tag:blogger.com,1999:blog-35110616417833754872024-02-19T01:25:53.818-05:00Phish Listening RoomI listen to all the sources so that you don't have to.Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.comBlogger91125tag:blogger.com,1999:blog-3511061641783375487.post-21225229679662647562016-08-13T15:05:00.001-04:002016-08-13T15:09:47.171-04:00Statistical Analysis of Phish Fans<!--[if !mso]>
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<br />
<div align="center" class="MsoNormal" style="line-height: normal; text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 20.0pt;">All It Was
Was A Fairy Tale and Devotion To A Dream</span></b></div>
<div align="center" class="MsoNormal" style="line-height: normal; text-align: center;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The rock band
Phish is a jamband that entices listeners of all ages.<span style="mso-spacerun: yes;"> </span>They are known primarily for their live
concerts, never playing the same show twice.<span style="mso-spacerun: yes;">
</span>They have been a touring band for over 30 years, with a few breaks along
the way.<span style="mso-spacerun: yes;"> </span>They have never had a top 10
hit, and their best-selling record peaked at number 7, 20 years ago.<span style="mso-spacerun: yes;"> </span>Even with that, in 2013, according to
Billboard Magazine, they had the 2<sup>nd</sup> highest grossing US Summer
tour.<a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 12.0pt; line-height: 107%;">[1]</span></span></span></span></a>
Phish consistently sells out large venues across the United States and they do
it with a brand loyalty that is truly amazing.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Fans of
Phish are known for their devotion.<span style="mso-spacerun: yes;"> </span>One
possible measure of devotion is the percentage of shows seen out of all
possible shows after the first show seen.<span style="mso-spacerun: yes;">
</span>I wanted to determine whether fans who started seeing Phish in the
1990’s, often referred to as Phish 1.0, were more devoted than fans who began
to see the band later. I conducted a poll of 683 fans online.<span style="mso-spacerun: yes;"> </span>I shared this poll on several Phish message
boards, so the poll is likely biased towards those who are more interested in
the band than the general public.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-size: 12.0pt; line-height: 200%;">I was interested in the age
breakdown, the year that they started seeing the band, and how many shows they
had seen in total.<span style="mso-spacerun: yes;"> </span>The numbers are
staggering.<span style="mso-spacerun: yes;"> </span>One individual had seen the
band 281 times.<span style="mso-spacerun: yes;"> </span>He started seeing them
in 1992 and has seen roughly 25% of all the shows they have played since
then.<span style="mso-spacerun: yes;"> </span>That’s not even the highest
percentage of possible shows seen.<span style="mso-spacerun: yes;"> </span>That
honor goes to a fan who started in 2009 and has seen over 40% of possible shows
since then.<span style="mso-spacerun: yes;"> </span>The top 15% of fans, by this
metric, have seen just over 22% of possible shows since they started seeing the
band.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Fans of
Phish often discuss 3 separate eras, “1.0” covering their beginning up until
their first hiatus in 2000.<span style="mso-spacerun: yes;"> </span>“2.0” covers
their brief reunion from 2002-2004.<span style="mso-spacerun: yes;"> </span>And
“3.0” covers the period from 2009 until the present.<span style="mso-spacerun: yes;"> </span>The distribution of when those polled saw
their first show is shown in Figure 1.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCtfuar8bfe3dt6zwk7ob7iQvDPIm_Akt1h2J5xzbDyutuVehnXg0M-FDKNtZRKtDrYz2FSYjRuLpeuqiiP_22CK9qAlZ7vkFGirLJtxkTdhYPRU43sjUi_imjYnU8mvgoKpC1drRXPg8/s1600/Figure+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCtfuar8bfe3dt6zwk7ob7iQvDPIm_Akt1h2J5xzbDyutuVehnXg0M-FDKNtZRKtDrYz2FSYjRuLpeuqiiP_22CK9qAlZ7vkFGirLJtxkTdhYPRU43sjUi_imjYnU8mvgoKpC1drRXPg8/s400/Figure+1.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: 12.0pt; line-height: 200%;"></span></div>
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-size: 12.0pt; line-height: 200%; mso-no-proof: yes;"></span><span style="font-size: 12.0pt; line-height: 200%;"></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;">
</span>Figure 1</span></div>
</div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>This chart
shows a broad distribution of respondents.<span style="mso-spacerun: yes;">
</span>It is possible that the spike in respondents in 2009 was due to pent-up
demand following their second hiatus.<span style="mso-spacerun: yes;">
</span>Figure 2 shows the average number of shows seen by year started.<span style="mso-spacerun: yes;"> </span>The earlier a fan started seeing Phish, the
more shows, on average, were seen.<span style="mso-spacerun: yes;">
</span>However, a more accurate gauge of devotion is the number of shows seen
as a percentage of the total number of shows you could have seen.<span style="mso-spacerun: yes;"> </span>Because I only polled based upon the year
started, I counted one half of the number of shows from that year plus all the
following shows as the standard.<span style="mso-spacerun: yes;"> </span>I call
this the Devotion Quotient and its distribution is shown in Figure 3.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJQOFMGeNozC2Q5zlF7r3k5YuL8SQ6MHGl5aaTbOh8MNGlyXFNuyjqjSwZQc59wg-wg0Us7W1Tu-onuiisiMZvl7N_jAbOdIsq4Gyn7IbVlzbgTt23RljhJW6ONB2hbXrvbuOToA7iM_Q/s1600/Figure+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJQOFMGeNozC2Q5zlF7r3k5YuL8SQ6MHGl5aaTbOh8MNGlyXFNuyjqjSwZQc59wg-wg0Us7W1Tu-onuiisiMZvl7N_jAbOdIsq4Gyn7IbVlzbgTt23RljhJW6ONB2hbXrvbuOToA7iM_Q/s400/Figure+2.jpg" width="400" /></a></div>
<br /></div>
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<span style="font-size: 12.0pt; line-height: 200%; mso-no-proof: yes;"></span><span style="font-size: 12.0pt; line-height: 200%;"></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;">
</span>Figure 2</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrAqODbI2ODpIztcW3GpbAEmwZtUEcyHq_RjogOwx370Ptxh1snMjuuMGykvWjuYXcoDpkno_57glNH-o81jK8Fdt72jZ0E3OCQMjBmbzewEtPvHcg03s4Cve3AlLVBxoRHTl71hOaN-0/s1600/Figure+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrAqODbI2ODpIztcW3GpbAEmwZtUEcyHq_RjogOwx370Ptxh1snMjuuMGykvWjuYXcoDpkno_57glNH-o81jK8Fdt72jZ0E3OCQMjBmbzewEtPvHcg03s4Cve3AlLVBxoRHTl71hOaN-0/s400/Figure+3.jpg" width="400" /></a></div>
<br /></div>
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<span style="font-size: 12.0pt; line-height: 200%; mso-no-proof: yes;"></span><span style="font-size: 12.0pt; line-height: 200%;"></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;">
</span>Figure 3</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>An
examination of this graph seems to indicate that people saw more shows, as a
percentage of possible shows, if they started seeing the band in 2003 or
later.<span style="mso-spacerun: yes;"> </span>This was examined more
closely.<span style="mso-spacerun: yes;"> </span>At a 10% significance level,
people saw more possible shows if they started seeing the band in 2003 or 2004
than if they started seeing the band prior to 2000.<span style="mso-spacerun: yes;"> </span>The p-value on this test was 0.013.<span style="mso-spacerun: yes;"> </span>However, the differences between those who
started seeing the band after 2009 and prior to 2000 were not statistically
significant.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>One possible
explanation for this phenomenon is that people who started seeing the band in
the 1990’s would likely be in their late 30’s or into their 40’s and thus would
not see as many shows as they used to.<span style="mso-spacerun: yes;"> </span>With
many folks in this age group, family and career pressures restrict the number
of concerts seen in general. However, an examination of the data broken down by
age indicates that there is no statistically significant difference between the
various age groups.<span style="mso-spacerun: yes;"> </span>This is a somewhat
surprising conclusion because many fans do not consider the period from
2003-2004 as the finest work the band has ever produced.</span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-size: 12.0pt; line-height: 200%; mso-no-proof: yes;"></span><span style="font-size: 12.0pt; line-height: 200%;"></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGDzheuzXTHgePn7wRaU4Java1-zzj7eI_sXpihPx1NKo5rmxYgGHzZHUDJcoA2LPt7sHTffgNxkOlFOMrIw_5e4tczyRNnRkSxQZb0igViPl4WS5Qi4c-MxrveufMH3w-KmRd9mtDtG8/s1600/Figure+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGDzheuzXTHgePn7wRaU4Java1-zzj7eI_sXpihPx1NKo5rmxYgGHzZHUDJcoA2LPt7sHTffgNxkOlFOMrIw_5e4tczyRNnRkSxQZb0igViPl4WS5Qi4c-MxrveufMH3w-KmRd9mtDtG8/s400/Figure+4.jpg" width="400" /></a></div>
<span style="font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;">
</span>Figure 4</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-size: 12.0pt; line-height: 200%;">The data makes clear that Phish
maintains its touring revenue by convincing a relatively small number of people
to buy a relatively large number of concert tickets.<span style="mso-spacerun: yes;"> </span>Figure 4 show that, regardless of what year a
fan started seeing them, they still tend to see 3 or 4 concerts a year.<span style="mso-spacerun: yes;"> </span>Thus, a small core of a fan base is able to
generate sales of a million or more tickets each year.<span style="mso-spacerun: yes;"> </span>At an average ticket price of $60, that is
$60 million in gross ticket sales from perhaps as few as 300,000 devoted
fans.<span style="mso-spacerun: yes;"> </span>While all of Phish’s fans exhibit
a tremendous level of brand loyalty, those that saw their first shows in
2003-2004 tend to be the most devoted.</span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=3511061641783375487#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[1]</span></span></span></span></a> http://www.billboard.com/biz/articles/news/5719306/dave-matthews-band-jams-to-top-of-hot-tours-with-40m-phish-with-18m-grande</div>
</div>
</div>
Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com3tag:blogger.com,1999:blog-3511061641783375487.post-43313520438215214062012-10-21T13:03:00.002-04:002012-10-21T13:03:22.771-04:00So long folksIt is with great regret that I must inform you that I cannot continue with the Phish Listening Room. I just don't have the time in my life to devote to this that it requires and looking forward, I won't have that kind of time for several years. Thanks for reading and I hope to see some of you guys on the road in the future.<br />
Chris<br />
<br />Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com3tag:blogger.com,1999:blog-3511061641783375487.post-63453328842794605552012-07-21T15:28:00.002-04:002012-07-21T15:50:53.199-04:00June 19, 2012 nTelos Pavilion, Portsmouth, VA Sources ReviewPhish moved down the eastern shore a bit from Jersey down to Virginia. nTelos was the smallest venue of tour and launched a meme that Phish played with all tour. On top of tucking, Phish played a version of Split Open and Melt that is definitely worth a re-listen. For a Tuesday night show, there were a ton of tapers on hand. There are 9 sources available for this night! I want to thank the tapers for all that they do and for sharing their recordings with the community.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>
<br />
<br />
Source 1 (hereafter M934c source)<br />
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, m934c/cardioid<br />
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=556026">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=556029">24 bit source</a><br />
<br />
<br />
Source 2 (hereafter Busman source)<br />
Source: Busman k11 > BSC2 > Lunatec V2 > Tascam DR100-mkII (24/44.1)<br />
Transfer: SDHC > Sound Forge 10 > CD Wave > .flac (level 8)<br />
Location: FOB / DFC / Mics up 6 feet, ORTF<br />
<br />
<a href="http://bt.etree.org/details.php?id=556027">16 bit source </a><br />
<br />
Source 3 (hereafter MK4v>KC5 source)<br />
Source: Schoeps mk4v's(DIN)>kc5>m222>nt222>aeta psp-3>744t<br />
Location: FOB/SLOC<br />
Transfer: 744t>CD Wave>Wavelab 5>Flac<br />
<br />
<a href="http://bt.etree.org/details.php?id=556030">16 bit source </a><br />
<br />
Source 4 (hereafter B&K source)<br />
Source: B&K4022(xy) > Sonosax [55%] + B&K 4027(ortf) > Sonosax [45%] > 744T<br />
Location: fob 1st row seats dfc<br />
Transfer: 744T>soundforge 10.0>cd wave>flac<br />
<br />
<a href="http://bt.etree.org/details.php?id=556033">16 bit source </a><br />
<br />
