Mic for Trumpet player?

[MattJazz]

Originally Posted by 2db

What was the session like?
What pre did the trick with 121? I love his tone, what will be the cd title?

Have you recorded Mike as well?

Would you please share his mic and pre too please?

thanks-!!

me tooo , I want to know as well.
Matt

[Trp]

Trumpet player here.

It totally depends on the player. Ribbons will work great for players like Bobby Shew with a very focussed sound and lots of highs in the sound. And for section stuff.

But if someone has a warmer and softer tone and you want a big solo sound, LDC are the way to go IMO. Same with flugelhorn. U67, M49, VMX and TLM 170 work all great.

[tamasdragon]

Shure sm57, or believe it or not Audio technica atm350 can work beautifully.

Tamas Dragon

[analogjeff]

another vote for the 121 -- we regularly record a pro trumpet player for film work, and we always use the 121 (after comparing it with a few other mics) through either a pendulum tube pre or a phoenix drs2 -- we set the mic about 2 ft or so from the bell and just a touch off the direct axis of the bell -- we think it sounds great....

[Dan]

Another Vote for the 4038. I record a few different trumpet players with different styles. One player has a very bright tone, and the coles rounds it out nicely. Another player has a much darker tone and a 421 brings in the focus better, but the 4038 is to flat (as in boring) sounding on him. I've even gone LDC on the darker player, and that's worked ok, but the Overdub room is small, and a dynamic tends to work better in it. All in, you have to match the mic to the player, and I wish I had a bigger room.

[Lindell]

U67 always sound good to me. Move around the mic to get the tone you want. As Bob mentioned earlier, the room has a big influence on the sound.... Lucky for me we have great sounding rooms....

[Midlandmorgan]

I generally grab an RCA SK46 or EV RE16 (sometimes an RE11) for most trumpets...plug into an ADesigns P1, no EQ, no compression, and just record....ambience determined by how far back the bell is from the mic.

Works for me...

[Johns]

So many mics, so little time. I have had very good results using a CAD VX2, Royer 121, Sennehiser 441, Soundelux E49, and EV RE20. Ribbons, LD condensors, and dynamics. They all can work depending on the player, room, and the sound that works best for the song.

[TravisK]

I did a couple of records with the Young Blood Brass Band.
57 is great in the right spot.
121
M88 For rippers
Md421
and careful with the comp!! don't use it just because you have it. you may not like what it brings out.

[amanitas]

Personally I like the 121s for stuff that needs to sit in the back of the mix and blend, but for solo parts and things that need to cut more I find they sometimes do too good a job of smoothing things out. I'm a big fan of Beyerdynamic 160 and M88 on trumpet if you need a little more sizzle and bite. LDCs can sound great depending on the pre and the room and the part. Big fan of TLM170 on trumpet. Have used 87 and 414 both with good to great results depending on the rest of the signal chain.

For gritty blues just about anything should work - as long as the player is good, you can make a 57 do your bidding if need be for that. Of course an RCA would be preferable if you can find one...

[7rojo7]

M260 (has an LF rolloff that begins at 80Hz) RCA JV74 (I have 2 for sale) I find ribbons to be really 'fast' but smooth. SM7, EV PL80, RE20, Senn 441/421 for live. I've found that SDCs work better than LDCs if you want to go in that direction (with a mute the volume changes drastically)

[Boogaju]

if your room sounds poor, it's gonna take a lot of work (luck/pray) to get an expensive trumpet sound...
avoid condenser and fig of 8 ribbon: too much room!
try m160, RE20 or better RE15, or just get the best out of your 57. But with your goal for this project, it might be better to rent a room rather than rent a mic. seriously.
good luck
ju

[jnorman]

senn md441.

[bkbirge]

Originally Posted by jnorman

senn md441.

+1 on that.

[trubac]

Trumpet player here.

Ribbons all the way for studio and Dynamics for live.

Ribbons : Beyer M260, Fostex M80RP, Coles, B&O , Melodium 42B (RCA 44BX), I never played on the Royer.

Dynamics : Beyer M88/M69, EV RE20.

and please NOT the SM57, I don't know any trumet players that are just a little bit involved in sound that loves this mic.

If played very very loud 'à la' Shew, Sandoval, etc ... I would use a dynamic even in studio.

Placement is crucial to play with the proximity effect i.e. to add warmt.
Soft solo : 1 foot away desaxed
Section : 3 foot away desaxed.

IMHO

Gilles

[henryrobinett]

I recorded Shew. He uses a ribbon-- RCA 77dx.

[trubac]

another RCA 77DX user (the trumpet player)
Stevie on PL20


YouTube - Stevie Wonder ~ Superstition

[rumleymusic]

and please NOT the SM57, I don't know any trumpet players that are just a little bit involved in sound that loves this mic.

I second that. They are useful for many things, but not for recording brass in my opinion. It comes across as thin and lifeless.

[Dan]

Originally Posted by trubac

Placement is crucial to play with the proximity effect i.e. to add warmt.
Soft solo : 1 foot away desaxed
Section : 3 foot away desaxed.

IMHO

Gilles

desaxed?

[trubac]

Originally Posted by Dan

desaxed?

I ment that the capsule or ribbon not flat in front.
The capsule/ribbon should be pointing a virtual point 1 or 2 inches in front of the bell, and the mic 5 inches up .

always IMHO

[Remoteness]

Originally Posted by trubac

another RCA 77DX user (the trumpet player)
Stevie on PL20


YouTube - Stevie Wonder ~ Superstition

FYI, the PL20 was not available back when Stevie did that video.
He sang through a EV RE20.

[trubac]

Originally Posted by Remoteness

FYI, the PL20 was not available back when Stevie did that video.
He sang through a EV RE20.

Thx, thought the PL20 came first ... so yes RE20, great for trumpet also !

[Remoteness]

Originally Posted by trubac

Thx, thought the PL20 came first ... so yes RE20, great for trumpet also !

The RE20 was indeed first, but I understand that the only difference with the RE20 and PL20 is the color.

[trubac]

RE20 then PL20 then RE20, that's it !

[Remoteness]

Originally Posted by trubac

RE20 then PL20 then RE20, that's it !

Well, not really; the RE20 never went anywhere, but the PL20 came and went...

The PL20 was a marketing strategy for EV.

When the PL line of mics were formulated, the RE20 and such were already established mics for the broadcast world. EV wanted to expand the market to the recording (studio) world since those mics worked very well (on many different instruments) in that arena.

So, some of the RE mic line (RE20; RE11) and the 635 were re-badged as the PL20, PL11 and PL5. There were other mics added to the PL line, but the main mikages were the PL20 and PL11.

The PL20 ended its run, but they never stopped the manufacturing of the RE20.

I hope this helped.