Topic: JZ Microphones BT-201 samples

[TNJazz]

This is the thread I will be posting samples of these mics in.  My first impressions of these is that they are very true to the source.  So where the beyers and similar mics can often mask the sounds of a bad room with a pleasant warmth, these mics are pretty detailed and could be considered somewhat unforgiving.  If what you're looking for is a truthful representation of the sound in the room, these mics can certainly give it to you.

Attached are the first two samples, both using subcard capsules.  The room sound for these wasn't the greatest, but what was captured is pretty much exactly what I heard from where I was sitting.

Sample 1 is subcards -> Mackie Onyx pre -> MT
Sample 2 is subcards -> Oade CM R-44 (no processing except dither with MBIT+)

Sample 1 is Johnny Neel & Criminal Element at a tiny little joint here in town called Windows Off The Cumberland.
Sample 2 is Jonell Mosser & The Nicotine Idols at 3rd & Lindsley Bar & Grill.

Both were recorded FOB about 10 feet from the stage (not exactly sure though, as I didn't record the Johnny Neel sample)

I will be posting a subcard and a card sample with the first rig hopefully today or tomorrow.

Incidentally, I do have one matched pair of these mics available right now (at a discounted price because they are a demo pair  ) if you like what you hear and/or want to take a chance on these.

[OOK]

WOW very nice sound.  To my ears...They sound very balanced with maybe a slight dip in the midrange...Crispy highs, not sure I have ever heard highs like that.  They have a very distinct sound to my ears.  And finally they have a nice round bottom end....Like you said  the dip could have been the room.  But they sound very nice indeed...These are sure to become a taper favorite.....

Peace OOK

[ArchivalAudio]

hey
can you please enlighten us to what the new JZ mics are

where are they from?
who makes them?
are they your new line of mics that you are producing?

man.... what .....are ........they?

any pics?

inquiring minds want to know
 

[TNJazz]

can you please enlighten us to what the new JZ mics are

http://taperssection.com/index.php/topic,114296.0.html

[JD]

Sounds nice.

So now that you have used them, what are your thought on the magnetic capsule attachment?
Rugged enough for what we do?

I wish you would stop finding all of these new mics, it's killing my savings account.   

[TNJazz]

Sounds nice.

So now that you have used them, what are your thought on the magnetic capsule attachment?
Rugged enough for what we do?

I wish you would stop finding all of these new mics, it's killing my savings account.   

For open taping the magnetic capsule is no problem at all.  If they do design actives for these, I don't know that I would put them in a hat.  I would not be worried about putting them on a stand though, that's for sure.  The pin/magnet combo is surprisingly solid.  The best part is you can swap capsules in less than 10 seconds!

Phantom off, pull both caps off, pop two new ones back on, phantom back on and voila!  No more "screwing" around (pun intended).   

[ArchivalAudio]

oh
here:
http://www.jzmic.com/?view=8&id=39

very interesting...
from the designer of Violet
I see....

[stirinthesauce]

what I hear up top is "air."

Very open and pleasing on the ears.  None of that nasty simbilance that causes me fatigue to the ears that a certain very poplular brand hear on ts causes me.

I like what I hear, Dirk.  These are a winner.   

I wanna borrow your pair next time I up there taping 

[Todd R]

Jon -- could you make a comparison of these relative to the Milabs?  Dirk mentions they are not warm like the Beyers but are detailed instead, so that gets me wondering about the Milab vm44's.  Since you've run both, I'm curious to here your take on them.

[boojum]

What would make the samples really meaningful is if there were another track with it of the same setup at the same time but comparison mic.

[TNJazz]

What would make the samples really meaningful is if there were another track with it of the same setup at the same time but comparison mic.

True that and I meant to do so, but I left the Nevaton MK49's at home by mistake and didn't feel like driving back to get them.  Not that it would really have mattered anyway, since not many here really know what THEY sound like either...

[boojum]

What would make the samples really meaningful is if there were another track with it of the same setup at the same time but comparison mic.

