This sounds so good! Everything comes through the mix with great clarity. Very refreshing sound.
Excellent work AJ !
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Thank you very much!
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This is brilliant, Adrian,
I cannot believe the studios said this was possible - you might send them your recordings with a nice little postcardâŚ
Bright and wide, as mentioned, and I like that itâs short. No mucking around.
How many players were there all up?
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Thank you sir 
Nine:
Drums
Bass
Keys
Guitar
Trumpet
Trombone
Alto sax
Baritone sax
Vocals
The brass had turned to gold, so to speak.
Thought there were more players than thatâŚ
S
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yup, thats a top job for live.
The 4 piece brass section is always the killer, do you separate them (they might not like that) and mic them individually, put a condenser on each pair or keep them close together with 4 mics risking phase issuesâŚ
Also tough dealing with mons back down the mics. I found that I could listen to and eq out the mics when the individual players werent playing/singing to make some of the monitor spillage/ugliness go away, but still a tough job.
So, well done all round there AJ 
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Thank you
As I said earlier, I screwed a T-Bone tom mic to each bell. By the time I got the trumpet I had run out of tom mics so I stuck a 58 on a stand and told him not to move.
I used sidefills only. They bled all over the overheads but I go away with most other mics.
Not sure why you would EQ the mics when musicians arenât playing when you can just edit them out after the fact. Thatâs what I did.
lol, clip on drum mics on brass - nice. I used to stick a condenser in front of sax, but also jammed a 58 down the bell. I wasnât interested in the sound of the 58, it was just there to keep the bugger in one place.
Re: the eq⌠you eq each mic when they arent playing then use that eq curve for when they are playing⌠you can still edit the gaps, it just gives you a clue what the spillage is adding from the speakers. It doesnt have to be crazy aggressive, but a little (couple dB) on each mic can help reduce the schmutz 
So you EQ the source based on reducing overspill? Thatâs great if it works for you, but itâs not something I can see myself doing any time soon. I never EQ anything on the way in, live or otherwise.
Some years ago I was trained to do that by an engineer I worked with. At that time, we were using a console and Pro Tools, but Iâm sure he had come through the trenches in the analog tape days. He would nearly always audition instrument sounds with the player and adjust the console EQ before recording (through the console preamps). I also experienced this with other engineers, particularly when setting up drums for recording. It seems to follow along with the Eddie Kramer philosophy of âcommit to a soundâ when you record.
Of course, things are bit easier now that weâre used to using digital for everything and you can slap an EQ plugin on every channel. But from my experience this seems to have been standard practice in days gone by, the âclassic periodâ of recording, as it were. I would guess that consoles were even designed that way to begin with, primarily to capture the sound on the way in. Elaborate mixdowns probably didnât happen until later when the track counts expanded enough to allow overdubs.
Youâre stating the obvious Stan. Of course things were different when we were using 4-track and 8-track tape. We committed not only EQ but whole rafts of processing too because outboard was very expensive and there wasnât enough of it to give every channel one each of everything.
The most important thing (for me) when recording is gain staging and a nice level recorded signal wherever possible. I was playing the recording back to the chaps on the day with absolutely no mixing or processing and it already sounded great. Thatâs because there was no distortion and everything was recorded at a good level.
FWIW I compress on the way in, because it helps me with the recording levels. How about that for committing.
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I usually do that on purpose, considering that other people may be perusing this thread, not just you and I. Not everyone here has recording experience going back decades.
Yes, thatâs a good one too. Perhaps the key thing these days is we have many options, rather than being driven by what the hardware and technology dictated back in the day, and how we may have been trained by the âoldâ salts in the business.