[Dixielandjazz] Recording Engineers
tubaman at batnet.com
Tue Jun 7 13:59:10 PDT 2005
I noticed that the clarinet player for Cornet Chop Suey, Gerry Epperson
had a very different sort of mic boom attached directly to his
instrument, set about 12 inches or so away from the front side, midway
down. It seemed to work pretty well, but when he changed over to Bari
Sax the "house mic" at the RV Pavilion was not up to the task.
here are some pretty good tips on reed mic placement:
Also, Applied Microphone System has one with 2 heads to pick up the
bell sounds and the tone holes -
I am not a clarinet player, but I do set up sound systems every once in
a while, and I also care about sound quality ;-)
On Jun 7, 2005, at 1:27 PM, Stan Brager wrote:
> If you're talking about Jack Wadsworth's bass sax with the Great
> Jazz Band, I can understand why he did that. He had to, Bob. The
> were so bad that no one in the audience could hear Jack's bass sax.
> Especially when it in the back of the bandstand.
> Several people asked me what the plumber was repairing on stage with
> that brass tubing while you, Bob Havens, Zeke Zarchey and the others
> Stan Brager
> ----- Original Message -----
> From: "Robert S. Ringwald" <robert at ringwald.com>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Sent: Tuesday, June 07, 2005 11:52 AM
> Subject: [Dixielandjazz] Recording Engineers
>> You can tell a recording engineer who knows nothing about miking an
>> band. Just watch where he puts the mike for the reed instruments.
>> We once had one that put the mike, only one mike, down at the bell of
>> bass sax.
>> --Bob Ringwald K6YBV
>> Placerville, CA USA
>> "There are three kinds of men:
>> The ones that learn by reading.
>> The few who learn by observation.
>> The rest of them have to pee on the electric fence and find out for
>> --William Penn Adair (Will) Rogers B: 11/4/1879 D: 8/15/1935
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