In Jazz, Classical, and many other genres, there’s a chance for the sound of a trumpet to shine through. After a listening session of Miles Davis and Chet Baker, I figured I’d look into the best microphones for trumpets. Though I don’t play the trumpet myself, I’ve had the opportunity to work with trumpeters live and a few times in the studio.
- Coles 4038: Broadcasting microphones lend themselves well to the trumpet. If we’re really trying to capture the warm sonic character of a trumpet (the way trumpeters hear themselves), there’s no better microphone than the Coles 4038 (link to check the price at B&H Photo/Video). This BBC-designed microphone is top-notch and well worth the price. It works particularly well in capturing the sound intended by the trumpeter.
MXLR77: Sticking with ribbon mics, the best budget option for a trumpet mic would have to be the MXLR77 (link to check the price at B&H Photo/Video). This microphone sounds beautiful on brass instruments and especially on trumpet. And it’s a fraction of the cost of a Coles 4038.
- Electro-Voice RE20: There’s a lot of good points for different microphones for trumpets in live situations. If you do not feel comfortable bringing your ribbon mic on stage with you, I’d recommend another fantastic broadcasting mic: the Electro-Voice RE20 (link to check the price on Amazon). This is an excellent mic for nearly any instrument in a live setting, and particularly for trumpet.
- Shure Beta 98H/C: My recommended clip-on microphone is the Shure Beta 98H/C (link to check the price on Amazon). This is a wonderful close-mic clip-on option for live trumpets and can easily connect to a wireless transmitter. The Beta 98H/C sounds amazing and does an excellent job at isolating its trumpet from the rest of the stage noise.
Let’s go into further detail about what makes the Coles 4038,
Be sure to check out My New Microphone’s article How Do Microphones Work? (The Ultimate Illustrated Guide)!
“Best” is a dangerous word. There is really no such thing as a “best microphone” for any situation. The microphone(s) listed in my Recommended Microphones And Accessories” page are simply my recommendations. These recommendations are based on my own experience and are mindful of budget. It would be easy to suggest an ELA M 251 or U47 for most scenarios. However, these tube mics are very expensive, putting them out of a hobbyist’s price range and making it difficult for professionals to make their money back on the gear.
Another important note is that the microphone or equipment you choose is not the most important part of recording audio. In fact, there are many factors that are arguably more important than the choice of microphone. These include:
- Performer (whether a musician, speaker, or otherwise)
- Microphone technique/placement
- Number of microphones used
- Natural sound of the room
- Content (whether that’s the song, discussion, or otherwise)
- Signal chain (including mic cable, preamplifier, console, and/or interface/computer)
With that being said, some microphones and gear suit some instruments better than others, prompting this series of articles under “Recommended Microphones And Accessories.”
What Does A Trumpet Sound Like?
To make a better microphone choice, it’s important to understand the sound of what we’re miking. So what does a trumpet sound like? Well, it sounds different depending on the position we listen from!
- From the player’s perspective (“behind” the trumpet), the trumpet sounds warm and full.
- From the audience perspective (some distance from the trumpet), the trumpet sounds a bit brighter and full.
- Near and in front of the bell, the trumpet sounds very bright and not so full. We wouldn’t want to listen to a trumpet from this position, but often place our microphones in this vicinity.
So if we are to close-mic a trumpet, we want a microphone to decrease the brightness and add body to the sound if at all possible. Doing so will capture a more natural sound of the trumpet.
It’s also very important to note (as an engineer and performer) that trumpets are very directional. The low frequencies of the trumpet are projected in all directions while the higher frequencies get more and more directional (pointing out of the bell).
Frequency Range Of Trumpet (B♭)
- Overall Range: 164 Hz ~ 10,000 Hz
- Fundamentals range: 164 Hz – 932 Hz (E3-B♭5)
- Harmonics range: 328 Hz ~ 10,000 Hz
- Important Note: The fundamental frequency doesn’t actually sound on a trumpet.
- Formant 1: 1,200 Hz – 1,400 Hz
- Formant 2: 2,500 Hz
Let’s make sense of these peculiar values.
