Checking In

Hope everybody is having a nice Holiday season.  One of the Phishiest times of year is nearly upon us and I wanted to let everybody know that I am going to be doing the same thing for Holiday tour.  However, I will be leaving for my own New Years vacation on the 29th and won't return until the 2nd.  If there are enough to review on the 28th, I'll try and get that done before I leave, but it might be tough since I am spending the day with my daughter.  Perils of parenthood.  Anyway, please check in after the 1st of the year for reviews of each show.  Have a happy and safe New Year and thanks for reading!

Tour Summary - The Best Recordings From Each Night Of Tour

The subject says it all.  Rather than forcing you to wade through every post from my source reviews, here is the entire tour encapsulated in easy to get to links to get you the sources you need to hear from each night.  Thanks go out to all the tapers who helped get this music spread so quickly.  Thanks also to the band for playing the best tour of 3.0 and lets raise a glass to the hope that the New Years Run takes them even further.  I will be out of town for the New Years Run, so look for my source reviews in the first week of the New Year.  Happy Holidays and Happy Listening!

Friday, October 8, 2010 - Austin City Limits Festival

Nak 701 Source

Saturday, October 9, 2010 - Trey & Mike at Four Mile Benefit

Schoeps Source

Sunday, October 10, 2010 - 1st Bank Center, Broomfield, CO

Neuman Source

Monday, October 11, 2010 - 1st Bank Center, Broomfield, CO

Schoeps Source

Tuesday, October 12, 2010 - 1st Bank Center, Broomfield, CO

Neuman Source

Friday, October 15, 2010 - North Charleston Coliseum, North Charleston, SC

Schoeps MK41 Source

Saturday, October 16, 2010 - North Charleston Coliseum, North Charleston, SC


Neuman AK40 Source
24 bit Neuman AK40 Source

Tuesday, October 19, 2010 - Augusta Civic Center, Augusta, ME

AKG 393 Source

Wednesday, October 20, 2010 - Utica Memorial Auditorium, Utica, NY

Neuman SKM140 Source
24 bit Neuman SKM140 Source

Friday, October 22, 2010 - Dunkin' Donuts Center, Providence, RI

Schoeps MK5 Source
24 bit Schoeps MK5 Source

Saturday, October 23, 2010 - Mullins Center, Amherst, MA

Schoeps Matrix Source
24 bit Schoeps Matrix Source

Sunday, October 24, 2010 - Mullins Center, Amherst, MA

Schoeps Matrix Source
24 bit Schoeps Matrix Source

Tuesday, October 26, 2010 - Verizon Wireless Arena, Manchester, NH

Schoeps MK41 Source
24 bit Schoeps MK41 Source

Friday, October 29, 2010 - Boardwalk Hall, Atlantic City, NJ


Schoeps MK41 Source
24 bit Schoeps MK41 Source

Saturday, October 30, 2010 - Boardwalk Hall, Atlantic City, NJ

Schoeps MK41 Source

Sunday, October 31, 2010 - Boardwalk Hall, Atlantic City, NJ

AKG Source
24 bit AKG Source

Like I said, I'll be back for the New Years Run, but probably won't have anything up until I get back from vacation the first week in January.

Thanks for reading.

10-31-10 Boardwalk Hall, Atlantic City, NJ Source Review

Ah, another tour is over, but what a tour it was.  By all accounts, and to my ears, Phish hit some new heights on this tour and are going in some really interesting directions.  I can't wait until they get within 500 miles or so of me again!

I want to send out a special thanks to all the tapers who released sources from all the shows this tour.  Without their efforts, night in and night out, we wouldn't be able to listen to such excellent music.

Source 1 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: OTS, DFC, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source
24 bit Etree Source

Source 2 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR's>Fostex FR-2LE(Busman T-mod) @24/96
Location: OTs/ROC/POs
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)

Etree Source

Source 3 (hereafter Neuman U89+AK40)
Source: (OTS) Neumann AK40/LC3/KM100 (DIN)> Grace Design Lunatec V3 + Neumann U89i (Hyper, xy 90 deg, -80hz)> Grace Design Lunatec V2> (Oade Concert Modified) Edirol R-44 (24/48 on a SDHC Card).
Transfer: SDHC Card> Card Reader> PC> Sampletude SE No. 9 (Fade in/out, normalize, merge two sources, resample to 44.1k, and dither to 16 bit)> CD Wav (Tracked and convered to Flac @ level 8)

