For the piano, a pair of MKH-800 was placed 25cm above the keys 30cm away from each other and each 15cm away from middle C. Additionally an AB pair of Sennheiser 8040s was pointing towards the middle part of the piano at the same angle as the lid. Finally, a Coles 4038 was placed at the tail of the piano as an addition to the low end of the sound combination of the five microphones. The violin was miked by a Schoeps CMC-6 placed above the violin at a distance of three to four feet above, pointing at the bridge of the instrument. The upright bass had a Neuman U87 pointing sideways towards the bridge, to avoid all the booming low end coming out of the bass, and a Neuman KM184 pointing at the neck of the instrument to get some detail from the finger plucking. The guitar amp had two microphones, a Royer 121 and right above it an SM57 pointing at the left twitter of the speaker. The guitar itself had a DPA 4011 to capture some of the details from the string plucking and to capture the sound of the Bulgarian tambura. Finally, for the drums, a fairly simple setup took place because of how good the performer was going to be, in this kind of situation we believe that less is more. For the kick, two microphones were placed, both dynamic, a Sennheiser e602ii and an EV RE-20. For the top of the snare, a SM57was placed and for the bottom a Sennheiser 441. Both rack and floor tom had Sennheiser MD-421s and the overheads were placed at a Glen John’s positioning, with a Neuman U87 in the front left and a Neuman KM184 at the back right, behind the right shoulder of the drummer. The two microphones were at an equal distance from the snare drum’s center.