Handbook for Sound Engineers

Microphones 591

the necessary individual section microphones may be

brought into the mix. In many practically sized rooms, it

is not possible to obtain a good balance of the near

strings (usually violins) and the far strings (cello and

bass). Careful use of the section microphones can

correct this.

Since good high-frequency and transient response is

required to reproduce the string section sound,

condenser microphones are the most frequent types

used for string recording.

16.13.4.9 Horns

In the recording world, horns are any brass instrument:
trumpets, trombones, saxophones, and so on. Modern
recording of popular music usually requires close
micing of individual instruments, Fig. 16-188. Since
many horns are capable of producing very high
sound-pressure levels (as high as 130 dB), it is impor-
tant to choose microphones that will not be overloaded
by this close placement. Also, pads may be required to
prevent overloading the mixer preamplifier or saturating
an input transformer.
Condenser microphones are often used to pick up
horns, but ribbon and dynamic types may also give
good results.
It is important to remember that the sound produced
by these instruments does not come entirely from the
bell; this is particularly true of saxophones. Although
the instrument output may be loudest at the bell, the
contribution of the various other parts of the horn
cannot be ignored. The microphone position is often a
compromise between the presence of very close place-
ment, the better tonality of a slightly greater micro-
phone distance, the leakage from other instruments as
the microphone distance is increased, and the degree of
room contribution desired in the finished recording.

Depending on the effect desired, 6 inches to a couple of

feet may be appropriate.

16.13.4.10 Woodwinds

Instruments like the oboe, flute, bassoon, clarinet, and

their variations cannot generally have microphones

placed too closely and still retain their character. In

popular music they are often mic’ed individually at a

distance of one to several feet, which is generally not far

enough to provide a true sound, but the result is often

acceptable—or even desirable—for compatibility with

other instruments in the song.

Condenser or ribbon microphones are the usual

choice. Most woodwinds tend to sound most natural

when mic’ed from about 3 ft (1 m) away, with the

microphone directed toward the middle of the instru-

ment, or perhaps pointing slightly toward the bell or end

of the instrument. Low placement, even on the floor

Figure 16-187. Typical composite technique for string

micing.

Cellos

Double

bass

Violas

Violins

20 ft

Figure 16-188. Horn and microphone placement.

Baritone

sax

Sax

Sax

Trumpet

Trumpt

Trombone

Trombone

A. Typical session setup.

3" to 2'

B. Trumpet and microphone placement.

C. Saxophone micing.

1'