When an unfamiliar instrument walks through the studio door, it brings fun and exciting challenges! If you’re still waiting for your opportunity to record a real trombone or you have one booked in the near future, then this article can serve as your guide. The trombone is an entirely unique instrument. It can be bold, brassy, and splatty, but it cleans up well and is capable of fragile and delicate passages. Sonic sublimity aside, the trombone is a relatively easy instrument to record. Think of the bell as a brass speaker cone. Today, you’ll learn some common microphone-positioning tips for recording trombone. Along the way, we’ll take the time to recommend trombone-friendly microphones and other outboard gear to help you take your sound to the next level. Let’s get down to business!
Which Type of Microphone Is the Best for Trombone?
Like everything in the pro audio world, there is no “right answer.” With that being said, we’ll offer up some general advice and leave you to use your judgment on microphone decision. Studio veterans are plenty familiar with microphone types and their general use cases. For the beginner, we’ll quickly cover the basic mic designs. If you want to know more, then check out “How a Microphone Works.”
Condenser microphones
A condenser microphone is capable of capturing an ultra-HD picture of the sound. Choose a condenser microphone for a lyrical player or for parts that require a little extra texture. However, be aware that a condenser sounds best in a well-treated room. Using a condenser in a less-than-stellar room will result in a signal with lots of unwanted reflections, AC rumble, and creaky floorboards.
Ribbon microphones
Here at Sweetwater, ribbons are a frequent choice for recording trombones. Why? Because ribbon microphones are complementary to just about any type of trombone. The sound is smooth and rich with well-behaved highs and a solid low end. Be advised that a ribbon microphone’s figure-8 polar pattern requires more awareness of the sound behind the mic compared to a cardioid polar pattern. You don’t want to put it against an untreated wall or a window. If you get creative with a ribbon’s null points, then you may help alleviate acoustic issues in your recording space.
Dynamic microphones
The dynamic microphone design has been around for decades. Most dynamic microphones typically have a cardioid or a hypercardioid polar pattern — something that helps you achieve stellar isolation onstage and in the studio. We commonly use dynamic microphones when contending with trombone players that blow with outrageous force and volume.
Sweetwater’s Top Microphones for Trombone
Condenser
Instrument microphones
Other industry-favorite trombone mics
Mic Your Trombone Right
Before miking your trombone, think about what sort of sound you want. Luckily, it’s super easy to figure out how to get the results you need. What do you have in your studio that’s shaped suspiciously like a trombone bell? Did your mind immediately jump to guitar and bass cabs? Treat a trombone bell the same way you do a speaker cab. The brightest sounds are in the middle and slowly mellow out the further you get toward the edge. Place your microphone about a foot away from the bell and above the plane of the slide. This will ensure that the player won’t damage their slide or knock over your mic stand. From there, throw up a pop filter or a windscreen to protect the capsule from blasts of air.
Classical
Suppose you’re recording a player that’s playing old-school or contemporary classical music. In that case, you’ll want a lush tone that’s warm to the point of near darkness. For this style of music, you’ll want to place your microphone further away from the player to capture plenty of room sound. Place the capsule around six feet off the ground as it will help simulate what a conductor hears from the podium. Use this mic placement technique for any player recording an audition or an orchestral demo tape.
Bright
Jazz musicians and ska players love a bright and in-your-face tone. The trombone’s most brilliant, brassiest sound originates right in front of the bell. To achieve this sound, point your microphone at the center of the bell and let your player blow their heart out. This placement will allow you to achieve a present and direct sound with minimal room sound. Using a pop filter is a definite necessity as it will protect against blasts of air hitting the microphone.
Mellow
A bright, jazzy tone doesn’t always fit into the mix. To that end, something more mellow will work wonders. Start by moving the microphone away from the center of the bell and toward the edge. Commonly called the bead, the edge of the bell will yield the warmest tone. If you’ve maxed out the horizontal movement of your microphone and you still need a slightly more unique sound, then move the mic back. The further back you go, the more room you’ll capture. This is useful for pieces where you’re laying multiple horn parts.
Live
Live trombone requires a slight deviation from the advice written above. You have two main options. First up, you can place a tried-and-true dynamic microphone on a stand for a stationary performer. Have the performer stand directly in front of the microphone with the microphone pointed into the business end about four inches away. A notable proponent of this method is Grammy-nominated trombonist Trombone Shorty.
Performers who prefer extra freedom or who want to keep stage clutter to a minimum naturally gravitate to clip-on instrument microphones. Clip the microphone to the left side of the bell where the player can’t accidentally bump it with their slide hand. Using a clip-on microphone yields a direct sound, no matter how the performer moves onstage.
Carefully Consider Your Signal Chain
You’ll want to think carefully about your signal chain if you want to get the most out of your trombone. Using gear that you know inside and out will yield the best results. Check out these picks if you’re looking for an excuse to buy new outboard gear.
Audio interface
Unless you’re recording entirely analog onto old-school tape, you’ll need an audio interface. If you’re new to recording and you don’t have an interface, then don’t fret! We’ve come up with a handy Audio Interface Buying Guide to get you started. Need to upgrade your interface? Check out our list of the best audio interfaces for your home studio.
Microphone preamps
Sure, the built-in mic preamps of your interface are pretty good . . . but they don’t sound as good as an outboard microphone preamp. Plus, running your trombone through a standalone microphone preamp can imbue the signal with extra character to transform it into something truly stunning. Most microphone preamps have various features on hand to refine your sound. When setting levels, ensure that your trombonist is warmed up and playing at their normal volume.
Tube preamps
Lovers of the vintage sound will want to go with a tube microphone preamp. You’ll be treated to a warm sound with rich harmonics. Popular choices include:
Solid-state preamps
Some studio engineers prefer solid-state preamps for their hassle-free operation. Plus, since they forgo vacuum tubes, the sound stays the same through years and years of use. Here are some Sweetwater-approved favorites.
Compression
When it comes to using compression with brass instruments, the jury is out. Around Sweetwater, we try to operate around the “just because you can doesn’t mean you should” principle. Why? A good horn player should be more than capable of controlling their dynamics. But compression can work wonders if you’re working with a player who’s slightly inconsistent with their volume. Just remember to treat your trombone signal lightly.
EQ
The player, your microphone choice, and the mic placement will do most of the sound shaping for you. But what about a situation where you want to sweeten the sound of your horn as you record? Then an EQ can help! Used gently, you’ll imbue your trombone recordings with subtle, ear-pleasing texture. We find that using a hardware EQ is best for subtlety. Use in-the-box EQ plug-ins for larger-scale tone shaping.
Make Sure Your Space Sounds Its Best
The trombone’s sheer power and harmonic content can wreak havoc on a recording engineer. Whether you’re in a purpose-built brass recording studio or in your home studio, it’s important to make sure your space sounds the best it can. If you haven’t already, invest in acoustic treatment! Using a combination of absorption and diffusion will yield you the best results. However you decide to acoustically tune your room, you’ll also want it to inspire you. For functional decor ideas, check out these five ways to make your studio look as good as it sounds. Not sure where to start? Call your Sweetwater Sales Engineer.
If You Need It, We Can Get It!
The trombone can be quite a challenge in the studio, especially when you mic it the first time. With these guidelines and a bit of experimentation, you’re sure to get the right sound in a jiffy. If you’re not sure where to start or you need an extra piece of gear to make it happen, then call your Sweetwater Sales Engineer at (800) 222-4700. We’ll do everything we can to help you get up and running.