| Personally, I'd ditch the decca tree idea... Never been a fan of them on jazz groups... Plus, it can get pretty unsightly.
I generally mic each sax player, 2 mics per brass section (1 mic per 2 players), 2 mics on the piano, 2-3 mics on the drums (stereo pair plus kick perhaps), 1 mic plus a tube DI on the bass and your assortment of solo mics. I would also consider some sort of area micing on the horn sections. Sometimes I use a stereo mic (lately, a Royer stereo, but I've also used my AKG 426), sometimes, I'll space 3 mics (usually cardiods) across the front of the horn section about 8-9 feet up and aiming down into the section (Standard Tripod Stands up all the way). 2 mics rear facing for audience reaction. All mics except area mics and audience split between recording and FOH.
Be aware of how competent your FOH mixer is. Your mic choices need to work for that person as well as for you. Coles and other fig-8 ribbons can sound devine but the lack of directionality will kill you if you have an inexperienced FOH person. Also cable length can become an issue with passive ribbons. If you aren't placing your pres on stage, you may have signal strength issues in a lot of PA situations (long cable runs).
If you have a good stereo mic or mic array positioned in front of the horns, you may find that you don't need as many mics inside the group. I just find that when I try to area mic bass, drums and piano, things sound washy. I can get a much better image when there are enough mics on stage... Even with the array in front, you'll find that you use the mics inside the horn section when you need to dig out your solos.
--Ben |