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Tracking
AcousticGuitar

HornsofPlenty

ElectricGuitar

ByBobRoss

Bass

Thisarticleisaboutrecordinghorns.

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Drums&
Percussion
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Woodwinds
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Howtorecordbrass,woodwindsandhornsections.

Letmestartrightoffbyapologizingtothepurists.WhenIusethetermhornsImusingitin
thecolloquialjargonofthejobbingmusician,nottheliteralvocabularyofthemusical
cognoscenti.
Inotherwords,IdontjustmeantheFrenchhorns,butallmannerofwindinstruments,brass
andwoodandotherwise.Saxophones,trumpets,trombones,subcontrabassclarinets...lighten
up,theyreallhorns!Yes,itisusefulinformationtoknowthatthosehepcatsinthehorn
sectionareblowingintoamixtureofbrassandwoodwindinstruments,andthatthosetwo
familiesofinstrumentproducetheirsoundviaverydifferentmeans...butforthesakeof
simplicity(andhopefullysothatyouwillthinkItooamahepcat)Iwillrefertothemall
collectivelyashorns.
Whateveronecallsthem,hornsneedtogetrecorded,andwithonlyatinyhandfulofexceptions
(noneofwhichwouldgetpastthecriticaleyeoftheaforementionedpurists),thisrequires
microphones.IllbedocumentingsomemictechniquesIvefoundmosteffectiveincapturingthe
essenceofhorns,bothsoloandinsections,aswellassomethingstoconsiderwhen
experimentingtofindwhatworksbestforyourrecordings.
Bigbrass
Thebrassinstrumentsmaybetheeasiesthornstomic,ifonlybecausetheirphysical
constructionmakesmicplacementseeminglyselfevident:sincealltheairgoesinoneendand
allthesoundcomesouttheotherend,stickthemicinfrontoftheOutendandyerdone,
right?
Okay,Imoversimplifying.Butthatbigconspicuousflaredbellonthefrontofthehornisindeed
wherethesoundemanatesfrom,sotheprimarychallengeischoosingacomplementarymic.

YourStudio
DIY
HowStuffWorks
Forthe
Songwriter
FortheBeginner

Trumpet
Asfarasmicpositioninggoes,left/rightandup/downdecisionsarebothjustvariationsofon
axis/offaxis,forthetrumpetisbynatureaverydirectionalinstrument.Onaxis(i.e.pointed
straightintothebell)isbright,sharp,clear,incisive...offaxisisduller,morediffuse,withfewer
upperharmonicsandnotasmuchbite.
Theoptimumdistancefrommictobellwillbedictatedbymanyofthesameconsiderations
whenmikingasingerclosemikingyieldshigherSPLwithmoreproximityeffect(ifyourmicis
soinclined)andmoredetailintheupperharmonics,aswellasahigherratioofdirectto
reflectedsound.
Twoimportantpointshere.First,thetrumpetiscapableofincrediblyhighSPL,especiallywithin
thefirstfewinchesofthebell.Sobecertainyourmiciscapableofwithstandingabuseinthe
135140dBSPLrange,andbesurethepadswitchiswithinreach.
Second,someofthosedetailsIalludedtoincludethemellifluousgurglingofsalivainthe
playersmouthandinthetrumpetitself.Whileitcanbearguedthatthisisaninherent
componentoftheinstrumentssound,itisgenerallynotanaspectofthetrumpetthatone
choosestohighlight.Iftherestoomuchspitinthesound,considerbackingthemicoffafew
inchesorrepositioningitslightlyoffaxis.(Orpolitelyasktheplayertoemptyhisspit
valve...thoughgenerallytheylldosolongbeforeyounoticetheneed.Keepamophandy.)
Thatbeingsaid,Itendtopreferdynamicmicsfortrumpets.Theyarerobustenoughto
withstandthehighSPL,typicallyhaveaslightlyroundedorwarmerhighendthatcomplements
thebrashtoneofthehornsupperregister(whileattenuatingexcessivespitsounds),andtheir
proximityeffectcanbeusedforaddedpunch.
EspeciallyifImrecordingforarockorfunktune,Istayawayfromcondensermics.Whilethey
provideafarmoreaccurateportraitoftheactualtrumpetsound,inpracticetheresultant
recordingdoesntalwaysblendintothetrackaseffectively,andthenecessaryfocusandimpact
canbelost.

