Billy Higgins

Used for Higgins' hi-hat and snare on Ornette Coleman's The Shape of Jazz to Come and Change of the Century, as recounted by sound engineer "Bones" Howe in this February 2004 Sound on Sound interview (the DX is specified later in the article when Tom Waits is discussed).

"I set them up in a square, one in each corner of an imaginary room in the studio, close together, all facing the centre of the square. I had set up the microphones before they got there: I had an RCA 77 on Ornette's alto sax — the white plastic one he was notorious for playing — and a 77 on Don Cherry's pocket trumpet, a Telefunken U47 on Charlie's bass, and the drums were miked with a U47 as an overhead and a 77 over the hat and snare. We were recording live to mono and two-track at the same time. I liked this setup so much that I made sure I wrote it down, and I still have that setup sheet to this day. I would use it to record a lot of albums."

Used as a drum overhead on Ornette Coleman's The Shape of Jazz to Come and Change of the Century, as recounted by sound engineer "Bones" Howe in this February 2004 Sound on Sound interview.

"I set them up in a square, one in each corner of an imaginary room in the studio, close together, all facing the centre of the square. I had set up the microphones before they got there: I had an RCA 77 on Ornette's alto sax — the white plastic one he was notorious for playing — and a 77 on Don Cherry's pocket trumpet, a Telefunken U47 on Charlie's bass, and the drums were miked with a U47 as an overhead and a 77 over the hat and snare. We were recording live to mono and two-track at the same time. I liked this setup so much that I made sure I wrote it down, and I still have that setup sheet to this day. I would use it to record a lot of albums."