Martín Perna

Featured in this July 2, 2016 Instagram post.

Visible in this October 20, 2018 Instagram post.

Featured in this March 16, 2020 Instagram post.

Used for the brass on Angelique Kidjo's Remain in Light cover album, as stated by engineer Ryan Nasci in this May 14, 2018 Mix Online interview.

The Antibalas horn players also contribute trumpet, saxophone and trombone parts on the album. Nasci set them up in the dead room with a Royer 121 on Todd Simon’s trumpet, Neumann U67 on Perna’s sax and Shure SM57 on Raymond Mason’s trombone. “I also placed an R88 in the live room, to get that intense live room sound,” Nasci says.

Used for the flute on Angelique Kidjo's cover of Talking Heads' "Listening Wind", as stated by engineer Ryan Nasci in this May 14, 2018 Mix Online interview.

“Listening Wind” also features Martín Perna from afrobeat group Antibalas on flute. “I captured flute with a Neumann U67, and I was running it through a Korg SDD-3000 delay,” Nasci recalls. “I had an aux on the board, so I was able to ride the delays as he was playing live.”

Listed among Perna's gear on his All About Jazz artist page biography.

I play exclusively Bari reeds and use SYOS mouthpieces. My main horn is a 1961 Selmer Mark VI (Low A). I also play a 1956 Martin “The Martin” Tenor, a 1953 Martin “The Martin” baritone saxophone (Low Bb) and a 1910 Buffet / Evette & Schaefer alto saxopohone. I use a Yamaha 281S soprano flute. My shekeres are made exclusively by Madeleine Yayodele Nelson (Women of the Calabash) (RIP).

Listed among Perna's gear on his All About Jazz artist page biography.

I play exclusively Bari reeds and use SYOS mouthpieces. My main horn is a 1961 Selmer Mark VI (Low A). I also play a 1956 Martin “The Martin” Tenor, a 1953 Martin “The Martin” baritone saxophone (Low Bb) and a 1910 Buffet / Evette & Schaefer alto saxopohone. I use a Yamaha 281S soprano flute. My shekeres are made exclusively by Madeleine Yayodele Nelson (Women of the Calabash) (RIP).

Listed among Perna's gear on his All About Jazz artist page biography.

I play exclusively Bari reeds and use SYOS mouthpieces. My main horn is a 1961 Selmer Mark VI (Low A). I also play a 1956 Martin “The Martin” Tenor, a 1953 Martin “The Martin” baritone saxophone (Low Bb) and a 1910 Buffet / Evette & Schaefer alto saxopohone. I use a Yamaha 281S soprano flute. My shekeres are made exclusively by Madeleine Yayodele Nelson (Women of the Calabash) (RIP).

It is specified to be a baritone in this June 9, 2019 Instagram post:

New Theo Wanne custom modified baritone saxophone mouthpiece courtesy of the whiz Matt Ambrose. @ambrosematter nerd time: I was using the Durga series 6 but sounding consistently sharp in warm rooms and environments. I couldn’t pull the mouthpiece enough to tune correctly. Matt added a longer shank to the mouthpiece to anchor it in the short neck of my Mark VI.

Another Mark VI is mentioned in this March 3, 2020 Instagram post:

The only way I can assure my horn (and hat) don’t get smashed. Thanks to the United folks who didn’t give me any grief today. (1974 Selmer Mark VI- Low A)

Visible in this September 17, 2015 Instagram post.

Used to record his horns, as mentioned in this May 15, 2012 Dubspot blog post.

For recording horns, particularly baritone sax and lower brass, I use a Beyerdynamic TG88 or Sennheiser 421. I don’t own these and usually borrow them from friends, or rent them from a local gear rental place. Renting can be a great way to have access to mics that cost hundreds or thousands of dollars. Usually, gear rental places will give you daily, weekend, weekly, and monthly rates. This is a great way to try out and experiment with high end microphones before you invest in something that may not be right for you. Scour garage sales, thrift shops, and junk shops for old mics and experiment with them as well. If they don’t work out, you can resell them or trade them or save them for a rainy day. The last record I made was with Antibalas at Daptone, a tape only studio. We had all four horns recording onto what I remember was a RCA DX77, an old ribbon mic. They have an assortment of incredible vintage gear and microphones, as well as a surprising variety of Radio Shack and other lo-fi microphones used for specific applications.

Used to record his horns, as mentioned in this May 15, 2012 Dubspot blog post.

For recording horns, particularly baritone sax and lower brass, I use a Beyerdynamic TG88 or Sennheiser 421. I don’t own these and usually borrow them from friends, or rent them from a local gear rental place. Renting can be a great way to have access to mics that cost hundreds or thousands of dollars. Usually, gear rental places will give you daily, weekend, weekly, and monthly rates. This is a great way to try out and experiment with high end microphones before you invest in something that may not be right for you. Scour garage sales, thrift shops, and junk shops for old mics and experiment with them as well. If they don’t work out, you can resell them or trade them or save them for a rainy day. The last record I made was with Antibalas at Daptone, a tape only studio. We had all four horns recording onto what I remember was a RCA DX77, an old ribbon mic. They have an assortment of incredible vintage gear and microphones, as well as a surprising variety of Radio Shack and other lo-fi microphones used for specific applications.

Used to record the horns on Antibalas, as mentioned in this May 15, 2012 Dubspot blog post.

For recording horns, particularly baritone sax and lower brass, I use a Beyerdynamic TG88 or Sennheiser 421. I don’t own these and usually borrow them from friends, or rent them from a local gear rental place. Renting can be a great way to have access to mics that cost hundreds or thousands of dollars. Usually, gear rental places will give you daily, weekend, weekly, and monthly rates. This is a great way to try out and experiment with high end microphones before you invest in something that may not be right for you. Scour garage sales, thrift shops, and junk shops for old mics and experiment with them as well. If they don’t work out, you can resell them or trade them or save them for a rainy day. The last record I made was with Antibalas at Daptone, a tape only studio. We had all four horns recording onto what I remember was a RCA DX77, an old ribbon mic. They have an assortment of incredible vintage gear and microphones, as well as a surprising variety of Radio Shack and other lo-fi microphones used for specific applications.

Used for the saxophone on Angelique Kidjo's Remain in Light cover album, in addition to the flute on "Listening Wind", as stated by engineer Ryan Nasci in this May 14, 2018 Mix Online interview.

“Listening Wind” also features Martín Perna from afrobeat group Antibalas on flute. “I captured flute with a Neumann U67, and I was running it through a Korg SDD-3000 delay,” Nasci recalls. “I had an aux on the board, so I was able to ride the delays as he was playing live.”

The Antibalas horn players also contribute trumpet, saxophone and trombone parts on the album. Nasci set them up in the dead room with a Royer 121 on Todd Simon’s trumpet, Neumann U67 on Perna’s sax and Shure SM57 on Raymond Mason’s trombone. “I also placed an R88 in the live room, to get that intense live room sound,” Nasci says.

Used on Fu Chronicles, as featured in this September 18, 2018 Instagram post by Antibalas. Perna is tagged in the picture.