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- Horns of Plenty : Recording Magazine SomeofmyfavoritetrumpetmicsincludetheSennheiserMD421andMD441,theElectroVoice

RE20,RE15,andRE27,andtheShureSM7.Dontoverlookinexpensivedynamicmicseither
IveachievedexcellentresultswithaShureSM58andanAudixD1.TypicallyIllstartwiththe
miconaxisabout12"fromthebellandthenadjustcontextuallytotastefromthere.Atinybit
ofcompressionisoftenappropriate,thoughIrarelyexceed4dBwitha3:1ratio,andIll
highpassfilterthechannelstriparound150Hz.
Forjazzrecordingsorsessionswhereamoredelicatetrumpetsoundmayberequired,ribbon
micsareasuperboption.IveusedtheBeyerM160,M260,andM500,andtheColes4038,all
withstellarresults.Ribbonstendtoexhibitaquickertransientresponsethanmovingcoilmics,
sothesoundwillbesnappier,closertothatofacondenser,butwiththewarmerhighendofa
dynamic.JustbecarefulabouthighSPL,asribbonmicstendtobemorefragileandunforgiving.

WhenyoubuyaSound
Library,whatismost
importanttoyou?
EaseOfUse
Price

Flugelhorn

SoundQuality

Theflugelhornisanauxiliarytrumpetthatisoftencalledforwhenamorelush,mellowsoundis
required.(RememberChuckMangionesFeelsSoGood?)Recordingconsiderationsareexactly
thesameasthoseforthetrumpet,keepinginmindthattheidiomaticflugelhornsoundwillbe
lesscutting,morevelvetythanatrumpet.

PlaysWellWithDAW

Forthissoundyoumaywanttoaddlargediaphragmcondenserstoyourarsenalhere,though
myfirstchoicewouldstillbearibbonmic.Withalargerbellthanatrumpet,theflugelhorn
allowsforfinerdegreesofoffaxisness(isthataword?),soexperimentwithsubtlechanges
inmicpositiontofindthesweetspotthatcapturestheinstrumentmosteffectively.

GenreAuthenticity
Submit

Trombone
PrettymucheverythingIsaidaboutthetrumpetgoesforthetrombonealso.Witharangethat
extendsslightlymorethananoctavebelowthetrumpet,youllwanttochosemicsthatcando
justicetothatbottomendandsetthehighpassfilterat80Hz.
TheElectroVoiceRE20andSennheiserMD421areagainmyfirstchoicefortrombones,and
ribbonmicswillusuallyprovideexcellentresultsaswell.Tryyourfavoritekickdrummichere
IverecordedgoodtrombonesoundswithanAKGD12andD112,andIdbewillingtobetthata
ShureBeta52oraBeyerM88wouldmakeakickassbonemic.
Frenchhorn
OnfirstglanceyoudthinktheFrenchhornwasaninstrumentdesignedtofrustratethe
recordingengineer.Notonlyisthebellfacingawayfromthelistener,buttheplayersgothis
handstuffedintheretoo!
Donotattempttocircumventtheseseemingobstacles.Ifyouweretoclosemikethebellofthe
Frenchhorninthesamefashionthatwemikeatrumpetortrombone,youwouldcompletely
forgotheidiosyncraticsoundthatdefinestheFrenchhorn.Thedistant,ambientmajestythat
characterizesthesonicdialectoftheFrenchhornhasalottodowiththefactthatverylittle
directsoundreachesthelistener.Youwanttocapturethatdistance...withoutmakingthe
