I've never recorded flute or clarinet before, but I will be doing that tomorrow.  I don't think I'll have a problem finding a good sweet spot, my question is more about equipment.
 
I have a Shure KSM-27 that I will be using for the mic (my only other options are lower quality condensors and dynamics).
 
My choices for preamps are:
MOTU Ultralite built in preamps.  they're not bad - FET based, pretty clean, low noise.
TPS II - tube based starved plate design with dialable features and limiting.  I use this pre on my vocals a lot, it's not a bad pre for that.
True Systems P-solo - ultra clean FET. 
Mackie Mixer pres
 
I'm leaning toward the P-solo as I think the TPSII would probably add too much distortion where I think I'm going to want a clean signal for the woodwinds.
 
thoughts?

The trick with flute is to make sure you don't get any wind rushing on the mic.

I usually place the mic at just above the musician's fore head so that the wind that blow by the mouth piece doesn't get near it.



The Clarinet is simple... just stick it down near the bell and find your sweet spot.

thanks Mike - I guess I wouldn't have thought of putting the mic near the flutist's forehead.

I have recorded both of these instruments extensively. The flute is best captured up top where the musician is blowing near the hole and as Mike points out just position that mic so that any wind rushing noise is avoided. It is quite loud there too so the gain wont need to be high.

The sound of the clarinet does not emanate from the bell only, it comes from all the way down the instrument through the holes etc on the body. So you have to get a little back from it and I found it works quite well just pointing the mic (from out front) at the the lower half of the instrument about a foot or 18" away. Use the mic with the best bass response also to record the clarinet as it is a lowish sounding instrument. (Large diaphragm condenser works well) 

You can get away with recording a sax from the bell only but not so with the clarinet. If you mic the bell only some notes wont be heard there!

If you have to record them both at the same time just put them opposite each other and set the mics so the rear of one mic is pointing at the other instrument to minimise spill. You are going to get some spill if they are recorded together and then it is up to the performance to be good so no overdubs will need to be done.

If they are also playing together another option is to set them both up and just do a stereo recording of both of them in a nice room.

I agree Jeff.

I generally work at mid distances (18"+) as well so I just took for granted that someone searching for a sweet spot would end up there because that's where it is...  down near the bell... but not "on" the bell. :-)

I do the same with sax (as opposed to those on the bell clip on mics some folks use)... I keep the mic back enough for the full range of tonality to develop.


all the best,
mike

" I've never recorded flute or clarinet before, but I will be doing that tomorrow."


That's it, turn in your man card at the front desk...

thanks Jeff and Mike.

would a small diameter condensor be better for the flute?

I imagine it depends on the room and the tone that the player gets.

I've used both sdc and ldc on flutes.

In general, if the musician (I can't spell flautist with confidence) has a nice full and low tone and the room is not adversarial then I'll try the LDC.

If the tone is peaky and present in the upper mids, and or if the room is accentuating that sort of issue I'll try the sdc or maybe even a ribbon mic.

The clarinet is much more predictable... while the flute can be wildly different from song to song and player to player etc.

Have fun!


best regards,
mike

fantastic, thx miike!

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This must mean that you're done with the SB vocals?
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