Question:
What is your mic/electric setup at church?
My Band Leader is not sure if I will need to buy a mic or not. But, I was curious to know what you guys use. Right now we are not too big. We have 1 or 2 keyboards, bass guitar, lead guiter, drums, and 5 or 6 praise and worship singers, with 1 leader. Do you suggest a mic like the sm58 or sm57? I would have loved to do a clip on mic,so I can move freely, turn, jump, or whatever I feel like, but they are rather expensive and don't work as good, so I hear. Do you suggest ear plugs, in ear monitor or what?

Answer:
I use a clip on mike - not sure what brand it is, but it really works well and has a great sound to it. The first few times I played I used a 58 on a stand, but like you said it was hard to move around much.
I would highly suggest you mic your sax, not as much for the volume, but to give the sound guy a fighting chance at giving a good mix.
I just share the monitor with the rest of the band.
2 guitars, one base, one drummer and a keyboard player - anywhere between 4 and 8 singers on the worship team.

Answer:
i use a wired mic from audio technica. the atm pro135x i think. it's the cheaper model about $140. sounds great and gives me enough room for moving around.
been playing in my p & w band for about 1 and 1/2 hears. playing with the clip mic for about 3 mos now and totally love it!
sonny d.
pa

Answer:
I use an Audio Technica ATM35 clip on mic when playing in my praise band. I've used a Shure SM 57 on a stand, but as others have said, you need to make like a statue and not move if you're using a stand mic. I don't move around much, but I (and the sound guy) notice a difference using the clip on mic - the sound is more consistent since the distance between the mic and the sax never changes.
Don


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I'm using a Shure PG57 on a stand at this time. God-willing, I plan to switch to a AKG C 419 or ATM 35/AT Pro 35X clip on by this June.

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I guess I must be the odd one out here, but I prefer playing on a stand mic for the same reason that everyone else seems not to. I like the flesibility of volume and tone which I can get from moving the bell of the horn (alto and especially soprano) around. I haven't found the stillness issue a problem when needed and as long as you let the engineer know that you will be moving deliberately it needn't be a problem. It also avoids the need for swithching the mic over when swapping horns. I do have clip on but can only afford one. It is a handy thing to carry when I go to play somewhere new which may not have a mic spare. It's got me out of a hole more than once. Anyhow this is just my take.
Blessings
Alastair

Answer:
I use a Shure 57- 1 each for alto sax and flute for the same reason- I've heard a clip on mike and ANY sound you make is heard.

Answer:
I use a Shure 57- 1 each for alto sax and flute for the same reason- I've heard a clip on mike and ANY sound you make is heard.

Answer:
I use a Shure 57 w/stand - 1 each for alto sax and flute for the same reason- I've heard a clip on mike and ANY sound you make is heard.

Answer:
I use a Beta 58 stand mic at church. For me this is less of a hassle and I don't need to move around much there anyway. On big stages and with secular "show" bands, which I direct on stage, I use an Audio-Technica wireless system. If you need freedom of movement, the clip-on mics are great; I find it easier to read with a clip-on mic as well. And let's face it, it's fun to move around! The stand mics are good because they don't pick up the vibration of the horn from the bell and all the key clatter, etc., and you get more of the "sound of the room". It can be easier for a sound guy to mix you on a stand mic, too, if they don't have much experience mixing horns. Honk a low Bb flat with a clip-on mic and see how fast they turn you down! I really think they both are useful and have their place. If you've got the $ and you play a lot, I would recommend you buy a stand mic first, a regular 57 works fine, then get a clip-on, wired or wireless, later........

Answer:
ATM 35
SAXBOY is ATM 35 all the way.
covers what I know about it.
You can use any of the mics listed on this thread. I have used them all too. I just prefer my 35.
SAXBOY


Answer:
ATM-35
Hate to sound like a commercial, but the ATM-35 is cheap (about a hundred bucks), durable, sounds great, and easy to use. Had it a year and haven't had a problem with it. I worked with our church sound guys to find out the best place to attach it to the horn and the best distance from the bell. That's an important step that people forget - don't just clip and play...
Grace and peace,
db

Answer:
Originally Posted by Sax4praise Hate to sound like a commercial, but the ATM-35 is cheap (about a hundred bucks), durable, sounds great, and easy to use. Had it a year and haven't had a problem with it. I worked with our church sound guys to find out the best place to attach it to the horn and the best distance from the bell. That's an important step that people forget - don't just clip and play...
Grace and peace,
db We lack a good sound engineer or person. Our sound is all jacked up. Every week we run into a new problem. I can never hear myself from the congregation, so I don't know how I sound. Sometimes I can be heard, sometimes I cannot. I'm just being patient though. We are praying for a proper sound engineer. We also plan to have a recording studio at our church, so we are praying for someone that's versatile. I would love to do it myself, but I am on stage performing :p