instrumentsoundphysicallyfaraway.
Thefirststepistosetuparecordingenvironmentconducivetoaliveambience.Atthevery
least,positiontheplayerinfrontofahardreflectivesurface.(Attheverymost,positionhim/her
centerstageatSymphonyHall...butfornow,wellassumetheveryleast.)Thedistances
betweenthehornplayerandthisreflectivesurfacebehindthemandthemicormicsinfrontof
thembecomeyourprimaryvariables.
Itgoeswithoutsayingthatyoucouldspendalldaychangingthesevariablesinsearchofsome
elusivesweetspot.Forstarters,trypositioningtheperformerequidistantbetweenthe
microphoneandthereflectivesurface.Ifspaceallows,Iliketomakethisatleastfourfeeton
eitherside.SinceImtryingtocaptureambience,Iuseacondensermic.IfIhavethetracks
available,Iusetwocondensermicsinstereo,setupasacoincidentpair(usuallystandard90
XYorientation).
AstheFrenchhornhasanimpressivelywiderangefromtheGtwoandahalfoctavesbelow
middleC(approximately50Hz)tothetoplineFonthetrebleclef,premiumqualitycondensers
aremandatoryforcapturingthisinstrument.IreachforlargediaphragmNeumannsiftheyre
available,butIvealsolikedAKG414s.RecentworkwiththeRDENT1andtheCADE200
suggeststhesewouldalsobegoodchoices,andneverunderestimatethevalueofapairof
venerableShureSM81s.(Theyresmalldiaphragmcondensers,butIfindthemtobetheSwiss
ArmyKnifeofmicrophones.)
Forabitmorepresenceandteethtothedirectsound,Ivesometimespositionedathirdmic
behindtheplayer.AboundarymicsuchastheCrownPZMorShureSM91onthewallorfloor
workswellforthisapplication.Panitcenterandslowlyblenditinwiththestereopairoutfront
untilyouveachievedthedesiredtexture.Yourconsolesphasereverseswitchonthisthirdmic
channelmaycomeinhandyforcementingthethreesignalsintoacoherentstereoimage.Be
suretocheckyourmonitorsinmonowhiledoingthis,especiallyifyouretrackingafilmor
televisionscore.
IgenerallywontcompressaFrenchhorn,thoughbeawarethattheinstrumentiscapableof
somewindowrattlingdynamics.Ifthepartyourerecordingcallsforthecuivrtechnique,in
whichtheinstrumentisoverblownwithhigherthannormalliptensionuntilthemetalofthe
hornvibratesloudly,judiciouscompressionmaybeinorder.
Tuba
Asthebassmemberofthebrassfamily,thetubarecordswellwiththesamemicsonewould
usetorecorduprightbass,abassguitaramp,orkickdrum.Largediaphragmcondensersalso
servethetubawell.IvehadsuccesswithaNeumannU87,anAKGD112,andaBeyerM88.
Withsuchalargebell(upwardsof18"onsomeBBbmodels)theresalotofexperimentation
withmicplacementavailable,similartotheconsiderationsonemakeswhenmikingalarge
diameterspeaker.DoImikethecenterortheedge?Perpendiculartothefrontoratanangle?
Andsoon.
Iusuallypositionthemiconetotwofeetabovethebellonalargesturdyboomstand,anduse
thatasmystartingpoint.IfImrecordinganorchestralcueoratraditionalbrasschoir,Ill