Source 5 (hereafter MK4v>VST source)<br />
Source:Schoeps MK4v(Din)> Vst 62IUg>Aeta PSP-3>Mytek 192 adc aes/spdif>R44(OCM)24/96<br />
Location: FOB, DFC 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556066">16 bit source </a><br />
<br />
Source 6 (hereafter MK41v source)<br />
Source:Schoeps MK41v(NOS)> Kcy > Sonosax SX-M2/LS2>R44(OCM)24/96<br />
Location: FOB, DFC 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556069">16 bit source </a><br />
<br />
Source 7 (hereafter MK21 source)<br />
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, NOS<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=556113">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=556114">24 bit source</a><br />
<br />
Source 8 (hereafter Nak source)<br />
Source: franken nak 300>cp-1>r4 oade tmod 24/48<br />
Location: fob loc 4 ft pas @9ft<br />
Transfer: r4>pc audacity dither 16/44.1>cd wave splits>tlh flac 8<br />
<br />
<a href="http://bt.etree.org/details.php?id=556194">16 bit source </a><br />
<br />
Source 9 (hereafter MK41 source) ****24 bit only****<br />
Source: Schoeps MK41 > KCY > Schoeps VMS5-U > Mytek 192 > Marantz PMD-661<br />
Location: FOB (just) at left corner of FOH On Stand, approximately 8'<br />
Transfer: SDHC Media Card -> Dell m1730 via media card reader > Sony Sound Forge 10 @ 96kHz, 24<br />
<br />
<a href="http://bt.etree.org/details.php?id=556333">24 bit source </a><br />
<br />
<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="309" mozallowfullscreen="" src="http://player.vimeo.com/video/44538308" webkitallowfullscreen="" width="550"></iframe> <br />
<a href="http://vimeo.com/44538308">Phish - 6/19/12 "Maze"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
Once again, the M934c source is my pick for best of the evening. It is extremely clear from the lowest lows to the highest highs and has great presence and levels. The low-end has plenty of umph to it and the tone is very natural.<br />
<br />
The Busman source doesn't have the low-end punch of the M934c or MK21 sources. It is quite clear though.<br />
<br />
The MK4c>KC5 source is a bit boomy and there is a fair amount of crowd noise.<br />
<br />
The B&K source is very muddy sounding, particularly in the low-end.<br />
<br />
The MK4v>vst source is nice and clean sounding, but just doesn't have the punch of the MK21 or M934c sources.<br />
<br />
The MK41v source sounds a bit distant and doesn't have the definition of the better schoeps sources.<br />
<br />
The MK21 source has excellent low-end and is very clean. There is plenty of low-end without being boomy. However, the tone is slightly different from the M934c and I don't prefer this source quite as much. That said, if you already have the MK21 source, by all means keep it. It is really good.<br />
<br />
The Franken Nak source is quite good for a Nak source, however the low-end just can't compare to the MK21 and M934c sources.<br />
<br />
The MK41 source is incredibly in your face and is really present. However, there is a bit of crowd noise and the low-end isn't quite as punchy as the MK21 or M934c sources. <br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com4tag:blogger.com,1999:blog-3511061641783375487.post-10343968744674392292012-07-13T21:00:00.000-04:002012-07-13T21:00:06.435-04:00June 17, 2012 Bader Field Atlantic City, NJ Sources ReviewThe third night of an excellent run at Atlantic City didn't have quite the punch that the first two nights had, but it did offer a few choice nuggets that are worth a re-listen. I would definitely recommend giving the 2001 a spin as well as the Reba that follows. I want to thank the tapers again for their efforts in getting these shows into our hands. I hate to apologize again to my readers, but life and tour got in the way of keeping these up as fast as I would like. However, things look fairly open for the next several days, so I hope to get through nTelos this week and have the OH-PA-OH run up next week, with the Creeks to follow shortly there after. Lots of good stuff to get to. There are 7 sources for this evening.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>
<br />
<br />
Source 1 (hereafter M934c source)<br />
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid<br />
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555984">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555985">24 bit source</a><br />
<br />
<br />
Source 2 (hereafter CCM4v source)<br />
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K><br />
Sound Devices 722 (24/48)<br />
Location: FOB/DFC 42' From Stage, 6' High<br />
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555986">16 bit source </a><br />
<br />
Source 3 (hereafter MK22+MK8 source)<br />
Source: Schoeps mk22 + mk8 [M-S]> Vark KCY> Darktrain 30' KCY
Extension> Naiant Littlebox (onboard M-S conversion)> Sony m10
(@24bit/96kHz)<br />
Location: FOB, DFC, ~6' Stand.<br />
Transfer: Dithered to 16bit via Mbit II and resampled to 44.1kHz via iZotope<br />
<br />
<a href="http://bt.etree.org/details.php?id=555993">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555992">24 bit source</a><br />
<br />
Source 4 (hereafter MK21 source)<br />
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, 6' Stand, NOS<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=556005">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=556104">24 bit source</a><br />
<br />
Source 5 (hereafter MK4v source)<br />
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Oade 248>Mytek 192 adc aes/spdif>R44(OCM)24/96<br />
Location: FOB, DFC,Din, 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556010">16 bit source </a><br />
<br />
Source 6 (hereafter MK41v source)<br />
Source: Schoeps Mk41v(NOS)> KCY>Schoeps Vms5u>R44(OCM)24/96<br />
Location: FOB, DFC 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556053">16 bit source </a><br />
<br />
Source 7 (hereafter AKG source)<br />
Source: AKG392's(Right of SBD behind TS rail) -> Hydra Silver XLR's
-> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz<br />
Location:Omnidirectional 39" separation, 75 HZ bass rolloff,
Mics aimed at PA Stacks, approximately 12 ft high on stand. <br />
Transfer: Microtrack II-> USB -> PC-> CD WAVE Editor -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend <br />
<br />
<a href="http://bt.etree.org/details.php?id=556062">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=556071">24 bit source</a><br />
<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="309" mozallowfullscreen="" src="http://player.vimeo.com/video/44418442" webkitallowfullscreen="" width="550"></iframe> <br />
<a href="http://vimeo.com/44418442">Phish - 6/17/12 "Reba"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The M934c source is my pick for the best of the night. It is extremely clear sounding and the bass response is great. The differences between this source and the MK21, and really the MK4v was right there too, are miniscule. I slightly preferred the tone of the bass, it seemed a bit brighter, particularly on some of the really interesting stuff that Mike is doing at the beginning of 2001. That said, if you already have the MK21 source, unless you are really obsessive, there is no reason to replace it.<br />
<br />
The CCM4v source is pretty boomy and sounds a bit distant. <br />
<br />
The MK22+MK8 source, like so many matrix mixes, has too much low-end without enough definition. <br />
<br />
The MK21 source, as mentioned above, is excellent. It is very clear with great separation. The only differences between it and the M934c source are minor tonal differences. If you already have this source, there is no need to switch.<br />
<br />
The MK4v source is also quite good. It doesn't have quite the separation of the MK21 or M934c source, but is still excellent. <br />
<br />
The MK41v source is a bit boomier than the MK4v source or the MK21 or M934c source.<br />
<br />
The AKG source is a bit thin on the low-end. At points where Gordon is really dropping a bomb, the AKG's just kind of fade out. Nowhere near the punch of the M934c or MK21 source.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-68951323715805054532012-07-11T19:35:00.000-04:002012-07-11T19:35:28.285-04:00June 16, 2012 Bader Field, Atlantic City, NJ Sources ReviewNight two at Atlantic City brought some heat right from the start. There are very few bad shows that kick off with Mike's Song and this show is no exception. The Lighteca in the second set is definitely not to be missed. As with the night before, there are 5 sources available, though the sources are slightly different. I want to thank all the tapers for recording this show and sharing it with the community.<br />
<br />
Source 1 (hereafter MK21>KCY source)<br />
Source: Schoeps Mk21> KCY>Schoeps Vms5u >R44(OCM)24/96<br />
Location: FOB, DFC,NOS, 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556054">16 bit source </a><br />
<br />
Source 2 (hereafter M934c source)<br />
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid<br />
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555952">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555962">24 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>
<br />
<br />
Source 3 (hereafter MK21>KC5 source)<br />
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, 6' Stand, NOS<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555968">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=556103">24 bit source</a><br />
<br />
<br />
Source 4 (hereafter MK4v source)<br />
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Sonosax SX-M2>Mytek 192 adc aes/spdif>R44(OCM)24/96<br />
Location: FOB, DFC,Din, 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556055">16 bit source </a><br />
<br />
Source 5 (hereafter AKG source)<br />
Source: AKG392's(Right of SBD) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz<br />
Location: Omnidirectional 39" separation, 75 HZ bass rolloff,
Mics aimed at PA Stacks, approximately 12 ft high on stand.<br />
Transfer: Microtrack II-> USB -> PC-> CD WAVE Editor -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend <br />
<br />
<a href="http://bt.etree.org/details.php?id=556061">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=556070">24 bit source</a><br />
<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="309" mozallowfullscreen="" src="http://player.vimeo.com/video/44340464" webkitallowfullscreen="" width="550"></iframe> <br />
<a href="http://vimeo.com/44340464">Phish - 6/16/12 "Light"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The MK21>KCY source is a bit boomier than the other sources, all of which sound pretty darn good. However, the separation and balance just isn't as good as the MK21>KC5 source.<br />
<br />
The M934c source is very clear and quite well balanced, but it doesn't have the extra umph on the low-end that the MK21>KC5 source has.<br />
<br />
The MK21>KC5 source is my pick for the night. It is extremely clear and well balanced. The separation is superior to the AKG source and the low-end has just a bit more kick than the M934c source.<br />
<br />
The MK4v source sounds quite good but doesn't have the separation that the MK21>KC5 and M934c sources have.<br />
<br />
The AKG source is quite good, but there is a bit of boominess at the lowest frequencies and the overall sonic separation isn't as good as the MK21>KC5 source.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-48345830372525597502012-06-27T08:29:00.000-04:002012-06-27T08:29:42.578-04:00June 15, 2012 Bader Field, Atlantic City, NJ Sources ReviewAfter a festival set at the 'roo, Phish took most of the next week off prior to what many believe was the real start of tour. A three day, non-festival, stand at Bader Field in Atlantic City, NJ. After a great start to tour in Worcester, there were high hopes for these shows and the first show did not disappoint. Featuring a standout version of Birds of a Feather, as well as a classic Twist > Piper, this is a show to add to the collection. There are 5 different sources available for this show. I want to thank the tapers for recording this show and sharing it with the community.<br />
<br />
Source 1 (hereafter AKG source)<br />
Source: AKG392's(Right of SBD) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz<br />
Location: Omnidirectional 39" separation, 75 HZ bass rolloff,
Mics aimed at PA Stacks, approximately 12 ft high on stand.<br />
Transfer: Microtrack II-> USB -> PC-> CD WAVE Editor -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend <br />
<br />
<a href="http://bt.etree.org/details.php?id=556036">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=556056">24 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>
<br />
<br />
Source 2 (hereafter M934c source)<br />
