September 2, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

Coming right off the heels of a pretty good second leg of summer, Phish settled in for what many thought would be the last shows of the year out in Colorado.  A large gathering with onsite camping made for a very festival like atmosphere, and Phish did not disappoint.  The first of these shows, now forever known as the "S" show offered a ton of rare songs, including a bustout of Sparks which hadn't been seen in 15 years.  This is one you definitely want to download.  Making my job difficult, but rewarding, are 11 different sources for this night! I want to thank all the tapers who recorded this and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter AK40 source)
Source:  Neumann AK 40 (NOS) >  Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > Wavelab 6.0 (resample,Uv 22 HR) > Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 2 (hereafter MK22 source)
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 3 (hereafter MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source

Source 4 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 8ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 5 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m148> sd744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source

 Source 6 (hereafter Milab VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source




Source 7 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: UV22HR(16/44.1)->CDWave->FLAC

16 bit source

Source 8 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 9 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 10 (hereafter MK4v source)
Source:Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (hereafter BSC2 source)
Source: Busman bsc2 K2(Omni)>sd744>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source


Phish - 9/2/11 "Seven Below > Suzy Greenberg > Scents And Subtle Sounds" from Phish on Vimeo.

The AK40 source doesn't have the clear bass that you have on the 4022's or the VM44 source.  The recording is a bit boomy as well.

The MK22 source is quite good, though the bass could be a bit higher up in the mix.  Further, the bass is not as clear tonally as I would like.  When you compare the attack on Mike's bass on this recording vs. the VM44's, there really is a big difference.

The MK5 source sounds fantastic.  Unfortunately, the levels are a bit high, resulting in some crispiness during the louder parts.  Barring that, this would be my pick of the night, but with those problems, just couldn't pick it, particularly considering how nice the VM44's sound.

The BSC1 source sounds a bit boomy compared to the VM44 source.

The DPA 4022 source is quite punchy on the bass, with great mids.  However, the high-end just doesn't compare to the VM44 source.

The VM44 source is my pick for best sounding recording.  The bass is excellent and has great tonality throughout the frequency range.  The high-end is fantastic as well.

The DPA Matrix source has a very muffled high-end, though the low-end is quite nice.  Just doesn't have the dynamic range of the VM44 source.

The SKM184 source is not as punchy or as clear as the 4022 or the VM44 source.

The CCM4 source is probably the 2nd or 3rd best of the evening.  The low-end is quite clear and distinct with good dynamic range and tonality.  However, there is a pretty fair amount of crowd noise, and again, the highs aren't as nice as the VM44's.

The MK4v source sounds pretty good, with again, great, punchy low-end, but again, the high's just aren't as nice as the VM44.

The BSC2 source sounds very distant and boomy and has lots of crowd noise.

Happy listening!

August 17, 2011 UIC Pavilion, Chicago, IL Sources Review

Phish wrapped up their summer tour in the Midwest with a song-based show at UIC Pavilion.  After the first two nights at UIC, expectations were high.  Unfortunately, for the jam chasers out there, this show just didn't deliver like the other two nights.  However, as always with Phish, there are a few jams worth checking out again.  There are six recordings available from this evening.  I want to thank all of the tapers who got these recordings into our hands so quickly.  I really appreciate it.  Thanks fellas!

Source 1 (hereafter KM84 source)
Source: (2) Neumann km84i > Sound Devices 722 (24/96, 40 Hz rolloff @ 12 dB/oct.)
Location: DINish, OTS 3' LOC, ~ 12' high
Transfer: 722 HDD > Audiogate (+2 dB, fades, tracking, dither/re-sample to 16/44.1) > xACT (flac 8 w/ SBA & tags)

16 bit source
24 bit source

Source 2 (hereafter CA source)
Source: Church Audio CA-11> STC-9000> Sony PCM-M10 @ 24/48
Transfer: M10> PC> Audacity(fades, normalize, resample to 16/44.1)> CD Wave(track splits)> FLAC

