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<blockquote data-quote="John Norris" data-source="post: 64618" data-attributes="member: 155">Re: Jazz Sound ...let&#039;s talkLee, from a player&#039;s perspective as a drummer, the best live jazz recorded mic sound I can recall getting from my kit was from a stereo VP88 overhead and an RE20 on kick.&nbsp;&nbsp; The overhead mic had an extra long boom on it, so that it was located directly above the kick beater, at least 6&#039; in the air, and the RE20 was maybe 4&quot; outside the reso head (which, yes, did have a hole in it, a hole the diameter of a Chock full o&#039; Nuts can, <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f609.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=";)" title="Wink&nbsp; &nbsp; ;)"&nbsp; data-smilie="2"data-shortname=";)" /> but in this low volume environment, the mic went outside - although purists can still kiss my ass). The VP88 was closer in (and higher up, too) toward the snare and floor tom than the usual overheads, when one is using snare and tom mics, as well, but in this particular environment, the single stereo overhead sounded very realistic.</blockquote>

[QUOTE="John Norris, post: 64618, member: 155"] Re: Jazz Sound ...let's talk Lee, from a player's perspective as a drummer, the best live jazz recorded mic sound I can recall getting from my kit was from a stereo VP88 overhead and an RE20 on kick. The overhead mic had an extra long boom on it, so that it was located directly above the kick beater, at least 6' in the air, and the RE20 was maybe 4" outside the reso head (which, yes, did have a hole in it, a hole the diameter of a Chock full o' Nuts can, ;) but in this low volume environment, the mic went outside - although purists can still kiss my ass). The VP88 was closer in (and higher up, too) toward the snare and floor tom than the usual overheads, when one is using snare and tom mics, as well, but in this particular environment, the single stereo overhead sounded very realistic. [/QUOTE]

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