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid<br />
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555923">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555934">24 bit source</a><br />
<br />
<br />
Source 3 (hereafter MK21 source)<br />
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, 6' Stand, NOS<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555940">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=556008">24 bit source</a><br />
<br />
Source 4 (hereafter MK4v source)<br />
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Aeta PSP-3>Mytek 192 adc aes/spdif>R44(OCM)24/96<br />
Location: FOB, DFC,Din, 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556007">16 bit source </a><br />
<br />
Source 5 (hereafter MK41v source)<br />
Source: Schoeps MK41v(NOS)> Kcy > Sonosax SX-M2/LS2>R44(OCM)24/96<br />
Location: FOB, DFC 6' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=556009">16 bit source </a><br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/44340650" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/44340650">Phish - 6/15/12 "Birds Of A Feather > Back On The Train > Heavy Things"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The AKG source has less separation than the M934c source and lacks in tonal clarity at the lowest frequencies. Basically, it is not as crisp sounding as the Schoeps sources.<br />
<br />
The M934c source gets my nod for recording of the evening. The bass tone is excellent without being overpowering and the high-end is fantastic. This recording has great tone and is well balanced from the lows to the highs. I think this is a new set of mics for taylorc, I could be wrong about that, but he consistently produces great recordings and this one is no exception. There is a fair amount of crowd noise, but it is not super distracting.<br />
<br />
The MK21 source is also quite good. The companion source to the M934c, it just doesn't have the great highs of the M934c, though the bass is quite good, possibly a touch more rich than the M934c's. However, at closer listen, I like the balance of the M934c's a bit better and definitely like the high-end more.<br />
<br />
The MK4v is a very, very good recording. The low-end has a bit more punch than the MK21 or M934c sources, but the levels are a bit lower and the highs don't sound as nice.<br />
<br />
The MK41v, a companion source to the MK4v, sounds a bit distant and is quite bass heavy.<br />
<br />
Happy listening!<br />
<br />Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com1tag:blogger.com,1999:blog-3511061641783375487.post-53849634285871094262012-06-26T15:41:00.000-04:002012-06-26T15:41:26.485-04:00June 10, 2012 Bonnaroo, Manchester, TN Sources ReviewWith Phish just finishing a scorching two night run in Worcester prior to jetting off for Tennessee, it is not surprising that there weren't a great many tapers there for this show. Many of you probably, like myself, saw this show on the webcast. It certainly doesn't offer the jamming that the Worcester shows had, but it is fun in its own right and the Tweezer and Carini>Shafty are definitely worth the re-listen. There are two different sources available for this show. Thanks a lot for the tapers that captured this and shared it with the scene.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>
<br />
Source 1 (hereafter MK21 source)<br />
Source: Schoeps mk21 > kcy > Sonosax SX-M2-LS2 > Sony M10 (24/48)<br />
Location: NOS/FOB<br />
Transfer: Micro SD > Sound Studio > xACT > .flac (16/44)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555829">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555830">24 bit source</a><br />
<br />
<br />
<br />
<br />
Source 2 (hereafter CK-1 source)<br />
Source: Avantone CK-1 (cardoid) > Fostex FR-2LE (24/48)<br />
Location: FOB/DFC; ~110' from stage; mics at ~ 9 feet<br />
Transfer: CF > HDD > Wavelab 6.0 > CD WAVE > Trader's Little Helper<br />
<br />
<a href="http://bt.etree.org/details.php?id=555782">16 bit source </a><br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/44121450" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/44121450">Phish - 6/10/12 "Carini > Shafty"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
<br />
The MK21 source is my pick for the best of the two. The levels are excellent, the separation is very good, and the bass response is quite good as well. There is minimal crowd noise, which can be a problem at a festival. The mids are noticeably superior to the CK1 source and the low-end really hits well during "the note" at the beginning of Tweezer Reprise.<br />
<br />
The CK1 source doesn't have the tight high-end of the MK21 source and the levels get a bit crunchy at times. The recording is quite good, but with the level problems, I would pass on this and grab the MK21.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com2tag:blogger.com,1999:blog-3511061641783375487.post-69428282803774407802012-06-21T12:54:00.001-04:002012-06-21T13:08:43.378-04:00June 8, 2012 DCU Center, Worcester, MA Sources ReviewAfter a scorching night one at Worcester, Phish continued to bring the heat in night two, with particular highlights in Set 1. These two shows are definitely must listen Phish for all the real heads out there. There are seven sources available for this show, many in both 16 and 24 bit audio. I want to thank all the tapers that recorded these shows and shared them with the rest of us. Thanks a lot guys!<br />
<br />
Source 1 (hereafter MK22 source)<br />
Source: Schoeps MK22>KC5>CMC6>Sonosax SX-R4(24bit/96khz) <br />
Location: Mics were 40' from stage DFC FOB (21cm,110 degrees
<br />
Transfer: WAV>USB>Macbook Pro>Wave Editor(tracking,fades,add
gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC
8,ffp,fix sbe)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555735">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555734">24 bit source</a><br />
<br />
Source 2 (hereafter M200 source)<br />
Source: Microtech Gefell m200 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)<br />
Location: Front of the taper's section, dead center<br />
mics angled 90 degrees, spaced approximately 8 inches<br />
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, track splits) > SoX
14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level
8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555697">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555700">24 bit source</a><br />
<br />
Source 3 (hereafter MD441u source)<br />
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2<br />
Location: pointed at PA array, OTS centered, 12.5 feet high.<br />
Transfer: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )<br />
<br />
<a href="http://bt.etree.org/details.php?id=555698">16 bit source </a><br />
<br />
Source 4 (hereafter CCM4v source)<br />
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K><br />
Sound Devices 722 (24/48)<br />
Location: FOB/DFC/ Approximately 42' From Stage, 6' High<br />
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555699">16 bit source </a><br />
<br />
Source 5 (hereafter DPA 4011 source)<br />
Source: DPA 4011 > V3 Digital > R44 (24/96)<br />
Location: DFC/DIN/8' high <br />
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, Normalize, Izotope 5,
resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav
(tracking) > TLH > Flac (level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555713">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=555714">24 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>
Source 6 (hereafter DPA 4023 source)<br />
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)<br />
Location: ORTF/FOB/DFC 6' stand 40' from the stage<br />
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)><br />
Wave Editor 1.5.7 (iZotope Resampler/MBIT+ Dither)> xACT 2.18(align on sector boundaries,encode, tag, fingerprint)>flac16 (level 8) <br />
<a href="http://bt.etree.org/details.php?id=555730">16 bit source</a> <br />
<a href="http://bt.etree.org/details.php?id=555907">24 bit source</a><br />
<br />
<br />
Source 7 (hereafter AKG source)<br />
Source: AKG c480b/ck63 > Lunatec V3 Digital > Edirol R-44(24/96)<br />
Location: PAS, OTS<br />
Transfer: Wave > Sound Forge Pro 10.0(Fade,Track,Resample,Dither 16/44.1) > TLH > Flac<br />
<br />
<a href="http://bt.etree.org/details.php?id=555761">16 bit source </a><br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/44121261" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/44121261">Phish - 6/8/12 "Character Zero"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
Once again, thanks to all the tapers. If you are at a show, please be courteous around the tapers. You don't want your drunk ramblings preserved for posterity do you? Thanks again!<br />
<br />
The MK22 source has great levels, a fair amount of crowd noise, though not as much as the DPA 4023 source. The bass response is quite nice, but on close inspection, is just not as good as the DPA 4023 source. Notice the intro to Sand, on the DPA 4023 source, the bass is quite distinct and on this source, it just isn't quite up to that level.<br />
<br />
The M200 source, just like the night before, is quite warm sounding, but lacks tonal clarity in the lowest frequencies.<br />
<br />
The MD441u source is a very good sounding recording, probably the 3rd best of the night. However, like most of the other tapes, it just doesn't have that crystal clear tone at the lowest frequencies that the DPA 4023 source has.<br />
<br />
The CCM4v source is very boomy without much clarity in the lower registers.<br />
<br />
The DPA 4011 source sounds a bit hollow in the mids, particularly compared to the MK22 and DPA 4023 sources. The bass is also a bit boomy.<br />
<br />
The DPA 4023 source is my pick for the night. It has great levels, outstanding separation, and great tonal clarity throughout the frequency range. The only downside of this recording is that the crowd noise is noticeably more than on the previous nights recording.<br />
<br />
The AKG source doesn't have the excellent separation of the DPA 4023 source and the bass tone isn't as clear at the lowest frequencies.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-86136914749258345102012-06-20T13:08:00.000-04:002012-06-20T13:08:53.179-04:00June 7, 2012 DCU Center, Worcester, MA Sources ReviewHey Folks!<br />
Sorry for the long delay between posts and the delay on getting started on this summer tour. I was on vacation last week and this is my first chance to delve into this summer's madness. And madness it was to start the tour off right. The second set to this show has been rightly praised and you owe it to yourself to set aside the time to listen to the whole thing. There are nine sources available for this night. I want to thank all the tapers for taking the time to record the show and share it with the rest of us.<br />
<br />
Source 1 (hereafter M200 source)<br />
Source: Microtech Gefell m200 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)<br />
Location: Recorded from the front of the taper's section, dead center<br />
mics angled 90 degrees, spaced approximately 8 inches<br />
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, splice, track splits) >
SoX 14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1
(Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555670">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555672">24 bit source</a><br />
<br />
Source 2 (hereafter CCM4v source)<br />
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K><br />
Sound Devices 722 (24/48)<br />
Location: FOB/DFC Approximately 45'From Stage, 6' High<br />
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555669">16 bit source </a><br />
<br />
Source 3 (hereafter MD441u source)<br />
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2<br />
Location: pointed at PA array, OTS centered, 12.5 feet high.<br />
Transfer: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )<br />
<br />
<a href="http://bt.etree.org/details.php?id=555671">16 bit source </a><br />
<br />
Source 4 (hereafter MK22 source)<br />
Source: Schoeps MK22>KC5>CMC6>Sonosax SXR4(24bit/96khz) <br />
Location: Mics were 50' from stage DFC FOB (21cm,110 degrees)<br />
Transfer: WAV>USB>Macbook Pro>Wave Editor(tracking,fades,add
gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC
8,ffp,fix sbe)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555677">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=555673">24 bit source</a><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a>Source 5 (hereafter DPA 4023 source)<br />
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)<br />
Location: Wide ORTF/FOB/DFC 6' stand 50' from the stage<br />
