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Microphones Position for Clip-on Mic for Sax

rhysonsax

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Where do you position your clip-on mic on a saxophone and what direction do you point it in ?

What benefits are there for you in this configuration and what make/model of mic are you using ?

Probably best to describe it viewed from the front (i.e. the audience perspective) using the position on an analogue clockface for the clip position (e.g. 6 o'clock) and describe where the mic is pointing (e.g. back towards the fingers of the left hand).

And does this work equally well for alto/tenor/bari/curved soprano ?

Thanks

Rhys

PS And how do you (the player) know what it sounds like for the audience - is it the sound you hear in your monitor/foldback when no-one else is playing ?
 

aldevis

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12,180
Where do you position your clip-on mic on a saxophone and what direction do you point it in ?

What benefits are there for you in this configuration and what make/model of mic are you using ?

Probably best to describe it viewed from the front (i.e. the audience perspective) using the position on an analogue clockface for the clip position (e.g. 6 o'clock) and describe where the mic is pointing (e.g. back towards the fingers of the left hand).

And does this work equally well for alto/tenor/bari/curved soprano ?

Thanks

Rhys

PS And how do you (the player) know what it sounds like for the audience - is it the sound you hear in your monitor/foldback when no-one else is playing ?

Makes used (chronological order): shure 98 condenser, sennheiser dynamic (e608?), cheap audiospares dynamic.
Winner: sennheiser, on a wide range of application.
I generally find stand microphones better.

position of the clip: 2 o'clock, not to be in the way of the saxophone stand.

Pointing at...
Not the center of the bell, but about the G# hole, as far as possible from the instrument.

Fine for CS/A/T, bari is a different beast: never used a clip on that.

P.S. You trust the sound engineer for the sound. To minimize disasters, you may give him a pre-processed stereo signal that includes all the effects you will be using, but it is not something easy to set up.
 

ArtyLady

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1,030
Shure Beta 98H/C, about 9 oclock (only because the lead connector sits in my right hand back pocket), pointing down the bell, no idea what it sounds like - can't usually hear much of what I'm playing at all as my lot are so bloomin loud :shocked: so I've ordered a 300 watt wedge floor monitor to get my own back >:)
 

Nick Wyver

noisy
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For tenor and bari SD Systems clip-on at about 8 oclock - pointing down the bell - not quite in it.

For curved sop I play into my vocal mic (Sennheiser), sort of waving it around in front of it.

I've got a small monitor on a stand at head height for the clip-on. The vocal mic goes straight to the desk. I only play sop in quieter toons so monitoring isn't a problem.
 
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509
a JTS cx508 clip on mic, both for Tenor and Alto at about 5 oclock pointing forward and down towards the bell, i find this helps to deal with any problems of sound spill over from any other instruments,
back in the dark ages when i started playing monitors were in short supply, so i have never really got used to having one, i tend to get my sound setup in consultation with the sound man or whoever is in charge of the PA and trust that they will make any adjustments needed.
 

Jules

Formerly known as "nachoman"
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4,699
DPA 4099 at about 7 o'clock- pointing at my left hand little finger, i.e. across the top of the bell. My curved soprano tends to get played down any vocal mic on a stand within tooting distance
"how do you (the player) know what it sounds like for the audience"- blind faith...?
 

daveysaxboy

Big ruff Geordie bendy metal blower
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3,312
A tip i do is in the sound check i have my Samson clip on mic about 10/12 inches away above the bell as i know the band,mix,guitar,bass will creep up through the gig so i can just push my mic closer to the bell to compete with them.There bad.
 

aldevis

Surrealist Contributor.
Cafe Moderator
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12,180
A tip i do is in the sound check i have my Samson clip on mic about 10/12 inches away above the bell as i know the band,mix,guitar,bass will creep up through the gig so i can just push my mic closer to the bell to compete with them.There bad.

I fired several singers that used the same trick.
 

aldevis

Surrealist Contributor.
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I suppose it comes back to trusting the sound engineer...

A good sound engineer will trust the position you choose for your microphone, and not try to push it inside the bell to have "more signal" (and a lovely low Bb).
If you want to hear yourself loud, you split your own signal and send one half to the sound man (to do whatever he wants with it) and you use the other half for your own monitor. Playing softer (or playing mic tricks) at the sound check to have more "punch" later, f***s up the band's balance and puts the sound man in troubles. A childish attitude.
 
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