Guide for micing a recorder

The recorder may have a reputation as a squeaky starter instrument in school music programs, sometimes more useful as a meme than a tool for music. Yet behind this modest image lies a rich history.

The recorder is often thought of as a basic classroom instrument, but few realize that during the Baroque period it was immensely popular. Renowned composers such as J. S. Bach and Antonio Vivaldi wrote extensively for it. However, before the age of amplification, the recorder’s relatively soft volume led to its decline, as louder instruments like the flute took its place. It was not until the rise of modern pedagogical approaches such as Orff education that the recorder returned to prominence, becoming a familiar part of many childhoods around the world.

The recorder has gradually matured in modern times. Today, many music academies in Europe and the US admit students majoring in recorder. The instrument is increasingly integrating with various modern musical styles, carving out its own unique identity. For instance, this video features the renowned recorder player Tali Rubinstein performing ‘Spain’ at the NAMM Show.

Miking Prep: Acoustic Characteristics of the Recorder

Of course, modern manufacturing techniques have led to the development of recorders with greater volume. On the other hand, the use of amplification equipment like microphones allows the recorder to explore many more performance possibilities. Therefore, understanding the use of microphones is a major topic that modern recorder players need to address.

The recorder family has many different sizes, but we will use the most commonly used Alto Recorder as an example:

Range and Frequency Characteristics

The theoretical range of the alto recorder is F4 to C7.

The lowest note is F4, with a fundamental frequency of about 349.23 Hz.

The highest note is C7, with a fundamental frequency of 2093 Hz.

In terms of frequency analysis, the timbre of the lowest note is affected starting from around 250 Hz. The harmonics of the highest note, C7, can extend much higher, with frequencies up to approximately 16 kHz influencing the overall tone.

The Relationship Between Range and Timbre

The recorder’s range can be divided into several simple registers: Low, Middle, High, and Highest.

The Low Register: F4–C5

The low register refers to the lowest perfect fifth, from F4 to C5.

• On the most common Baroque-style recorder, this register is characterized by a smaller volume and limited dynamic variation. When playing with other instruments, this is often the most challenging register and the most difficult to hear.
• Conversely, in solo playing or when collaborating with early music instruments, where the volume is not masked, the low notes in this register beautifully showcase the recorder’s thick and sweet low-end timbre.

The Middle Register: C5–C6

The middle register refers to the octave in the center: C5 to C6.

This is the most comfortable register for most recorders, where timbre and dynamic control are relatively easy. The tone produced here is often considered the most ideal sound for the instrument.

The High Register: C6–G6

The high register refers to the upper perfect fifth: C6 to G6.

• In most repertoire written for the recorder, notes in this range are already considered the highest in the piece.
• The volume in this register is significantly greater than the lower notes, allowing for more dynamic variation. When collaborating with modern instruments, the sound can usually be heard even without a microphone.
• Although it is the high register of the recorder, a skilled player can produce a powerful yet elegant high tone in this section.

The Highest Register: G6–C7

The highest register refers to the top perfect fourth: G6 to C7.

• Notes in this register are typically not found in most classical repertoire and are usually reserved for special circumstances.
• However, in modern musical styles, the timbre of this register is powerful and the volume is immense. The sound can still be heard clearly even when playing simultaneously with a drum kit. Consequently, these high notes are extremely important in modern performance settings.

A Simple Solution with Amplification

One major issue when the recorder collaborates with modern instruments is the excessive difference in volume between registers—the high register is too loud, while the low register is often too quiet to be heard.

Fortunately, this problem has a simple solution when using a microphone: a Compressor. By applying a compressor to the microphone’s output, the issue of overly wide dynamic range can be easily managed.

Techniques and Influences on Timbre

Because the recorder is a whistle-type instrument—producing sound by channeling air through the windway to create vibrations—the player’s technique directly impacts the tone color.

One key element, Articulation (tonguing), greatly affects the resulting timbre, specifically the note’s Attack.

Simply put, tonguing can be categorized into three main types, from softest to strongest: Ru, Du, and Tu.

• When using the Ru articulation, the beginning (attack) of the note has no sharp definition, resulting in a more round and legato sound for each note.
• The Du articulation provides a noticeable separation or ‘grain’ between notes, but the attack is not overly distinct or harsh.
• Finally, the Tu articulation produces a very clear tongue-strike sound, resulting in a distinct accent or strong attack for each note.

It’s important to note that when the sound is captured by a microphone, the effects of these articulations become much more pronounced than when playing acoustically. This is because the microphone is positioned closer to the windway (where the sound originates), directly capturing and amplifying these subtle details.

After Micing: Details Worth Paying Attention To

Since the recorder is not an instrument that is frequently miked, finding an ideal tone usually requires experimentation. Naturally, a thorough understanding of the instrument’s characteristics can greatly assist both the performer and the sound engineer in finding the most suitable miking methods and tools.

Micing Variations and Techniques

Before describing the techniques, one crucial concept must be emphasized: Because the sound is emitted from the labium(windway opening) on the recorder’s head joint, the microphone must be aimed at the labium (position C in the diagram), not the foot joint.