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)><br />
Wave Editor 1.5.7 (iZotope Resampler/MBIT+ Dither)><br />
xACT 2.18(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )<br />
<br />
<a href="http://bt.etree.org/details.php?id=555676">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555908"> 24 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Source 6 (hereafter DPA 4011 source)<br />
Source: DPA 4011 > V3 Digital > R44 (24/96)<br />
Location: DFC/DIN/9 1/2' high <br />
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, Normalize, Izotope 5,
resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav
(tracking) > TLH > Flac (level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555681">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=555682">24 bit source</a><br />
<br />
Source 7 (hereafter MG210 source)<br />
Source: Microtech Gefell M210>V3>Edirol R-44(24/96) <br />
Location: OTS<br />
Transfer: Edirol R44 > USB > WaveLab 6 > CDWav 1.71 >Flac Frontend 1.7.1 (Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555684">16 bit source </a><br />
<br />
Source 8 (hereafter Schoeps Matrix)<br />
Source: Schoeps mk41 + mk8 [m-s]> Vark KCY> Darktrain 30' KCY
Extension Cable> Naiant Littlebox (onboard m-s conversion)> Sony
m10 @ 24bit/96 kHz<br />
Location: OTS, DFC, Clamped to Jason Sobel's stand.<br />
Transfer: Dithered to 16bit via MBIT II and Resampled to 44.1kHz via iZotope<br />
<br />
<a href="http://bt.etree.org/details.php?id=555690">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555689">24 bit source</a><br />
<br />
Source 9 (hereafter Microtech Matrix)<br />
Source 1: Microtech Gefell m210 (hypercardioid) > Edirol R-4 (Oade T mod) @ 24 bit / 48 kHz<br />
Source 2: Microtech Gefell m270 (omni) > Edirol R-4 @ 24 bit / 48 kHz<br />
Location: Recorded from the front of the taper's section, slightly right of center.<br />
The m210's (hypercardioids) were in the "DIN" configuration<br />
The m270's (omnis) were AB, spaced approximately 3 ft<br />
Transfer: Edirol R-4 > USB > pc > Samplitude SE v9.1.1 (mix sources,
fades, track splits) > SoX v14.4.0 (resample to 44.1 kHz, dither to
16 bit) > FLAC v1.2.1 (Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=555924">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=555925">24 bit source</a><br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/43931402" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/43931402">Phish - 6/7/12 "Buried Alive > Runaway Jim"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
Again, I'm terribly sorry about the delay. I had hoped to have this up on Monday, but slow internet connection in my hotel room prevented that. Then yesterday a construction crew tore out the cable to my house running under the street. But, all that has been fixed and you can expect regular updates as the summer tour progresses. I will be hitting Cincy this Friday and will be at the Creek next week, if you see me say hello. And as always, look out for the tapers and give them your thanks when you see them. <br />
<br />
The M200 source has lower levels than the MK22 or DPA sources and the bass response isn't nearly as good. That said, as with most Geffell sources, it is nice and warm and sounds great on phones as well as speakers. However, it is not, in my opinion, quite as good as the MK22 or DPA 4023 source.<br />
<br />
The CCM4v source is also very warm sounding, but the bass is not as well defined down low as the DPA4023 or MK22 source.<br />
<br />
The MD441u source is quite good, but like the M200 and CCM4v source, just doesn't have that great definition down low that I really like to hear.<br />
<br />
The MK22 source is quite good. The levels are excellent, the separation is fantastic and the response is full across the spectrum. However, there is a slight tone difference between it and the DPA 4023 source and I just barely prefer the DPA source. However, if you have already downloaded the MK22 source, there is really no reason to replace it.<br />
<br />
The DPA 4023 source is my preferred source for this evening. The sonic separation is fantastic, the bass is rich and well defined, and the levels are perfect. There is a bit of crowd noise here, but to my ears, it adds rather than detracts. You don't hear conversations, just the occasional Woot!<br />
<br />
The DPA 4011 source has nice bass response, but is boomier than either the MK22 or DPA 4023 source.<br />
<br />
The MG210, like the other Microtech sources, sounds quite good, it just lacks the bass clarity at the lowest frequencies.<br />
<br />
The Schoeps Matrix is quite boomy sounding, like the bass tone knob was turned up. The bass response is quite good, but the high-end just doesn't have the crispness of the MK22 or DPA 4023 sources.<br />
<br />
The Microtech Matrix is also quite boomy and in this case, the bass is poorly defined as well.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com2tag:blogger.com,1999:blog-3511061641783375487.post-10713567961247185892012-01-19T13:03:00.000-05:002012-01-19T13:03:57.050-05:00December 29, 2011 Madison Square Garden, New York, NY Sources ReviewPhish began their second of four nights at the Garden with a bang, The Sloth > You Enjoy Myself. While this show didn't quite rise to the heights of the first night, in my opinion, and <a href="http://phishthoughts.com/2011/12/30/the-house-of-energy/">others</a>, there are still some great moments in this show and it is worth having if just for the Lifeboy, one of my all-time favorite Phish ballads, and the interesting Weekapaug. I want to thank all the tapers for capturing this evening. Thanks a lot guys!<br />
<br />
Source 1 (hereafter SPC4 source)<br />
Source: Studio Projects C4s (hypers) > Segue Dogstar XLRs > Fostex FR-2LE(24bit/44.1khz)<br />
Location: Sec 2, Row 4, Seat 12, 8' high; PAS, 20cm @ 60* <br />
Transfer: CF Card > .bwf > Audacity (gain/fades/dither) > CDWav > .wav > .flac<br />
<br />
<a href="http://bt.etree.org/details.php?id=551515">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=551516">24 bit source</a><br />
<br />
Source 2 (hereafter CCM4v source)<br />
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K><br />
Sound Devices 722 (24/48)<br />
Location: OTS/BOB/DFC Section 2, Row 4, Seat 12, 8' High<br />
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)<br />
<br />
<a href="http://bt.etree.org/details.php?id=551273">16 bit source </a><br />
<br />
Source 3 (hereafter DPA 4011 source)<br />
Source: DPA 4011 > V3 Digital > R44 (24/96)<br />
Location: OTS Sec.2 Row 3 Seat 14/DIN/8' ft. high <br />
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)<br />
<br />
<a href="http://bt.etree.org/details.php?id=551285">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=551286">24 bit source</a><br />
<br />
Source 4 (hereafter TLM 170 source)<br />
Source: Neumann TLM-170 (hypercardoids,) -> Sound Devices 722 (@24/96);<br />
Location: front row of tapers' section dead center<br />
Transfer: FLAC file processing in SoundForge 10.0C (some volume leveling; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings); Tracked in CDWav<br />
<br />
<a href="http://bt.etree.org/details.php?id=551294">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>Source 6 (hereafter MK41>KC5 source)<br />
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out,24bit/96khz)>COAX>Edirol R-44 <br />
Location: OTS mics were DIN<br />
Transfer: SDHC Card>USB>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)<br />
<br />
<a href="http://bt.etree.org/details.php?id=551379">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=551380">24 bit source</a><br />
<br />
Source 7 (hereafter MK41>KCY source) ***24 bit only***<br />
Source: Schoeps MK41 (DINa) > Schoeps KCY > Schoeps VMS-5u > Mytek 192 > Marantz PMD-661 @ 06 kHz 24 bits<br />
Location: OTS: Very close to centered, on stand approx. 10' - <br />
Transfer: SDHC 08 GB Card > Card Reader Slot on Dell XPS m1730 > Sony Sound Forge 10.0<br />
<br />
<a href="http://bt.etree.org/details.php?id=551488">24 bit source</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/34597286?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/34597286">Phish - "Mike's Song > Chalk Dust Torture > I Am Hydrogen > Weekapaug Groove" 12/29/11</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The recordings this evening, like the prior evening, don't have the great bass tone of some of the better recordings from the summer. Once again, I suspect this must have been a problem with the sound system. However, that said, the differences between these six recordings are largely minor. The very best is not radically different from the very worst. Thanks a lot guys, you made some great pulls!<br />
<br />
The SPC4 source is probably the second best source. The bass tone is nice, though not quite as defined as the KC5 source, but still better than some of the others. The levels are good as well.<br />
<br />
The CCM4V source is missing some tonality down low and is not quite as bright sounding as the KC5 source either.<br />
<br />
The DPA source has relatively low levels, though still decent, and nice bass tone, but not the punch of the KC5 source. The high-end doesn't sound as nice on this source as the KC5 source either.<br />
<br />
The TLM170 source has great bass response, but it borders on boomy. The high-end isn't as crisp as the MK41>KC5 source and the low-end, while kicking the sub plenty hard, doesn't have the punch of the KC5 source either.<br />
<br />
As I have mentioned repeatedly above, the MK41>KC5 source is my pick for best of the evening. It has nice crisp highs and the low-end is quite good as well. Definitely an enjoyable recording.<br />
<br />
The MK41>KCY source has ridiculously high levels. Really in your face recording. The high-end is a bit too bright to my ears, and the low-end has a bit of boominess.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com2tag:blogger.com,1999:blog-3511061641783375487.post-38997346715306459582012-01-10T20:12:00.000-05:002012-01-10T20:12:07.717-05:00December 28, 2011 Madison Square Garden, New York, NY Sources ReviewI want to thank all of you who have waited patiently for the return of the Phish Listening Room. Like many of you, I eagerly awaited these shows, and at least for this night, was not disappointed. The Holiday Run, particularly at MSG, is one of fabled lore. Unfortunately, this run did not live up to the hype. However, there are some great nuggets from each night and if you only download one concert in its entirety from this run, this is the night to grab. There are seven sources available for this show. I want to thank the tapers who recorded this and all of the other nights of the run. I know how much fun a holiday show is, and I know how challenging it is to get a good recording when people are jazzed out of their minds, screaming, and throwing things. Given all that, there are some remarkably good recordings here! Thanks again guys!<br />
<br />
Source 1 (hereafter SP C4 source)<br />
Source: Studio Projects C4s (hypers) > Segue Dogstar XLRs > Fostex FR-2LE(24bit/44.1khz)<br />
Location: Sec 2, Row 4, Seat 13, 8' high; PAS, 20cm @ 60* <br />
Transfer: CF Card > .bwf > Audacity (gain/fades/dither) > CDWav > .wav > .flac<br />
<br />
<a href="http://bt.etree.org/details.php?id=551513">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=551514">24 bit source</a><br />
<br />
Source 2 (hereafter CCM4v source)<br />
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K><br />
Sound Devices 722 (24/48)<br />
Location: OTS/BOB/DFC/KFC/ZFC/AARP Section 2, Row 4, Seat 13, 8' High<br />
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)<br />
<br />
<a href="http://bt.etree.org/details.php?id=551249">16 bit source </a><br />
<br />
Source 3 (hereafter TLM170 source)<br />
Source: Neumann TLM-170 -> Sound Devices 722 (@24/96)<br />
Location: hypercardoids, 5th row of tapers' section, about 7 seats left of center<br />
Transfer: FLAC file processing in SoundForge 10.0C (some volume leveling; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings; clap removal); Tracked in CDWav<br />
<br />
<a href="http://bt.etree.org/details.php?id=551274">16 bit source </a><br />
<br />
Source 4 (hereafter MK41>PSP2 source)<br />
Source: Schoeps MK41'S>PSP 2>Tascam DP2(24/44)<br />
Location: OTS/BOB/DFC Section 2, Row 4, Seat 13, 8' High<br />
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)<br />
<br />
<a href="http://bt.etree.org/details.php?id=551288">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div> Source 5 (hereafter MK41>KC5 source) ***Encore Is Patched from MK41>KCY source***<br />
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out,24bit/96khz)>COAX>Edirol R-44 <br />
Location: OTS DIN<br />
