It all starts with You

Experiment in the studio, a lot of fun with lots of interesting things to do. When you get all the variables right, can inspire your games too. Of course, if you have a good microphone in a large room and go through the best recording equipment, you can sound too good if you're a terrible sight that from your horn is not. Therefore, it is important that you take the time to put the bases before heading for the equipmentworkshop.

With a good display in the place, time well spent with good instruments in the studio can make you sound even better, provided that you work with an engineer who knows what a saxophone, is … Do not laugh! I have a good control of the locations of large and had a sound engineer to ask if I would be using a microphone on my sax! Do not run from those guys do not do!

These days, some engineers who have good experience with a saxophone is not so. Many may have only worked with bands such that the typical line-up hasdrums, bass, guitar, keyboards and a singer. No matter what point in your career, you've learned a few things on the recording will help your great job much better.

Early in my career, I have not much attention has been paid to the MICS, processing speed, frequency, EQ, etc. Now I am not. Are hands on in the studio, because I want a good sound. I heard things that I played years ago, and I do not like the way many of their sounds. Not that I've played, but the actual audio … maybe it wasthe way in which the engineer EQ'ed is or was sitting in the shower.
Yes, start everything with you … but everyone can end up with an engineer!

Mics

The good news is that there are some good engineers out there who can ensure that sound better. The first, a bag of engineering with games for the microphone.
One of the first major recording projects I was involved in 1988 with the Canadian singer and guitarist Colin James, who was with Virgin America, which was signed at the moment. We mustCriteria Studios in Miami to work with renowned producer / ENGINEER Tom Dowd, who Eric Clapton (Layla), Allman Brothers, Leonard Skynard, Aretha Franklin and registered just to name a few. We have all the gold records on the wall of these artists, plus others, like James Brown (I Feel Good), The Bee Gees (Saturday Night Fever), are seen. All these songs we heard growing up, and it was overwhelming for the first time. But the best is yet to come!

After the meeting, Tom Dowd, Iwas also discovered that King Curtis and John Coltrane, two of the most influential saxophonists in history, has recorded exactly where we are! Now is the saxophone player, I felt in good hands!

His preference was Neumann U87 microphone. This model comes from the 60's, I know it was the King Curtis Coasters recorded during the meetings in the '50s and would have used the Neumann U47 … for Coltrane as well.

MICS is still the industry standard, because it is a greatproduction of a large diaphragm microphone, warm sound. Can be in any large commercial studio is located, but not necessarily in the small study of the project, because several thousand dollars each food. But I would not put the brakes on a recording session or a project that, if MICS was not available.

Today is really good for the MIC under $ 500. I just finished the CD, Rock & Roll Saxophonist, I used various MICS, and two were under $ 500, and one was $ 3,000. ActualThis is an economic good SM7 Shure and AKG C1000.

Pre-Amp

Direct line to the microphone, a pre-amp. This is just an amplifier that can increase the signal of the recording device, computer, etc. A pre-amp is the best way I found to do it really "hot" sound Sax. Is actually a knob and a level of exit button. You crank the gain on the input button until it is certain in a red, red is a no-no because it gives you a bad sound distortion. Shortly beforedisorder is a thin line, you can experiment with it for the amount of thrust that you want in your sound. I use it to set low, somewhere in the middle, and very hot. This depends entirely on the sound you want for a particular recording.

Compression

The toys after experimenting with the compressor. I'm not a technical (as you might have noticed), but ultimately want to print a saxophone create a ceiling on the volume and the door every note that the maximum level,This means that all your notes will also be with each other in a crowd. If you go overboard with this effect, one feels that manipulate the show, then again, you will have to experiment. Personally, I was sometimes a bit 'of my own sound, but it all depends on the song. If you listen closely, especially with headphones, you hear things that increase the tone sax sounds like breath, spitting on the tubes, and even the little button that pad.

Equalizer

AfterImprove the audio pre-amplifier and compressor, more body and can fry with EQ (see add).
For a few sizzle and spark, I would add a little 'high frequency, around 10k, but you have to experiment here. You can get the right impetus to shine, you want to 8k or 11k. If you have a good microphone in eq increase should not be large, only between 1 and 3 dB (decibels).

I never felt that my sax needs more than half of the band midsasencourage them to give a tone Honky ugly, but often a bit 'low end eq will help in the exhibition. Again, you need to experiment, but I'm going around 125-250 Hz (killahertz).

Reverb

Everyone wants to hear some reverb in the headphones when they hear their own studio. This is because once a major impact, wet sound that can make your games sound better, so it can help you feel more at home during the film offers.

I noticed that the reverblike fashion over time … different types and styles come into fashion, sometimes life-use lots, sometimes almost useless.
The original way to record the melody was the use of sound, which arises naturally in space, and the amount that you depend on the size of the room. Record still like today people, and we still hear stories about how a band in a big old church record or someone's basement or bathroom to get a nice sound.

Plate ReverbThe unit is a way to create artificial reverb in the studio.

Plate reverb is produced by large metal plate vibrating. It 'obvious that this way of producing reverb effect lead to the creation of different size compartments without leaving your office. These days there are many types of reverb because of digital technology, and the size of each study will have a good few people to join. Type and amount of reverb you use depends on personal taste, personal use are very little, if you canlisten, then it is too much. I want to make it so you can not escape the sound, but if you can disable it, you notice that are missing.

Delay / Echo

Delay or echo, the effect of repeated notes to the original tone is played. As if you had to shout into a well, HELLO … HELLO … HELLO. Using the suspension, I think the reverb is not necessary and usually get in your way.

I like this effect on my saxophone. The amount always depends on the music.
The short is back 'delayis the most identifiable in rockabilly music, particularly on vocals and guitar. All aspects of this effect is manageable, the overall level of entry to the number of repeating what you want. Sometimes a refined and delay is the perfect thing on a saxophone, especially on a rockin 'an amount or a ballad. I found this little used in my recent poll, here you can hear my saxophone with a slight delay and then a band.

Wah-Wah

Finally, there are wah-wah. It is usually heard by aGuitar. But you knew that was invented, so you can play guitar like a trumpet? When a player uses the trumpet of a stamp to get the wah-wah sound, guitarists sound wanted boots.

Back in the '70s, I remember hearing some band with the saxophonist and use a wah pedal for the horns. Frank Zappa and Steve Winwood Band traffic comes to mind.
Since those days, I have not heard on the recordings used for a long time, so I tried it on one of the songs from myrecent survey;

To use this pedal with the saxophone, simply connect the microphone cable directly into it and another cable from the box effects, you can have in-line. Pedal moves up and down to create the wah-wah.

This was my set-up, while experimenting in my studio, but once in a studio mixing, some flashing unpleasant "sounds noticed, and I had to redo all the tracks sax. It 'was bad news, because I like current! The good things that came outThis machine has been suggested during the 2 lines, wah, with a net effect, the others who just want the sax normal passes through it. Worked well. Now we are able to mix and use 2 channels and add or remove waheffect wah, depending on how you work in rail. I have some notes have been or never sounded better with a little 'less of this power, and vice versa … greater control, better sound.

Pleasures of your sound in the studio.Sometimes the use of these toys will help the sound you want, sometimes only one or two of them, and sometimes not one of them is necessary. Let the music that determines how much you have these effects.

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