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Message: <blockquote data-quote="altissimo" data-source="post: 182318" data-attributes="member: 1289">if you're recording alto or tenor sax, you don't really need a mic that's accurate across the full audible spectrum - there's nothing much below 100 hz or above 8 khz that you'd need to capture, so ultra high quality condenser mics may not be necessary. Recording a sax with a condenser mic often has too much top end for most tastes unless you position the mic well away from the bell of the sax, which will usually pick up more spill from the rest of the band or room reflectionsThese days there's a general trend towards offsetting the sterility of digital recordings by using vintage sounding mics and preamps etc and there's been a resurgence of interest in ribbon mics due to their warm sound. Unfortunately the low output of most ribbon mics (there are exceptions like the Beyer M160) means that high gain low noise preamps are needed like the Cloudlifter or TRP. For loud instruments like a sax this may not be as much of a problem if you're close miking, although jacking up the gain on some cheaper preamps will also increase the amount of hiss - devices that are powered off the usb interface will be more prone to this.There are ribbon mics that are active and run off phantom power that have a higher output eg the Golden Age R1 Active, Se RNR1, Cascade Fat Head II Active, Royer R122 Active etc - <a href="http://recordinghacks.com/microphones/tag/active-ribbon" target="_blank">http://recordinghacks.com/microphones/tag/active-ribbon</a>and these might be more suitable for folks with preamps that are struggling to provide enough gain for a ribbon mic</blockquote>

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