People ask how I get my recorded sound on the alto trombone. In this video, I demonstrate my equipment choices, mic techniques and the sound processing I use for my recent studio projects.
Nicely done, Michael! I tend not to mic the brass very closely - usually about 3-4 feet. That gives a more "natural" sound that people are used to hearing in real life. It does lack the subtleties of the very close pickup you demonstrate in this video. Nice playing too!!
I think for most commercial recording setups, your distance is appropriate. My mic proximity is specific to the unique sound I'm going for. To play that close requires a certain control and stylistic finesse that's unnecessarily burdensome for most studio recording.
I think most of it, although modified a bit. For example, mic proximity for trumpet may be different depending on how loud you play. And how you sculpt the sound will be different as it would be every player and situation but the principles of signal flow and other things remain the same. Good luck!
Thanks. I think you meant 5:30, but regardless, most people don't put trombone and dance beat together in the same sentence, at least not since Glenn Miller!
You can find a starter alto for not a lot of money. Take a look at the video I did on the Moz trombone. Someone wrote that it is no longer called Moz, but whatever that has turned into is still a cheap starter alto. And then be sure to check out my book, Alto Trombone Savvy!! musicsavvy.com/alto-trombone-savvy/
I know this video is eight years old, but it was instrumental in helping me make this back in October: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-8QihQnOOk-U.htmlsi=riNOHC1MmLeCWCI2
Did you go through ribbon and dynamic mics before you chose the neumann? If yes, it would be interesting to know more reasons why the neumann become the one you use and why the others did not work for you. Would you choose this the mic if you would record a tenor? Do you think a good condencer will work better than a good ribbon or dynamic mic (in your opinion of course) ?
Is there anywhere I can hear the full version of what is played at 4:31 ? I’ve been coming back just to listen to that snippet for months. Love to find a full version on spotify or youtube if possible!
Tony, I went throught he archives to find that video, but I couldn't find it. Eight years ago is an eternity! But I believe that I was simply improvising over those simple changes and there was no longer version. I was just noodling around in order to provide an example. Thanks for your support!
We need custom trombone recording headphones lol. I have the same headphones you have and have yet to find a comfortable way to wear them without them getting in the way of my horn. Maybe ill buy another pair of headphones and just take off one of the cans lol.
Condenser for a brass. Interesting. Forgive me if I missed it, but what is your opinion of using a ribbon? From what I've heard others say, ribbons are the go-to for capturing brass. Any reason you've went with the condenser?
I have a Coles Ribbon mic that sounds good, but I much prefer the warmth and sensitivity of the Neumann M-149. I don't blast into it because it's easy to distort it. That's one reason I like it, because it forces me to play with finesse rather than with typical trombone force. Here's an example of the detail I get: www.altobone.com/dat-dere/
OK, nit pick here. When you do your with and without comparison, you should really level match. Of course it sounds better louder. Let's hear what it sounds like at the same level. Beautiful sound and playing!
Well, yes. Almost every piece of equipment you see behind me has either been sold or is being sold. Over the 5 years since recording this video, all that stuff has gone into the computer. No more mixing board, outboard gear, or massive patch bay. And I would say that yes, THAT has been an upgrader. My studio has more space and patching effects and channels is MUCH easier through software. But the principles of micing and mixing have not changed. The things I demonstrated in this video are as valid as the day I recorded this video.
Beautiful sound, man. I will subscribe. How do you get the music and the video to come together for the video presentation? That would be great info for a beginner.
The process of getting the music and video to come together is pretty straight forward. I shot the video of me playing while I recorded the audio through my mic to the Apollo preamp going into Logic. I'm recording live on video with the recording going through Logic. I'm doing exactly what I would do if I were just recording music without audio. Once I finish shooting the video, I mix the audio (the music) in Logic with compression, reverb, EQ, etc. and create a finished audio mix. I bring that mix into my video editing software - in my case, Adobe After Effects, lay the music track in sync with the video of me playing. Notice that I was talking through the camera mic. These days, I use a lavalier mic wired into the camera, and I mix that into the audio in Logic as well using compression and other tools to bring out my voice. I kind of cringe when I hear my talking in this video. If you want to hear my music and my mixes, go to the "Original Music" at www.altobone.com. I hope that helps...
Hi Mike. I like your videos. Thanks for doing them. A question if you dont mind. When I record a trombone quintet, the lower parts always sound muddy. The 4 muddy lower parts seem to feed on each other. The top part sounds clean. I am using a TLM107 with a Focusrite solo interface and GarageBand. I have tried numerous EQ settings on the lower brass tracks but they end up sounding tinny or processed. Do you think the Neumann m149 would be any different? Any other recommendations to consider.
Just one question ...compression of the trombone in the mix - how does that affect the mastering process? Should you take it out and balance the mix without it and save compression for the mastering process? Thanks.
Good question Anthony. I like compression on the trombone instrument track because it accommodates the sound I am after. I've never liked the hard blatty attack of trombone. The compression calms down the hard attack and also adds a bit of warmth, at least from the compressor I am using witch is a Fairchild 660. Listen to the verse of the song I just uploaded on RU-vid called Sweet Jungle Lullaby. Not only did I use Fairchild compression but I played across the mic rather than pointing into it. I wanted an even smoother attack - more like a singer. Imagine turning 90 degrees with the edge of the bell an inch from the mic center blowing across the front of it.
