Recording Gear for Trombone
Recording yourself is such an important thing for any musician to be able to do. Unfortunately, so many musicians avoid it because they do it so infrequently and/or are unsure of what equipment they need to get started. Here are a few reasons why you may want/need to be able to record yourself:
- To submit recorded auditions for jobs, summer festivals, or extracurricular ensembles.
- (**My favorite**) To listen back to your practice session.
- Whether working on simple fundamentals or complicated solo repertoire, it can be eye-opening to perform something while recording and then listen back with a more critical ear… It also gives you a chance to turn off the analytical part of your brain while running through something – an extremely important skill as a perform (and one that I’ve struggled with).
- To share the music you make with others (e.g. family and friends via social media, professionally via your website, etc.)
There is no one-size-fits-all approach to recording. A 5th-grade beginner, high-schooler applying to college, and professional musician looking to record some demo materials will likely all use different equipment. Consider the following thoughts before you read on and get your heart set on any one method:
- No device is useful if you never use it (too complicated to setup, etc.)
- Expensive equipment used poorly can sound worse than cheap equipment
How does digital audio recording work?
My super simplified explanation is this: A microphone converts sound waves into an electrical current. Microphone preamplifiers boost the weak electrical signal from the microphone, and the analog signal is converted into digital data.
Let’s start with the simplest methods first… you may even have one in your pocket! Most people understand that a device like their phone can record and save audio on it. Unfortunately, these are designed primarily for speaking and not a musical instrument so, for several reasons, you’re unlikely to be happy with this for long unless you really just need a quick, low-quality recording for reference purposes.
Next up is the more specialized category of portable recorders. These devices have higher quality built-in microphones and preamps, as well as the ability to store on internal storage or SD cards, etc. The big advantage of these is that you have a complete recording package in one relatively cheap, small device. One drawback though is that you’re stuck using everything on these devices… The user interface for these is not very intuitive, and the microphones/preamp are just ok. But, that doesn’t mean these are bad products! If you take the time to read the manual, truly understand the interface and their capabilities, and practice recording with various mic positions/gain levels, you can get a lot out of these devices.
I’ve had many students ask about recording gear specifically because they want something “better than a Zoom” but, upon further investigation, discover they haven’t really taken the time to max out its capabilities.
I’ve owned many devices like this made by Zoom, but several other brands, like Tascam & Roland, make comparable products. When you’re looking through these products in the $100-300 range, the biggest differences will be in the interface and features rather than the recording quality itself. If you go this route, it should have a dial or buttons to easily adjust the gain (input volume), and not just a switch or auto-gain. I also always recommend something with XLR inputs like the Zoom H4n Pro. They cost only slightly more, but will allow you to easily step into using external microphones down the road.
What will you record onto?
The next step is to decide what you’ll be recording onto – a computer, or a portable recorder.
The all-in-one devices mentioned above can serve this purpose, but top-of-the-line dedicated field recorders can cost up to several thousand dollars. These devices are intended for capturing audio and have limited playback abilities.
If you are looking to record in just one place (home studio, etc.), then this is the obvious route. If you have a laptop, you can still use this option for a portable setup. The big benefit to using a computer is that you’re recording directly to the device you’ll edit/share from. Since I like to record my own stuff both in practice and performance, I primarily use this method because I can either keep my computer near me for ease of playback & multiple takes, or get really fancy with Apple’s Logic Remote app and remotely toggle things from my phone/tablet.
While a computer-based setup gives you a lot of functionality, it’s also much more complicated to move around (more things to connect, power cords, etc.). Note that some portable recorders can be connected to your computer via USB, allowing them to serve as an audio interface as well. This is handy if you’re working with a portable setup, but want to explore using your computer too.
If you’re using a computer, the next step is your audio interface. The obvious part of the interface’s job is to allow for a physical connection between the microphone(s) and your computer. The more complex part of its job is the conversion of analog/digital signals and the role of microphone preamplifiers. Dedicated audio interfaces will typically do these things much better than comparably priced, or slightly more expensive, all-in-one devices.
Do your homework to find one that works for you, but I settled on the Focusrite Scarlett series. I recommend the 2i2 because it has two mic inputs (useful if you decide to record stereo), is very crisp/clear (no hiss or buzz in quiet recordings), and has very low latency (delay sending signal back and forth from computer.
