middle of the piano body to get a more resonant and blended
tone. When using these methods, it is conventional to employ a
coincident stereo pair, with one microphone capsule oriented
to pick up the treble strings, and the other focused on the bass
range of the instrument.
A less common, though very useful technique, is to position a
stereo pair or single Cactus microphone just outside of the piano,
either in the curve of a grand, above an upright, or a few feet
away for a classically-oriented sound with a significant amount of
natural room reverberation. The variable pickup pattern control
can be used to dial in the desired amount of ambience.
Saxophones and Reeds
The smooth high end response and large diaphragm warmth of
the Cactus B7 capsule makes it an ideal candidate for miking
saxophones and other reed instruments. For soprano sax, clarinet
and related instruments, position the mic about a foot away,
directly above and in front of the keys between the middle of the
horn and the lowest pads. Try rotating the capsule or moving the
mic up or down along the length of the body to adjust the bal-
ance of airy highs (toward the mouthpiece) and cutting midrange
(toward the bell).
For other members of the saxophone family, start by placing the
capsule two to six inches in front of the lip of the bell. Turn the
capsule up toward the mouthpiece, or raise the microphone above
the bell to capture more air, brightness, and high notes. For a mel-
lower sound, rotating the microphone toward the floor emphasiz-
es the low range of the sax, and tames the biting upper mids that
project straight out of the bell, particularly on alto saxophone.
Brass
All members of the brass family need to be miked from in front
of the bell. But for studio recording it is not necessary to aim
the microphone capsule right down the center of the bore, or
place it too close. The trumpet, with its directional characteris-
tics, high sound pressure level, and limited frequency range, will
yield a clear, cutting tone at distances ranging from six inches
to two feet. The trombone and tuba can be approached similarly,
although closer miking toward the outer edge of the bell (four to
eight inches), and the enhanced proximity effect of supercardioid
and figure of eight pickup patterns will help offset a thin or overly
bright timbre.
Capturing a mellow, rounded tone is a challenge with any brass
instrument. To avoid buzzy highs and transient overloading,
persuade the player to blow at less than peak stage volume.
Cornet and flugelhorn usually have a softer, more intimate sound,
are played at lower volume, and can be miked at a distance of
two to six inches.
Drums
The superior SPL capability, high end detail, and fast transient
response of the Blue B7 capsule presents numerous advantages
when recording drums. For kit and hand drums, begin by posi-
tioning the capsule two to four inches above the rim or hoop
(where the head is secured to the shell). Angle the capsule toward
the player’s stick or hand to pick up more attack and definition.
Turning the capsule toward the shell will soften the sharp attack
of a hand drum, or pick up more of the bright, crackling buzz
from a snare. Moving the microphone closer to a drum generally
increases the low end, shell resonance, and separation from other
sound sources, while more distant placement emphasizes the in-
teraction of the drum and the environment, producing a blended,
airier sound.
The Cactus will produce an interesting personality when used at
a distance of four feet or more as an ambient room mic on drums.
Many modern pop recordings (as well as classic jazz, blues, and
R&B sessions) have benefited from the unique sound of minimalist
drum miking, where one to three microphones are strategically
placed to capture the entire set, along with the characteristics of
a well-tuned studio room.
Summary of Contents for Cactus
Page 1: ...Cactus...