In this series, we are going to look at how to record a wide range of sound sources from a solo vocal through guitars, bass, piano strings, brass, woodwind and percussion, before moving onto the drum kit. In part 7 we are going to look at recording woodwind, including flute, clarinet, oboe, bassoon and saxophone.

Throughout this series, we are using some excellent videos produced by Audio Technica and they naturally profile their own mics. But of course, you don’t have to use the specific Audio Technica mics they recommend. Take note of the type of microphone they recommend, like a large-diaphragm cardioid condenser or a hypercardioid dynamic microphone and chose one of that type that you prefer and/or own. What makes the biggest difference to the sound is where you place the microphone, not the particular brand and model of microphone.

The woodwind family of instruments is second only to percussion for the amount of diversity among its many members. Some have two reeds, some have one or none. Some aren’t even made of wood. Here are some techniques tailored to get the most from each member of the woodwind family.

Flute

The flute and its smaller sibling, the piccolo make their sound when the flautist blows across a hole in the mouthpiece. As a result, the majority of the sound comes from the mouthpiece or ‘embouchure”, however, the sound from here can lack body and be overly breathy. By aiming the mic more toward the centre of the instrument you can capture a fuller and warmer sound.

We recommend experimenting with positioning the microphone between these two points. An alternative is to place the mic over the flautist’s head pointing down if the sound is too breathy then try placing the mic behind the flautist’s head pointing towards the instrument. Normally we would use small-diaphragm cardioid condenser mics for the flute, but you might want to try a ribbon mic for a warmer sound.

Clarinet

Like its cousin the saxophone, the clarinet uses a single reed vibrating against the mouthpiece to excite the column of air in the body of the instrument. Also, like the sax, mixing the bell of the instrument only tells part of the story as a significant amount of the sound comes from the holes along the body of the instrument. Try using a large-diaphragm cardioid condenser microphone about 10 inches away aiming at the right hand.

Oboe

The oboe is the smaller of the double reed instruments in the woodwind family. As with the clarinet, you need to capture both the sound from the bell and the sound terminating from the holes along the instrument. Key clicks can be an issue with the oboe and so try a small-diaphragm condenser mic 24 inches out from the instrument pointing at the centre of the instrument between the left and right hands.

Bassoon

Although it functions in the way as its smaller double reeded brother the oboe, because of its size mixing the bassoon requires a methodology almost opposite to micing up the oboe. The upward-facing bell and off to the side arrangement of the body need to be taken into account when micing a bassoon. We recommend using a large-diaphragm cardioid condenser mic around 24 inches away from the mouthpiece with the mic pointing towards the mouthpiece. This will give you a rounded sound from the body, mouthpiece and bell.

The Saxophone

From the orchestra to intimate jazz clubs, the saxophone family of woodwind instruments can be found in a variety of musical setting. Saxes come in many sizes, each producing a distinct sound. Naturally, these will each require unique techniques for recording.

We have included the sax in the woodwind family as they are closer to the woodwind instruments like the clarinet and oboe in that they depend on a reed to create the characteristic sound. Yes there are made from metal and they are often used in brass sections alongside trumpets and trombones, but the way they create the sound is much closer to the woodwind instrument family.

Unlike the trumpet, a large portion of the saxophone’s sound comes from the body, not the bell. Therefore, positioning your mic inside the bell is not recommended. The key with the saxophone is to position the microphone above the bell, aimed at the body. You can experiment with mic placement to find the spot that achieves the right balance of bite from the bell and warmth from the body. You can also experiment with microphone choice from large-diaphragm cardioid condenser to ribbon microphones to capture the sound of a saxophone.

The soprano sax stands out amongst the other members of the saxophone family with its distinct straight-line configuration. It is also the highest-pitched of the common saxes. To find the balance between bell and warmth, position the mic above the end of the sax aimed halfway up the body.

To properly capture the tenor sax, position the microphone approximately 10″ from the bell. The goal is similar to recording the alto; you want to find the right balance of bite and warmth. In situations where isolation isn’t a problem, you can capture a more developed sound with greater depth by backing the mic off the instrument.

The baritone is the largest of the common saxophones, as well as the sax providing the lowest pitch. Its large size requires that the bell is above most of the body. As a result, make sure to position your mic about 6″ off the bell, slightly off-axis.