True that and I meant to do so, but I left the Nevaton MK49's at home by mistake and didn't feel like driving back to get them.  Not that it would really have mattered anyway, since not many here really know what THEY sound like either...

ROTFLMAO     -  Yup!

[stirinthesauce]

flipp -

I will revisit those samples soon (not at home and haven't been home in a few days really) and report back.  The jz mics are different than the milabs and are different from the beyers.  However, as I think the beyers (and the nevatons) are at opposite ends of the spectrum sonically, the jz  mics would be closer to the milab end.  Think, dark/bright.  I really need to revisit the sample to give a honest comparison.  Also, Dirk and I had a long conversation the other night.  What he hears and I hear are a little different.  However, both of us have very similar tastes when it comes to what our ears like in a microphone.  So, we shall see.  We had talked about doing some cross patching with different mics and different pres seeing as how we both have r-44's, his modded and mine not.  It will be interesting.

[Shawn]

The mid range is nice. I really like how the guitars are captured, and voices are represented well too. Nice tight low end, but I'd like to hear how the fair FOB for a band like WSP. I don't care for highs on either recording. The cymbal sound on both recordings bothers me with the hi-hat on the second recording being the worst offender.

[TNJazz]

The cymbal sound on both recordings bothers me with the hi-hat on the second recording being the worst offender.

Unfortunately this was what the room sounded like.  Washy annoying cymbal sound right where we were sitting.

I hope to capture some better sounding samples this weekend (room-wise).  I think the mics are capturing the sound of the room very nicely, unfortunately the sound was horribly off that night.

[TNJazz]

Here's a "live action" comp from last night.  Band is the Midnight Riders (ABB cover band).

One mic is the Nevaton MK49, the other is the JZ BT201 subcard.  Both were kind of DIN-ish, about 6 inches apart (height) and into the Oade CM R44 at 24/44.1khz.  Dither in Reaper with MBIT+ and tracking in Waveburner, but no other processing.  We were about 6 feet from the stage, about 8 feet up or so.

Thoughts on the two?  I won't say which mic pair is which, but it's probably not going to be hard to guess...

http://www.bigpurpledog.com/audio/JZnevComp.zip

[muj]

not sure which mic is it is, but i preferred sample one

[Gutbucket]

I generally like the openness of sample 2 which I'll guess is the JZ but there is a bit of top end tiz, an over emphazised bump up high that could be problematic and would bother some people more than me.  Sounds sort of similar in family likeness to the other samples.  I like the mid range clarity a lot.  Sample 1 is smoother overall, but a more bottom heavy. Nevvy. A warmer, smoother sound for those that prefer that and I know many do.

I'd like me a good subcard, they seem to get a lot right.

BTW I'm diggin' that Johnny Neel & Criminal Element.  Good stuff.

[JD]

I vote for sample 1.

Sample one has a a nice warm, full sound.
Sample two seems to be lacking a bit in the bottom end, although it does seem to have better detail in high end.

[TNJazz]

More samples from the JZ BT-201.  Last night's show:

Jack Pearson & Stuart Duncan
subcards at stage lip -> Sonosax -> iRiver
had to add 20db of gain because it was so quiet.
Sample 1

The Fortunate Sons
subcards 6 feet from the stage -> Sonosax -> Oade CM R44
Sample 1
Sample 2

[TNJazz]

More samples, this time some acoustic stuff from the Station Inn and some jam/fusion from the 12 South Tap Room.

Both samples are "on-stage recordings" and source is JZ BT-201 -> Mackie Onyx Satellite -> M-Audio MicroTrack @ 16bit/44.1k

These are samples from a band called "The Rubber Knife Gang" at the Station Inn.  Acoustic guitar, mando and bass trio.
subcard capsules:  http://www.bigpurpledog.com/audio/Fly_Away.flac
cardioid capsules:  http://www/bigpurpledog.com/audio/vixen.flac

This is a sample from on-stage at the 12 South Taproom (a small bar with basically no PA).  Band is Guthrie Trapp on guitar, Calvin Turner on bass, Doug Belote on drums, and I'm not sure who the keyboard player is...?
subcard capsules:  http://www.bigpurpledog.com/audio/jam.flac

All samples recorded by Tom Fusco.

