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Peeps...

A buddy of mine needs some help with a research project. Below is a list of questions he asked me to shop around. Perhaps if you have a moment, you might be able to chime in.

Thanx in advance...

...Dave


I need some assistance on this project I am working on. Could you please send this email around and ask guys you might know to send me info by March 17th or before. I don't have too many emails of tuba players.

This is what I need them to answer:

What microphone choices and techniques have they encountered during a recording on tuba/sousaphone in the studio?

If they were to play on a New Orleans brass band recording using sousaphone what mic choices and techniques would they have used or have used in this type of ensemble?

What is the best choice for a microphone designed for tuba/sousaphone? (for example moving coil or condenser)

What specific mic options please include brand and model?

What optional accessories necessary or commonly used for a sousaphone or tuba? (pop screen etc.)

What type of placement techniques were used in a soloing setting?

What other mics were used in their experience in recording with a typical New Orleans brass band?

How about placement of all mics used for recording with a New Orleans brass band?

Any applicable information they can share in regards to how sound radiates from a tuba/sousaphone and how that affects microphone choice and placement?

Any suggestions on how to counteract any noise problems associated with the instrument? (keys, valves, frets, fingerboard, bow, etc. noise)

I think if you will go back and search for the pictures of Bloke's mouthpiece attachment, your friend will find an effective answer to his questions. That arrangement has withstood the test of a noted New Orleans jazz group, and it is relatively cheap.

Rick "hoping Joe can point to it" Denney

I'd say that many of the answers to your friend's question depend on three unknowns:

1. Is he recording a live gig or a studio gig?

2. What kind of budget is he working on? Is this recording happening at a professional studio that has dozens of high-end mics to choose from? In other words, what kind of equipment does have available to him?

3. What kind of ensemble sound is he shooting for in the final product? My first idea if i was recording a group like this would be to mic at the ensemble level rather than the individual player level, but if he was intent on doing lots of mixing and wanted lots of control over the individual parts, that would change the mic arrangement.

My $0.02.

Kyle