Quote:
Originally posted by Vari-Mu
It's funny, a lot of trumpet players seem to like the TLM103. A trumpet player I sometimes do sessions
with bought one to use in his project studio and there have been a number of players responding to this thread who also seem to like it. I can see it maybe working on a tenor sax, but on trumpet?
I guess it's a matter of horses for courses. My mental paradigm for a great sounding horn section is more "Kind of Blue" than 70's fusion but clearly a lot of times that sound is not necessarily going
to be appropriate and at the end of the day you have to give the client what they want.
I also think that horn players are a little like vocalists. They all have different tones and idiosyncracies which mean you have to match the mic to the player as well as the instrument.
Glad your session went well despite all the conflicting advice
Best
Vari-Mu |
This is what I am talking about. If I was playing on a jazz recording with you as the rec engineer I would be in very good hands and feel safe but if it was a horn section session I would not. Kind of blue is one the best jazz recordings I know but it has little to do with a horn section sound.
Of course the music decides how the players must play and then choose mics for it. How brass and WWs are played is the most important factor to change sound. If the players can't do a variety of sounds then you're using the wrong players. When it comes to mics I use both ribbons and condensors.
What I mean with horn section Trp has already given you the best lead. Almost everything arranged and played by Jerry Hey (trumpet) and his section is what everone have to measure up to. They have been the first call section for 25 years for a reason. (Probably many).
/A