Etree Source

Source 4 (hereafter Neuman KM184 source)
Source: Neumann km184's > Lunatec V3 > Canare Impedance Trans. > Apogee Wyde-EYE BNC Coaxial > Sound Devices 722t (24/96)
Transfer: CF Card -> MacBook Pro OS X 10.6.4 (Wave Editor) -> FLAC
Location: OTS, DFC, stand @ 12.5 feet

Etree Source

Source 5 (hereafter AKG source)
Source: AKG C460Bs/CK 63-ULS (DINa, OTS, JLOC, On stand ~8',70Hz roll off)->Kind Kables->Naiant LittleBox->Segue Dogstar Silver-Clad Interconnect->Edirol R-09HR (24 bit/96 kHz)
Transfer: SDHC -> PC
Processing: Fade in, fade out, dithered to 16 bit, resampled to 44.1 kHz & tracking using SoundForge 9.0.
Conversion: FLAC frontend 1.7.1 used to align on sector boundaries and for Flac16 Conversion @ level 8

Etree Source
24 bit Etree Source

Source 6 (hereafter FOB MK41 source)
Source: Schoeps mk41v (dina, fob) > kc5 > m222 > nt222 + mk5 (omni, nos, fob) kc5 > cmc6 > lunatec V3 (analog out) > SD744T (24/96); Wavelab 5 (matrix, fades, tracking)

24 bit Etree Source 

There are a few really top notch recordings this evening.  In fact, its a toss-up to my ears as far as the best source for this evening.

The MK41 source is, as always, excellent, the low-end is nicely rounded with good tone all the way into the lowest frequencies.  The levels don't seem as high as previous shows.  There is good definition across the sonic spectrum, however the highs are not as crisp as on the AKG source.  All that said, you can't go wrong with this source and it is one of my two favorites.

The Busman source is once again excellent.  However, it seems a bit boomier than either the AKG or MK41 source.  The high-end is very crisp and the levels are excellent.

The Neuman U89+AK40 source does not have the crisp highs like the Busman or Schoeps sources, or the AKG for that matter. The sound is muffled across the mids and the highs and the levels aren't as nice either.

The Neuman KM140 source has a nice mix from the top to the bottom.  The low end is very nice, however there is something missing in the definition of the mids.  This is particularly evident during Page's piano work on Boogie On.  It is buried on this source and the nuances of its aren't very discernible, however they are faint but distinct on the MK41 and the AKG source.

The AKG source is excellent.  The low-end is nice with good tone throughout, punchy, without being boomy.  The high-ends are reminiscent of the Busman source, but with much better low-end.  This is one of the two best.  I will go with this source in my personal collection, but the MK41 source is also great and you can't go wrong with either.

The FOB MK41 source has noticeably low levels, is particularly boomy, and is muffled across the mids and highs.  If you really want a Schoeps source, go with the MK41's from the OTS.

A great batch of recordings overall and I am psyched to listen to this one carefully.  Thanks a lot for checking out the blog all tour long.  Early next week I will post on the sources, and there are a lot of them, that have come out since the end of tour and throughout tour that I didn't review in my individual show reviews.  After that, I will have a tour summary up.  I plan on doing the same source reviews for Mike Gordon's upcoming tour.  I'm a big fan of his band and will be at the Bloomington, IN show later this month.

Happy listening!

10-30-10 Boardwalk Hall, Atlantic City, NJ Source Review

Figured I'd just get on this as it was a slow day at work today.  Plus, with all I've been hearing about this show, I was anxious to hear it.  Three sources available as of today (Tuesday, Nov. 2nd afternoon).  By the way, if you haven't voted yet, get off the computer, go to your precinct and do it.  I promise it won't hurt. 

Thanks, as always, to the tapers for making such incredible recordings and then turning around and giving them away so quickly after the show.  I remember waiting months after a show to get a tape and feeling that I was pretty darn special to have a 3rd or 4th gen recording. 

Source 1 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: OTS, DFC, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source

Source 2 (hereafter Neuman source)
Source: Neumann km184's > Lunatec V3 > Canare Impedance Trans. > Apogee Wyde-EYE BNC Coaxial > Sound Devices 722t
Transfer: CF Card -> MacBook Pro OS X 10.6.4 (Wave Editor) -> FLAC
Location: OTS, DFC, stand @ 12.5 feet

Etree Source

Source 3 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR's>Fostex FR-2LE(Busman T-mod) @24/96
Location: OTs/ROC/POs
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)

Etree Source

Thanks to TeamDrink for the Picture

I had hoped that there would be more sources available by now, but it looks like this is what we have.  Luckily, there are some great sounding recordings to choose from here.

