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[2db]

Mike Brecker/Bob Mintzer sax sound

Fletcher, what for pre and mic would you use to get that hugh fat warm tone?

I know these guys could sound good on a Radio Shack mic but, have any idea what makes them so fat and warm on recordings?

Thanks
-jim

[Fletcher]

What would I use?

I dunno... a Crowley and Tripp "Proscenium" is where I would probably start [probably into the NPNG pre-amp... I am rapidly falling madly in love with this thing]... what was used on those records?  That I don't know.  What I do know is that it sure as shit wasn't any of the hardware I just mentioned [as the pre-amp has yet to be released and the mic model is only a year or three old].

[Thomas Lester]

The mouth piece they use has a lot to do with it as well.  Brecker uses a Guardala "Brecker" model w/ a Guardala #2 reed.  This is on Tenor. Mintzer uses a Freddy Gregory 7.

Both play Selmar Mark VI tenor.

After that...  I totally dig Neuman M49's on Sax.  Cole's 4039's do really well, also.  M49's my "go to", though.

-Tom

[mjgreeneaudio]

I just mixed a project that Bob Mintzer played on.  Hal at Bi-Coastal music recorded and the sound was beautiful.  He used a Coles our tracks and it was warm with a great air that really only comes from the sax player and his immense knowledge of his gear.  Different reeds and mouthpieces change the sound of a sax as do the players approach.  Their might not be an instrument that is as difficult to record as the sax from that standpoint, other than vocals.  I have recorded people getting amazing sounds out of Selmers, Yamaha's and other saxes but have also heard horrible sounding players playing the finest equipment available.  

The players you are talking about are just truly the best in the business and have honed their sound to the Nth degree.  

Michael Greene

[2db]

Hi Mike,

Thanks for that information. I talked to Malcolm Pollack who used SSL 4000 to record The Hudson project which featured Mintzer.

I won't be running out to buy that console but the Coles is certainly workable.

Do you know which preamp the Coles was paired with?

thanks
jim

[mjgreeneaudio]

I don't although I would guess it was something like and API or Neve.  It had a nice midrange with great air.  The only thing I didn't care for about the sound is it sounded like he compressed it into Pro-Tools.  It is a very open uncompressed record (Probably the most uncommpressed I have done in 12 years) and it made the compression on the sax stand out even more.  I am splitting hairs but thats my job right?  

Bob is a fantastic player with just an incredible sound not to mention he is one of the nicest guys to talk with in the business.  Just a classy classy guy!

[OOF!]

man, i remember recording michael brecker a long time ago. all i had available, after micing the band was an 87 into a summit pre.  on the first take of one tune the summit started to die, very slowly, DURING his solo.  i was having a heart attack as you can expect.  all i could do was fiddle some knobs and kick the thing, but it kept going intermittant.  meanwhile the owner of the studio was sneaking outside leaving me to take the rap when the song ended....( hilarious!)
of course, it was a burning solo, but it obviously needed to be redone.  MB was totally cool about it.  the band did another take and he burned another one.  what a great guy.
i guess my whole point here is that he sounded amazing through that mediocre rig.
david

[Collins]

Kind of off topic, but how is Michael doing these days?
I've heard he's having trouble with aspects of his illness...
MDS and finding compatible bone marrow donors?

Hope he is better, what a talent!

Paul

[compasspnt]

OOF! wrote on Fri, 01 December 2006 04:10

...he sounded amazing through that mediocre rig.

Well, it is over 90% the player...but there's nothing really totally wrong with Neumann 87 and a Summit mic pre.

[OOF!]

well you know, on this forum i figured if it wasn't a 47 into a 1073.........facing east.......