Why do my saxes sound accordion-like?

[Rowka]

I was recording my bari last night (sorry, I didn't save any clips) and it sounded like I was playing through a cardboard tube. I had to tweek a lot of EQ to get is sounding anywhere decent.

 

AKG Perception 150 pretty close off the bell, pointed at about "G"-> M-Audio Fastrack Pro -> Mackie Traction -> Alesis M1 Mkii active monitors.

 

I know without samples you can't offer anything usefull. I'm just venting.

[Jim Clark]

I was recording my bari last night (sorry, I didn't save any clips) and it sounded like I was playing through a cardboard tube. I had to tweek a lot of EQ to get is sounding anywhere decent. AKG Perception 150 pretty close off the bell, pointed at about "G"-> M-Audio Fastrack Pro -> Mackie Traction -> Alesis M1 Mkii active monitors. I know without samples you can't offer anything usefull. I'm just venting.

 

I don't know the mic, which may be at least 50% of the problem, but for mic placement, back away from the bell about a foot (or more experiment) give the sound time to "bloom" before it reaches the mic.

Remember, none of us ever listen to a saxophone with our head in the bell - maybe that IS what it sounds like

 

Good luck!

[sunburstbasser]

I don't know the mic, which may be at least 50% of the problem, but for mic placement, back away from the bell about a foot (or more experiment) give the sound time to "bloom" before it reaches the mic. Remember, none of us ever listen to a saxophone with our head in the bell - maybe that IS what it sounds like Good luck!

 

TRUTH!!

 

When recording my guitarist through his amp, I started by sticking the mike in front of the voice coil. He said it sounded really bad. So I stuck my head there (bad idea) and that was what it sounded like! So I moved the mic around a bit and got much better results.

[IndofunkCity]

Sorry, the Perception series SUCKS. You'd be better off with a 57. I tried out a Perception on vocals and on horn and I was amazed at how bad it sounded. Like, how could a manufacturer actually put out this kind of crap?

 

Just my opinion, of course

[Rowka]

That might be. I don't know squat from mics.

When I get a chance (late next week) I'll load up all my mics and experiment with them all (there aren't many).

 

AKG Perception 150

CAD GXL3000

Shure SM57

Shure BetaGreen 5.0 (or 5.1, don't remember).

 

And for what it's worth, these were recorded with a pair of the Perc 150 mics:

http://www.rowka.com/Safire/05172008.htm

[outland]

Hi Rowka:

 

I don't think you used any vibrato at all (I tend to like it when only the lead alto uses vibrato, FWIW) Your voicings seemed very close; I'd spread them out, give a bit more breath (Thad Jones was GREAT at this, if you want to study a chart or two), your mouthpiece/reed set-up sounds very stock and conservative. What are you using there?

[Rowka]

If the voicings seem close, well, blame the arranger.

 

Pretty conservative stuff on the MP and reeds.

Alto - 1977 Student Buescher Aristocrat with student GoldTone MP, came with the sax in '77, Rico Orange Box 2.5

 

Tenor - Modern Asian Selmer clone, MP is Couf Artist 5*R, Rico Orange Box 3

 

Bari - Modern Buffet Crampon, Yamaha 5C MP and Rico Orange Box 3

 

I did another recording of the Bari with some Hal Leonard backing tracks. It's much more saxy

[outland]

Yeah, I'd start by updating your mouthpieces, starting with the alto and tenor and moving to the bari.

 

Here's a website for you:

 

http://www.saxscape.com/

 

There are MP3s of his mouthpieces, so you can get an idea of what you prefer. Ken made my mp: a Red River .115 (it is extremely flexible; I use it for jazz, rock, and blues. It works for any contemporary style).

 

You may also want to try Berg Larsens or Otto Link for tenor and bari, Meyer, hard rubber Link, and Lakey for alto. The new Guardalas are not much like the original (that Brecker played).

 

Mouthpieces are very subjective, so others will certainly have other helpful ideas.

 

You may want to try Rico Jazz Select Unfiled or Roberto's for better reeds, but really, even Coltrane played Ricos (though that was a different age).

 

For reference: I play a Selmer Mark VI tenor and soprano (I used to have a Mark VI bari w/ low A), and ancient Buescher alto (which screams, but has a weak mechanism). I'd probably get a new alto if I played more of that, but for now, this is fine as I hardly touch it.

 

Mouthpieces: Soprano: Guardala custom w/ Rico Jazz Select 4S unfiled.

Alto: Meyer 7M w/ Rico 3.5

Tenor: Saxscape Red River .115 slim profile w/ Roberto's 3.5 S

Bari: (when I owned one) Lawton 7*BB w/ several sizes/brands

of reed.

[Rowka]

Sorry,

I meant to put this link in my last post:

 

http://hc.bloodyvelvet.com/files/141/Santa_Claus_is_Coming_to_Town.mp3

[Robybass]

I have a suggestion.

You should use root, fift, and seventh instead of triads, cuz the triads like arangement makes you sound like an accordeon.

Here are some tricks I use when recording.

Use the pitch correction software only to fix those out pitch notes, don't use the auto correction, it will kill your personal tone.

In every sax use diferent equalization, and in every layer if is posible.

If you have 5 layers use 2 in the right channel and 2 in the left channel and the lead sax in center, it will give you a stage like sound.

Also, to give the recording a deep stage sound, use a little reverb on the lead sax.

Good luck and

Happy recording.

 

Ps. This post is refering to your first song (post).

[Laurel Moore]

Jim Clark, just loved your swing-sounding clip. It's absolutely fabulous!!!! Love that swing sound. Miss Ella would be proud.

[Laurel Moore]

Hi again,

 

I play accordion and saxophone. Though that was a long time ago now. There are many different types of accordion. The one I bought years ago was a Marranuchi and it had a particularly french sound. It kind of had that real vibrato to it that reminds you of french cafes.

 

I never thought the two sounded alike though. Would have defeated the object of playing both really. Just wish I could've played them both together