The trumpet are basically cylindrical tubes closed at one end. Physics says they should have a fundamental wavelength 4 times the length of the tube and only generate odd overtones.
However, the trumpet plays a full overtone series (both odd and even harmonics). And to add to the strangeness, the trumpet does not sound a fundamental frequency. This is due to the complexities of the mouthpiece and bell wrangle of the trumpet.
However, since all the overtones are there, our brains naturally “fill in” the fundamental frequencies. Even though it’s not there, we perceive it as being real.
The formants or “strong harmonics” that give the trumpet its unique sound are found roughly between 1,200 Hz and 2,500 Hz.
What Factors Make An Ideal Trumpet Microphone?
Let’s discuss a short list of the critical specifications that make up a great trumpet microphone:
- Gentle high-frequency roll-off: A smooth roll-off of high frequencies helps achieve the “warm” sound of a trumpet. Extended frequency responses often yield too bright a sound for trumpets.
- High maximum sound pressure level: Trumpets, at close range, can produce sound as high as 135 dB SPL. Although this is uncommon, it’s always safe to choose a mic with a high enough max SPL rating.
- Directionality: Pick a microphone with some directionality. When recording trumpet, off-axis colouration can actually be your friend. By positioning the microphone at various points around the bell, many different sounds may be captured.
- Sensitivity: Select a microphone sensitive enough to pick up the nuances in the trumpet. This helps to capture the fullest sonic picture possible!
And For Live Applications, A Few More Considerations:
- Durability: Choose a microphone that can withstand some physical abuse. Chances are, at some point, your live microphone will encounter some rough times.
- Price: Pick a microphone you can afford to replace. This is important for performers and crucial for venue owners and audio technicians.
- Cardioid Directional Polar Pattern: Select a cardioid directional microphone to work well with fold-back monitors and on noisy stages.
- Size: Though not a major factor, size does play a role in microphone placement live.
- Mounting: Is it best to position the mics on stands or clip them to the trumpet? There are pros and cons to both.
So we have a general idea of what we’re looking for. Let’s discuss the recommended trumpet microphones through this lens.
The Coles 4038
The Coles 4038 (link to check the price at B&H Photo/Video) studio ribbon microphone is a BBC design for broadcast and recording applications. The legendary 4038 provides a beautifully flat frequency response and incredibly accurate transient response. It sounds absolutely amazing on trumpet and brass instruments and is my top recommendation for a high-end trumpet microphone.
The Coles 4038 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top 12 Best Vintage Microphones (And Their Best Clones)
• Top Best Microphones For Recording Vocals
Coles Electroacoustics is featured in My New Microphone’s Top Best Microphone Brands You’ve Likely Never Heard Of.
Frequency Response Of The Coles 4038
The frequency response of the Coles 4038 is given as 30 Hz – 15,000 Hz ± 3 dB. The 3048 frequency response graph is as follows:
Ribbon mics are our best bet to capture the warm tones of a trumpet naturally and accurately. The Coles 4038 is a top-of-the-line ribbon microphone and sounds great on trumpet in a studio environment.
With a quick glance at the 4038 frequency response graph, we see that this ribbon mic compliments the sound of a trumpet in two ways:
First, the Coles 4038 (like most ribbon mics) has a gentle roll-off of high frequencies. This helps to maintain the “warmth” of the trumpet sound. Even when the 4038 is placed in a “bright” position (like on-axis in front of the trumpet bell), the response remains natural sounding.
Second, there is a gentle boost in sensitivity between ~2,000 Hz ~5,000 Hz. This slight boost helps accentuate the formant frequencies characteristic of the trumpet.
Although slight, the natural boosts and cuts in the 4038’s frequency response really do play a big role in capturing the best sound from a trumpet!
For more information on microphone frequency response, check out my article Complete Guide To Microphone Frequency Response (With Mic Examples).