16 bit source

Source 3 (hereafter Busman source)
Source: Busman BSC1-K31 > Naiant Littlebox > Edirol R-09HR (24-Bit/96kHz)
Location: DIN Configuration, OTS/DFC, 10' High
Transfer: SDHC Card > Audacity > .wav (16-Bit/44.1kHz) > CD Wave Editor > .flac (Level 8)

16 bit source

Source 4 (hereafter MK41 source)
Source:Schoeps MK41(dina)> Kcy >Sonosax SX-M2/LS2> R44(ocm)24/96
Location:OTS Stand 8ft
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source

Source 5 (hereafter CCM4 source)
Source:Schoeps CCM4(din)Vms52ub>R44(ocm)24/96
Location:OTS Stand 8ft
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source

Source 6 (hereafter KM140 source)
Source: Neumann skm140 > Sound Devices Mixpre > iRiver H120(16/44.1)
Location:  OTS/DFC/DIN/13' High
Transfer: iRiver H120(16/44.1) > Audacity 1.3b(-0.8dB right channel/+1.0dB @80Hz) > CDWave(Tracking) > FLAC(16/44.1/Level 8)

16 bit source


Phish - 8/17/11 "Makisupa Policeman > Sleep > Buffalo Bill" from Phish on Vimeo.

The KM84 source, unlike the previous two nights, is not the best sounding source.  The bass isn't nearly as prominent as in the earlier recordings.  The mix is still quite nice though.

The CA source sounds particularly tinny and has very little low-end at all.  The highs are nice, but the lack of low-end, especially compared to the Busman and KM140 source make me pass on this one.

The Busman source is the second best sounding recording of the evening.  The bass is actually quite nice on this, which I find unusual for these mics.  The taper did a great job capturing the evening, however the lows just aren't as distinct as on the KM140 source.

The MK41 source, like the CCM4 source, is quite clean, but has relatively low levels and the bass isn't as prominent as I like and doesn't kick the sub.

The CCM4 source, like the MK41, has low levels and the bass isn't very prominent.  Further, for some reason, instead of First Tube, the second half of Let It Loose from the previous evening is on the torrent.

The KM140 source gets my nod for source of the evening.  It is quite dynamic, the levels are great, and when Mike drops a bomb, you feel it. 

Happy listening!

1 Year of the Phish Listening Room

Hey folks, I really wanted to thank you all for coming by regularly and seeing what I've got here.  Its been 1 year since I started the Phish Listening Room and I have seen my readership increase greatly.  I just wanted to thank you all.  Here is a link to my first post, which it turns out, is something I did for a very short period of time.

Thanks again for your support!

August 16, 2011 UIC Pavilion, Chicago, IL Sources Review

Phish continued their three night stand in Chicago with another scorching show.  Like the previous night, this show demands repeated listening.  There are some excellent highlights and I love the bustout of Let it Loose, which is one of my alltime favorite Stones' ballads.  There are four sources available for this evening.  I want to thank the tapers for getting those recordings out to the community.  Their efforts are much appreciated.  Thanks a lot fellas!

Source 1 (hereafter KM84 source)
Source: (2) Neumann km84i  > Sound Devices 722 (24/96, 40 Hz rolloff @ 12 dB/oct.)
Location: DINish, OTS 1' LOC, ~ 12' high
Transfer: 722 HDD > Audiogate (+4 dB, fades, tracking, dither/re-sample to 16/44.1) > xACT (flac 8 w/ SBA & tags)

16 bit source
24 bit source


Source 2 (hereafter Busman source)
Source: Busman BSC2-K1 > Naiant Littlebox > Edirol R-09HR (24-Bit/96kHz)
Location: DIN Configuration, OTS/DFC, 10' High
Transfer: SDHC Card > Audacity > .wav (16-Bit/44.1kHz) > CD Wave Editor > .flac (Level 8)

16 bit source

Source 3 (hereafter MK41 source)
Source:Schoeps MK41(dina)> Kcy >Sonosax SX-M2/LS2> R44(ocm)24/96
Location:OTS Stand 8ft
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source

Source 4 (hereafter CCM4 source)
Source:Schoeps CCM4(din)Vms52ub>R44(ocm)24/96
Location:OTS Stand 8ft
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/16/11 "You Enjoy Myself" from Phish on Vimeo.