Transfer: SDHC Card>USB>Macbook Pro>Wave<br />
Editor(tracking, fades, resample (izotope) / dither (mbit+) to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)<br />
<br />
<a href="http://bt.etree.org/details.php?id=551458">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=551457">24 bit source</a><br />
<br />
<br />
Source 6 (hereafter KM184 source)<br />
Source: Neumann km184 > Sound Devices MP-2 > Edirol R-09HR (16/44)<br />
Transfer: WAV > PC > CDWav > FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=551466">16 bit source </a><br />
<br />
Source 7 (hereafter MK41>KCY source) ***24 bit source only***<br />
Source: Schoeps MK41 (DINa) > Schoeps KCY > Schoeps VMS-5u > Mytek 192 > Marantz PMD-661 @ 06 kHz 24 bits<br />
Location: OTS: Slightly LoC, on stand approx. 10' - <br />
Transfer: SDHC 16 GB Card > Card Reader Slot on Dell XPS m1730 > Sony Sound Forge 10.0<br />
<br />
<a href="http://bt.etree.org/details.php?id=551489">24 bit source </a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/34543658?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/34543658">Phish - "Contact" > "Sample In A Jar" 12/28/11</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The SPC4 source is probably the second best source available. Like all the sources, the low-end isn't as well defined as it was on the best tapes from the summer. Given that all the recordings suffered from this, I must presume that the room didn't have the best bass definition. The low-end is quite punchy, it is just a tad less defined than the MK41>KC5 source. Given that the encore of the KC5 source is patched from the KCY source, you might want to grab the encores from this source for the best possible source.<br />
<br />
The CCM4v source gets the bronze medal from me for this evening. The low-end has a nice kick, but is not quite as defined as the SPC4 or the MK41>KC5 source. Notice about 18 seconds in on Carini, when Mike is playing the up and down lick. The notes aren't as well defined as on the two superior sources. Overall, though, nice levels and good recording.<br />
<br />
The TLM170 source has kind of a hollow sound on the high-end and the bass isn't as well defined and only seems to really kick at the lowest frequencies.<br />
<br />
The MK41>PSP2 source has relatively low levels, decent separation, but again lacks great definition down low and doesn't kick the sub very well at all.<br />
<br />
The MK41>KC5 source is my pick for the best of the evening. While it doesn't have the great definition of some of best sources from the summer tour, it has the best of this evening. It was definitely close and I had to check between this one, the CCM4's and the SPC4's repeatedly. Because this source uses a patch for the encores, I would suggest downloading the encores from the SPC4 source to get the best possible combination.<br />
<br />
The KM184 source is almost devoid of bass response. Definitely pass on this source.<br />
<br />
The MK41>KCY source has relatively low bass response and sounds kind of thin.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com2tag:blogger.com,1999:blog-3511061641783375487.post-66081448975217243402011-10-09T20:32:00.000-04:002011-10-09T20:32:15.317-04:00September 4, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources ReviewPhish wrapped up an epic three night run outside Denver with a smoking show. Along with the previous two nights, if you don't download this show, you are missing out on some of the best top to bottom shows of the year. Like the previous night, we are blessed with a plethora of recordings to choose from. Thirteen different sources have shown up for this night, making my job more difficult, but ensuring that the best recording is truly fantastic. Thanks again go out to all the tapers who get out there and capture this great music and share it with the community. Thanks a lot fellas!<br />
<br />
Source 1 (BSC2 source)<br />
Source: Busman bsc2 K31(hypers)>sd702>wav24/48<br />
Location: OTS>15ft<br />
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8<br />
<br />
<a href="http://bt.etree.org/details.php?id=548211">16 bit source</a><br />
<br />
Source 2 (MK22 source)<br />
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t<br />
Location: FOB/DFC 6.5'<br />
Transfer: 744>samplitude>cd wave> tlh <br />
<br />
<a href="http://bt.etree.org/details.php?id=548086">16 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
<br />
Source 3 (MK5 source)<br />
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, 6' Stand, cardioid/ORTF<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548093">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548166">24 bit source</a><br />
<br />
<br />
Source 4 (DPA 4022 source)<br />
Source: DPA 4022 (nos)> Oade m248> SD 744t<br />
Location: FOB/DFC 6.5'<br />
Transfer: 744>samplitude>cd wave> tlh<br />
<br />
<a href="http://bt.etree.org/details.php?id=548105">16 bit source </a><br />
<br />
Source 5 (SKM184 source)<br />
Source: Neumann skm184>sd744>wav24/48<br />
Location: OTS>15ft<br />
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8<br />
<br />
<a href="http://bt.etree.org/details.php?id=548132">16 bit source</a><br />
<br />
Source 6 (VM44 source)<br />
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50<br />
Location: FOB/DFC 6.5'<br />
Transfer: D50> Amadeus Pro > xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548130">16 bit source</a><br />
<br />
Source 7 (AK40 source)<br />
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48<br />
Location: FOB/DFC 50' Back <br />
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) ><br />
Cd Wave > TLH > 16.44 FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=548135">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=548205">24 bit source</a><br />
<br />
Source 8 (DPA Matrix source)<br />
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)<br />
Transfer: CDWave->FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=548137">16 bit source</a><br />
<br />
Source 9 (BSC1 source)<br />
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)<br />
Location: FOB/LOC 10ft up<br />
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades, <br />
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) > <br />
CDWave (Tracking) > Traders Little Helper (FLAC6)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548140">16 bit source </a><br />
<br />
Source 10 (CCM4 source)<br />
Source: Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96<br />
Location: FOB, DFC, 6' <br />
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548158">16 bit source </a><br />
<br />
Source 11 (MK4v source)<br />
Source: Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96<br />
Location: FOB, DFC, 6' <br />
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548159">16 bit source </a><br />
<br />
Source 12 (MK21 source)<br />
Source: Schoeps mk21 > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)<br />
Location: ORTF wide/FOB<br />
Transfer: CF > Sound Studio > xACT > .flac (16/44)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548187">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548188">24 bit source</a><br />
<br />
Source 13 (DPA 4021 source)<br />
Source: DPA 4021 > Lunatec V2 > Sony D50 (24/96)<br />
Location: ORTF/FOB <br />
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548284">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548285">24 bit source</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/28826979?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/28826979">Phish - 9/4/11 "Bathtub Gin"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The BSC2 source lacks good separation throughout the sonic spectrum and the low-end lacks the umph of the better sources.<br />
<br />
The MK22 source loses some of the tonality at the lowest frequencies.<br />
<br />
The MK5 source is superb. The levels are excellent, there is good balance between the instruments, the bass has good tone as well as kicking the sub nicely. This source gets my nod ever so slightly over the VM44 source because it sounds slightly brighter.<br />
<br />
The DPA 4022 source is a bit more bass heavy than the VM44 source, but the highs aren't as nice.<br />
<br />
The SKM184 source sounds a bit bass heavy and lacks high-end.<br />
<br />
The VM44 source is excellent. There is a tremendous dynamic range. The tone of the bass is great, even at the lowest frequencies. In the end, the differences between this recording and the MK5 are slight. This recording seems to lack a touch of the brightness of the MK5 recording, which is why it did not get the nod.<br />
<br />
The AK40 source is really bass heavy and lacks the crisp highs of the MK5 or VM44 source.<br />
<br />
The DPA Matrix source has lots of bass, and like so many matrix sources, loses a bit of the high-end.<br />
<br />
The BSC1 source lacks good separation and sounds a bit bass heavy.<br />
<br />
The CCM4 source sounds a bit distant compared to the VM44 source, but the sound is quite good, if a touch heavy on the bass.<br />
<br />
The MK4v source is quite nice sounding, with good bass tone, however some of the tone is lost at the lowest frequencies.<br />
<br />
The MK21 source is quite good. The tone is nice down low, however it lacks the great highs of the VM44 or MK5 source. I would say this is probably the 3rd best recording of the night.<br />
<br />
The DPA 4021 source doesn't have the tone down low of the VM44 or MK5 source, and the highs aren't as nice either.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-91370273189227014902011-10-02T10:55:00.000-04:002011-10-02T10:55:45.525-04:00September 3, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources ReviewI 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!<br />
<br />
Source 1 (hereafter MK4v source)<br />
Source: schoeps mk4v(din)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t<br />
Location: FOB/DFC 6.5'<br />
Transfer: 744>samplitude>cd wave> tlh<br />
<br />
<a href="http://bt.etree.org/details.php?id=548056">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
Source 2 (hereafter MK5 source)<br />
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, 6' Stand, cardioid/ORTF<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548057">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548064">24 bit source</a><br />
<br />
<br />
<br />
Source 3 (hereafter BSC1 source)<br />
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)<br />
Location: SBD/LOC 10ft up<br />
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades, <br />
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) > <br />
CDWave (Tracking) > Traders Little Helper (FLAC6)<br />
Tagging: FLACs Tagged With Mp3tag v2.46a<br />
<br />
<a href="http://bt.etree.org/details.php?id=548058">16 bit source </a><br />
<br />
Source 4 (hereafter Senn source)<br />
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2<br />
Location: pointed at PA array, centered, 12.5 feet high<br />
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )<br />
<br />
<a href="http://bt.etree.org/details.php?id=548059">16 bit source</a><br />
<br />
Source 5 (hereafter DPA 4021 source)<br />
Source: DPA 4021 > Lunatec V2 > Sony D50 (24/96)<br />
Location: ORTF/FOB<br />
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548062">16 bit source </a><br />
<br />
Source 6 (hereafter DPA 4022 source)<br />
Source: DPA 4022(din)> oade m248> SD 744t<br />
Location: FOB/DFC 6.5'<br />
Transfer: 744>samplitude>cd wave> tlh<br />
<br />
<a href="http://bt.etree.org/details.php?id=548065">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548214">24 bit source</a><br />
<br />
Source 7 (hereafter AK40 source)<br />
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48<br />
Location: FOB/DFC<br />
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) ><br />
Cd Wave > TLH > 16.44 FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=548073">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548194">24 bit source</a><br />
<br />
Source 8 (hereafter VM44 source)<br />
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50<br />
Location: FOB/DFC 6.5' (thanks again for the clamp space Adam!)<br />
Transfer: D50> Amadeus Pro > xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548114">16 bit source </a><br />
<br />
Source 9 (hereafter MK21 source)<br />
Source: Schoeps mk21 > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)<br />
Location: NOS/FOB<br />
transfer: CF > Sound Studio > xACT > .flac (16/44)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548120">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548121">24 bit source</a><br />
<br />
Source 10 (hereafter SKM184 source)<br />