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- Horns of Plenty : Recording Magazine eschewcompression.However,ifImrecordingdixielandormusicwherethetubatakesonthe

roleofabassplayer,IlltreatitasIwouldanystringorsynthbass...Imlookingfora
corpulentbottomendthatcanprovideafirmrhythmic/harmonicfoundationbyanymeans
necessary.
Mutes
Withtheexceptionoftheflugelhorn,alloftheabovebrassinstrumentsmaybeusedwith
mutes.Thesecardboardandmetaldevicesareinsertedintothebelltoalterthetimbreofthe
instrument,aswellastoreduceitsvolume.Becauseofthereducedoutputandthesubtly
complexharmonicspectraproducedbymutedbrass,Igenerallyoptforcondensermicswhen
recordingthem.
Woodwinds
Sofarinthisarticleonmikinghornswelookedattheinstrumentsinthebrassfamily.Itis
perhapsworthnotingthatmostofthoseinstrumentsareindeedmadeofbrass.
Nowwelllookatmikinghornsofthewoodwindfamily,whereoneisimmediatelypresentedwith
amildconundrum:agreatmajorityoftheseinstrumentsarenotmadeofwoodbutofmetalor
evenplastic!Saxophonesareusuallybrass,flutesaresilver,gold,orplatinum,manyaclarinet
thesedaysisplastic....
Thesenumerousandvariedconstructionmaterialshintattheequallynumerousandvaried
soundproducingmethodsemployedbythedifferentwoodwindinstruments,andonehastotake
intoaccounthowaninstrumentproducesitssoundbeforeonecansuccessfullyrecordit.
Laymansphysics
Bothwoodwindsandbrasschangetheirpitchprimarilybyshorteningorlengtheningthe
vibratingcolumnofairwithintheinstrument.Withthebrassinstruments,valvesorslides
physicallyaltertheamountoftubingconnectedbetweenthemouthpieceandthebellallthe
soundcomesoutofthebellregardlessofhowmuchplumbingisconnectedbeforeit,whichis
whyweareforthemostpartconcernedwithclosemikingthebellofthehorn.
Woodwinds,however,usetoneholestochangethelengthoftheaircolumn,andthosetone
holesrunalongtheentirelengthoftheinstrument.Thisisakey(punintended)partofthe
physicsofwoodwinds,andtheonegeneralizationthatholdsfortheentireinstrumentfamily:
soundemanatesfromtheentireinstrument,dependingonwhatnoteisbeingplayed(i.e.how
manytoneholesarecovered).
Ifallthekeysareclosed(allthetoneholesarecovered)theinstrumentbehavesbasicallylike
anoddlyshapedtubewithamouthpieceatoneendandabellattheother:theaircolumn
vibratesinsidetheentirelengthofthehorn,andmostofthesoundwillindeedemanatefrom
thebell,justaswithabrassinstrument.
Butassoonasyouliftafingerfromakeyandopenthefirsttonehole(thusshorteningthe
vibratingaircolumn)thefundamentalpitchissuesforthfromthatopentonehole!Theoutputat
thebellisnowattenuatedconsiderably.(Exceptontheirverylowestnotes,thebellofwoodwind
instrumentsservesmostlyasatimbralfilter.)Liftanotherfinger(openanotherkey,shortenthe
aircolumnyetagain)andthefundamentaltonenowissuesfromthathole.
Wait,itgetsweirder:thisonetoonerelationshipbetweenwhichtoneholeisopenandthe
physicallocationofthenotesmaximumacousticenergyonlyholdstrueforasingle(usuallythe
lowest)octaveorsoasyoumovehigherintotheinstrumentsregisterthevibratingaircolumn
getsmoreconvoluted,withharmonicsemittingfromallsortsoflocationsonthehorn!
Andbelieveme,thatsanoversimplificationoftheactualphysicsinvolved.Butthepointto
rememberisthis:thereisnotasinglephysicallocationonawoodwindinstrumentfromwhich
allthesoundemanatessoundissuesfromallovertheinstrument.
Soinordertorecordthetruecharacterofawoodwindinstrument,onehastochoseamic
placementthatcapturesallofthosepotentialsoundproducinglocationsinanaturalbalance.
Saxophone
Whatwiththatbiggapingbrassbell,youdbesorelytemptedtoclosemicasaxjustlikeyou
wouldatrumpet,right?Andinfactquiteafewengineersgetarespectablesaxsoundbydoing
justthat:closemikingthebell.
Despitemyramblingsofthepreviousparagraphs,thiscanbeausefultechniqueinonesmiking
arsenal(especiallyforlivereinforcement,whereleakagenecessitatestightmiking).Thetone
tendstobefocusedtothepointofbeingnasal,abithonkysoundingwithadiscernible
barkingresonance...andthelowestthreeorfournotesonthehornwillalwayssound
disproportionatelylouder,fatter,andmoreaggressive.
Judicioususeofcompression(perhaps10dBat4:1)willbeinorderifyouchosetomicthesax
thisway.Thismicpositioncanprovideathickincisivenessthatmightbeeffectiveincertain
contexts.
Butifyoureinterestedinmorethanjustarespectablesaxsound,youllwanttobackofffrom
thebell.Ifindthatawellbalancedsonicportraitoftheentiresaxsrangeisusuallyattainedby
positioningthemic12to18inchesawayfromthehorn,aimedatapointequidistantbetween
theendofthebellandtheplayerslefthand.Thiscapturesanacousticblendoftheresonant
barkingbelltoneswiththemoreairyupperregister(comingprimarilyoffthesmallertone
holes)intheirnaturalproportions.
Iveachievedexcellentresultsrecordingsaxophoneswithalltypesofmics,thoughlarge
diaphragmmicsseemtocomplementtheinstrumentbest.Personalfavoritesincludethe
NeumannU87condenser,theElectroVoiceRE20dynamic,andtheColes4038ribbon.
TheRDENT1israpidlybecomingmynewweaponofchoicefortenorandbaritonesaxes(as
wellasbassclarinet),asitsuncoloredoffaxissoundallowsthemictocapturethatelusive
bell/toneholeblendwhenitsbroughtinclosertothehornformaximumgain.(Plusits
affordable!)YoucantgowrongwithaSennheiserMD421,andfranklysomeofmymost
cherishedsaxsoundswererecordedwithaShureSM58.

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- Horns of Plenty : Recording Magazine Iftheconsoleormicpreshighpassfilterisvariable,Ialwayscutthesaxesjustbelowtheir

