Originally published to www.newyorkbrass.com
Use a ribbon microphone to capture natural brass tones. Use a large diaphragm condenser (such as U87 or AKG 414) for high energy sound.
Don't close-mic the instrument. You want to pick up the room sound. 2 feet is a good starting point. Also try stereo micing the room (if its big enough and you have more than one player).
Try using two mic types (such as ribbon and dynamic) in a spaced-pair configuration for added sonic flexibility.
Position mics below the player's line of sight. Proffessional Brass players will be able to assist you.
Point mics off-axis from the bell. For higher energy sound try rotating the microphone slightly off axis.
Move the musician to different parts of the room to find the best sound.
Expect numerous punch-ins.
Schedule sessions with the “fatigue factor” in mind; Setup a warmup piece for about 1 hour and then tackle the difficult-to-play sections first. Do not attempt to go beyond 7 hours in one sitting.
Double or triple (nonclassical) parts for a fuller sound.
Use reverb and other effects only if you need to. For pop, Use a IR reverb combined with delay. Use a multiband compressor with 0-100, 100-2K, 2K-10K, 10K-20K bands. EQ: cut below 100, enhance slightly at 2.5K-5K range, cut slightly at 500 and add air at 15K.