More samples on the way later this weekend.  Comments are welcomed!

[illconditioned]

On "fly away", I hear some distortion on the vocal.  Is this the PA?

The mics are crisp and detailed, but sound a bit bright for my taste.  Or maybe they sound "brittle" on the high end.  I'm not sure, but I prefer the "warm" sound like the Beyerdynamic or Nevaton.

  Richard

[TNJazz]

On "fly away", I hear some distortion on the vocal.  Is this the PA?

The mics are crisp and detailed, but sound a bit bright for my taste.  Or maybe they sound "brittle" on the high end.  I'm not sure, but I prefer the "warm" sound like the Beyerdynamic or Nevaton.

  Richard

I don't hear any distortion?  Where in the track is it?  Tom was running pretty hot (the sample peaks at 0 I think) so it might be a recording "over"...

Did you listen to the Fortunate Sons samples?  If so, you still think they are bright mics?  I don't find them overly bright, but I do think they're quite detailed and pretty clear.  Kind of like DPAs...maybe that's the brittleness you're hearing?  I hear it on a couple of the earlier samples, but I'm chalking it up to being a result of the room sound for the most part.

[illconditioned]

On "fly away", I hear some distortion on the vocal.  Is this the PA?

The mics are crisp and detailed, but sound a bit bright for my taste.  Or maybe they sound "brittle" on the high end.  I'm not sure, but I prefer the "warm" sound like the Beyerdynamic or Nevaton.

  Richard

I don't hear any distortion?  Where in the track is it?  Tom was running pretty hot (the sample peaks at 0 I think) so it might be a recording "over"...

Did you listen to the Fortunate Sons samples?  If so, you still think they are bright mics?  I don't find them overly bright, but I do think they're quite detailed and pretty clear.  Kind of like DPAs...maybe that's the brittleness you're hearing?  I hear it on a couple of the earlier samples, but I'm chalking it up to being a result of the room sound for the most part.

I'll take a listen to other recordings.  It could be overload, but it sounds more like distortion from the PA.

You're talking about DPA402x sounding, right?  Well, I actually don't like those either.  I prefer Geffel M2xx.  Those have good detail, but they seem somehow warmer to me.

I guess we're all hearing different (but still crazy) stuff in our heads, lol.

  Richard

[Gutbucket]

The thing I hear listening to these samples as a group is a slight bump around 5k.  I almost always tend to adjust eq of recordings of PA'd music slightly on playback a bit to sound right to me, so sample by sample its a harder to make a sure judgment than with samples of something purely acoustic for which I'm less likely to make any eq adjustment. Very generally, for these JZ samples I'll cut a db around 5k, perhaps widen the cut a 1/2 db a bit above & below that somewhat for some of it. 

By contrast I tend to boost a db or so of broader top end shelf boost for the Beyer 930 & Nev lav recordings. Both mics seem generally smoother in high end response but often sound a tad dull to my ear without the boost. The DPA 4060 sound which I'm very familiar with (and which Richard has noted as sounding similarly bright or with an uncomfortable peak for him) sometimes needs a similar slight cut slightly higher in frequency, closer to the 10k region. I value transparent detail, but it should be neutral and smooth, sometimes a combination that can be at odds.  I hear that combination in the Gefells. The Geffell subcards that Moke was testing before his DPA subcards (don't know the numbers of hand) had a significant diffuse field type emphasis that made a big prescence impact which sounded great for acoustic stuff from a distance, yet were also very smooth in response without a detectable resonant peakiness.  To me the tradeoff is often one between detail and smoothness.