Maximum Sound Pressure Level Of The Coles 4038
The maximum sound pressure level of the Coles 4038 is given as 125 dB. Trumpets can get louder than this at the bell, so proper mic placement at some distance from a loud trumpeter is key.
For more information on max SPL ratings, check out my article What Does Maximum Sound Pressure Level Actually Mean?
Directionality Of The Coles 4038
Like most ribbon microphones, the Coles 4038 has a bidirectional polar pattern. This bidirectional pattern is accurately maintained in both horizontal and vertical planes, helping to ensure a consistent tone if the trumpet happens to move off-axis during recording.
This directionality is partly due to the odd shape of the 4038 microphone grille.
For more information on the bidirectional microphone polar pattern, check out my article What Is A Bidirectional/Figure-8 Microphone? (With Mic Examples).
Sensitivity Of The Coles 4038
The sensitivity rating of the Coles 4038 is given as -65 dB
However, if we think of sensitivity as the ability for the Coles 4038 to capture the nuances of a trumpet’s sound, we see that although its output is low, the 4038 is quite sensitive.
The diaphragm of a Coles 4038 is 0.6 microns thick, which is very thin compared to other ribbon microphones. This gives the 4038 an extremely accurate transient response since the ribbon diaphragm will move in reaction to
The responsiveness of the 4038 ribbon makes it an ideal microphone for capturing the little details of a trumpeter’s performance. However, a high-quality pre-amp with good clean gain will be needed to bring the 4038 up to a usable level.
For more information on microphone sensitivity, check out my article What Is Microphone Sensitivity? An In-Depth Description.
The MXL R77 (Budget Recommendation)
At roughly $300 USD, the MXL R77 (link to check the price at B&H Photo/Video) gets my budget recommendation for trumpet microphones. This ribbon mic does an amazing job at capturing the warm tones of a trumpet while providing excellent clarity in the top-end.
Frequency Response Of The MXL R77
The frequency response of the
As we can see, the R77 is a bit coloured. The high-frequency roll-off will help give us that warm sound of a trumpet (particularly in digital recordings).
Note that the formant information of a trumpet doesn’t seem to be accentuated by the MXL R77 according to its frequency response graph. However, the overall frequency response of the R77 suits trumpets well by providing a nice, warm sound. And this mic doesn’t break the bank!
Maximum Sound Pressure Level Of The MXL R77
The MXL R77 has a maximum SPL rating of 0.1% THD: >135 dB @1 kHz. The microphone will handle the loudness of a trumpet at any practical level and distance from the bell.
Directionality Of The MXL R77
The directionality of the MXL R77, like nearly every ribbon mic, is bidirectional (figure-8). Unfortunately, MXL does not provide an in-depth polar response graph:
Bidirectional microphones work well in studio settings. They capture the primary sound source from the front and some amount of initial reflections from the back, doing so without being over sensitive to the overall reverberation of a room.
Sensitivity Of The MXL R77
However, this isn’t the entire picture.
The R77 has an aluminum ribbon 1.8 microns thick. This makes the microphone fragile but also very reactive. The MXL, like many ribbon mics, is sensitive to the nuances of a sound source like a trumpet.
The Electro-Voice RE20
The Electro-Voice RE20 (link to check the price on Amazon), like the aforementioned Coles 4038, is a standard broadcast microphone. The similarities between the human voice and the trumpet make these mics excellent choices for capturing the sound of a trumpet. I recommend the RE20 as a stationary microphone for capturing trumpets in live settings. That being said, it’s also a stellar choice in the studio.
The Electro-Voice RE20 is featured in the following My New Microphone articles:
• 50 Best Microphones Of All Time (With Alternate Versions & Clones)
• Top Best Dynamic Microphones On The Market
• Top Best Microphones For Podcasting (All Budgets)
Electro-Voice is featured in the following My New Microphone articles:
• Top Best Microphone Brands You Should Know And Use
• Top Best PA Loudspeaker Brands You Should Know And Use
• Top Best Subwoofer Brands (Car, PA, Home & Studio)
Frequency Response Of The Electro-Voice RE20
The RE20 is rated as having a frequency response between 45 Hz and 18,000 Hz. Here is the frequency response graph:
Note that the frequency response graph of the RE20 also shows us what it picks up at 180-degrees (the opposite direction of where the microphone is pointing).
