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Old 7th February 2019
  #2
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rumleymusic's Avatar
I guess there are two main types of trumpet sounds that have different approaches. One is the harsh, gritty pop sound that comes from miking the bell in close proximity. The other is the classical sound which requires a few things to be convincing, I'm guessing this is what you are going for.

For one, the room needs to be large enough so you can place your mics at a proper distance. Churches and concert halls are ideal, but a large living room can work in a pinch. 2 feet is very close, even with a ribbon. I would try 4-5 feet to start, as long as the room will allow it without sounding boxy. Off axis of the bell, of course, either above or to the side of the player.

For plugins, a good reverb is required if you want to make 4 mono tracks sound like an ensemble. In an ensemble setting entire group would be recorded with a stereo pair, and if spots were used on each player, even they would have plenty of bleed from the other players. Pan the quartet evenly across the soundstage and use the reverb to create the sense of room.

Another trick could be using an eq to slightly reduce the fundamental range of the trumpet, which will add a sense of distance and reduce ear fatigue from the close miking.

An even better approach would be to get a second R10 and record each part as an MS, Blumlein, or AB stereo track and pan each into the stereo field. The extra sense of room will keep things from sounding plastered. Almost all classical recordings are done with stereo pairs. Though recording each part individually is rare. You might even want to set up a stereo pair with four chairs in a semi circle and record each par in the correct chair. Though you will need to be sure to have a quiet environment as four recordings together can nearly double the room noise.

Just a few thoughts