Trying Out Effects Pedals with Wind Instruments ②｜Effect Pedal Techniques Even Beginners Can Try - Gear Selection Edition

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Using Effects with Wind Instruments ①｜Beginner-Friendly Effects Guide – Introduction

I decided to use a multi-effects processor as a way to incorporate effects into wind instrument performance.
Now, let’s move on to choosing the specific brand and model to use.

But first–how do you even connect everything?

Before deciding on the gear, let’s break down what you actually need to get started with effects:

• Microphone
• Multi-effects processor
• Cables
• Something to output sound (e.g., mixer + speaker)

That’s about it!

First, let’s choose a microphone.

Choosing a Microphone

When using a microphone with wind instruments, you generally have the following types to consider:

• Microphone Form Factor
  • Handheld Microphone
  • Clip-on Microphone
  • Headset Microphone
• Microphone Type
  • Dynamic Microphone
  • Condenser Microphone

Handheld Microphone

This type of mic is used by placing it on a stand, which means the microphone’s position is fixed, so you won’t be able to move around much during performance.
For instruments like the flute, if you're not positioned just right, it may not pick up the sound accurately.
In our case, since the microphone's signal will be routed into an effects processor, accurate sound capture is especially important.
The solo piece we’re trying features high register notes and many fast passages, so if you're reading sheet music while playing, a handheld mic might be a bit difficult to manage.

Reference: Live footage of jazz flute legend Herbie Mann Herbie Mann - Memphis Underground - 8/19/1989 - Newport Jazz Festival (Official)

Clip-on Microphone

This type of mic is often associated with being used with saxophones or trumpets, where it’s attached to the bell. Since the mic stays in a fixed position relative to the instrument, it maintains consistent sound pickup even if you move around while performing.
For flute, the mic is typically attached to the headjoint. That said, I had some concerns about how the weight of the mic might affect playing. There’s also a chance it could pick up key noise (the sound of pressing the keys).

Reference: Product video from NEUMANN The Neumann MC 5 on Flute

Headset Microphone

This type is worn by the player rather than attached to the instrument. Because it's not fixed to the instrument itself, you can perform without changing your natural playing style.
In my case, I saw flutist Shozo Nakagawa using a headset mic in one of his videos. I decided to go with this type for my setup based on that video.

Reference: JTS product video CX-500FHW Headset Microphone for Flute / JTS (JTS)

★ A surprisingly overlooked aspect of headset microphones
What’s surprisingly easy to miss (and something I noticed myself after trying it on) is whether the mic extends from the right side or the left side.

Since the flute is a transverse instrument, the body of the instrument is on the right side of the player.

So, a microphone that extends from the left (from the performer’s perspective when worn) seems like a good choice.

Dynamic Microphones

Often used in live settings, mainly for vocals, drums, and guitar amps.
While the sound quality is inferior to condenser microphones (discussed below), they are durable and don’t require a power source, making them easy to handle.

Representative models:

SHURE / SM58

AKG / D5

CLASSIC PRO / CM5 Dynamic Microphone

Condenser Microphones

Often used in recording, condenser mics are characterized by high sound quality, delicacy, and high sensitivity.
However, they are somewhat difficult to handle and require humidity control. Also, they need phantom power and only support connection via XLR connectors.

Representative models:

audio technica / AT2020

AKG / C214

I got this one!

Since I plan to mainly use it live and the sound quality doesn’t need to be extremely high because the signal will go through an effects processor, I thought a dynamic microphone would be sufficient. The actual setup will use a direct input (DI) box, so a simpler connection is preferable.
Based on the above, I chose the following microphone:

audio technica / HYP-190H (headset type, left-side mic, dynamic microphone)

Choosing a multi-effects processor

When I checked the multi-effects page on the Sound House website, there were a whopping 217 models…!

I considered a few popular multi-effects processors.

ZOOM / MS-50G+ Multi-Stomp Multi-Effects Processor

Even though it’s a multi-effects processor, it’s compact in size. The previous model, the “ZOOM / MS-50G,” was featured as a recommended multi-effects unit for wind synthesizers in a special issue.
The price is also pleasantly affordable.

ZOOM / A1X FOUR Multi-Effects Processor

This model broadly supports acoustic instruments such as acoustic guitar, saxophone, trumpet, violin, harmonica, and upright bass. It’s great that it comes with a mic adapter compatible with both dynamic and condenser microphones.

Line 6 / HX Stomp Multi-Effects Processor

When I asked our company’s effects expert for a recommendation, they said, “Definitely the HX Stomp.” The main reason being is that the sound is excellent. According to the product description, it features the same HX modeling technology as the higher-end Helix model. Honestly, I felt this model was expensive too, but maybe that’s why it sounds so good. It offers high-quality sound suitable for professional recording, and despite its compact size, it’s versatile enough for live performances, studio work, and home recording. It seems very user-friendly.

So, I decided to go with the Line 6 HX Stomp multi-effects processor!

Other items you’ll need:

Adapter plug

Since the headset mic uses an XLR 3-pin connector, an adapter plug is necessary.

CLASSIC PRO / AXP222

Amp

Although it’s different from the actual performance environment, I will try using the following two for practice:

PLAYTECH / JAMMER MINI

CLASSIC PRO / GIC030 Instrument Cable / BLACK

I tried connecting it!

Next time: Sound testing! To be continued!