Like the night before, the KM84 source is the best sounding of the night.  The bass is tight and distinct as well as being full enough to kick the sub.  The dynamic range of the recording is excellent with nice and crisp highs as well as full mids.  Overall the recording just sounds quite transparent.

The Busman source has better bass than the previous evening, but when you compare it head to head with the KM84 source, it just doesn't have the umph on the low-end.  As usual with the Busman's however, the highs are quite nice.

The MK41 source is a bit boomy and at the same time, doesn't kick the sub like the KM84 source.  However, the bass is clearer and more up front than the CCM4 source making this the second best source of the evening.

The CCM4 source is a bit muddy sounding down low and lacks the dynamic range of the KM84 source.  Further, the bass is somewhat lost in the mix.

Happy listening!

August 15, 2011 UIC Pavilion, Chicago, IL Sources Review

Phish brought their traveling circus back to the Midwest for a 3 night stand at UIC Pavilion.  The site of many legendary shows, the anticipation level was high and Phish delivered the goods.  This first night provides many highlights and is a show that deserves several re-listens.  There are seven sources available for this night.  I want to thank all the tapers who recorded this show and shared it with the community.  Thanks guys!

Source 1 (hereafter KM84 source)
Source: (2) Neumann km84i  > Sound Devices 722 (24/96, 40 Hz rolloff @ 12 dB/oct.)
Location: DINish, OTS 4' LOC, ~ 12' high
Transfer: 722 HDD > Audiogate (+4 dB, fades, tracking, dither/re-sample to 16/44.1) > xACT (flac 8 w/ SBA & tags)

16 bit source
24 bit source


Source 2 (hereafter KM140 source)
Source: Neumann skm140 > Sound Devices Mixpre > Korg MR-1(24/96)
Location: OTS/~DIN/JLOC/11' High
Transfer: Korg MR-1(24/96) > Audiogate(dither[Korg AQUA]/resample to 16/44.1) > CDWave(tracking) > FLAC(16/44.1/Level 8)

16 bit source
24 bit source

Source 3 (hereafter Busman source)
Source: Busman BSC1-K31 > Naiant Littlebox > Edirol R-09HR (24-Bit/96kHz)
Location: DIN Configuration, OTS, 4' LOC, 10' High
Transfer: SDHC Card > Audacity > .wav (16-Bit/44.1kHz) > CD Wave Editor > .flac (Level 8)

16 bit source

Source 4 (hereafter MK41 source)
Source:Schoeps MK41(dina)> Kcy >Sonosax SX-M2/LS2 >R44(ocm)24/96
Location:OTS Stand 8ft
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source

Source 5 (hereafter CCM4 source)
Source:SchoepsCCM4(din)>Sonosax SX-M2>R44(ocm) 24/96
Location:OTS Stand 8ft
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source

Source 6 (hereafter SP source)
Source: Sound Professional AT 853 Cardiods -> SP P/S -> Edirol R09-HR

16 bit source

Source 7 (hereafter Senn source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, 2 feet right of center, 12.5 feet high.
Transfer: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

16 bit source


Phish - 8/15/11 "Undermind" from Phish on Vimeo.

The KM84 source is my pick for the best of the evening.  There is nice separation of the instruments and the bass response is just right.  The clarity of the bass is ever so slightly better than the MK41 source and kicks the sub nicely.

The KM140 source lacks the bass clarity of the KM84 or the MK41 sources.  The highs are also a bit subdued.

The Busman source, like the KM140 source, lacks the clarity of the bass, particularly at the lowest frequencies, of the KM84 source or MK41 source.