The Neuman source has the lowest levels of the three sources available.  There is great separation across the frequency spectrum.  There is nice tone even at lower frequencies, however the recording does sound a bit boomy, and in comparison to the other two sources can even be classified as bass-heavy. 

The Busman source isn't as strong this evening than it was on the 29th.  The high-end still sounds nice, but the bass is again less distinct at lower frequencies and is quite boomy.  However, it does sound pretty excellent when Gordon drops his bomb at the beginning of Tweeprise.  I'm quite sure the entire venue shook. 

Once again, the MK41 source is the best of the bunch.  Though not available in a 24 bit source for this evening (yet), it has great levels, great separation across the spectrum, nice tone on the bass, and a crisp high-end. 

Happy listening!

10-29-10 Boardwalk Hall, Atlantic City, NJ Source Review

I wanted to wait and see if any more sources became available, at the same time, I know there are folks out there waiting to see what sounds the best of what's out there.  Just as an aside, later this week, or early next week, I will be going back and looking at sources that have become available since I first reviewed the sources for the shows.  Also, I will do a summary post after that with all of my picks for the tour.

Source 1 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: OTS, DFC, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source
24 bit Etree Source

Source 2 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR's>Fostex FR-2LE(Busman T-mod) @24/96
Location:
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)

Etree Source

 

Both of these sources sound fantastic.  So, depending on your preference, either one might work well for your setup.  Thanks go out to the tapers out there who are dedicated to getting great sounding recordings into the public's hands in such a short amount of time.  Thanks a lot!

The MK41 has lower levels during the Star Spangled Banner, but this is mainly because the Busman source taper actively raises the levels during the song.  For the rest of the show, the MK41 source is a bit hotter, but the Busman levels are not low, just not as high as the MK41.  The bass response on the MK41 is, as usual, very good.  Nice tone right down to the lowest frequencies.  The highs are great, but not as crisp as the Busman source.  This is my pick, but like I said, others may like the Busman source for good reason.

This Busman source is probably the best sounding of all the Busman recordings from this tour.  The tone at the low-end is very nice, without the boominess of previous recordings.  The highs are extremely crisp, in fact, they are definitely better than the MK41 source.  That being said, the overall effect of the recording, to my ears, is a bit thinner than the MK41 source, which is why I went with it over the Busman.  However, in isolation, the Busman source does sound great.

Happy listening!

10-26-10 Verizon Wireless Arena, Manchester, NH Source Review

Sorry for the delay in getting this out folks.  Sometimes life gets in the way of serious music listening.  By the way, I caught Bob Dylan last night at the Murat in Indianapolis.  Just a great show.  I've seen probably 20 Dylan shows in the last 15 years, and last night ranks as one of the best.  The band sounds great, the sound in the room was excellent, and while Bob's voice has seen better days, he's still a great performer.

Anyway, on to the issue at hand.  First of all, I have to thank the tapers for coming through again with some excellent recordings.  If it weren't for their work, I wouldn't be able to have this site.  There are 5 sources available this evening, again, many in 24 bit formats as well as 16 bit.  Just a note, I discovered this morning, that even using ALAC, 24 bit recordings will not play on my iPod Nano.  That's a bummer.

Source 1 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: OTS, DFC, 8' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source
24 bit Etree Source

Source 2 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR's>Fostex FR-2LE(Busman T-mod) @24/96
Location: OTS/LOC /POS
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)

Etree Source

Source 3 (hereafter Beyer source)
Source: beyerdynamic CK930 > Grace Design Lunatec V3 > Marantz PMD-661 (@ 24 bit / 96 kHz)
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, level adjustments, resample to 44.1 kHz, dither to 16 bit, track splits) > FLAC v1.2.1 (Level 8)
Location: Recorded from the center of the front row of the taper's section
mics angled 90 degrees, spaced approximately 8 inches

Etree Source
24 bit Etree Source

Source 4 (hereafter CCM4V Source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
BOB/DFC/KFC/ZFC/AARP OTS, 8' High
DSP: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)

Etree Source

Source 5 (hereafter MK22 Source)
ORTF 60' from stage DFC
Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(izotope)/dither(mbit+)to 16bit/44.1khz)>XAct(FLAC 8,ffp,fix sbe)

Etree Source
24 bit Etree Source

The Busman source has a lot of high-end which probably sounds great in headphones.  However, there is a noticeable lack of tone in the lowest frequencies, rendering the bass often a dull thud rather than a contoured note. 