Since I make adjustments one way or the other for most PA's music anyway, the issue for me becomes one of two things- how well does the mic 'take eq' to sound like my mental image of 'right' and how balanced does it sound for unamplified (and hopefully less tweak needing) acoustic music or ambient sources.  For someone who doesn't want to make any post adjustment, the question might instead be 'which weakness is less objectionable without correction?'

Thanks for all the samples, Dirk!

[illconditioned]

The thing I hear listening to these samples as a group is a slight bump around 5k.  I almost always tend to adjust eq of recordings of PA'd music slightly on playback a bit to sound right to me, so sample by sample its a harder to make a sure judgment than with samples of something purely acoustic for which I'm less likely to make any eq adjustment. Very generally, for these JZ samples I'll cut a db around 5k, perhaps widen the cut a 1/2 db a bit above & below that somewhat for some of it. 

By contrast I tend to boost a db or so of broader top end shelf boost for the Beyer 930 & Nev lav recordings. Both mics seem generally smoother in high end response but often sound a tad dull to my ear without the boost. The DPA 4060 sound which I'm very familiar with (and which Richard has noted as sounding similarly bright or with an uncomfortable peak for him) sometimes needs a similar slight cut slightly higher in frequency, closer to the 10k region. I value transparent detail, but it should be neutral and smooth, sometimes a combination that can be at odds.  I hear that combination in the Gefells. The Geffell subcards that Moke was testing before his DPA subcards (don't know the numbers of hand) had a significant diffuse field type emphasis that made a big prescence impact which sounded great for acoustic stuff from a distance, yet were also very smooth in response without a detectable resonant peakiness.  To me the tradeoff is often one between detail and smoothness.

Since I make adjustments one way or the other for most PA's music anyway, the issue for me becomes one of two things- how well does the mic 'take eq' to sound like my mental image of 'right' and how balanced does it sound for unamplified (and hopefully less tweak needing) acoustic music or ambient sources.  For someone who doesn't want to make any post adjustment, the question might instead be 'which weakness is less objectionable without correction?'

Thanks for all the samples, Dirk!

Hmm.  Maybe we're hearing similar things.

But, I would like to suggest it is not just EQ.  Maybe there is actually a little bit of distortion in those frequencies you mention.

I might classify mics based on: detail, color, and accuracy/distortion.  It would seem many mics have two but not the three.  The Beyerdynamic seem to have natural, ie., uncolored sound, and no audible distortion, but they lack the detail of the DPA406x.  The 406x have detail, are natural/uncolored, but have a slight distortion on the high end.  What do you think?

Of course, I'm trying to get an (omni) capsule with all three.  Nevaton MKE400 or Countryman B3 are the closest I've come so far.

 Richard

[TNJazz]

On "fly away", I hear some distortion on the vocal.  Is this the PA?

The mics are crisp and detailed, but sound a bit bright for my taste.  Or maybe they sound "brittle" on the high end.  I'm not sure, but I prefer the "warm" sound like the Beyerdynamic or Nevaton.

  Richard

I don't hear any distortion?  Where in the track is it?  Tom was running pretty hot (the sample peaks at 0 I think) so it might be a recording "over"...

Did you listen to the Fortunate Sons samples?  If so, you still think they are bright mics?  I don't find them overly bright, but I do think they're quite detailed and pretty clear.  Kind of like DPAs...maybe that's the brittleness you're hearing?  I hear it on a couple of the earlier samples, but I'm chalking it up to being a result of the room sound for the most part.

I'll take a listen to other recordings.  It could be overload, but it sounds more like distortion from the PA.

You're talking about DPA402x sounding, right?  Well, I actually don't like those either.  I prefer Geffel M2xx.  Those have good detail, but they seem somehow warmer to me.

I guess we're all hearing different (but still crazy) stuff in our heads, lol.

  Richard

Yes, similar in some ways to the DPA 402x.  Then again, all DPAs sound very similar to me so I guess I'm actually talking about the 406x and all that as well.  I think we've discussed the fatiguing aspects of those mics at times.  The JZ's are similar but I don't find them to be quite as fatiguing...at least not yet.  Perhaps what we're describing though is actually extreme detail?