Source: Neumann skm184>sd702>wav24/48<br />
Location: OTS>15ft<br />
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8<br />
<br />
<a href="http://bt.etree.org/details.php?id=548128">16 bit source</a><br />
<br />
Source 11 (hereafter CCM4 source)<br />
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96<br />
Location: FOB, DFC, 6' <br />
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT <br />
<br />
<a href="http://bt.etree.org/details.php?id=548156">16 bit source</a><br />
<br />
Source 12 (hereafter MK22 source)<br />
Source:Schoeps MK22 (stc 22g)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96<br />
Location: FOB, DFC, 6' <br />
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548155">16 bit source </a><br />
<br />
Source 13 (hereafter BSC2 source)<br />
Source: Busman bsc2 K11(cards)>sd744>wav24/48<br />
Location: OTS>15ft<br />
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8<br />
<br />
<a href="http://bt.etree.org/details.php?id=548210">16 bit source</a><br />
<br />
Source 14 (hereafter DPA Matrix source)<br />
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)<br />
Transfer: CDWave->FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=548133">16 bit source </a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/28592261?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/28592261">Phish - 9/3/11 "Tweezer"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The MK4v source sounds a bit muffled in the low-end and loses some tonal characteristics at the lowest frequencies.<br />
<br />
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.<br />
<br />
The BSC1 source sounds a bit muffled at the low-end.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The AK40 source is quite nice sounding, but like the 4022's, just doesn't have the bass response of the better sources.<br />
<br />
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.<br />
<br />
The MK21 source, like the 4022's sounds quite nice but doesn't kick the sub like the better sources.<br />
<br />
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.<br />
<br />
The CCM4 source sounds a bit distant and the bass doesn't have the tone or punch of the better sources.<br />
<br />
The MK22 source, like the CCM4's and MK21's doesn't kick the sub as hard as the better sources.<br />
<br />
The BSC2 source sounds distant and muffled.<br />
<br />
The DPA Matrix source has quite nice bass response, but like the night before, sacrifices high-end in the process.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-64747550856831916622011-09-21T12:31:00.000-04:002011-09-21T12:31:35.306-04:00September 2, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources ReviewComing 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!<br />
<br />
Source 1 (hereafter AK40 source)<br />
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48<br />
Location: FOB/DFC 50' Back<br />
Transfer: Cf Card > Wavelab 6.0 (resample,Uv 22 HR) > Cd Wave > TLH > 16.44 FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=548051">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548189">24 bit source</a><br />
<br />
Source 2 (hereafter MK22 source)<br />
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t<br />
Location: FOB/DFC 6.5'<br />
Transfer: 744>samplitude>cd wave> tlh<br />
<br />
<a href="http://bt.etree.org/details.php?id=548038">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=548078">24 bit source</a><br />
<br />
Source 3 (hereafter MK5 source)<br />
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, 6' Stand, cardioid/ORTF<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548039">16 bit source </a><br />
<br />
Source 4 (hereafter BSC1 source)<br />
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)<br />
Location: FOB/LOC 8ft up<br />
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades, <br />
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) > <br />
CDWave (Tracking) > Traders Little Helper (FLAC6)<br />
<br />
<a href="http://bt.etree.org/details.php?id=548043">16 bit source </a><br />
<br />
Source 5 (hereafter DPA 4022 source)<br />
Source: DPA 4022(din)> oade m148> sd744t<br />
Location: FOB/DFC 6.5'<br />
Transfer: 744>samplitude>cd wave> tlh<br />
<br />
<a href="http://bt.etree.org/details.php?id=548044">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
<br />
Source 6 (hereafter Milab VM44 source)<br />
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50<br />
Location: FOB/DFC 6.5' (thanks for the clamp space Adam!)<br />
Transfer: D50> Amadeus Pro > xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548063">16 bit source </a><br />
<br />
<br />
<br />
<br />
Source 7 (hereafter DPA Matrix source)<br />
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)<br />
Transfer: UV22HR(16/44.1)->CDWave->FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=548076">16 bit source </a><br />
<br />
Source 8 (hereafter SKM184 source)<br />
Source: Neumann skm184>sd702>wav24/48<br />
Location: FOB>LOC>10ft<br />
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8<br />
<br />
<a href="http://bt.etree.org/details.php?id=548127">16 bit source</a><br />
<br />
Source 9 (hereafter CCM4 source)<br />
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96<br />
Location: FOB, DFC, 6' <br />
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548152">16 bit source </a><br />
<br />
Source 10 (hereafter MK4v source)<br />
Source:Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96<br />
Location: FOB, DFC, 6' <br />
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=548153">16 bit source </a><br />
<br />
Source 11 (hereafter BSC2 source)<br />
Source: Busman bsc2 K2(Omni)>sd744>wav24/48<br />
Location: FOB>LOC>10ft<br />
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8<br />
<br />
<a href="http://bt.etree.org/details.php?id=548209">16 bit source</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/28587628?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/28587628">Phish - 9/2/11 "Seven Below > Suzy Greenberg > Scents And Subtle Sounds"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The BSC1 source sounds a bit boomy compared to the VM44 source.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The SKM184 source is not as punchy or as clear as the 4022 or the VM44 source.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The BSC2 source sounds very distant and boomy and has lots of crowd noise.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-64338506726895887902011-09-20T15:40:00.000-04:002011-09-20T15:40:15.752-04:00August 17, 2011 UIC Pavilion, Chicago, IL Sources ReviewPhish 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!<br />
<br />
Source 1 (hereafter KM84 source)<br />
Source: (2) Neumann km84i > Sound Devices 722 (24/96, 40 Hz rolloff @ 12 dB/oct.)<br />
Location: DINish, OTS 3' LOC, ~ 12' high<br />
Transfer: 722 HDD > Audiogate (+2 dB, fades, tracking, dither/re-sample to 16/44.1) > xACT (flac 8 w/ SBA & tags)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547972">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=547973">24 bit source</a><br />
<br />
Source 2 (hereafter CA source)<br />
Source: Church Audio CA-11> STC-9000> Sony PCM-M10 @ 24/48<br />
Transfer: M10> PC> Audacity(fades, normalize, resample to 16/44.1)> CD Wave(track splits)> FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=547708">16 bit source </a><br />
<br />
Source 3 (hereafter Busman source)<br />
Source: Busman BSC1-K31 > Naiant Littlebox > Edirol R-09HR (24-Bit/96kHz)<br />
Location: DIN Configuration, OTS/DFC, 10' High <br />
Transfer: SDHC Card > Audacity > .wav (16-Bit/44.1kHz) > CD Wave Editor > .flac (Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547725">16 bit source </a><br />
<br />
Source 4 (hereafter MK41 source)<br />
Source:Schoeps MK41(dina)> Kcy >Sonosax SX-M2/LS2> R44(ocm)24/96<br />
Location:OTS Stand 8ft<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547788">16 bit source </a><br />
<br />
Source 5 (hereafter CCM4 source)<br />
Source:Schoeps CCM4(din)Vms52ub>R44(ocm)24/96<br />
Location:OTS Stand 8ft<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547789">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
Source 6 (hereafter KM140 source)<br />
Source: Neumann skm140 > Sound Devices Mixpre > iRiver H120(16/44.1)<br />
Location: OTS/DFC/DIN/13' High<br />
Transfer: iRiver H120(16/44.1) > Audacity 1.3b(-0.8dB right channel/+1.0dB @80Hz) > CDWave(Tracking) > FLAC(16/44.1/Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547925">16 bit source </a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/28559530?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/28559530">Phish - 8/17/11 "Makisupa Policeman > Sleep > Buffalo Bill"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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. <br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-34300078230849185192011-09-17T08:23:00.000-04:002011-09-17T08:23:22.409-04:001 Year of the Phish Listening Room<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
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 <a href="http://phishlisteningroom.blogspot.com/2010/09/april-4-1994-flynn-theater-burlington.html">link</a> to my first post, which it turns out, is something I did for a very short period of time.<br />
<br />
Thanks again for your support!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com2tag:blogger.com,1999:blog-3511061641783375487.post-65962421396847116372011-09-16T13:01:00.000-04:002011-09-16T13:01:03.655-04:00August 16, 2011 UIC Pavilion, Chicago, IL Sources ReviewPhish 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!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
Source 1 (hereafter KM84 source)<br />
Source: (2) Neumann km84i > Sound Devices 722 (24/96, 40 Hz rolloff @ 12 dB/oct.)<br />
Location: DINish, OTS 1' LOC, ~ 12' high<br />
Transfer: 722 HDD > Audiogate (+4 dB, fades, tracking, dither/re-sample to 16/44.1) > xACT (flac 8 w/ SBA & tags)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547947">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=547948">24 bit source</a><br />
<br />
<br />
Source 2 (hereafter Busman source)<br />
Source: Busman BSC2-K1 > Naiant Littlebox > Edirol R-09HR (24-Bit/96kHz)<br />
Location: DIN Configuration, OTS/DFC, 10' High<br />
Transfer: SDHC Card > Audacity > .wav (16-Bit/44.1kHz) > CD Wave Editor > .flac (Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547724">16 bit source </a><br />
<br />
Source 3 (hereafter MK41 source)<br />
Source:Schoeps MK41(dina)> Kcy >Sonosax SX-M2/LS2> R44(ocm)24/96<br />
Location:OTS Stand 8ft<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547742">16 bit source </a><br />
<br />
Source 4 (hereafter CCM4 source)<br />
Source:Schoeps CCM4(din)Vms52ub>R44(ocm)24/96<br />
Location:OTS Stand 8ft<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547743">16 bit source </a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/28559276?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/28559276">Phish - 8/16/11 "You Enjoy Myself"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-20396601372037964042011-09-15T17:55:00.000-04:002011-09-15T17:55:08.027-04:00August 15, 2011 UIC Pavilion, Chicago, IL Sources ReviewPhish 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!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
Source 1 (hereafter KM84 source)<br />
Source: (2) Neumann km84i > Sound Devices 722 (24/96, 40 Hz rolloff @ 12 dB/oct.)<br />
Location: DINish, OTS 4' LOC, ~ 12' high<br />
Transfer: 722 HDD > Audiogate (+4 dB, fades, tracking, dither/re-sample to 16/44.1) > xACT (flac 8 w/ SBA & tags)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547938">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=547939">24 bit source</a><br />
<br />
<br />
Source 2 (hereafter KM140 source)<br />
Source: Neumann skm140 > Sound Devices Mixpre > Korg MR-1(24/96)<br />
Location: OTS/~DIN/JLOC/11' High <br />
Transfer: Korg MR-1(24/96) > Audiogate(dither[Korg AQUA]/resample to 16/44.1) > CDWave(tracking) > FLAC(16/44.1/Level 8) <br />
<br />
<a href="http://bt.etree.org/details.php?id=547702">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=547703">24 bit source</a><br />
<br />
Source 3 (hereafter Busman source)<br />
Source: Busman BSC1-K31 > Naiant Littlebox > Edirol R-09HR (24-Bit/96kHz)<br />
Location: DIN Configuration, OTS, 4' LOC, 10' High<br />
Transfer: SDHC Card > Audacity > .wav (16-Bit/44.1kHz) > CD Wave Editor > .flac (Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547723">16 bit source </a><br />
<br />
Source 4 (hereafter MK41 source)<br />
Source:Schoeps MK41(dina)> Kcy >Sonosax SX-M2/LS2 >R44(ocm)24/96<br />
