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Discussion Starter #1
Don't want to start a new thread...

Want to ask one more question...
Based on the point that saxophone produces sound not just through the bell but from open holes in mid/upper body and importance to catch all the sound for quality recording, would it make sense (in general)
to place 2 dynamic mics for recording - one towards the bell and another towards mid body. I have 2 58s.
Or it is a "crazy" thought?
Sure I could try without asking... but gurus' in recordings opinion will help.
Thanks.
 

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Re: planning to buy EV RE20. Some questions...

Don't want to start a new thread...

Want to ask one more question...
Based on the point that saxophone produces sound not just through the bell but from open holes in mid/upper body and importance to catch all the sound for quality recording, would it make sense (in general)
to place 2 dynamic mics for recording - one towards the bell and another towards mid body. I have 2 58s.
Or it is a "crazy" thought?
Sure I could try without asking... but gurus' in recordings opinion will help.
Thanks.
I've recorded in studios that did that. I don't like it because I can get the sound that I want without it and it also severely restricts movement.
 

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Re: planning to buy EV RE20. Some questions...

Recording is not like playing on a stage, where volume and bleed from other instruments is a big factor. You want to get the full tone of the horn, so it’s better in my experience if the instrument is 18 - 24 inches (40 - 55 cm) away from the mic. The mic should be “pointed” at the LH pinky table. Two mics not needed.

Also, if using a cardiod pattern mic, room treatment is not that big a deal. The saxophone is loud enough that reflections don’t reach the mic at too high a level, unless it’s a very hard-surfaced room and you have a hard wall or pane of glass right behind you. If reflected sound is audible, get one of those behind the mic sound shields. Try to stand or sit in the middle of the room.

Room treatment is very important when listening back to recorded sounds, like when mixing, but when recording sax, it just doesn’t make that much difference.

As always, just my opinion, though based on experience.
 

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Discussion Starter #4
Re: planning to buy EV RE20. Some questions...

Thanks GHawk and skeller.
More than enough info...
 

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Grafton alto | Martin Comm III tenor
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Don't want to start a new thread...
Have created new thread for these posts as it's not relevant to the existing thread about RE20s.

Please always start a new thread for a new topic
 

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Grafton alto | Martin Comm III tenor
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I've never known it necessary for saxophone, although maybe for straight alto it may be useful. Also can be useful on clarinet if you are not in a position to have a single microphone at a sufficient distance to capture the whole instrument.

If you do multi mic anything you need to need to be very aware of (out of) phase issues, which can affect mono compatibility of the recording among other things.
 

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I'm not convinced, either, that most of the sound from the mic over the keys doesn't come from the bell. I have miced soprano from above the keys for a very warm sound. I also have recorded a song, "Danny Boy", about 8-10 feet away from the mic and I didn't play directly into it. The resulting warm tonalities were very similar. The sound coming from the bell is very powerful.
 

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Discussion Starter #8
Solid answers!

And just to update my RE20 story...

Yes I did it, ordered RE-20 10 min ago with all applied Boxing week savings. And am happy with my final decision :).
In any way it should not decrease the quality of my "incredible" :) recordings comparing to 58 that I am using now.

Instead, I will have a good feeling that I have "icon" model piece of gear, I will feel more responsibility for work with my sax and etc etc... bunch of positives.
It is not iPhone X S+ that will be beaten in next 6 month by another Apple smart creature :). The mic should serve as my sax for years.

Thanks to all for answers and Happy Holidays.
 

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Distinguished SOTW Member, Forum Contributor 2017
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I would position your RE20 about 2 feet away, at a 45 degree angle, roughly at the level of your left hand.

I usually put a second mic at the far end of the room. Since it’s yours, you’ll have plenty of time to experiment with placement. If you have a hall, put it at one end and play at the other. Stairs? Use them. Concrete basement? Yes!

Enjoy...
 

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Discussion Starter #10
I would position your RE20 about 2 feet away, at a 45 degree angle, roughly at the level of your left hand.

I usually put a second mic at the far end of the room. Since it’s yours, you’ll have plenty of time to experiment with placement. If you have a hall, put it at one end and play at the other. Stairs? Use them. Concrete basement? Yes!

Enjoy...
THANKS for tips and ENJOY word :).
 

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I've had my bari mic'd up by other engineers with two mics - a large diaphragm condensor in the usual position, and a ribbon mic at 90 degrees to the horn. He said it captured the bottom end better. Haven't tried it myself.
 

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I would position your RE20 about 2 feet away, at a 45 degree angle, roughly at the level of your left hand.

I usually put a second mic at the far end of the room. Since it’s yours, you’ll have plenty of time to experiment with placement. If you have a hall, put it at one end and play at the other. Stairs? Use them. Concrete basement? Yes!

Enjoy...
For sure---experiment!

I saw a video of Joshua Redman recording for one of his cds that had half a dozen or more microphones of various types at different distances. Take the one you like, or mix them together. There are rules of thumb, but no hard and fast rules for miking any instrument.
 
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