The MK41 source is the second best recording to my ears.  It is much crisper than the CCM4 source and has better bass definition.  The differences between it and the KM84 are subtle.  Notice when Gordon comes in for the first time on Steam, on the MK41 source it has tone, but much of the attack is lost.  On the KM84 source it is there in all its glory.  That said, this is an excellent recording.

The CCM4 source lacks tonal clarity at the lowest frequencies and is a bit low overall. 

The SP source has very little bass response at all.  It sounds almost like there is a roll-off below 120Hz or so and all of that is just implied rather than actually on the recording.  I didn't do a frequency analysis or anything, suffice it to say, this recording will not kick your sub.

The Senn source, on the other hand, has a plethora of bass.  It kicks the hardest of all the recordings.  However, like several of the other sources, the lowest notes are lost on this recording, rendered as subkicks rather than tone.

Happy listening!

August 12, 2011 Polo Fields, Golden Gate Park, San Francisco, CA Sources Review

The final show on Phish's West coast run was a stop at the venerable Golden Gate Park for the Outside Lands Festival.  There have been many, many debates about Phish's various festival performances, particularly recently at Bonnaroo and Austin City Limits.  These shows often are light on jamming and heavy on songs.  This show was no different.  In addition, both of these recordings were made stealthily and one is marred by several missing songs, which are patched from the other recording.  I want to thank both tapers for going out and capturing this night for all of the community.  Thanks a lot guys!

 
Source 1 (hereafter CA source)
Source: Church Audio STC-11 Cards  > CA 9100 > iRiver
Location: DFC, PAS, BOB ~100', Stick ~6'
Lineage: Adobe Audition (Fades, tracking, overall 50Hz HPF, spot 80Hz HPF for wind and incidentals, normalize to -.1dB) > xACT (SBE fix, flac level 8, tagged)

16 bit source



Source 2 (hereafter Senn source) ***patched in middle of 1st set from CA source***
Source: Sennheiser MKH 8050's-Oade Transparent Mod PMD 661
Location FOB 60 Ft. Back from Stage Dead Center standing against railing on left side.Mic's in Hat

16 bit source


Phish - 8/12/11 "Julius" from Phish on Vimeo.

The CA source is my pick for recording of the night.  Not only is it complete, but it is the better sounding of the two.  The dynamic range is level and distinct.  The bass is not as full as on the Senn source, but the recording is much clearer and sounds so much better in the mids.

The Senn source is very bass heavy and the overall effect is to sound boomy.  The highs sound fine, but there seems to be a great deal lost in the mids which makes the recording sound less dynamic than the CA source.

Happy listening!

August 10, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

Phish wrapped up their last regular show of their West Coast leg with a sold out show in Lake Tahoe.  With only a festival set to go in San Francisco, many were expecting Phish to bring the fire.  Unfortunately, it wasn't their best show of the tour.  However, as always with Phish, there are several moments that are definitely worth hearing again and luckily for us, there are seven different sources available from this night.  Thanks go out again to all the tapers who record these shows and share them with the community.  Thanks a lot guys!

Source 1 (hereafter MK41 source)
Source:Schoeps MK41(din)> Kcy >Sonosax SX-M2/LS2 >R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source

Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter KM140 source) ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 24/48 WAV 
Location: FOB/pit
Transfer: CD Wave > Audition > FLAC24

24 bit source

Source 4 (hereafter AK40 source) ***note 16 bit torrent includes 8-9 source as well***
Source: Neumann AK 40's (NOS) > Lc3 > Km 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 50' Back >
Transfer: CF Card > Wavelab 6.0 > Cd Wave > TLH 24/48 FLAC

16 bit source
24 bit source

Source 5 (hereafter U89 source)
Source: Neumenn U-89I's-V3(digital out) Dr-680
Location: OTS
Transfer: Normalization and tracking in post using Wave Lab 6
1st Song From AKG 414ULS-Oade Transparent Mod PMD-661Both sets of mics set to Hyper card with approximately 70 Degree angle and 5 inch spacing

16 bit source

Source 6 (hereafter Senn source) ***24 bit source only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (spidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 7 (hereafter CCM4 source)
Source:SchoepsCCM4(wide ortf)>Sonosax SX-M2>R44(ocm) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/10/11 "Stash" from Phish on Vimeo.