Anyway, I think it's a recording "over".  these mics were on stage  about chest high and literally a foot or two away from the band.  So there's no PA to speak of, and only a slight amount of monitor bleed, if any.

[dactylus]

 

By contrast I tend to boost a db or so of broader top end shelf boost for the Beyer 930 & Nev lav recordings. Both mics seem generally smoother in high end response but often sound a tad dull to my ear without the boost. The DPA 4060 sound which I'm very familiar with (and which Richard has noted as sounding similarly bright or with an uncomfortable peak for him) sometimes needs a similar slight cut slightly higher in frequency, closer to the 10k region. I value transparent detail, but it should be neutral and smooth, sometimes a combination that can be at odds.  I hear that combination in the Gefells. The Geffell subcards that Moke was testing before his DPA subcards (don't know the numbers of hand) had a significant diffuse field type emphasis that made a big prescence impact which sounded great for acoustic stuff from a distance, yet were also very smooth in response without a detectable resonant peakiness.   To me the tradeoff is often one between detail and smoothness.

The Gefell mics that you refer to Moke testing above were cards, not subcards.  Gefell MV692 bodies with Gefell M94 card caps (great mics, I own a pair).  Moke purchased those mics from balou2...

 

[Gutbucket]

Ahh. Thanks for the correction. They do sound smooth and detailed with a diffuse eq emphasis to me.

[TNJazz]

Omni capsules, stage lip.  Split approximately 3-4 feet.  Band was unmiked (it's a tiny bar), so this is pure stage sound.

JZ BT201 omni -> V3 @ 24/44.1

No adjustments except for dither in Ozone 3


Guthrie Trapp on guitar, Dave Rowe on bass, Doug Belote on drums and Jeff Coffin on sax.

http://www.bigpurpledog.com/audio/JZomniV3sample.flac

[tcf]

This was such a fun night.  Set 2 had Luke Bulla coming out and he fit in really well. 

[stirinthesauce]

why oh why do I have to work nights?  I would love to hit these monday nights with you and Dirk.

[TNJazz]

why oh why do I have to work nights?  I would love to hit these monday nights with you and Dirk.

you're the "teacher" aren't ya?  dismiss class early...

[stirinthesauce]

why oh why do I have to work nights?  I would love to hit these monday nights with you and Dirk.

you're the "teacher" aren't ya?  dismiss class early...

uhhhh, when I'm billing insurance companies, that would be called fraud for billing hours the clients are not there.  Plus, I need my low paying job    Half my billing is to ya'll anyways.

[stirinthesauce]

WOW!  Nice sample.  Smooooooooth.   

[illconditioned]

Omni capsules, stage lip.  Split approximately 3-4 feet.  Band was unmiked (it's a tiny bar), so this is pure stage sound.

JZ BT201 omni -> V3 @ 24/44.1

No adjustments except for dither in Ozone 3


Guthrie Trapp on guitar, Dave Rowe on bass, Doug Belote on drums and Jeff Coffin on sax.

http://www.bigpurpledog.com/audio/JZomniV3sample.flac

Very nice sound on this one...

  Richard

[newplanet7]

Half my billing is to ya'll anyways.

This sounds top notch to me.
Ton of detail and well balanced.
Did you run into the r-44?

[TNJazz]

Half my billing is to ya'll anyways.

This sounds top notch to me.
Ton of detail and well balanced.
Did you run into the r-44?

yes, but via SPDIF.  So it's basically all V3...

[Jimna]

very nice sound there!  they are so detailed!  not very warm though...

so i take it your a fan of the grace sound now, dirk?  i remember reading your not liking it a long time ago. 

i love mine.  im taking it 6ft under with me someday.

[TNJazz]

very nice sound there!  they are so detailed!  not very warm though...