bottomnote:soprano@200Hz,alto@135Hz,tenor@100Hz,baritone@65Hz.Ifitsa
fixedfilterIllengageitforsopranooralto,andleaveitoutfortenororbari.
Thesopranosaxdeservesspecialmentionforacouplereasons.First,themajorityofsoprano
saxesoneencountersarestraighthorns,notcurvedlikethemorecommonaltoandtenorsax.
WhenrecordingastraightsopranoIaimthemicperpendicularlytotheinstrument,
approximatelyonefootawayfromthemidpointofthehorn.
Whilethistechniqueispickingupoutputprimarilyfromthetoneholes,beingatleast90off
axisfromthebell,thatgenerallyservesthesopranosoundbest...becausedifferencenumber2
isthatsopranosaxesarenotoriouslynasalsoundinginstruments.Thatlushsweettoneone
hearsfromsopranosaxontunesbySpyoGyraor(gulp)KennyGisararity,theresultofyears
ofhardworkbytheplayerscoupledwithgobsofreverbandseveralwellplaceddipsinthe800
Hz,1.5kHz,and4kHzareas.
Themajorityofsopranosaxespossessanedgy,reedysoundthat,atleasttomyears,benefits
fromsomeconscientiouswarmingandroundingoftheupperpartials.Staying90offaxisfrom
thebellseemstoaccomplishthisquitenicely.ForthissamereasonItendtoeschewcondenser
micstheEVRE20orSennheiser421dynamicsaremyfirstchoicesforsopranosax.
Clarinet
AsthestandardBbclarinetisapproximatelythesamesizeandshapeasa(straight)soprano
sax,Imicthetwoidentically:perpendiculartotheinstrument,onefootfromthehorns
midpoint.
ThestandardBbclarinetismercifullyamuchmorevoluptuoussoundinginstrumentthanthe
sopranosax,soImlesshesitantaboutusingcondensersandinfactpreferthemherefortheir
abilitytocapturesubtledetail.Again,theNeumannU87isrecommended(actually,offthetop
ofmyheadIcantthinkofaninstrumentwherethatsentencewouldntholdtrue!),asisthe
RDENT1,andIvealsobeenpleasedwiththeSonyC37(anotherlargediaphragmcondenser)
andtheBeyerM160(aribbonmic).
Theclarinetsrangedoesextendaboutamajorthirdbelowthesopranosax,sofinetuneyour
highpassfilteraccordingly(approximately150Hz),asafullbottomendisanimportant
componentoftheclarinetsrichfirstoctave,itsChalumeauregister.
Thebassclarinetsoundsanoctavelowerthanthestandardclarinet,andisconsiderablylarger
withansaxlikeupturnedbell.ManytimesIfinditsufficienttomicthebassclarinetthewayI
dothealto,tenor,orbaritonesaxes,withthemicpointedinbetweentheendofthebellandthe
playerslefthand.
However,becausethebassclarinetissuchalonghornandbecauseitsbelldoesntdoubleback
ontheinstrumentslengthnearlyasfarasasaxophonesdoes,thedistancebetweenthebell
andthelefthandismuchgreater.Thisnecessitatespullingthemicrophonebackfurthertoyield
thecorrectgeometryasinglemiconabassclarinetneedstobetwofeetormoreoffthehorn
tomaintainanaturalbalancethroughouttherange.
Yetsometimesyoullwantamoreimmediatesoundwithoutquitesomuchroomtone.Iachieve
thisbyusingtwomicsonthebassclarinet,onenearthetopofthehornandonedownnearthe
bell.
Apairofmicswithafairlywidecardioidpatterncanbebroughtintoaboutsixoreightinches
fromthehornandblendedattheconsoletoyieldabalancedsoundwithmorebiteandsolidity
thanthesingledistantmic.Igenerallypositionthemicsoneithersideofthebassclarinet,with
thelowermicslightlyoffaxisfromthemouthofthebell.
Youllprobablygetakickoutoftheradicalstereoizationthatcanbeimpartedonthe
instrumentviathepanpotsforthesetwochannels.Butifyourquestisforrealismyoullwantto
tamethosewantonurgesandkeepthepanningprettytight.
Onceagain,largediaphragmcondensersaremymicofchoiceforbassclarinet,whethersingly
orinpairs.Dontbeafraidtomixdissimilarmictypesforthetwomictechniquethoughtrya
smalldiaphragmcondenserlikeaShureSM81orAKGC460onthetop,andyourfavoritekick
drummic(Sennheiser421,AKGD112,BeyerM88,etc.)onthelowerhalf.
Blendingthesesignalsseamlesslymaybemorechallengingthanwithamatchedpairofmics,
butyoucantailortheinstrumentslowandhighregistersindependently.
Flute
Unlikethesaxesandclarinets,thebellofthefluteiseffectivelynonexistent,bothintermsof
itsphysicalconstruction(hint:thereisntone)andhowthatendoftheinstrumentaffectsthe
timbre.Rather,itsthebusinessendofaflute,themouthpiece,thatcontributesfarmore
musicalinformation,includingupperharmonics,noisespectra,andmouthsounds.
Theobjectiveistocapturethemouthpiecesoundsinproportiontotheoutputfromthetone
holes.Iusethreedifferentapproachestomikingtheflute,dependingonthecontextandthe
soundImafter.
ForthemostnaturalsoundIpointacardioidcondenserstraightdownoverthetopoftheflute
about18inchesabovethemidpointoftheinstrument.Thisallowsforanacousticblendingof
mouthpieceandtoneholes,andseemsmosteffectiveforclassicalmusic,soloflutepieces,or
anytimewhenleakagefromotherinstrumentsisntafactor.
Foramoreassertivesound,tocutthroughadenserhythmsectionorarockchart(thinkJethro
Tull),Illclosemicthemouthpiecewithadynamicmicrophone.Stageorientedvocalmicswork
wellhere,asyoullneedsomethingimpervioustobreathturbulence.TheShureSM58isan
obviouschoiceImparticularlyfondoftheAudioTechnicaATM41,whichhasamoresubstantial
pop/breathfilter,atighterpattern,andabitmoreofarisingpeakinthe23kHzregion.
Sennheiser421sand441sworkwellinthisapplication,thoughtheyusuallyrequireanexternal
foambreathfilter.(Youllwanttocrankupthehighpassfiltertoabout250Hz.)TheElectro
VoiceRE500condenserprovedsurprisinglyeffectiveasbothadistantflutemicandatight
mouthpiecemicwhenIrecordedSwissflutevirtuosoMatthiasZieglerlastyear.

