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Message: <blockquote data-quote="Veggie Dave" data-source="post: 405847" data-attributes="member: 4016">The Boss pedal will give you much, much better results - and it's used by many sax players.Cube's are well regarded, too. Regarding the mic, it depends how much you want to move and under what circumstances. Radio mics are great. I mean GREAT! <img src="data:image/svg+xml,%3Csvg%20xmlns%3D%22http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%22%20viewBox%3D%220%200%2064%2064%22%3E%3Ctext%20x%3D%2250%25%22%20y%3D%2250%25%22%20text-anchor%3D%22middle%22%20dominant-baseline%3D%22central%22%20font-size%3D%2254%22%3E%F0%9F%98%80%3C%2Ftext%3E%3C%2Fsvg%3E" class="smilie smilie--emoji" loading="lazy" width="22" height="22" alt=":D" title="Big Grin    :D"  data-smilie="8"data-shortname=":D" /> But they're not for every situation. As Bear's already said, they pick up key noise. This isn't a problem at a rock show, or a soul or R&B gig because the rest of the band and the overall amplification hides any imperfections. In quieter situations, however, it could be a problem.On the other hand, though, while they're great for rock/R&B etc, they're much more likely to feedback than a static mic, which can be a royal pain in louder situations. If you Google images of people using clip-ons live, you'll notice that the mic is almost always stuck right in the bell of the horn. This isn't for sound quality, it's to reduce the possibility of feedback.When I first started using my mic, I had it set so that it pointed at the bell and also the G# so that it would pick up more of the overall tone of the sax. This worked quite well, but feedback became an issue at too many gigs. These days I have the mic here, which has reduced feedback to zero but requires a little more EQ work for the sound guys:[ATTACH=full]13324[/ATTACH]You wouldn't want to use a clip-on for recordings unless it was the only mic you had - partly because of mechanical noise and partly because the mic will be unlikely to have the same quality level as, for example, an SM58 that can be bought for as little as £50 second-hand.How much moving are you thinking you may be doing while playing? If you were busking, for example, a mic in front of you (such as an SM58) would allow you to swing the sax around quite a lot with no noticeable audio problems. If you want to dance Leo P style or walk around then a clip-on is the only option. If you're not moving too much then the Boss pedal and a 58 or 57 would probably be much more useful when playing live, and definitely when recording, than a lower-end clip-on mic.Just so you know, I play live 95% of the time with a clip-on, which I absolutely love, for the exact reasons you want one - I like to move, a lot. I am very definitely not anti-clip-on. However, there are times when the clip-on makes life much harder. For example, fading a note in is so much easier with a static mic as you simply start playing farther away and get closer as you want to get louder. You can't do that with a clip-on.There's one song I play where the clip-on is a major pain specifically for this very reason. I have to repeatedly fade a low B. Easy with a static mic, a nightmare with a clip-on - especially as it's a rock/fusion type band so relatively noisy, which can make subtle playing even harder.[ATTACH=full]13322[/ATTACH]Hopefully it's obvious that I'm not saying don't get a clip-on (I'd hate to go back to a static mic on stage ... most of the time anyway <img src="data:image/svg+xml,%3Csvg%20xmlns%3D%22http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%22%20viewBox%3D%220%200%2064%2064%22%3E%3Ctext%20x%3D%2250%25%22%20y%3D%2250%25%22%20text-anchor%3D%22middle%22%20dominant-baseline%3D%22central%22%20font-size%3D%2254%22%3E%F0%9F%98%89%3C%2Ftext%3E%3C%2Fsvg%3E" class="smilie smilie--emoji" loading="lazy" width="22" height="22" alt=";)" title="Wink    ;)"  data-smilie="2"data-shortname=";)" /> ), but I think it's good to know the pros and cons so that you can decide which route is best for your specific requirements.</blockquote>