Yes they are VERY detailed.  they are definitely not warm, which is the reason for this post:  http://taperssection.com/index.php/topic,116395.0.html

so i take it your a fan of the grace sound now, dirk?  i remember reading your not liking it a long time ago. 

i love mine.  im taking it 6ft under with me someday.

Can't say I'm a fan, necessarily.  It's a better match for my current mics than my Sonosax was.  Back in the day though, the Sonosax paired better with what I was using than the V3 did.  I had a V3 for a while a long time ago and it just didn't work any kind of magic.  The Sonosax ate its lunch regularly, so I became sort of anti-Grace for a while there.

Now, the mics I have (particularly the Nevatons) pair nicely with the Grace so it's a better fit for me right now. 

Gonna be buried with your V3 eh?  I'm going to be buried with my Nevatons, and the Grace goes pretty well with them.  So I guess I might end up being buried with a V3 as well...

 

[stirinthesauce]

BLASPHEMY!!!!!!!


Like if Luke was pulled to the Dark Side, you don't think that could happen.


/the anti grace signs off

 

[TNJazz]

BLASPHEMY!!!!!!!


Like if Luke was pulled to the Dark Side, you don't think that could happen.


/the anti grace signs off

 

GIVE

ME

YOUR

COOPER

[stirinthesauce]

You can borrow it any time.  Lord knows when I will tape next.  Can't believe the day has come where you get out more than me.   

[Gutbucket]

Omni capsules, stage lip.  Split approximately 3-4 feet.  Band was unmiked (it's a tiny bar), so this is pure stage sound.

JZ BT201 omni -> V3 @ 24/44.1

No adjustments except for dither in Ozone 3


Guthrie Trapp on guitar, Dave Rowe on bass, Doug Belote on drums and Jeff Coffin on sax.

http://www.bigpurpledog.com/audio/JZomniV3sample.flac

Very nice sound on this one...

  Richard

After hearing a number of different samples I find the JZ samples rather consistently have a sort of top end harshness to my ear, like a resonance around 7khz and it's difficult for me to eq to sound to compensate.  The U89 comp sample in the which do you prefer thread also needed a touch of eq- a flat shelf boost, but that boost was easier for me to dial in that the more complex contoured cut I tend to need for the JZs, which I'm less successful in correcting.

Richard, you've mentioned many times that you hear a harshness with the DPA 4060.  I sometimes find an over emphasized resonance with the 4060's that is higher in frequency, in the neighborhood of 10-15khz, but it is not always apparent to me and I find the 4060 top end boost characteristic less objectionable and more easily fixed when I do hear it.

Am I correct in understanding that the JZ samples sound less objectionable to you in that aspect than the 4060?

[illconditioned]

Omni capsules, stage lip.  Split approximately 3-4 feet.  Band was unmiked (it's a tiny bar), so this is pure stage sound.

JZ BT201 omni -> V3 @ 24/44.1

No adjustments except for dither in Ozone 3


Guthrie Trapp on guitar, Dave Rowe on bass, Doug Belote on drums and Jeff Coffin on sax.

http://www.bigpurpledog.com/audio/JZomniV3sample.flac

Very nice sound on this one...

  Richard

After hearing a number of different samples I find the JZ samples rather consistently have a sort of top end harshness to my ear, like a resonance around 7khz and it's difficult for me to eq to sound to compensate.  The U89 comp sample in the which do you prefer thread also needed a touch of eq- a flat shelf boost, but that boost was easier for me to dial in that the more complex contoured cut I tend to need for the JZs, which I'm less successful in correcting.

Richard, you've mentioned many times that you hear a harshness with the DPA 4060.  I sometimes find an over emphasized resonance with the 4060's that is higher in frequency, in the neighborhood of 10-15khz, but it is not always apparent to me and I find the 4060 top end boost characteristic less objectionable and more easily fixed when I do hear it.

Am I correct in understanding that the JZ samples sound less objectionable to you in that aspect than the 4060?