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- Horns of Plenty : Recording Magazine Ifyoudochoosetoclosemicthemouthpiecewithalargediaphragmcondenser,youmayhave

moresuccessifyouusethepencilpopfiltertrick:anordinarypencil(IpreferaTiconderoga
#2)istapedagainstthemicverticallyacrossthewirewindscreen.Forsomeinexplicablereason
thisbreaksupbreathpopsquiteeffectively.IcantforthelifeofmerememberwhereIlearned
thistrick,butIveuseditforvocalistsaswellasflute,soIowesomeoneabeer.
Thethirdapproachisofcoursetocombinethetwopreviousapproaches:hangacondenser18
inchesoverheadandclosemicthemouthpiecewithadynamic.Blendtotaste.
Ipreferthiscombinationtojustusingthetightmouthpiecemic,asitcapturesarounder,
sweeterflutesound.SoevenifImtrackingaggressiverockfluteIliketoputupthesecondmic
andseehowmuchofitIcansneakintothemixbeforeleakage(orinalivesetting,feedback)
becomesaproblem.
Doublereeds
Oboe,Englishhorn,andbassoondontturnupinrockandjazztoooften,butifyourecord
soundtracksyoulleventuallymeetupwiththeselovelyanduniqueinstruments.ImicthemasI
wouldaclarinet,orinthecaseofthebassoon,likethebassclarinet.
(Admittedlyitsbeen15yearssinceIvehadtheopportunitytorecordanEnglishhorn...butI
didrecentlyrecordacontrabassoon.IusedaNeumannTLM17012inchesfromthefrontofthe
hornonaboomstandatwaistheight.Workedgreat.)
Now,anyonewithsuggestionsformikingasarrusophone,pleasecontactmeat
ross@recordingmag.com.
HornSections
Nowthatwevetalkedaboutmikingindividualbrassandwoodwindinstruments,itwould
behooveustoinvestigatethesimultaneousrecordingofmultipleplayers.Isaythisbecause
multiplayerhornsectionsaresuchanintegralingredientofmanytypesofcontemporarymusic,
frompoptojazztofunktorockandroll.(AlsobecauseIlikethewordbehoove.)
Butbeforedelvingintothespecificsofmikingahornsection,letspausetoconsiderhowthe
hornsectionfunctionsidiomaticallyinthosegenres,forthiswillinformourdecisionsonmic
choiceandtechnique.
1+1+1+1=1
Nottooverstatetheobvious,butwhenweremikingindividualhornstheobjectiveistocapture
theindividualqualitiesofeachinstrument.Withahornsection,however,thepurposeofthe
multipleinstrumentsistoblendintoasinglehomogeneous(albeittimbrallycomplex)sound
object.
Onegenerallywantstohearthecomponentparts(i.e.theindividualhorns)inveryspecific
proportionssuchthateachinstrumentsindividualityissubservienttoachievingthiscomposite
whole.(SortoflikethebestpartsofDemocracyandSocialismwithouttherhetoricofeither...
mycurrentabstractyammeringnotwithstanding.)ItstheHivementalitythewholeisgreater
thanthesumofitsparts,andassuchwereprimarilyconcernedwithcreatingandcapturing
thatcompositesoundobjectevenifitcomesattheexpenseofsomeindividualhornssound.
Allowmehumblyanddelicatelytopointoutthatmuchofthecreatingofthatcompositeisthe
provinceofthecomposerorarranger.YoucouldhaveamicclosetbrimmingwithvintageC12s
atyourdisposal,butwithouteffectivehornwritingyoudonlywindupwithreallynicely
recordedcacophony.GarbageIn,GarbageOut,astheysay.
ForthesakeofthisarticleIwillassumethatthehornwritingiscompetent,andthattheplayers
aresympathetic.Soyouastherecordistcannotjustdocumentthedesiredsoundobjectbut
enhanceandcontributetoitseffectivenessaswell.
Also,Iwillgrantthattherearesomesituationswheremultiplehornsarentreallyfunctioningas
asectionperse,butsimplyasaconcurrencyofindividuals.MilesDavisclassicjazzrecordings
ofthe1950scometomind,whereMilestrumpetplayedalongsidethealtosaxofCannonball
AdderlyandthetenorsaxofJohnColtrane.
Here(andinmuchsmallbandjazz)thenuancesofeachparticularinstrumentareofprimary
importancethemusicisaforumforeachplayerspersonality,andthehornwritingservesmore
asaframeworkforthatcollectionofsoloists.ForthisstyleofmusicIgenerallymiceachhorn
independentlyasdocumentedintheprevioustwoinstallments,andcombinethedisparatemic
signalsattheconsole.
Andofcoursetheresnoreasonyoucantusethatmikingmethodforanyhornsections,
regardlessofgenre.Buttherearesomethingstokeepinmindwhenrecordingmultipleclose
mikedhornssimultaneously.Letsstartwiththose.
1+1+1+1isnt4
IfyoureadmyLessIsMorearticleonminimalistdrumkitmiking(9/98)youvealreadyheard
meespousethe3:1principle.Thisstatesthatthedistancebetweenanytwoopenmicsinthe
recordingspaceshouldbeatleastthreetimesthedistancebetweenthosemicsandthesound
sourcestheyaresupposedtopickup.Itsbasicallyaruleofthumbtopreventphase
cancellation,leakage,andoffaxiscoloration...butbelieveme,ifyouvegotafourorfivepiece
hornsectionblaringawayinyourliveroom,itsasafetymarginyoullappreciate.
Soyouvegottoconsiderthephysicalspacingoftheplayersandtheirmicrophones.Ifyoucan
managesixfeetbetweenthealtosaxandthetrumpet,andanothersixfeetbetweenthe
trumpetandthetrombone,theirmicscanbepositioneduptotwofeetawayfromtheir
respectivehorns.Ifyourroomisntquitesospacious(orifyourhornsectionisntthreeplayers
but13)andthemusiciansareforcedtostandelbowtoelbowonefootapartorso,nowyouve
gottobringthemicsinlessthanfourinchesfromeachhorn.
Hey,waitaminuteBob,youwererecommendingmicdistancesofatleast12to24inchesin
thelasttwoarticles!youcryout,astuteandattentivereaderthatyouare.
Ahem.YesIdid.WhichisonereasonImnotabigfanofmultipleclosemicsforhornsections.

