TLM102 in use during real world live jazz performance recording

[Remoteness]

I had an opportunity to used a few TLM102s during a Kenny Werner Quintet live performance that we captured for a future Half Note Records release.

Kenny Werner Quintet featured Randy Brecker, David Sanchez, John Patitucci and Antonio Sanchez.

I started off using four TLM102s as follows:

*Trumpet (Randy Brecker)
*Tenor Saxaphone (David Sanchez)
*Snare (Antonio Sanchez)
*Drum Kit (Antonio Sanchez)

I ended up using three out of the original four...

The TLM102 worked well on Randy's trumpet.
David Sanchez's tenor sounded very good blowing into the TLM102.
The TLM102 has become my new snare mic replacing the TLM103 I normally use.

That being said, I didn't like the TLM102 on the kit, which is usually placed over the (right handed) drummer's right shoulder. Like I normally do, the TLM103 was used for that task with flying colors.

Using the mics in a real world live performance situation, I thought the TLM102 was an excellent all around mic.

...Great bang for buck product.

Questions?

[joelpatterson]

Did any of those guys show the slightest interest/awareness of which mics you'd chosen for the job(s)?

[Remoteness]

Nope.

Originally Posted by joelpatterson

Did any of those guys show the slightest interest/awareness of which mics you'd chosen for the job(s)?

[joelpatterson]

Well well... proves my point that the best musicians concentrate on what they do, and just in the natural course of human events they trust others to do what they do.

I have no further questions, Steve.

[Ty Ford]

Steve,

That makes perfect sense to me, given my experience with one 102.

Regards,

Ty Ford

[ohmoka]

Thanks Steve.

Last week got a couple of TLM 102.
I have used them only once but so far I am very very pleased.
Shame they don't come in a wooden box :(

In a couple of weeks I have a soprano recording session and I am kind to use them as spots for the voice. Has anyone used TLM 102 as soprano spots? (Samples?)
Thanks

[Remoteness]

It's true, many of the best musicians rather concentrate on what they do and let the professional do what they do best.

Most folks that hire me let me do my own thing; I make my own decisions on how I approach the project and what tools I need to make it so.

IMHO, trust between the musician and technician is key to the success of the production they ventured out to do in the first place.

We're only as good as the musicians we keep; the same goes for the musicians.

Originally Posted by joelpatterson

Well well... proves my point that the best musicians concentrate on what they do, and just in the natural course of human events they trust others to do what they do.

I have no further questions, Steve.

[jammate]

Steve,

What pres did you use?

Looking for a new pre/mic combo for live jazz.

[Dave Ferris]

You're right Steve. Most guys I play with wouldn't know (or care about) the difference between a 58, a DPA or Neumann mic.

We have a our hands (and minds) more than full just trying to play the music.

Sounds like a great band, I love KWs playing and writing. I used to play with John a little when he lived out here in the early 80s before he moved to NYC.

Half Note puts out great, pure Acoustic Jazz recordings. A respected label in the Jazz world.

[Corran]

It's usually the more amateur groups that I work with who get hung up on the gear.

Steve, exactly what was the difference in sound of the 102 that made it work well for the snare but not for the kit? In other words, how exactly did the 102 and 103 compare to each other in sound?

I saw a 102 yesterday for the first time at a Guitar Center, talk about pocket-sized!

[Remoteness]

Dare I say, True Systems Precision8s.

Originally Posted by jammate

Steve,

What pres did you use?

Looking for a new pre/mic combo for live jazz.

[jammate]

Thanks Steve.

I have a True Solo and have liked it so for. May want to pull the trigger on the Precision 8.

[Remoteness]

I've found that seasoned musicians trust their technicians.
Many do know the difference between microphones, but choose to let the engineer do their thing.

Yeas, is was a very interesting group of musicians.
Everyone was very cool; we worked on different stuff and didn't stop until everyone was completely happy.

Getting everything dialed in for house, monitors and the recording was our main concern.

John had an extra mic, so we added it to our input list; I believe you can never have enough inputs for upright bass.

We have recorded the majority of the live Half Note recordings.
We are very pleased with our work.

Originally Posted by Dave Ferris

You're right Steve. Most guys I play with wouldn't know (or care about) the difference between a 58, a DPA or Neumann mic.

We have a our hands (and minds) more than full just trying to play the music.

Sounds like a great band, I love KWs playing and writing. I used to play with John a little when he lived out here in the early 80s before he moved to NYC.

Half Note puts out great, pure Acoustic Jazz recordings. A respected label in the Jazz world.

---------------------------------------

You are so right. Many amateur groups do indeed get hung up on the gear and seem to want to get their fingers into all sorts of things.

The TLM102 is a warmer (darker) mic than the TLM103.
I loved it on snare, but disliked it on the kit for the same reason.

The TLM103 top end works well when I use it as my kit mic.
The TLM102 didn't pop for me on that task, but it excelled on snare.
And, the size is perfect for snare.

Originally Posted by Corran

It's usually the more amateur groups that I work with who get hung up on the gear.

Steve, exactly what was the difference in sound of the 102 that made it work well for the snare but not for the kit? In other words, how exactly did the 102 and 103 compare to each other in sound?

I saw a 102 yesterday for the first time at a Guitar Center, talk about pocket-sized!

[fossaree]

Originally Posted by Remoteness

I had an opportunity to used a few TLM102s during a Kenny Werner Quintet live performance that I captured for a future Half Note Records release.