I found the DPA406x to be consistently annoying.  Your first reaction is "holy shit, I feel like I'm there", then you listen for ten minutes, and it just doesn't sound like "music".  It sounds like any other "noise" would, clanking glasses, chairs moving, etc.  My *guess* is there is something wrong with the high end.  But I can't say what it is.  All I know is that when I listen to something like Beyerdynamic, I hear the music and not the room.  There is obviously less detail, but it doesn't bother me, I still enjoy listening, over and over.  Now, comparing DPA to something like Nevaton MCE400 or Countryman B3, those mics have almost as much detail as the DPA, and none of the annoying part.  That's why I stopped using DPA...

JZ samples? To me they had a bit of that DPA "crunch" that bothered me.  Not as much, but I didn't enjoy listening.

I have no idea what is going on.  All I know is some mics sound "smooth as silk" and other mics sound "crunchy".  I would say AKG 463 is somewhere is the middle.  Awesome detail, but a bit crunchy.  Now, Geffel M200, that is smooth.

  Richard

[Gutbucket]

I found the DPA406x to be consistently annoying. ...

JZ samples? To me they had a bit of that DPA "crunch" that bothered me.  Not as much, but I didn't enjoy listening.

I have no idea what is going on.  All I know is some mics sound "smooth as silk" and other mics sound "crunchy".  I would say AKG 463 is somewhere is the middle.  Awesome detail, but a bit crunchy.  Now, Geffel M200, that is smooth.

Thanks, that's really interesting to me.  I think we all agree some mics sound smooth, others crunchy, some bright, others dark, some peaky, some more open, etc. We also agree about which categories any particular mic leaned towards.  We may differ in our general preferences for various sonic traits, but what's really interesting is that we differ on which of these two mics is consistently annoying to us personally.

I'm starting to think that the inevitable differences in everyone's hearing response, especially in the midrange & treble where our hearing responses are most varied, have a significant influence on our aversion to a particular mic's response.  Respecting your ear and my own, I wonder if a sonic weirdness that bothers your ear response may not be reaching the same threshold in my mine and vice versa.

[TNJazz]

Yet another omni sample:

JZ omnis: 
http://www.bigpurpledog.com/audio/jzomni.flac

This is on-stage, a few feet from the band so it's 100% stage sound.  Pre is the AETA Mix 2000 line out to Oade CM R44.  The omni caps are the money in this package, no question.  The cards are sweet too, but I think these are the caps to beat...!

Remember, JZ on sale all this month and I've got one demo pair available as a package with clips and stuff at a very special price!  Check it out ->  http://taperssection.com/index.php/topic,118084.msg1580320.html#msg1580320

[SmokinJoe]

My first upload with the JZ's.  Charlie Hunter Trio, on stage subcards
http://taperssection.com/index.php?topic=134703.0

[SmokinJoe]

Split omnis 3' outdoors, about 50' to stage/stacks.
http://www.archive.org/details/bft2010-04-24.jzbt201.flac16f

Sounds good, but too much chatter.  I ran Subcards DIN the next day and liked that better.  I think the Subs are the "go to" caps for me.

[SmokinJoe]

Another pair of shows with BT-201 subcards.
http://www.archive.org/details/bft2010-05-22.jzbt201.flac16f
http://www.archive.org/details/rustedroot2010-05-22.jzbt201.flac16f

Here is my other source (ADK-TLs) for comparison.
http://www.archive.org/details/bft2010-05-22.adktl.flac16f

I ran:
a) ADK-TL cards DIN > V3 > analog > Busman Tmod R4.  This has become my "go to setup" for the last few months.
b) JZ BT201 Subcards  ORTF > Busman Vintage Mod R4

This room was pretty boomy and bass heavy, especially for Barefoot Truth... No one would normally call a pair of ADKTLs "muddy", but that's kind of how the pull for Barefoot Truth sounds to me.  The JZ's which some say are "too bright" sound great in this situation IMO.  Normally I run hypers or even guns in this room, but this night I was in a mood of "embrace the ambience" so I went for the Subcards, and it worked out IMO.