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- Horns of Plenty : Recording Magazine Mostofusdonthavetheluxuryofrecordingin30'x75'spaces,soweveeithergotto

compromisethemicsabilitytopickuptheentirerangeofthehornuniformly(bybringingitin
tooclosetotheinstrument)orwehavetosuffertheravagesofphasecancellation,leakage,and
offaxiscoloration.Nothanks.
Yes,thelattercanbesomewhattamedbystrategicplacementofgobos,baffles,absorbent
panelsandwhatnot...butwhykillyourself?Notonlydoyouhavetodealwiththosespace
issues,youstillhavetomakedecisionsaboutbalancingandpanningthoseseparatesignals,
eithernowduringtrackingorlaterduringmixdown.AndifImpayingthree(orfive,oreight)
hornplayersunionratesforthetrackingsession,youcanbetImnotgonnabewastingtime
thinkingaboutthosesortofdecisions.
1+1+1+1=2
Convenientlyenoughalotofthosedecisionshavealreadybeenmade...bythearranger,orby
theplayersthemselves,orbytherecordingspaceitself.Remember,thehornsectioncreatesa
singlehomogeneoussoundobject.Thatsoundobject,withitsinnatespectraldistribution,
spatialcues,anddynamicprofile,existsbyvirtueofhavingmultiplemusiciansplaying
simultaneouslyinaroom.
ThereforeIfinditmoresonicallyrewarding,moreconducivetoachievingthe
composer/arrangersaims,andalotlessworkoveralltomicthehornsectionasasingle
physicalobject.Asingleobjectthatjusthappenstoproduceitssoundfromavarietyofwidely
spacedphysicallocationswithinaroom.
Inmyexperienceamatchedstereopairofcondensersinacoincidentornearcoincidentarray
capturesthepower,theimpact,andthesonicintegrityofahornsectionmoreeffectivelyand
moreefficientlythanmultipleclosemiking.
Panningcanstillbecontrolledbythephysicalplacementofthemusicians...balancescanstillbe
controlledbyindividualproximitytothemicrophones...timbrecanstillbecontrolledby
microphonechoiceand(atleasttoacertainextent)bythephysicallocationofthemicsin
relationtotheroomandtheensemble...anditallcoalescesintoanintegralwholethatsitsina
trackeffortlesslyandrealistically.
2what?
Itendtofavorlargediaphragmcondensersforthisapplicationtheslightlyhypedmidrange
detailofmostsideaddressvocalmicslendsitselfespeciallytorockandfunkhornparts.IfIcan
getapair,NeumannU87sorTLM170saremyfirstchoice,butImperfectlyhappywithapairof
CADEquiteksorRDEsorAKGs.Itsmoreimportantthattheyreamatchedpairthanwhat
particularbrandormodelthatpairis.
IllgenerallysetthemicsupinanORTFarrangement(cardioids7"apartata110anglesee
PaulJ.Stamlersexcellentarticlediagramingthebasicstereomicconfigurationsinthe7/99
issue)startingfourfeetinfrontoftheensemble,fivefeetofftheground,andthenadjustthings
totastewhilethehornsplaytothetrack.
IfitsalargegroupofhornsImaymovethemicsfurtherawayfromthegroupsothe
soundstageisntabnormallywideifitsasmallergroupImayrotatethetwomicsinward,
crossingtheirpickuppatternstoapproximateastandardX/Yconfigurationtopreventaholein
thecenter.IfthesoundistoothinImaylowerthemicsclosertothefloortoothickormuddy
andImayraisethemuptosixorsevenfeet(thoughceilingheightbecomesanissue).
Thisapproachhasworkedformewiththree,four,five,andsixpiecehornsections.AndIve
hadincrediblesuccessapplyingthistechniquetobigbandjazz,bothforrecordingsandlive
reinforcement:micupthedrums,bass,andpianoasnormal,stickasoloistspotmicnearthe