The MK41 source has fairly low levels.  There is a fair amount of crowd noise on the source, however the bass is more distinct than on its sister source, the CCM4's.

The MK4v source, again, gets my nod for source of the night.  The bass is nice and full without being overpowering and the separation of the instruments is quite nice. 

The KM140 source is the second best sounding source of the night.  The bass is a little bit fuller than the MK4v source and the separation is even better too.  However, the crowd noise on this source is much more noticeable than on the MK4v's.  If you don't mind the crowd noise, by all means go for this source.  Remember, only available in 24 bit, so it isn't playable on your iPod without down-converting.

The AK40 source is nicely balanced and has a nice, distinct bass tone.  It is very transparent as well.  However, the levels aren't nearly as nice as the MK4v or KM140 source and doesn't kick the sub as hard either.

The U89 source is really nice sounding, but gets a bit muddy in the lowest frequencies.  There seems to be a hollowness in the mids and is just overall a bit boomier than the KM140 or MK4v sources.

The Senn source sounds fairly distant compared to the MK4v or Neumann sources.  Further, the low end isn't nearly as rich or as full as the MK4v or KM140 sources.

The CCM4 source sounds a bit muffled in the low end, especially compared to the MK4v and KM140 sources.  The levels are fairly low and there is a great deal of crowd noise evident on it.

Happy listening!

August 9, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

Phish continued their whirlwind tour out West with a two night stand in Lake Tahoe.  Harvey's was really a beautiful venue and there was plenty to do everyday.  This show, and the following, were webcast and while they weren't the greatest shows ever played, they were pretty darn good.  The debate about whether or not webcasting effects performance rages on.  I come down on the side of the more folks who can experience a show the better.  As the fanbase ages, or at least as I do, it is tougher to see as many shows as you would like, but being able to dial it up on the big screen is a nice substitute.  That said, there are 6 sources available for this show.  As usual, I have to tip my hat to the tapers who recorded this night and shared it with all of us.  Thanks a lot guys!

Source 1 (hereafter U89 source)
Source: Neumann U-89i's(Hypers)-V3-Digi out to Dr-680
Location: OTS 1st Stand against railing in section, approximately 70 degree's and 6 inch appart
Mic's raised to approx. 13 Ft.

16 bit source

Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> Edirol R44 (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter M934C source)
Source: (Set I) Schoeps m934c> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Source: (Set II+E) Schoeps mk5> AMC3> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, m934c/cardioid/DIN, mk5/cardioid/DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source

Source 4 (hereafter AK40 source) ***note torrent includes 8-10 recording as well***
Source: Neumann AK 40's (NOS) > LC3 > KM 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 60' Back
Transfer: Cf Card > Wavelab 6.0 > Resample, UV 22HR Dither >
Added +3.5 db For Set I > Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 5 (hereafter Senn source) ***24 bit only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (s/pidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 6 (hereafter CCM4 source)
Source:Schoeps CCM4(Ortf)Vms52ub>R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/9/11 "Light" from Phish on Vimeo.

The U89 source has much better bass response than the other Neuman source or the CCM4 source, however it is fairly muddy, without the distinct notes noticeable on the MK4v source.

The MK4v source is my pick for best of the night.  The bass response is excellent, as are the levels.  There is tremendous dynamic range, making the recording sound very live.  However, on the downside, particularly between songs, there is a fair amount of crowd noise.  This isn't so bad during most of the music on the plus side.

The M934c/MK5 source has lots of bass, but there just isn't much distinction or tone in the lowest frequencies.  Notice the intro to PYITE and the lack of tone in the low end.  You don't hear any notes coming from Mike, just a bass rumble.  The MK5 (used in the 2nd set) improves this slightly, but still doesn't rise to the level of the MK4v source.

