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Thanks for your question. For the most part I actually don't move them. They are meant to have distance on them, so it wouldn't make sense lining them up with the close mics.

They move BACK in time. Since the kick waveform appears first, I move that back in the timeline to match the overheads.

No worries. Good luck with it all and I hope you have fun!

hahaha. Boss builder more like it.

Thanks Alicia and Aaron. I will keep these videos going in the hope that it provides some realistic view of a non-builder attempting to build :-). Hope all is well with you in Indonesia and that things are OK.

@@jasondewilde Yep, that’s a great idea. I’d love to know the process. We are well here so far, still staying at home mostly. Hope you and family are well too. Stay safe and stay healthy :)

Thanks Mark. Hope you are doing OK at the moment.

Thanks Lecia. Hope all is well in your world.

LOL - thanks my man!

Awesome. Glad it did. Thanks for watching.

Hi there. From memory, it was probably only 3 takes. Good players actually made the job easy. The whole section was recorded at once obviously.

@@jasondewilde5191 when you mixed the track did you use three takes from each horn and panned LCR or just one good take each horn?

@@TylerTripsTunes OK, I just had a look at the session that was archived. It was 3 takes, and I used the 2nd take only. This take had a few places where we dropped in, so it wasn't played completely all the way through. I then also did an additional Trombone overdub that took up a couple more tracks.

Mate, you're awesome too!

Hey there Kris. Cool of you to subscribe and comment. Hope all is well. Next one out soon!!

Hi Markus, I would actually put both mics there and do a test record. Either would be "suitable" but one will edge as a more pleasing sound. Alot depends on the instrument, the room, the player and of course the song. Give both of them a go. Good luck.

jasondewilde Hi Jason, as I said above the instrument is the alto saxophone. And fortunately I'm an experienced jazz soloist. So I'm confident in "the player", less so in my ability to pick a mic without recording with it. And since I don't have a budget for a Royer 121 or Coles 4038 with a quality preamp, I've decided to pick the mic with the flattest frequency response. So I ended up choosing the Shure Beta 27 which in demos sounds fuller, and less hyped in the high frequency than the MK4. And Shure markets the Beta 27 as an instrument mic appropriate for brass and woodwinds, so I'm feeling pretty good about my choice. I'll know for sure when it arrives and I give it a try. Thanks a lot.

Markus Arike In my experience dynamic mics seem to work better as they generally give a softer transient as compaired to a condenser mic. I use the Sennheiser e609 when I record sax, it has a flat midrange and a sightly boosted low frequency that really brings out the character in horns and other instruments,the highs are boosted at around 5 Khz to bring out the detail of the horn and help it cut through the mix quite well. Since its a stage mic it is built like a tank and can withstand a fair bit of abuse as well

Doug Payne I'm using the Shure Beta 27 and it's been great. It records my alto with a rich, full sound that is not overly bright like many stage dynamics. I've also have extremely positive experiences with the AGK C214. Both are highly recommended for recording saxophone.

I've heard good things about the beta 27 myself and the AKG 214 uses the same capsule as the AKG 414 ( the 414 has 2 capsules so that the polar pattern of the mic can be switched). I love the sound of condenser mics but I find myself looking to put eq on my tracks when recording with them. The e609 really complements my Mark VI alto and I don't really find myself EQing it at all, except some high pass filters to remove any rumble and unwanted low frequencies. But thats just my experience

Hi there. I used a Canon S95 camera. Great for stills and simple movies.

Hi Mike. You can get away with one at time, but I generally like miking the ensemble to that "group vibe". For that you obviously need all the players there. Also, when you add one at a time, you are governed by the first instrument you record - that sets the "feel". You might find that though that the first instrument isn't playing the right feel, but it might not be apparent until you lay down the rest! One instrument at a time works well for spill, but for feel, do the whole section in one go! Good luck.

The mics went straight into the SSL preamps. There's no compression on the individual mics, but a small amount on the stereo pair. SSL Eq used a but too.

Definitely an M88.

jasondewilde Definitely a nice warm crispy sound!