Digital Audio Workstations
If you’re recording directly to your computer or if you want to do any editing/enhancing of things you recorded elsewhere, you’ll need specific software on your computer known as a Digital Audio Workstation (DAW). There are many options out there, but start with something free like Audacity (Mac/PC) or Garageband (Mac). Personally, I use Logic Pro X (Mac).
Here’s where things can really get complicated… There’s a lot to know about what microphones do and how each one varies. I’m not going to describe everything from scratch because A) it would take forever, and B) more knowledgable people than myself have already done that! Instead, I’ll point you to some great resources from Shure that discuss transducer types, frequency responses, & polar patterns, as well as the associated videos below:
There are a lot of microphones out there that will do the job for you. Need help narrowing down all the options? It can be helpful to chat with some of the sales team at a major audio retailer like Sweetwater or to pick the brain of audio engineers on gigs, etc.
Personally, I like a stereo (or “matched”) pair of condenser mics for most situations I find myself recording in. Ribbon mics are great, but often prohibitively expensive. I’ve been enjoying small-diaphragm condensers with a flat frequency response and cardiod polar pattern (omnidirectional too, if in a good space). If any of those terms are still foreign, you need to go back to the resources above! I’m currently experimenting with a pair of Shure KSM141s and an Audio-Technica AT4050.
How will you record?
Again, no need for me to reinvent the wheel here – There are countless resources online, and Shure has a good PDF detailing various techniques. I usually use a simple X-Y or A-B stereo setup when recording myself or an ensemble, and will adjust the distance/mic placement depending on the room. If I plan to do a lot of multi-tracking or playing with effects, etc. I’ll use a close-mic. I often put the mic(s) slightly off-axis to avoid airy sounds or overly present articulations. You can learn a lot about these techniques just by noticing where microphones are placed during concerts (whether or not you’re the performer).
Where will you record?
Unless you’re using a close-mic technique, the room you record in can be a huge factor – especially if you’re looking to capture your best sound for a professional recording. Think about where you like/dislike your sound, and try recording there. Some things sound great in a cathedral or a quiet studio, but most will settle for a room/hall somewhere in between.
There are a few other necessary items. Some can be bundled with other products, but I’ll list a few things here so they aren’t overlooked:
- Monitor speakers/headphones
- If you’re looking for professional results, you won’t want to use built-in computer speakers or cheap in-ear headphones. A decent set of closed-back, around-ear monitor headphones is a good start.
- XLR cable(s)
- To connect microphone(s) to your audio interface
- Microphone stand(s) & clip(s)
- Mic positioning is important, so you’ll want some flexibility in height/angle. If you’re doing stereo recording, be sure you have the appropriate stand attachments or multiple stands.
I’m mostly concerned with audio recording, but video recording is becoming more popular for many auditions, and is a big draw for those that want to share on social media, etc. If you need to record video, you have 2 main routes you can go:
- An all-in-one device that has a camera built-in (e.g. iPhone, Zoom recorders with cameras, etc.)
- Recording audio using any method above and then syncing it up with video afterwards
The drawbacks to an all-in-one device are the same as if you were dealing with audio-only… it’s a tradeoff between convenience/simplicity and quality/customizability. Many students don’t need super high-quality recordings and can get away with using a combo device forever.
I prefer syncing up audio & video in post-production. Honestly, the iPhone’s camera is great (especially in good lighting), so I just set that up and replace the iPhone audio with what I recorded professionally. Most DAWs can do this pretty easily… I’m not going to detail this step because there are several options and other people have already created great videos and articles about this – just do a quick google search for “sync audio and video (insert mac/PC, your DAW, etc.)”.
**NOTE: Some video cameras, especially higher-end ones, have a 3.5mm (or even XLR) external microphone input on them that allow you to connect better microphones to replace the built-in mics… This lets you save the step of joining audio/video in post-production, but then you have to deal with the camera’s interface to capture audio (which may not be very musician friendly).
This stuff can get expensive, and it’s hard to know how much you should spend on equipment. It’s worth noting that there is a large market of used audio equipment out there, and that also means you can sell equipment as you outgrow it to help afford better gear. When buying used audio gear, be sure it is in good condition (preferably gear used in a studio and not for live audio, as that can be rough over time) or that the seller offers a return policy/trial period. Some good places to look include Reverb, Sweetwater, and Guitar Center.
This is just scratching the surface of recording equipment and techniques, but I hope you find this info helpful. The best way to hone in on the ideal recording setup for you is through experience, so just start recording ASAP, even if it means using lesser equipment or borrowing stuff from schools, friends, etc. As always, comment below or contact me if you have questions or if you find some gear you really like!