The Beyer source is much muddier than the Busman, the MK41, or CCM4V source.  The mids lack definition and it is fairly boomy as well.

The MK22 source has surprisingly little crowd noise considering it is FOB.  The high-end seems really lost at first.  However, this seems to be better later in the set.  There is never the nice shimmer from Fish's high-hats or ride cymbals.  As with the Beyer, there is a lack of definition in the mids.  The low-end sounds very nice however, with a touch of boominess, but certainly nice.

The CCM4V source sounds great.  There is a little bit of tonal difference between it and the MK41 source, but overall this source has excellent bass as well as nice highs.  Plus, nice differentiation in the middle.  The levels for this source are slightly lower than that of MK41.

The MK41 source is, once again, my pick for the best source.  Not only does it have excellent definition across the sonic spectrum, but it is also has great levels and is available in 24 bit audio.

Happy listening!

10-24-10 Mullins Center, Amherst, MA Source Review

As Phish powers their way through the Northeast, they begin their final week of this fall tour in Amherst, MA.  For this evening, there are 4 different sources available.  I want to thank the tapers for doing such a great job recording the shows and releasing them to the public so quickly.  They really do a great job.

Source 1 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>kind cables>Fostex FR-2LE(Busman T-mod)
Location:OTS/LOC/DIN@ 10ft
Transfer: FR-2LE>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)

Etree Source

Source 2 (hereafter Schoeps Matrix source)
Source: Schoeps mk5> KCY> Schoeps VMS02IB + Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: OTS, mk5(omni)/Split 10'/0 Degrees/9' Stands, mk41/DFC/NOS/8' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source
24 bit Source

Source 3 (hereafter Sennheiser source)
Field: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
config: pointed at PA array, centered, 12.5 feet high.
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

Etree Source

Source 4 (hereafter MK22 source)
ORTF 60' from stage DFC
Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(izotope)/dither(mbit+)to 16bit/44.1khz)>XAct(FLAC 8,ffp,fix sbe)


Etree Source
24 bit Etree Source

As with previous nights, there are some excellent recordings to choose from.

The Busman source, and really all of them, have excellent levels right from the beginning.  The bass is a little boomy, but the high-end sounds divine.  There is definitely more bass response in this evening's recording as opposed to the 10-23 recording.  The low-end just doesn't have the tonal quality of the Schoeps Matrix.  Bottom line, if I could take the highs and mids from this source and mix them with the lows from the Schoeps Matrix, I would be in heaven.  As it is, the lack of tonal quality in the very low frequencies made me pick the Schoeps over this source.

As I stated above, the Schoeps Matrix is my favorite recording from this evening.  The highs are crisp, but they don't have the presence of the Busman source.  However, the low-end is very nice, though a bit on the boomy side.  There is noticeable tone at the low-end that is absent in the other sources.

The Sennheiser source has more bass than I've come to expect from this source, but it is mostly boom and lacks the really nice tonal quality of the Schoeps Matrix.  This highs are quite nice though.

The FOB MK22 source is definitely the best sounding of the FOB MK22's I've heard this tour.  That said, there is a lot of crowd noise, more than the night before, and for some reason Trey sounds distant.  Notice the chopping that Trey adds during the verses of Ride Captain Ride, or more to the point, the fact that you can only make them out with difficulty.  On the Busman source, they are still quiet, which they are supposed to be, but they are quite distinct.  This source is also not as boomy as previous FOB MK22's, but still not really defined in the lowest frequencies.

For me, I'll be downloading the 24 bit Schoeps Matrix again. 

Happy listening!

10-23-10 Mullins Center, Amherst, MA Source Review

Yet another bumper crop of recordings as Phish winds their way through the Northeast.  For this show, there are 6 sources available, again with many available in 16 and 24 bit sources.  I want to thank all the tapers for doing such yeoman's work.  Without their efforts, I wouldn't be able to do this project.

Source 1 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR's>Fostex FR-2LE(Busman T-mod)
Location: OTC/LOC/DIN
Transfer: FR-2LE>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)

Etree Source

Source 2 (hereafter Schoeps Matrix)
Source: Schoeps mk4v> KCY> Schoeps VMS02IB + Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: OTS, mk4v/Split 15'/8' Stands/Pointed at outside of stacks, mk41/DFC/NOS/8' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source
24 bit Etree Source

Source 3 (hereafter Sennheiser source)
Field: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
config: pointed slightly outside PA array, centered, 12.5 feet high.
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

