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Sorry if this has been answered, but what is your EQ setting for sax (i.e., sop, alto, & tenor) in live performance? Do I really need to EQ for sax? In other words, unlike guitar, sax does not seem to have any mid-honks or so.

Thank you in adavance.

Howard
 

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There's no simple answer to this question. It depends on the room, the mic, the PA, the EQ, the band-----a multitude of variables.


Generally the less, the better--and that goes for all instruments, unless you're going for an effect.
 

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The only blanket thing that remains with sax is that a nice gouge at 6K will really make things much more listenable. Ie, less strenuous on the audience. I know lots of sax players who have tonnes of overtones around 6K and yeah...ugh....
 

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CiaranAudio said:
The only blanket thing that remains with sax is that a nice gouge at 6K will really make things much more listenable. Ie, less strenuous on the audience. I know lots of sax players who have tonnes of overtones around 6K and yeah...ugh....
Well, I've done live sound for Liebs, Ravi Coltrane, Paquito, among others and didn't feel the need to 'gouge out at 6k'.:cool:

But, then again, I prefer the EAWs that I was using for mains than Mackies...
 

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Hi Howard,

If you're working with a good sound guy, let him (or her!) listen to your unamplified sound, so he knows what to shoot for sound-wise. There are so many concepts as to what a sax should sound like (and not just among sax players!). I assume you want to sound like - you! :)

Oh, if you don't have a sound guy you can record yourself with the mic you plan to use live and see what kind of EQ you need to make it sound "like you". This will give you a rough guide only, as their are other factors to consider in each venue that you play- acoustics, etc.

Good luck!
 

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My rule of thumb

Hi,

it depends a bit on the mic and your sound, but my basic rule is asking the engineer to cut around 2,5 kHz (pretty steeply sometimes, I´m loud!) and if you play the tenor cutting at around 630 or 700 Hz which corresponds to the extra resonance of the bell.
 

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Wouldn't it be easier to just not place the mic too close to the bell?
Then the mic wouldn't pick up the bell resonances. When I play, even though most name brand players don't, I put my mic on the top side of the bell aiming it between my hands. This gets what I feel as the most natural sound without using EQ. The trade off is that key noise is a bit greater. I don't mind the key noise, especially if it's R&B.
 

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hakukani said:
Well, I've done live sound for Liebs, Ravi Coltrane, Paquito, among others and didn't feel the need to 'gouge out at 6k'.:cool:

But, then again, I prefer the EAWs that I was using for mains than Mackies...
If only we could all be so lucky.
 

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I've found that saxophone needs the least EQ-ing of any live instrument. But, then I'm not big on EQ-ing much. I prefer to fix things with mic choice and positioning. Your particular room or stage may need some EQ to compensate for standing waves and such.

If the player has a good solid sound, and you are using a decent mic (not one of those Guitar Center "buy three mics, stands and cables for $49.95" specials), then you shouldn't need a whole lot of EQ, unless you are using it for an effect.

As always, use your ears, if it sounds bad, then it's wrong.
 

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The EQ itself is generally up to how everything else in the band is working. I prefer flat, flat, flat on the board though. I've gone to many soundboards and played for the soundman only to find that the whole reason my horn sounded like a soprano was he had the mids and highs cranked. Live or die by your own sound.
 
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