Location:OTS Stand 8ft<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547748">16 bit source </a><br />
<br />
Source 5 (hereafter CCM4 source)<br />
Source:SchoepsCCM4(din)>Sonosax SX-M2>R44(ocm) 24/96<br />
Location:OTS Stand 8ft<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547750">16 bit source </a><br />
<br />
Source 6 (hereafter SP source)<br />
Source: Sound Professional AT 853 Cardiods -> SP P/S -> Edirol R09-HR<br />
<br />
<a href="http://bt.etree.org/details.php?id=547821">16 bit source </a><br />
<br />
Source 7 (hereafter Senn source)<br />
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2<br />
Location: pointed at PA array, 2 feet right of center, 12.5 feet high.<br />
Transfer: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )<br />
<br />
<a href="http://bt.etree.org/details.php?id=547989">16 bit source</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/27832855?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/27832855">Phish - 8/15/11 "Undermind"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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.<br />
<br />
The KM140 source lacks the bass clarity of the KM84 or the MK41 sources. The highs are also a bit subdued.<br />
<br />
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.<br />
<br />
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.<br />
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The CCM4 source lacks tonal clarity at the lowest frequencies and is a bit low overall. <br />
<br />
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.<br />
<br />
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.<br />
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Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-22525423248502092042011-09-13T10:47:00.000-04:002011-09-13T10:47:18.311-04:00August 12, 2011 Polo Fields, Golden Gate Park, San Francisco, CA Sources ReviewThe 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!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div> <br />
Source 1 (hereafter CA source)<br />
Source: Church Audio STC-11 Cards > CA 9100 > iRiver <br />
Location: DFC, PAS, BOB ~100', Stick ~6'<br />
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)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547639">16 bit source </a><br />
<br />
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Source 2 (hereafter Senn source) ***patched in middle of 1st set from CA source***<br />
Source: Sennheiser MKH 8050's-Oade Transparent Mod PMD 661<br />
Location FOB 60 Ft. Back from Stage Dead Center standing against railing on left side.Mic's in Hat<br />
<br />
<a href="http://bt.etree.org/details.php?id=547773">16 bit source </a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/27832852?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/27832852">Phish - 8/12/11 "Julius"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-29037126087605932332011-09-12T12:41:00.001-04:002011-09-12T13:16:24.218-04:00August 10, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources ReviewPhish 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!<br />
<br />
Source 1 (hereafter MK41 source)<br />
Source:Schoeps MK41(din)> Kcy >Sonosax SX-M2/LS2 >R44(ocm)24/96<br />
Location: FOB, DFC, 6' <br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547756">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
<br />
Source 2 (hereafter MK4v source)<br />
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, 6' Stand, DIN<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547487">16 bit source </a><br />
<br />
<br />
<br />
Source 3 (hereafter KM140 source) ***24 bit only***<br />
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 24/48 WAV <br />
Location: FOB/pit<br />
Transfer: CD Wave > Audition > FLAC24<br />
<br />
<a href="http://bt.etree.org/details.php?id=547502">24 bit source </a><br />
<br />
Source 4 (hereafter AK40 source) ***note 16 bit torrent includes 8-9 source as well***<br />
Source: Neumann AK 40's (NOS) > Lc3 > Km 100 > Aerco MP2 > SD 702 @ 24/48<br />
Location: FOB/DFC 50' Back ><br />
Transfer: CF Card > Wavelab 6.0 > Cd Wave > TLH 24/48 FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=547504">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=547607">24 bit source</a><br />
<br />
Source 5 (hereafter U89 source)<br />
Source: Neumenn U-89I's-V3(digital out) Dr-680<br />
Location: OTS<br />
Transfer: Normalization and tracking in post using Wave Lab 6<br />
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<br />
<br />
<a href="http://bt.etree.org/details.php?id=547660">16 bit source </a><br />
<br />
Source 6 (hereafter Senn source) ***24 bit source only***<br />
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (spidf @ 24/48)<br />
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547680">24 bit source </a><br />
<br />
Source 7 (hereafter CCM4 source)<br />
Source:SchoepsCCM4(wide ortf)>Sonosax SX-M2>R44(ocm) 24/96<br />
Location: FOB, DFC, 6' <br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547755">16 bit source</a> <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" src="http://player.vimeo.com/video/27782771?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/27782771">Phish - 8/10/11 "Stash"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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.<br />
<br />
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. <br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-34005058336645374052011-09-08T10:39:00.000-04:002011-09-08T10:39:46.462-04:00August 9, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources ReviewPhish 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!<br />
<br />
Source 1 (hereafter U89 source)<br />
Source: Neumann U-89i's(Hypers)-V3-Digi out to Dr-680<br />
Location: OTS 1st Stand against railing in section, approximately 70 degree's and 6 inch appart<br />
Mic's raised to approx. 13 Ft.<br />
<br />
<a href="http://bt.etree.org/details.php?id=547780">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
<br />
Source 2 (hereafter MK4v source)<br />
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> Edirol R44 (@24bit/96kHz)<br />
Location: FOB, DFC, 6' Stand, DIN<br />
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547457">16 bit source </a><br />
<br />
<br />
<br />
Source 3 (hereafter M934C source)<br />
Source: (Set I) Schoeps m934c> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)<br />
Source: (Set II+E) Schoeps mk5> AMC3> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, 6' Stand, m934c/cardioid/DIN, mk5/cardioid/DIN<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547467">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=547468">24 bit source</a><br />
<br />
Source 4 (hereafter AK40 source) ***note torrent includes 8-10 recording as well***<br />
Source: Neumann AK 40's (NOS) > LC3 > KM 100 > Aerco MP2 > SD 702 @ 24/48<br />
Location: FOB/DFC 60' Back<br />
Transfer: Cf Card > Wavelab 6.0 > Resample, UV 22HR Dither ><br />
Added +3.5 db For Set I > Cd Wave > TLH > 16/44 FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=547504">16 bit source </a><br />
<a href="http://db.etree.org/shn/115653">24 bit source</a><br />
<br />
Source 5 (hereafter Senn source) ***24 bit only***<br />
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (s/pidf @ 24/48)<br />
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547689">24 bit source </a><br />
<br />
Source 6 (hereafter CCM4 source)<br />
Source:Schoeps CCM4(Ortf)Vms52ub>R44(ocm)24/96<br />
Location: FOB, DFC, 6' <br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547776">16 bit source </a><br />
<br />
<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/27782646?title=0&byline=0&portrait=0" width="400"></iframe><br />
<a href="http://vimeo.com/27782646">Phish - 8/9/11 "Light"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-57688838189382446782011-09-06T11:35:00.000-04:002011-09-06T11:35:29.461-04:00August 8, 2011 The Hollywood Bowl, Hollywood, CA Sources ReviewPhish 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 <i>50 Ways To Leave Your Lover</i>. 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!<br />
<br />
Source 1 (hereafter M934C source)<br />
Source: Schoeps m934c> M221B> Sonosax SX-M2> Edirol R44 (@24bit/96kHz)<br />
Location: Section Garden 932, 8' Stand, ORTF, m934c/cardioid<br />
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547442">16 bit source </a><br />
<br />
Source 2 (hereafter AKG source)<br />
Source: AKG c422 > s42 > Grace Design Lunatec V2 > Sonic AD2K+ > Tascam HD-P2 (24 bit, 96 kHz)<br />
Location : Garden Box 932 (right of center), ~8' stand, offset arm/nanoclamp<br />
Mic Config : Blumlein<br />
Transfer : CF card > USB 2.0 card reader > PC > normalize to 95%, fades, invert polarity (Samplitude)<br />
> POW-r #3 (Samplitude) > Resample Ultra High 1 (Samplitude)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547471">16 bit source</a><br />
<br />
Source 3 (hereafter SPC4 source)<br />
Source: Studio Projects C4s (cardioid) > Segue Dogstar XLRs > Fostex FR-2LE (24bit/48khz)<br />
Location: Terrace Box 1032, stand @ 6.5' Config: 20cm @ 70* <br />
Transfer: CF Card > .bwf > Audacity (fades/gain/resample/dither) > CDWave > .wav > .flac<br />
<br />
<a href="http://bt.etree.org/details.php?id=547484">16 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
<br />
Source 4 (hereafter MK4 source)<br />
Source: Schoeps CMC6/MK4 -> Sound Devices 744T (24bit/96k)<br />
Location: Terrace Box 1032<br />
Transfer: Samplitude Professional v11.2 -> FLAC/16<br />
<br />
<a href="http://bt.etree.org/details.php?id=547491">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=547527">24 bit source </a><br />
<br />
<br />
<br />
Source 5 (hereafter Senn source)<br />
Source: Sennheiser Mkh8050-Marantz Pmd 661 (Oade Transparent Mod)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547671">16 bit source </a><br />
<br />
Source 6 (hereafter CCM4 source)<br />
Source:Schoeps CCM4(NOS)Vms52ub>R44(ocm)24/96<br />
Location: Section Garden 932, 8' Stand<br />
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=547774">16 bit source </a><br />
<br />
<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/27512271?title=0&byline=0&portrait=0" width="400"></iframe><br />
<a href="http://vimeo.com/27512271">Phish - 8/8/11 "Joy"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
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. <br />
<br />
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.<br />
<br />
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.<br />
<br />
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. <br />
<br />
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.<br />
<br />
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.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-5754953346355026742011-08-30T15:53:00.000-04:002011-08-30T15:53:48.513-04:00August 6, 2011 The Gorge, George, WA Sources ReviewHey folks, sorry for the delay. Getting my daughter started in school has taken WAY more out of me than I had anticipated. However, I am still dedicated to keeping you guys up to date with the best sources around. This second night at the Gorge was just fantastic and is a must listen. So again, sorry it took me so long to get you guys this review. There were four different sources posted for this night, with 3 available as 24 bit, 1 just as 24 bit. Thanks again to the tapers who go out there every night and get these amazing pulls and share them with us.<br />
<br />
Source 1 (hereafter VM44 source)<br />
Source: Milab VM-44 Link (omni) -> Lunatec V2 -> Tascam DR-680 (24/48)<br />
Location: 25’ split at front corners of soundboard, 9.5’ high<br />
Transfer: sdhc card -> AudioGate (16/44) -> CD Wave -> FLAC (6)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547411">16 bit source </a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
Source 2 (hereafter MK4v source)<br />
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, NOS, 6' Stand<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547398">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=547410">24 bit source</a><br />
<br />
<br />
<br />
<br />
Source 3 (hereafter AK40 source)<br />
Source: Neumann Ak 40's(NOS) > Lc3 > Km100 > Aerco Mp2 > Sd 702 @ 24/48<br />
Location: FOB/DFC<br />
Transfer: Cf Card > Wavelab 6.0 > Resample, Uv22 Hr dither ><br />
Cd Wave > TLH > 16/44 FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=547385">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=547565">24 bit source</a><br />
<br />
Source 4 (hereafter KM140 source) ***24 bit only***<br />
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 (24/48)<br />