The AK40's have lots of crowd noise and while the bass drum kicks the sub, the tone is just lacking in Mike's bass.  Notice the introduction to 46 Days, Mike sounds like a muddy mess down low on this recording and is tight and full on the MK4v source.

The Senn source sounds a bit distant and hollow compared to the other sources.  On the whole, it seems to lack the dynamic range of the MK4v source.

The CCM4 source just doesn't kick the sub very hard.  The bass is there and is more distinct than the M934c source or the AK40 source, it just doesn't have the prominence of the MK4v source.

Happy listening!

August 8, 2011 The Hollywood Bowl, Hollywood, CA Sources Review

Phish continued their quick run through the west coast with a stop at the legendary Hollywood Bowl.  While the show didn't pack the heft of either of the Gorge shows, there were, as always, moments worth hearing again as well as a fun cover of Paul Simon's 50 Ways To Leave Your Lover.  For this night, there are currently 6 sources available, not counting 24 bit sources.  I want to thank the tapers for getting these recordings made and for sharing them with the community.  Thanks a lot fellas!

Source 1 (hereafter M934C source)
Source: Schoeps m934c> M221B> Sonosax SX-M2> Edirol R44 (@24bit/96kHz)
Location: Section Garden 932, 8' Stand, ORTF, m934c/cardioid
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source

Source 2 (hereafter AKG source)
Source: AKG c422 > s42 > Grace Design Lunatec V2 > Sonic AD2K+ > Tascam HD-P2 (24 bit, 96 kHz)
Location : Garden Box 932 (right of center), ~8' stand, offset arm/nanoclamp
Mic Config : Blumlein
Transfer : CF card > USB 2.0 card reader > PC > normalize to 95%, fades, invert polarity (Samplitude)
> POW-r #3 (Samplitude) > Resample Ultra High 1 (Samplitude)

16 bit source

Source 3 (hereafter SPC4 source)
Source: Studio Projects C4s (cardioid) > Segue Dogstar XLRs > Fostex FR-2LE (24bit/48khz)
Location: Terrace Box 1032, stand @ 6.5' Config: 20cm @ 70* 
Transfer: CF Card > .bwf > Audacity (fades/gain/resample/dither) > CDWave > .wav > .flac

16 bit source

Source 4 (hereafter MK4 source)
Source: Schoeps CMC6/MK4 -> Sound Devices 744T (24bit/96k)
Location: Terrace Box 1032
Transfer: Samplitude Professional v11.2 -> FLAC/16

16 bit source
24 bit source 



Source 5 (hereafter Senn source)
Source: Sennheiser Mkh8050-Marantz Pmd 661 (Oade Transparent Mod)

16 bit source

Source 6 (hereafter CCM4 source)
Source:Schoeps CCM4(NOS)Vms52ub>R44(ocm)24/96
Location: Section Garden 932, 8' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/8/11 "Joy" from Phish on Vimeo.

The M934C source sounds a bit muddy down low, in fact the overall effect is like the bass knob has been turned up on an old EQ.  Further, the lowest notes of the bass are lost, they just lack tone. 

The AKG source is quite crisp and well defined, but the bass just doesn't kick my sub and the levels are noticeably lower than the better sources.

The SPC4 source is very crisp sounding as well, with better levels and dynamism than the AKG source, but not quite the umph of the MK4 or Senn sources.  The separation on the instruments is quite good on this source though.

The MK4 source gets my nod for best source of the night.  The bass is great, full and dynamic, the high-end is crisp and the separation of the instruments is fantastic.  In addition, the levels are quite nice. 

The Senn source is probably the second best source of the night.  Like the MK4 source, it kicks the sub, and has great separation.  However, there seems to be something missing in the low-mids that makes the source sound a bit hollow down there.  In essence the difference between the MK4 and Senn source is one of tone.  I just think the MK4 sounds a bit more transparent.  However, the Senn source is quite good.

The CCM4 soruce is crisp, like the AKG source, with a bit better levels.  However, like many of the other sources, it just doesn't get the sub firing hard.

Happy listening!