Answer:
When you really want people to listen...whisper.
We lack a good sound engineer or person. Our sound is all jacked up. Every week we run into a new problem. I can never hear myself from the congregation, so I don't know how I sound. Sometimes I can be heard, sometimes I cannot. I'm just being patient though. We are praying for a proper sound engineer. We also plan to have a recording studio at our church, so we are praying for someone that's versatile. I would love to do it myself, but I am on stage performing
No microphone in the world is going to make up for the level set by the sound person. One can have the absolute best microphone in the world, but if the level is inadequate it’s not going to make any difference. After all, in order for anything to work one has to turn it on to an operative level.
Clip on’s versus a mike stand, I prefer a mike stand with either a gooseneck or boom so it can be adjusted to one’s natural horn playing position. It’s about the sound, not freedom of movement. We are all up there because we produce a sound in the form of a prayer. It is not how we look. This is not MTV. Some will say that freedom of movement improves their playing. I have never felt restricted by a microphone on a stand. It’s a matter of correct positioning. A stand also allows one to dynamically move the sound around the stand rather than having a microphone in the middle of one’s throat. A clip on gives the sound person more control. A mike on a stand gives the player more control.
I agree with those who object to the clip-on type of microphones. Another consideration is when the clip on is attached to the bell of a straight soprano one cannot put the horn down on the peg without detaching the clip on from the horn. I’m there to play music, not fiddle with the equipment.
One can also control their sound better with a mike on a stand. If it is clipped to the horn there is no backing off unless one starts fiddling with a knob or two. One cannot adjust the mouthpiece, if necessary, because the horn is miked. The horn gets too hot to handle.
If your sound levels are all pumped up, then it’s up to the Director, or some other person who can hear the total package to correct that. I never complain about my sound level. Sometimes others will perceive it is an ego trip and that opens up another can of worms. I let others decide how loud I should be.
Depending on how one is physically positioned/located within a group will determine how much one can hear themselves from the congregation. If the singers are in front of you, don’t expect to hear yourself from the congregation. Sound coming back is blocked because they form a sound wall in front of you. The singers are not going to sound that loud because they are facing and projecting away from you.
That doesn’t mean that you can’t be heard out in the congregation. If you are that concerned about it, then get a friend or relative to tape-record the group out in the congregation. That way everyone will know what it sounds like out in the middle of the Church. An objective assessment can be made from the tape. Sometimes things sound different when you are not playing. There are all kinds of portable tape recorders these days that can be turned on and off without too much notice. Especially, if you are just going for levels.
The situation here doesn’t work in a vacuum. The louder a particular instrument is, the louder the singers feel they have to sing in order to keep up with the particular instrument(s) in order to be heard. The key is not how loud, but rather the mix itself. It you are loud during the verse, when it comes to the refrain, the singers are going to drown you out because they are listen to your level – especially, when it’s more of them than you. A dynamic option is to lay out during the refrain, why fight it and screw up your tone and/or timbre. One doesn’t have to be up front and blasting all the time, especially in the upper register of the soprano.
A far as your sound person, rehearsal can take care of a lot of those problems. If your sound person isn’t present for rehearsal and just shows up for the service that needs to be changed. Until at least all the issues relating to the sound levels are satisfied. During the rehearsal presets can be determined, so when the service time comes around there is a clue on what to do. If the sound person cannot make to rehearsal, then the sound system should be used in order to define what the presets should be. People absorb sound, so the levels for an empty church should be lower than a full church, but the ratio of the mix should stay the same. Once the levels are preset, then only minor tweaking is necessary. The sound person should be instructed as such, rather than returning to what that person has always done. The sound person is as much as part of the group as any musician or singer and should have a set of instructions from the leader of the group.
90% of this can be solved by positioning in a semi circle as much as possible, instead of rows of singers and instruments. It forces everyone to listen to each other and when no one is behind anyone else. The main secret is for everyone to listen to each other as well as himself or herself. Everyone is responsible for the blend, not just the sound person.
Personally, I don’t worry about my sound level, as long a God can hear it. That’s all that matters. I’d rather be too soft and let them imagine how good it would sound, rather than someone telling me I’m too damn loud.
Good luck with your endeavor -- all the best.