First, I’d recommend applying the high-pass filter when using the RE20 to capture trumpets live. This will help reduce the amount of stage bleed in the microphones and give more gain before feedback.
For more info on high-pass filters, check out the following My New Microphone articles:
• What Is A Microphone High-Pass Filter And Why Use One?
• Audio EQ: What Is A High-Pass Filter & How Do HPFs Work?
The high-frequency roll-off helps somewhat to warm up the sound of trumpets in live settings.
Maximum Sound Pressure Level Of The Electro-Voice RE20
Like most dynamic microphones, the RE20 does not have a specified max SPL rating. The microphone will be able to handle the sound level of even the loudest trumpeters.
Directionality Of The Electro-Voice RE20
The RE20 is a cardioid microphone with the following polar pattern diagram:
For more information on the cardioid microphone polar pattern, check out my article What Is A Cardioid Microphone? (Polar Pattern + Mic Examples).
As we can see from the graph, the RE20 does a great job at rejecting sound from 120-degrees to 240-degrees off-axis across its entire frequency response. The RE20 has roughly 16-18 dB rejection at 180-degrees.
The RE20 doesn’t have a great amount of off-axis colouration, which helps to maintain the sound of the trumpet if it happens to move slightly off-axis from the microphone.
Speaking of colouration, the RE20 also does not exhibit any proximity effect, even though it’s a cardioid mic. This is because of its Variable-D technology. What this means is that there will not be an excessive bass boost as the trumpet gets closer to the microphone. This makes it an excellent choice in live settings where the rule of mic placement seems to be “closer the better.”
More importantly in live situations, this cardioid pattern allows for placement in front of monitors with little risk of microphone feedback.
Sensitivity Of The Electro-Voice RE20
The RE20 has a sensitivity rating of 1.5 mV/Pa. This is low, but not out-of-the-ordinary for a dynamic microphone.
The RE20 is exceptionally reactive to sound pressure relative to other moving-coil dynamic microphones. The performance of the RE20 is due to its large Acoustalloy diaphragm in combination with an exceptionally low-mass aluminum voice coil.
This reactivity to sound waves makes the RE20 an excellent choice in capturing the nuances of the trumpet sound.
Durability Of The Electro-Voice RE20
The Electro-Voice RE20 is a robust microphone. It’s a moving-coil dynamic mic with a solid outer body and no complicated/fragile internal circuitry.
The Size And Mounting Of The Electro-Voice RE20
When performing live, it’s important to see the performers. Microphone size and mounting play a role in this.
The RE20 is a fairly large mic (~81⁄2” long and ~21⁄8” at its widest diameter), but it shouldn’t be a visible distraction on stage. It doesn’t require a pop filter to protect its capsule from trumpet plosives, and also has a built-in shock mount, so we can get away without mounting it inside a bulky external shock mount. This means the overall size of the mic when positioned is relatively small.
For more information on microphone shock mounts, check out my article What Is A Microphone Shock Mount And Why Is It Important?
For more information on microphone mounting, check out my article How To Attach A Microphone To A Microphone Stand.
The Price Of The Electro-Voice RE20
The price of a quality live microphone is important. Chances are you’ll want several of the same
The Electro-Voice RE20 can be purchased for under $500 USD (as of the writing of this article). This may seem like a lot, but the price is worth it for live trumpets. The RE20 is also extremely versatile, so I’d say it would be money well-spent.
For more information on the price of microphones, check out my articles How Much Do Microphones Cost? (With Pricing Examples) and Top 20 Most Expensive Microphones On The Market Today.
The Shure Beta 98H/C (Budget Live Recommendation)
The Shure Beta 98H/C (link to check the price on Amazon) is an amazing choice if the trumpeter will be moving around on the stage. It easily connects to a wireless system, too! This miniature condenser mic sounds great and effectively isolates the trumpet from other noise in live settings.
