September 3, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

I want to apologize for the delay in getting this review up.  There were 14!! sources to listen to.  As most of you know, this was a fantastic show and should be downloaded by everybody who is into Phish.  I want to thank all of the tapers who captured this night and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter MK4v source)
Source: schoeps mk4v(din)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source 

Source 2 (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
24 bit source



Source 3 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: SBD/LOC 10ft 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)
Tagging: FLACs Tagged With Mp3tag v2.46a

16 bit source

Source 4 (hereafter Senn source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, centered, 12.5 feet high
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

16 bit source

Source 5 (hereafter DPA 4021 source)
Source: DPA 4021  > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source

Source 6 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 7 (hereafter AK40 source)
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (hereafter VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks again for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 9 (hereafter MK21 source)
Source: Schoeps mk21  > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: NOS/FOB
transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 10 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 11 (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 12 (hereafter MK22 source)
Source:Schoeps MK22 (stc 22g)> 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 13 (hereafter BSC2 source)
Source: Busman bsc2 K11(cards)>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 14 (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: CDWave->FLAC

16 bit source


Phish - 9/3/11 "Tweezer" from Phish on Vimeo.

The MK4v source sounds a bit muffled in the low-end and loses some tonal characteristics at the lowest frequencies.

The MK5 source is my pick for best of the night.  Frankly, its a toss up between the VM44 source and the MK5 source.  They both have great sonic separation and they both have great bass response.  The levels on the MK5 source are slightly better and I like the tone in the mids a bit better.  Plus, this one is also available in 24 bit for you die-hards out there.

The BSC1 source sounds a bit muffled at the low-end.

The Senn source doesn't have very much bass response at the low-end and overall doesn't sound as transparent as the MK5, VM44, or DPA 4021 source.

The DPA 4021 source is quite good.  I would call it the 3rd best recording of the night.  The bass response is excellent and the separation is also quite good.  However, the high-end just isn't as crisp on this one as the VM44 or MK5 sources.

The DPA 4022 source is, like the 4021's, quite transparent, however the low-end isn't as punchy as in the MK5 or VM44 sources, or even the 4021's for that matter.

The AK40 source is quite nice sounding, but like the 4022's, just doesn't have the bass response of the better sources.

The VM44 source, just like the night before, is excellent.  The sonic separation is fantastic, the bass response is exactly what I am looking for.  There are really only subtle differences between this recording and the MK5.  Easily the 2nd best recording and if your tastes differ slightly, you might prefer it.

The MK21 source, like the 4022's sounds quite nice but doesn't kick the sub like the better sources.

The SKM184 source is quite clean sounding with good separation, but it doesn't have the bass response of the MK5's, the VM44's, or the 4021's.

The CCM4 source sounds a bit distant and the bass doesn't have the tone or punch of the better sources.

The MK22 source, like the CCM4's and MK21's doesn't kick the sub as hard as the better sources.

The BSC2 source sounds distant and muffled.

The DPA Matrix source has quite nice bass response, but like the night before, sacrifices high-end in the process.

Happy listening!