Typically, these are the variations of micing recorders in live performances:

Stand mounted

The microphone is fixed on a stand, and the recorder’s head joint is aimed directly at the microphone’s capsule.

• Pros: It is less likely to pick up plosives or mouth noise (lip/tongue sounds). The player can also subtly move back to adjust the volume when playing high notes.
• Cons: This method severely restricts the player’s physical position. The performer must consciously remain within a specific capture zone, otherwise the volume will become inconsistent, and the nuance of certain techniques may not be accurately captured.

Headset Microphone

A microphone is worn on the head, with the capsule—originally designed to face the mouth—adjusted to face the labium.

• Pros: It allows for greater freedom of movement compared to a fixed mic, and there are many relatively affordable commercial options available.
• Cons: It tends to easily pick up mouth noise. Furthermore, since most are designed for vocals, the angle of the capsule can be difficult to adjust precisely, and the device itself may detract from the performer’s appearance.

Instrument (Clip-On) Microphone

These microphones are primarily built around a small pre-polarized condenser capsule, often featuring a gooseneck and a lightweight clip design. This allows the mic to be positioned close to the instrument’s sound source for close-miking without hindering the performance.

• Pros: They are generally more convenient to use than the other two methods. Moreover, microphones specifically designed for wind instruments often have better technical specifications for Sound Pressure Level (SPL) tolerance, allowing the player to perform with full intensity.
• Cons: They tend to have a higher price point. Additionally, even a slight shift in the position of the close-field mic can significantly affect the frequency response and overall tone quality.

SonoFlex as an Example

To help everyone understand the difference between mic positioning and timbre, this article uses the SonoFlex Instrument Microphone for recording demonstrations. This instrument microphone, features a highly suitable clip for the recorder, allowing the player to adjust the capsule’s direction for different miking needs.

For the recording samples in this article, the SonoFlex Instrument Microphone was connected via an XLR cable directly into a Zoom AMS-44 audio interface and recorded at 24-bit/48KHz. No post-production effects were added during the process. For EQ settings when using SonoFlex in a live tenor saxophone performance, see our SonoFlex live EQ guide.

Here is a comparison of micing with the microphone aimed at the labium:

By comparing the spectral charts of the two recordings, it is clear that when the microphone is not aimed at the labium, the fundamental tone and the first few harmonics are thinner, and the distribution of high-frequency overtones is cleaner. In contrast, when the microphone is aimed at the labium, the frequencies surrounding the fundamental tone and the first few harmonics are richer, and there is more frequency content filling the space between the high-frequency peaks.

In terms of listening experience, the off-axis recording, which is not directly facing the labium, sounds generally thinner but cleaner. Conversely, the on-axis recording aimed at the labium has a fuller low end, and the high-frequency airflow noise is more direct. The author prefers the sound of the on-axis miking, as it is closer to the preferred recorder sound. Therefore, the on-axis method will be used for the next comparison, which focuses on the difference in sound caused by the distance between the capsule and the labium.

Comparison of Distance Variations (On-Axis Miking)

Similar to the direction comparison, the farther the distance from the labium, the less prominent the frequencies of the fundamental tone and first few harmonics are, resulting in a slightly weaker sound. However, the high frequencies are not significantly reduced, and the airflow noise can still be heard.

When the mic is positioned closer to the labium, in addition to a noticeable increase in the fundamental tone and first few harmonics, the high-frequency region is distinctly richer. This results in a more immediate and upfront listening experience (like someone is playing right in front of you).

Recommendations for mic placement

There is no absolute right or wrong miking position. Adjustments should always be made based on the desired result and the preferred sound. Here are some experiential tips compiled by the author, hoping to help future recorder players find the perfect miking position:

1. For a more direct, intense tone, move the microphone closer to the labium.
2. To reduce strong low-end and breath noise, move the capsule appropriately farther away from the labium.
3. If a cleaner tone is desired, aim the microphone slightly below the labium to achieve a cleaner sound using an off-axis approach.

For frequency adjustment, the alto recorder’s lowest note is around 350Hz. It is recommended to use a 250Hz low-cut filter to remove low-frequency noise (such as tonguing noise or finger tapping vibrations) without affecting the tone.

Finally, regarding Dynamics. The audio files show that the volume difference between the low and mid-high registers becomes increasingly large. Assuming the mic position remains unchanged, it’s advised to use a Compressor (see our guide on using a compressor) to prevent the high notes from sounding too harsh or piercing. Recommended settings for adjustment are an attack and release in the 10ms and 100ms ranges, respectively, to maintain the nuance of the performance while preventing an overly sharp sound.

If you play other acoustic instruments and are curious about miking techniques, our article on saxophone timbre and micing techniques covers similar ground for saxophone players.

Postscript: When Technology Takes Part in

Since the recorder’s revival, performers have continually attempted to explore its full range of possibilities. Beyond traditional music, the recorder can also become a sensation—a true “meme instrument”—if it appears before an audience at the right time. As long as the physical challenges of miking are properly addressed, the recorder can be unleashed to its full potential.

In the process of using the SonoFlex microphone, the progress of technology offers hope for solving the issues of the recorder’s unusual shape, tricky miking position, and illogical volume discrepancies. The author shares this with all those who play the recorder.