Location: FOB<br />
Transfer: WAV > CD Wave > Audition (fades) > FLAC24<br />
<br />
<a href="http://bt.etree.org/details.php?id=547419">24 bit source </a><br />
<br />
<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/27450925?title=0&byline=0&portrait=0" width="400"></iframe><br />
<a href="http://vimeo.com/27450925">Phish - 8/6/11 "Run Like An Antelope"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The VM-44 source sounds a bit distant compared to the other sources and is a bit muddy in the low-end. It doesn't have the punch of the MK4v or AK40 source either.<br />
<br />
As with the previous night, the MK4v gets my nod as best source. The low-end is excellent, though perhaps a touch overpowering, the high-end is quite crisp and the subwoofer kicks hard when I turn it up.<br />
<br />
The AK40 source is, like the MK4v source, very punchy. However, the high-end isn't as nice as the MK4v.<br />
<br />
The KM140 source is very crisp. The low-end isn't nearly as punchy as the MK4v or AK40, however, the high-end is very nice. The separation is also quite excellent. Given that this source is only available in 24 bit and that the low-end just doesn't have the punch of the other sources, I have to give the nod to the MK4v. If bass isn't your thing, by all means go with this source. It does sound quite good.<br />
<br />
Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0tag:blogger.com,1999:blog-3511061641783375487.post-1900779077963219682011-08-15T17:44:00.000-04:002011-08-15T17:44:48.185-04:00August 5, 2011 The Gorge, George, WA Sources ReviewHey folks!<br />
Thanks for your patience as I waited for sources to come in. There are four sources available for this night and they all sound pretty darn good. Phish played a great show to start this leg of tour, which has kind of become a trend with them. Bottom line, don't miss a tour opener if you can help it. I want to thank the tapers who recorded this night. Without their efforts, I couldn't do what I do. Thanks a lot!<br />
<br />
Source 1 (hereafter VM44 source)<br />
Source: Milab VM-44 Link (omni) -> Lunatec V2 -> Tascam DR-680 (24/48)<br />
Location: 50" split at front right corner of soundboard, 9’ high<br />
Transfer: sdhc card -> AudioGate (16/44) -> CD Wave -> FLAC (6)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547480">16 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div><br />
Source 2 (hereafter MK4v source)<br />
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)<br />
Location: FOB, DFC, DIN, 6' Stand<br />
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547346">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=547361">24 bit source </a><br />
<br />
<br />
<br />
Source 3 (hereafter AK40 source)<br />
Source: Neumann Ak 40's(NOS) > Lc3 > Km100 > Aerco Mp2 > Sd 702 @ 24/48<br />
Location: FOB/DFC<br />
Transfer: Cf Card > Wavelab 6.0 > Resample, Uv22 Hr dither ><br />
Cd Wave > TLH > 16/44 FLAC<br />
<br />
<a href="http://bt.etree.org/details.php?id=547349">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=547556">24 bit source</a><br />
<br />
Source 4 (hereafter KM140 source) ***24 bit only***<br />
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 (24/48) > WAV<br />
Location: FOB<br />
Transfer: WAV > CD Wave > Audition (fades) > FLAC24<br />
<br />
<a href="http://bt.etree.org/details.php?id=547406">24 bit source </a><br />
<br />
<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/27393091?title=0&byline=0&portrait=0" width="400"></iframe><br />
<a href="http://vimeo.com/27393091">Phish - 8/5/11 "Roggae"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The VM-44 source is a bit thin on the bass and the lowest frequencies seem to be lost in the mud.<br />
<br />
The MK4v source is a very, very nice recording. The bass is rich and full and the high-end is also excellent. The bass is not overwhelming, leaving plenty of space for the rest of the band members to be heard. It is just a hair better than the KM140 source which is also quite good.<br />
<br />
The AK40 source sounds a bit muffled in the low-end, particularly compared to the KM140 and the MK4v sources. Considering this is an FOB source, I was surprised that the overall effect wasn't more up front. <br />
<br />
The KM140 source is quite good and is much more transparent than the AK40 pull. The bass response is better and deeper than the AK40's as well, which is surprising considering they are the same mics. It must have something to do with the preamps. Either way, this recording is just slightly less lively than the MK4v's, but it is definitely the second best pull of the night.<br />
<br />
Happy listening!<br />
<br />
Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com2tag:blogger.com,1999:blog-3511061641783375487.post-71300836463990628252011-08-04T13:16:00.000-04:002011-08-04T13:16:25.912-04:00July 3, 2011 Superball IX, Watkins Glen, NY Sources ReviewHey folks. Again, sorry for the big delay in bringing you this sources review. Life intervened, but now I'm looking forward to the second half of summer tour. This is one of the best nights that Phish played all year and everybody needs to have this in their collection. As such, its pretty important to get it right. There are 10 different sources available for this night and I can tell you from listening to them all, that there are some seriously good ones and the best of them isn't a whole lot better than the worst of them. Given that, it was definitely difficult to choose the best. I want to give a big shout out to all the tapers who took the time to record this and all the shows so far this year. Without their efforts we wouldn't get to share in the groove like this. Thanks a lot guys!<br />
<br />
Source 1 (hereafter DPA matrix)<br />
Source 1:DPA_4052_(omni)_V2_AD2K_SD744_Split_24_inches<br />
Source 2:DPA_4023_(cards)_V3_SD744_Split_12_inches<br />
Location: F.O.B_ROC_ORTF_Stand_Height_Apporx._12_Feet<br />
Recorded in 24/96 *16 bit Version *MATRIX<br />
Transfer: Compact Flash> Adobe Audition 3.0> Sound Forge 7.0>CDwav<br />
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<a href="http://bt.etree.org/details.php?id=546977">16 bit source </a><br />
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Source 2 (hereafter MBHO source)<br />
Source: MBHO KA500HN >>> Hi Ho Silver Actives >>> MBHO MBP 603A >>> Darktrain Silver Interconnects >>> Naiant LittleBox[Output Transformers] >>> Darktrain Silver Interconnects >>> Sony PCM-M10[24-Bit/96kHz]<br />
Location: NOS/FOB/DFC<br />
Lineage: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98<br />
> CKRename > Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]<br />
<br />
<a href="http://bt.etree.org/details.php?id=546337">16 bit source </a><br />
<a href="http://bt.etree.org/details.php?id=546417">24 bit source</a><br />
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Source 3 (hereafter CCM4 source)<br />
Source:Schoeps CCM4(ortf) Schoeps/VMS5u>R44(ocm) 24/96<br />
Location:FOB/DFC 6' stand<br />
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT<br />
<br />
<a href="http://bt.etree.org/details.php?id=546369">16 bit source </a><br />
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Source 4 (hereafter MG Matrix source) ***24 bit only***<br />
Source: Microtech Gefell um900 (omni, 52cm split, fob) + Schoeps mk41v (dina, fob) > kc5 > cmc6 > lunatec V3 (digital out) > SD744T (24/48); <br />
Location: FOB<br />
Transfer: Wavelab 5 (matrix, fades, tracking)<br />
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<a href="http://bt.etree.org/details.php?id=546357">24 bit source</a><br />
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Source 5 (hereafter AT source)<br />
Source: AT4050ST-> Marantz Oade Warm PMD660<br />
Location: OTS/DFC, 120°Stereo @ 8'h <br />
Transfer: CDWave->FLAC16<br />
<br />
<a href="http://bt.etree.org/details.php?id=546404">16 bit source</a><br />
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Source 6 (hereafter AKG source)<br />
Source: AKG392's(OTS/DFC) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> <br />
Microtrack II 24 bit @ 48 Khz<br />
Location: Omnidirectional 39" separation, 75 HZ bass rolloff, Mics aimed at PA Stacks, approximately 12 ft high on stand.<br />
Transfer: Microtrack II-> USB -> PC-> CD WAVE Editor -> Flac Frontend <br />
<br />
<a href="http://bt.etree.org/details.php?id=546424">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=546418">24 bit source</a><br />
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Source 7 (hereafter SKM184 source)<br />
Source: Neumann skm184>sd702>wav24/48<br />
Location: OTS>13ft<br />
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8<br />
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<a href="http://bt.etree.org/details.php?id=546499">16 bit source</a><br />
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Source 8 (hereafter SPTFB-2 source)<br />
Source: SP-TFB-2 > SP-SPSB-10 > MARANTZ-PMD620<br />
Location: BOB <br />
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL (8)<br />
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<a href="http://bt.etree.org/details.php?id=546531">16 bit source</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s1600/thumbsupd.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrb3f4O5KAeQCLwiD8ToBWrmaoDvtFim3NmJfCebMcNpJldfXC16act2sCN1GeIlBV9fD9H51pbw-r2OaXJAmA4eb_v4RLkK8Q2VH-UqcN1qSfojZdWPZQamFW_y1w7pmClZj1WxEOIw/s200/thumbsupd.png" width="200" /></a></div>Source 9 (hereafter DPA 4023 source)<br />
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)<br />
Location: NOS/FOB/DFC 6' stand <br />
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)><br />
Wave Editor (iZotope Resampler/MBIT+ Dither)><br />
xACT 2.13(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=546726">16 bit source</a><br />
<a href="http://bt.etree.org/details.php?id=546817">24 bit source</a><br />
<br />
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Source 10 (hereafter Oktava source)<br />
Source: Oktava MC-012s > Edirol UA-5 (DIY digi-mod, 44.1kHz) > optical > Creative Nomad JB3 (WAV)<br />
Location: hyper, OTS, 10' up, NOS <br />
Transfer: Creative Nomad JB3 > USB > Creative Play Center > CDWav > normalize -b (+1.49dB) > Trader's Little Helper (FLAC Level 8)<br />
<br />
<a href="http://bt.etree.org/details.php?id=547006">16 bit source </a><br />
<br />
<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/26031166?title=0&byline=0&portrait=0" width="400"></iframe><br />
<a href="http://vimeo.com/26031166">Phish - 7/3/11 "A Song I Heard The Ocean Sing"</a> from <a href="http://vimeo.com/phish">Phish</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
The DPA matrix source is very nice sounding. However, it is not as full as the DPA 4023 by themselves. The highs are quite nice, but the sub just doesn't kick the way it does on the DPA 4023's.<br />
<br />
The MBHO source has nice bass response, but lacks definition and clarity at the lowest frequencies.<br />
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The CCM4, like the MBHO's has nice bass response, however the highs aren't as crisp as the AKG, the AT, or the DPA 4023 source.<br />
<br />
The MG matrix has a lot of bass. The highs, like the CCM4's, aren't as crisp as you would like. This source is also a tad boomy. As is often the case with matrix mixes, I would love to hear the MG's all by themselves.<br />
<br />
The AT source has nice and crisp highs, however there seems to be a bit of hollowness in the high-mids. The bass response is nice, but again, not as full as the DPA 4023's.<br />
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The AKG 392's, like most AKG sources, are very crisp sounding, however there is a bit of boominess down low. The bass also lacks definition in the lowest frequencies.<br />
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The SKM184's sound nicely balanced, but are actually a tad lacking in low-end response compared to the DPA's. <br />
<br />
The SP-TFB-2 source doesn't kick the sub like the DPA's. Also, like the AT source, there is a hollowness in the high-mids. Overall, it is a bit muddy down low as well.<br />
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The DPA 4023 source is my pick for the night. The bass response is excellent, while still maintaining excellent highs. Overall the recording is very transparent and makes for a great listen.<br />
<br />
The Oktava source doesn't have the bass response that was evident in the first night. It is still very nice sounding and I look forward to hearing this source at more shows.<br />
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Happy listening!Chrishttp://www.blogger.com/profile/00403231329498093059noreply@blogger.com0