leadaltoandleadtrumpetplayers,andparkthisstereopairofcondensersinfrontofthe13+
memberhornsection.Done.
Ifthemusicyourerecordingfeaturesanumberofsolohornpartsaswellasthesectionals,you
maywanttoputupindividualspotmicsonthoseplayersandmixthemwiththestereopair.I
liketokeepthematafairlylowlevel,thoughnotentirelymuted,duringtheensemble
passages,andridegaintoboostthosemicsduringthesolopassages.AndevenifImtracking
thesoloistseparately,Ikeepthestereomicpairupandprominentinthemixtokeepthesolo
horncontextuallybalancedwiththeensemble.
Stereomics
Ivealsofoundsomesinglepointstereomicrophonesthatworkwellforthisapplication:Crown
makestheSASSP,aproprietarycontraptionsimilartoaJecklindiscarray(twoomnimicson
eithersideofanacousticallyinertboundary)thatusestheirPZMmicelements.Shuremakes
theVP88,whichputsaMid/Sidearray,completewithmatrixingnetwork,intoamicrophone
bodyonlyslightlylargerthanaconventionalhandheldvocalmic.
WhileneitherofthesemicshastheimpressivelownoisespecsorhighSPLcapabilitiesofa
separatematchedpairofpremiumcondensers,theirfrequencyresponsecharacterdoeslend
itselftothetypicalneedsofhornrecording.Anditshardtoarguewiththeirconvenience.
TheShureVP88isespeciallyusefulbecauseitallowsyoutobypasstheM/Smatrixandoutput
theMidandSidemicsasdiscretesignalsonecanrecordtheseonseparatetracksandmatrix
themduringmixdown(withjustthreeconsolechannels,amult,andaphasereverseswitch),
allowingthesoundstagewidthtobetailoredtoyourfinishedtracklongafterthehornplayers
havegonehome.
(ThankstoSteveFolsom,MelissaEtheridgesengineer,forturningmeontotheVP88s.)
Space
AndheresasetupIvefoundidealformikinghornsectionsinsmallerrecordingrooms(and
wouldntmostofusprojectstudioownersconfesstobeingspatiallychallenged?).Arrangea
pairofmicrophonesinaBlumleinconfiguration(coincidentfigure8patternscrossedat90see
Stamlersarticleagainforapicture)inthecenteroftheroom,andpositionyourhornplayersin
acompletecirclearoundthemics,facinginward.
Dependingontheplayersorientationtoeachmicrophonespickuppattern,thiscangiveevery

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confinesoftheactualrecordingspaceoritcansoundpositivelyalien.(Notthatalienis
necessarilybad!)
Sincealltheplayersonthebackhalfofthemicarrayarebydefinition180outofphasewith
thefronthorns,theresnoobviousorlogicalcorrelationtohowtheear/braininterpretsthis
informationwhenlisteninginstereo.Butallittakestoeliminateanypotentialcognitive
dissonanceistorotatetheplayerstoadifferentpointontheaxisofthemicspickuppattern.(I
actuallyfinditfareasiertorotatethemicstandthantoattempttochoreographfourorfive
musicians.)Hornplayersseemtolikethissetuptoo,asitmakesittrivialtoseeandhearone
another.
Whichbringsmetoonefinalpoint:beingabletohearoneselfandonessectionmatesiscritical
forgivinggoodhornperformances.Accurateintonationandtightphrasingcanmakeorbreak
theimpactofahornsection,andthisrequiresbeingabletoheareveryoneclearly.
Regardlessofwhatmicarrangementyouuse,bepreparedtospendasmuchifnotmoretime
providingheadphonemixesasyoudogettingsounds.Itwillbetimewellspent.
BobRosshasbeendoingproductionandengineeringintheBostonareaforwaytoolong.

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