The Shure Beta 98H/C is one of My New Microphone’s 50 Best Microphones Of All Time (With Alternate Versions & Clones).
Shure is featured in the following My New Microphone articles:
• Top Best Microphone Brands You Should Know And Use
• Top Best Headphone Brands In The World
• Top Best Earphone/Earbud Brands In The World
Frequency Response Of The Shure Beta 98H/C
The frequency response of the Shure Beta 98H/C is given as 20 Hz – 20,000 Hz. The Beta 98H/C frequency response graph is as follows:
As we can see above, there’s quite a presence boost in the Beta 98H/C with almost a 5 dB boost around 6-7 kHz. Although this doesn’t necessarily coincide with the trumpet formants, the boost will help the trumpet stand out a bit in a live mix.
The only issue I have with this presence boost is that it may interfere with the presence of the vocals. Otherwise, this graph looks pretty good.
Maximum Sound Pressure Level Of The Shure Beta 98H/C
The max SPL rating of the Shure Beta 98H/C is 155 dB. No trumpet will ever get loud enough to overload this microphone!
Directionality Of The Shure Beta 98H/C
The Beta 98H/C is a cardioid microphone. However, it’s graph shows a bit more of a supercardioid polar response:
It’s important to use directional microphones in live settings to help isolate the various sound sources. As we can see above, the 98H/C is pretty directional. And so clipping the mic to and pointing it at the trumpet bell should effectively isolate the trumpet from the other instruments.
The cardioid pattern helps to tremendously reduce the risk of microphone feedback when the trumpeter (and trumpet) are in front of a foldback monitor. With that being said, caution should be used at higher frequencies as the mic become more sensitive to the rear. I’d even suggest engaging a low-pass filter on the mixer when using the 98H/C live on trumpets.
For more information on low-pass filters, check out my article Audio EQ: What Is A Low-Pass Filter & How Do LPFs Work?
Sensitivity Of The Shure Beta 98H/C
The sensitivity rating of the Shure Beta 98H/C is given as –56 dBV/Pa (1.6 mV). This is a low rating for a condenser microphone, but this is an advantage in live settings since the mic won’t be as sensitive to extraneous sounds outside the trumpet.
Like many Shure microphones, the 98H/C has a cartridge shock mount system to effectively absorb mechanical shock and minimize handling noise. This is ideal for live settings, again, to further help in isolating the trumpet from the other instruments.
The condenser diaphragm itself is sensitive enough to pick up the character of the trumpet bell. In close-miking live settings, this is often all we can ask for.
Durability Of The Shure Beta 98H/C
Shure is an industry leader in microphone durability. So, of course, durability was thought of when they designed the 98H/C. The mic has a dent-resistant steel mesh grille and enamel coated metal alloy construction to resist physical abuse and the wear and tear that comes with ageing.
Price Of The Shure Beta 98H/C
At roughly $200 USD, the Beta 98H/C won’t break the bank. And with its reliability and durability, it’s a great investment.
Size/Mounting Of The Shure Beta 98H/C
The Beta 98H/C has a simple clamp to attach it to the bell of a trumpet. The mic capsule is at the end of a gooseneck and ratcheting swivel joint. The microphone is extremely easy to position and a gooseneck angle brace helps in retaining that microphone position.
So these are four of the best microphones for capturing the sound of a trumpet. Of course, there are many microphones that sound amazing on trumpet, but in considering price and setting, these are my top 4 recommended trumpet mics. Let’s recap:
- Coles 4038: Best sounding mic on trumpet.
- MXL R77: A great “budget” microphone for recording trumpet in a studio.
- Electro-Voice RE20: Best live microphone for trumpet.
- Shure Beta 98H/C: Best clip-on trumpet microphone.
- AKG C 414 XLII
- Royer R121
- Royer R122
- Neumann U87
- Sennheiser MD441
- Shure SM57
- AMT P800
For all the My New Microphone mic/gear recommendations, please check out my page Recommended Microphones And Accessories.