Comcast can pay all they want, but it will always be Great Woods to me, ditto Deer Creek. After a scorching midwest run, Phish took the circus back to the Northeast and there were plenty of people there to record it. There are nine different sources available for this evening, not counting the 24 bit sources of some of the recordings. I want to thank all the tapers for getting these recordings into people's hands. From talking to a few folks who were at the show, these recordings are remarkable largely because the sound around the taper's section wasn't particularly good.
Source 1 (hereafter Beyer source)
Source: beyerdynamic CK930 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: row E, seat 19 the dead center of the front row of the taper's section
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, volume adjustments, track splits) > SoX v14.3.2 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Source 2 (hereafter MG200 source)
Source: Microtech Gefell M200's(DIN)>Audio Magic Hyper Conductors>Edirol R-4 (Oade T-Mod) @ 24/96
Location: OTS, DFC, RBS 8)
Transfer: R-4>USB>pc>Sound Forge 7(track, resample and dither to 16/44.1)> Flac Frontend 1.7.1
16 bit source
Source 3 (hereafter MK41>MiniMe source)
Source:Schoeps mk41>kc5>cmc6>psp3>mini-me>r-44@48-24>sd
Transfer:sd>vegas 9(SRC44-16>cdwave>flac
16 bit source
Source 4 (hereafter DPA4023 source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: DIN/OTS/DFC 9' stand
Transfer: 722>Firewire>Macbook>
Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 2.12(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )
16 bit source
24 bit source
Source 5 (hereafter DPA4011 source)
Source: DPA 4011 > V3 Digital > R44 (24/96)
Location: OTS Sec. 6 Row G Seat 8 (a bit ROC)/ORTF/approx. 8' high
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav (tracking) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 6 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR's>Fostex FR-2LE(Busman T-mod) @24/96
Location: OTS Sec. 6 Row G Seat 6 (a bit ROC)/POS/approx. 9' high
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)
16 bit source
Source 7 (hereafter AKG393 source)
Source: AKG393's(Front Row OTS/DFC) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod)
-> NJB3 @ 48 Khz
Location: Mics aimed at outside edges of PA Stacks, approximate 65-70 degree angle between mics.
Transfer: NJB3 -> Firewire -> PC-> r8Brain (Resample to 44.1 Khz) -> CD WAVE Editor -> Flac Frontend
16 bit source
Source 8 (hereafter AT853 source)
Source: AT 853Hs > Church Audio 9100 > R-09 (24/44)
Location: Section 6, Row G, Seat 13, XY at 7.5-8ish feet
Transfer: Audacity > WAV > 16 bit FLAC Files
16 bit source
Source 9 (hereafter MK41>SXM2 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out,24bit/96khz)>COAX>Edirol R-44
Location: DIN 3rd row of tapers section DFC
Transfer: SDHC Card>USB>Macbook Pro>Wave Editor(tracking,fades,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Phish - 6/7/11 "Divided Sky" from Phish on Vimeo.
There are some really, really good sources available for this evening, and frankly, deciding on the best has been a challenge.
The Beyer Dynamic source is not as bright as the AT's, the MG200, or the MK41>minime source. The bass sounds quite good and kicks the sub nicely, but it is a bit boomy compared to the better sources.
The MG200 source is very, very good. The levels are a bit low compared to some of the other sources, but the balance is excellent. The sound is very warm. When I was a "patch monkey" back in the late 90's, patching in my Sony D5 into any rig that would let me in the chain, I always looked for the Geffells. When you hear this recording you know why. The differences between this source and the MK41>minime are minimal, but I decided to go with the MK41 source instead mainly because it seems to have a bit more brightness in the high end. However, this MG source is fantastic.
As I said above, I believe that the MK41>minime source is the best of the evening. It is extremely well balanced, with nice highs and great lows. Mike sounds great. The high-end isn't as nice as the AT's, but the source has the best combination of highs and lows.
The DPA4023 source has nice bass response, but the high-end is not as nice as the AT's, the MG200's or the MK41>minime source.
The DPA4011 source suffers from low levels at the highs and lows, with a big fat middle. Just didn't hold up compared to the better sources.
As usual, the Busman source is bright as all get all. The high-end sounds fantastic, however the low-end just isn't there and the overall effect is unbalanced.
The AKG source lacks the clarity in the bass that the better sources have. The high-end is quite crisp, but the low-mids are a bit muddy.
The AT source is very good. I listened long and hard to this, the MG200's, and the MK41>minime source. Next to the Busman's, this is the brightest source, however the bass is much more pronounced on the AT's. However, it just doesn't have quite the kick of the MG200's or MK41>minime. I would say this is the 3rd best source for the evening.
The MK41>SXM2 source has a kind of hollow sound to it compared to the other MK41 source. The sound is good, it is just not as punchy as the MG200 or MK41>minime source. This may be just a level issue, but given how great the MK41>minime source is, there is no need to go with this one.
Happy listening!
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