Kenny Werner Quintet featured Randy Brecker, David Sanchez, John Patitucci and Antonio Sanchez.

I started off using four TLM102s as follows:

*Trumpet (Randy Brecker)
*Tenor Saxaphone (David Sanchez)
*Snare (Antonio Sanchez)
*Drum Kit (Antonio Sanchez)

I ended up using three out of the original four.

The TLM102 worked well on Randy's trumpet.
David Sanchez's tenor sounded very good blowing into the TLM102
The TLM102 has become my new snare mic replacing the TLM103 I normally use.

That being said, I didn't like the TLM102 on the kit, which is usually placed over the (right handed) drummer's right shoulder. The TLM103 was used for that task like I normally do.

Using the mics in a real world live performance situation, I thought the TLM102 was an excellent all around mic.

...Great bang for buck product.

looking forward to listen to this record !

[LX3]

Sounds good. Got to a) get a couple of those 102s, b) buy that CD when it's released. You New Yorkers have some incredible talent in town every day of the week. Its like waking up in some fantasy gig world every time im there.

[Remoteness]

Yes, I believe it's going to be a smoking record.
They sounded great together.
From what I understand it should be out early (2011) next year.

Originally Posted by fossaree

looking forward to listen to this record !

[Remoteness]

Yeah, they sound really good on many things.
I plan to use them on other instruments.
I shall report as things develop.

NYC, is indeed a special place when it comes to music, food, hanging out.

Originally Posted by LX3

Sounds good. Got to a) get a couple of those 102s, b) buy that CD when it's released. You New Yorkers have some incredible talent in town every day of the week. Its like waking up in some fantasy gig world every time im there.

[Corran]

Thanks for all the info Steve, I look forward to your further comments.

[cheu78]

Originally Posted by Remoteness

We're only as good as the musicians we keep; the same goes for the musicians.

if you agree this will be my next bottomline signature!!

Thank you for sharing your experience with us..

Bests,

Cheu

[Remoteness]

Let me check for typos....

Okay; check. You are good to go!

Thanks Cheu.

Originally Posted by cheu78

if you agree this will be my next bottomline signature!!

Thank you for sharing your experience with us..

Bests,

Cheu

[MichaelPatrick]

Steve, I was wondering what they'd do in action and I'm not surprised you're the guy who's already got 'em out there on the front line. I look forward to any updates you may have on them (and other stuff).

[Remoteness]

Originally Posted by Corran

Thanks for all the info Steve, I look forward to your further comments.

Here are some pictures showing from the set up...

[talbe1019]

Steve...2 Questions:
1) With the TLM102 positioned like that does it pick up a lot of the hihat?
2) In addition to the normal OH's you use it appears there is another small condenser next to one of the OH's....what is that?

[Remoteness]

Originally Posted by MichaelPatrick

Steve, I was wondering what they'd do in action and I'm not surprised you're the guy who's already got 'em out there on the front line. I look forward to any updates you may have on them (and other stuff).

Thanks Michael.
Sure thing I will keep you folks up to date as I find new instruments to use the mics on.

Originally Posted by talbe1019

Steve...2 Questions:
1) With the TLM102 positioned like that does it pick up a lot of the hihat?
2) In addition to the normal OH's you use it appears there is another small condenser next to one of the OH's....what is that?

Well, in this scenario I'm looking for "good bleed," and the TLM102 gives me a warmer sound than the TLM103 on snare. The hi-hats were not in your face when I used the "little mic" that could.

I believe that's the FOH overhead mic.
My typical over head mic placement is two beyerdynamic M160s pointing straight down and a kit mic, usually a TLM103 if we're not close mic'ing the toms and such. When We're close mic'ing the kit I usually go with the two M160s. Every now and then I will also add the kit mic just because I can.

[joelpatterson]

Originally Posted by Remoteness

... just because I can.

You brute!

[talbe1019]

Thanks for the answers Steve. That looks like a fairly small club...did you use room mics and where were the audience mics placed?

[imaginaryday]

just got the tlm102 a couple weeks ago. so far i have used it on male vocals, congas and darbouka. it delivered quite beautifully through portico 5012 pre.

by the way, thanks for sharing your experiences.

cheers,

[Remoteness]

Originally Posted by joelpatterson

You brute!

...by Faberge!

Originally Posted by talbe1019

Thanks for the answers Steve. That looks like a fairly small club...did you use room mics and where were the audience mics placed?

Yes, very small and the stage is seriously small for the amount of musicians performing.
Yes, we always capture the audience response...
The mics are pointed towards the short (mirrored) wall across from the stage.

Originally Posted by imaginaryday

just got the tlm102 a couple weeks ago. so far i have used it on male vocals, congas and darbouka. it delivered quite beautifully through portico 5012 pre.

by the way, thanks for sharing your experiences.

cheers,

It's my pleasure to share with you fine folks.

[bass man]

Hi Steve

What mic was on the John`s bass ? Looks like SD something ....
Could you maybe post a short sample ?

Thanks

[Remoteness]

I always use multiple inputs for upright bass.
Four inputs were used for John's bass on this session.

We had a Klark Teknik DI off his bass amp; a DPA 4099 was clipped to his bass and a KM184 was on a short stand with one of my Micro Gobos that help block some of the drum bleed.
John had a DPA 4021 with him, so we added another input for additional options.

Originally Posted by bass man

Hi Steve

What mic was on the John`s bass ? Looks like SD something ....
Could you maybe post a short sample ?

Thanks