Answer:
Originally Posted by Straightsax
Clip on’s versus a mike stand, I prefer a mike stand with either a gooseneck or boom so it can be adjusted to one’s natural horn playing position. It’s about the sound, not freedom of movement. We are all up there because we produce a sound in the form of a prayer. It is not how we look. This is not MTV. Some will say that freedom of movement improves their playing. I have never felt restricted by a microphone on a stand. It’s a matter of correct positioning. A stand also allows one to dynamically move the sound around the stand rather than having a microphone in the middle of one’s throat. A clip on gives the sound person more control. A mike on a stand gives the player more control.
I agree with those who object to the clip-on type of microphones. Another consideration is when the clip on is attached to the bell of a straight soprano one cannot put the horn down on the peg without detaching the clip on from the horn. I’m there to play music, not fiddle with the equipment.
One can also control their sound better with a mike on a stand. If it is clipped to the horn there is no backing off unless one starts fiddling with a knob or two. One cannot adjust the mouthpiece, if necessary, because the horn is miked. The horn gets too hot to handle. I understand what you are saying, but me personally, I feel restricted with a stand. When the anointing comes over me, I move, I walk, I dance, I jump, I'm unpredictable at times. When the Spirit comes over me and gives me words to pray I walk back and forth and my hands move, when I feel led to dance, I move back forth, up and down. It is the same way with the mic. There is not a problem with that when it comes to my church, they understand. The Spirit moves in people differently. So, to that I must say to each his own. Now, if we ever have a winds section that will be a different story. For now, it's just me doing fills and playing as God leads. So having that freedom for me is needed and makes me more comfortable.
As far as making adjustments and not being able to turn the hot mic off, that's the reason I opted for the SD systems LCM85. It has a volume and tone control knob. That is extremely convenient for me, as I am a beginner to playing Praise and Worship music and sometimes I need to find different phrases that work and stay with the progression and keys. So, that is not an issue. If I didn't get the SD systems mic, I would have simply got a "Cough Drop" from Pro Co (monetary mute). I can back off simply by controlling my volume on my preamp.
I'm there to play music as well, but I'm sure you have been playing your sax in church, much longer than I and you probably have experienced sound engineers and people you can trust with the sound, people who know how the mix should go. Well, that's great and I wish we had that now, but we don't. In the meantime, I have to fiddle with my equipment. This is the first sax at the church and this is my first time playing in a church. We are all learning, slowly, but surely.
If your sound levels are all pumped up, then it’s up to the Director, or some other person who can hear the total package to correct that. I never complain about my sound level. Sometimes others will perceive it is an ego trip and that opens up another can of worms. I let others decide how loud I should be.
Would be great to let others decide, but they too are in question. I wish I had a wireless setup so I could walk out and hear how it sounds in rehearsal. Like I said, we are new and are praying and believing God for skilled engineers. Depending on how one is physically positioned/located within a group will determine how much one can hear themselves from the congregation. If the singers are in front of you, don’t expect to hear yourself from the congregation. Sound coming back is blocked because they form a sound wall in front of you. The singers are not going to sound that loud because they are facing and projecting away from you. Yes that's exactly how it is now and I can't hear anything. They have me in the monitors with the instruments, but the problem is I am away from the monitors. I've got a solution! Rolls PM50s I will be making that purchase so I can hear myself and not be completely drowned out on stage. Sometimes, I can't hear myself at all and hardly know if I'm playing in tune with them. That should solve it, though. We are also looking into restructuring the stage and buying new equipment, things will be much better then, but until then we have to make what we have work the best we can. I'm sure you can understand that.
The situation here doesn’t work in a vacuum. The louder a particular instrument is, the louder the singers feel they have to sing in order to keep up with the particular instrument(s) in order to be heard. The key is not how loud, but rather the mix itself. It you are loud during the verse, when it comes to the refrain, the singers are going to drown you out because they are listen to your level – especially, when it’s more of them than you. A dynamic option is to lay out during the refrain, why fight it and screw up your tone and/or timbre. One doesn’t have to be up front and blasting all the time, especially in the upper register of the soprano.
Thank you for that tip. At times I did find myself overplaying trying to match or play along with the singers.
Personally, I don’t worry about my sound level, as long a God can hear it. That’s all that matters. I’d rather be too soft and let them imagine how good it would sound, rather than someone telling me I’m too damn loud.
Good luck with your endeavor -- all the best. Another thing I disagree with. They asked me to play, becuase they wanted a saxophone sound to be heard with the praise and worship team, so yes I would like to be heard and they want to hear me, otherwise it'd be pointless for me to be on stage. I am playing to and for God, but also with the team. I too will lift up my voice on my instrument so it can be heard in the heavenlies and bless someone who is listening in the congregation. If God gives me something to play out to bless members in the congregation, then I sure would believe He wants me to be heard :). Of course, that can't be done without the proper sound levels right? All in all, we are working on it. We are hoping to have people trained or trained people come in that can help. Keep us in your prayers.
God bless, and thanks for the post.

Answer:
If God gives me something to play out to bless members in the congregation, then I sure would believe He wants me to be heard . Of course, that can't be done without the proper sound levels right?
In all due respect, you can disagree with me all you want – no problem. God is not as helpless as you make God out to be. If God wants your sound levels increased, then God can get half of the congregation down the Pastor’s throat about sound levels, and it will change in a heartbeat. God works through everyone and everything and most of the time from people and from areas you least expect.
Once again – all the best.