to increase shine you would expect from 8k or 11k. If you use a good mic is not necessary to increase for a large newspaper, only between 1 and 3 db's (decibels).

I never felt that I needed more of a saxophonemid frequency range, which encourages them to give midsas Tonk ugly tone, but often little more low end eq will help to complement the tone. Once again, you will need to experiment, but I go around 125-250 HZ (killahertz).

Reverb

All people want to hear some reverb as soon as they hear themselves in the studio headphones. That's because, reverb provides direct big, wet sound that can make your playing sound better and can help you feel more comfortable during the recordingsession.

I've seen have been like reverb mode from time to time ... various types and styles came to the mod, sometimes hip to use a lot, sometimes you use almost none at all.
How to capture natural reverb is to use naturally occurring sounds in the room, and how much you have depends on the size of the room. People are still recorded as it is today, and we are still hearing about how the band went into a few large old church record or a basement or bathroom to achieve aamazing voice.

Plate reverb unit is the artificial way to make the reverb in the studio.

Plate reverb is produced by vibrating a large metal sheet. Clearly, a way to produce reverb to create reasonable cause, to create a different room sizes without having to leave your own studio. Today there are many types of reverb for the digital technology, and every studio will have a good size to plug into. The type and amount of reverb used will depend on your personal tastes,I personally use very little, if you can hear it, it was too much. I want to fix it so that you can not select it if you turn off the sound but you see that it is gone.

Delay / Echo

Delay or echo is a result of repeated notes after the original tone is played. Like if you yell into the well, HELLO ... HELLO ... HELLO. When I found the delay reverb is not needed and usually get on the road.

I like this effect in my saxophone. The numbers always vary depending onmusic.
Short "slapback" postponement of the most recognized in the rockabilly music, especially on vocals and guitar. All aspects of these effects can be controlled, the overall level of influence by the number of repetitions you want. Sometimes the delay is a good procedure is the perfect thing on the saxophone, especially on a song rockin 'or a ballad. I use it quite a bit in recent recordings I, here you can hear my saxophone with little delay and then a lot.

Wah-Wah

Finally, there iswah-wah pedal. It is usually heard on the guitar. But do you know, that was created so the guitar can sound like a trumpet? As a trumpet player to use divers to get a wah-wah sound, the sound that guitarists want to emulate.

Back in 70, I remember listening to some bands have a saxophone player and use the wah pedal in their horns. Frank Zappa and Steve Winwood of Traffic band comes to mind.
Since then, I have not heard it used in the recording toa long time so I tried it in one of the songs from a recent recording I;

To use the pedal with your saxophone, simply connect the microphone cable directly into it and another cable coming out to the impressions you may have on-line. Pedal moves up and down to create wah-wah.

This is my set-up while experimenting in my home studio, but once in the studio mixing, we see some intermittent unpleasant "sound" and I have to go back to track all of the saxophone. That's bad news for melike that already exists! It is good that comes out of this, the engineers suggested taking two lines of the wah pedal, a first for the only effect, the other will just have the saxophone music through it. This was a big success. Now, we can mix and combine two channels and add or reduce the wah-wah effect depending on how the work in the song. I find a certain note or phrase sound better with a little less impact, and vice versa ... more control, bettervoice.

Have fun experimenting with your voice in the studio. Sometimes the use of all these toys will help to get the sound you want, sometimes only one or two of them, and sometimes none of them are needed. Let the music dictate what you should use extreme of this effect.

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