Recording - May 2015 - 27

room usually precludes the use of ribbons,
as they are generally bidirectional. The
good news when utilizing figure-8 patterns
is that they have excellent off-axis rejection,
which keeps the bleed from neighboring
instruments down to a minimum.
I've found that using a combination of different close mics in the previously described
manner usually works just fine when capturing small ensembles. The dynamic mics capture the power of the brass instruments in a
very focused way, while the ribbons on the
saxes reject their neighbors whilst providing
a bit of spatial ambience. All in all, it's about
the textural blend.
This is no more apparent than when
doubling horn parts or 'building' a section
by overdubbing multiple takes from just
one or two instruments. Stacking up all of
these harmonics, particularly with saxophones, can lead to unwelcome artifacts
like comb filtering and phase cancellation,
resulting in unpleasant fizzing, rips, and
buzzes. This can be combatted by utilizing
two or more different horns per part. In the
absence of this solution, you can try moving the players or the mics between takes.
Be ready
As stated at the beginning of this article, time is a formidable adversary when
recording horns, making preparedness
your keenest ally. Knowing not only what
you want musically, but how to achieve it,
becomes paramount.
For instance, unlike vocal arrangements
which rely on harmony, many rock horn
section charts deal primarily with unison
voicings. The more harmonies an arrangement employs, the less aggressive the
result will most likely be. Be mindful when
having players play at the extremes of
their range, as they can become quickly
fatigued. That can result in inconsistent or
even incomplete parts.
When using charts, mic stands are obviously essential. There should also be pencils
(not pens) on hand to assist with the
inevitable notations and last-minute changes.
Like vocalists, horn players require lots of
water to drink, with the additional requirement of towels at their feet, so as to absorb
the considerable amount of moisture they will
need to periodically empty from their instruments' spitvalves.
Horns need a bit of time at the beginning
of a session to warm up, so try to have them
do so in front of the mic. This will help you
to find your volume and EQ settings with
less wear and tear on their tender chops.
Sure, there are plenty of software solutions that can add horns to your recordings. But like the song says: Ain't nothin'
like the real thing, baby.
Sven-Erik Seaholm (seaholm@recording
mag.com) is an independent record producer and former trombonist currently
residing in Mountain Green, UT.
RECORDING May 2015

27



http://www.antelopeaudio.com http://www.antelopeaudio.com http://www.clearsonic.com http://www.clearsonic.com

Recording - May 2015

Table of Contents for the Digital Edition of Recording - May 2015

Contents
Recording - May 2015 - Cover1
Recording - May 2015 - Cover2
Recording - May 2015 - 1
Recording - May 2015 - 2
Recording - May 2015 - 3
Recording - May 2015 - 4
Recording - May 2015 - 5
Recording - May 2015 - Contents
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Recording - May 2015 - Cover3
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