Etree Source

Source 4 (hereafter DPA source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Config/Location: NOS/OTS/DFC 8' stand
Transfer: 722>Firewire>Macbook>
Sound Studio 3.6(fades, normalize peak, track)>Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 1.71(align on sector boundaries, encode, tag, fingerprint)>flac16

Etree Source

Source 5 (hereafter AKG source)
AKG c214 > Silver Cables > FR-2LE [BA TMod] (24/96)
CF Card > Audacity (fades, tracking) > r8brain (downsampling) > TLH > Flac (level 8)
OTS/DFC/DIN/about 10' high
Files tagged in TagScanner


Etree Source
24 bit Etree Source


Source 6 (hereafter MK22 source)
ORTF 60' from stage DFC
Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(izotope)/dither(mbit+)to 16bit/44.1khz)>XAct(FLAC 8,ffp,fix sbe)

Etree Source
24 bit Etree Source

The tapers did a great job at this show.  It was very difficult to decide on a preferred source, in fact several are really top notch.

The Busman source has really nice levels right from the start.  The highs are very nice and the bass is nicely rounded, with most notes sounding very clear all the way down to the lowest frequencies.  However, the overall bass response came across as a bit thin compared to some of the other sources.

The Schoeps Matrix source is fantastic.  There is more crowd noise than the other sources (maybe even a bit more than the FOB, surprisingly enough).  However, the highs are great and the mids have a lot of presence as well.  The low end has great definition, even at the lowest frequencies, and there is a bit of punch to it as well.  Listen carefully to Gordon's work at the beginning of Boogie On, his notes sound precise and not at all muddy.  This was the section that sealed the deal for me on this source.  My pick for the best, but not by a whole lot.

The Sennheiser source is also very good.  The mids are not as crisp as in the Schoeps Matrix, but the bass is quite nice.  Overall this is definitely one of the top 3 or 4, but the differences between it, the DPA, and the Busman source are fairly minor.

The DPA source doesn't have as distinct mids as the Busman or Schoeps Matrix.  Also, this tape is not as crisp in the highs as the Schoeps Matrix either. 

The AKG source has low levels at the very beginning.  While they get better later in the recording, they are still relatively low.  The bass doesn't have a ton of punch, however the highs are very crispy. 

The FOB MK22 source has low levels, and given that its FOB, a fair amount of crowd noise, though not as much as you might expect.  The mids, like a few of the other sources, are not as distinct, and the low end is boomier than any of the other sources. 

Overall, these are some great tapes, and the differences between the top 4 are very minor.  You really can't go wrong with any of these recordings.  However, I am downloading the Schoeps Matrix in 24 bit resolution for my personal collection.

Happy listening!

10-22-10 Dunkin' Donuts Center, Providence, RI Source Review

There are six sources available from this show, many available in both 16 and 24 bit format.  Thanks to all the tapers for getting these shows out into the public sphere so quickly.  Without their efforts, I wouldn't be able to lay my ears onto these sources.

Source 1 (hereafter MK22 source)
ORTF 60' from stage DFC
Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(izotope)/dither(mbit+)to 16bit/44.1khz)>XAct(FLAC 8,ffp,fix sbe)

Etree Source
24 bit Etree Source

Source 2 (hereafter AKG source)
AKG c214 > Silver Cables > FR-2LE [BA TMod] (24/96)
CF Card > Audacity (fades, tracking) > r8brain (downsampling) > TLH > Flac (level 8)
OTS/LOC/DIN/about 10' high
Files tagged in TagScanner

Etree Source
24 bit Etree Source

Source 3 (hereafter DPA source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Config/Location: DIN/OTS/DFC 10' stand
Transfer: 722>Firewire>Macbook>
Sound Studio 3.6(fades, normalize peak, track)>Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 1.71(align on sector boundaries, encode, tag, fingerprint)>flac16

Etree Source

Source 4 (hereafter MK5 source)
Source: Schoeps mk5> KC5> M222> NT222> Lunatec V3> SD 744t (@24bit/96kHz)
Location: OTS, DFC, 8' Stand, NOS, mk5/cardioid
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source
24 bit Etree Source

Source 5 (hereafter Beyer source)
Source: beyerdynamic CK930 > Grace Design Lunatec V3 > Marantz PMD-661 (@ 24 bit / 96 kHz)
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, level adjustments, resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)

Etree Source
24 bit Etree Source

Source 6 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>kind cables>Fostex FR-2LE(Busman T-mod)
Location: OTS/LOC/Din
Transfer: FR-2LE>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)

Etree Source

Phish played their third top notch show in a row this night and it is great that there are so many sources to choose from.

The MK22 source is pretty boomy right from the beginning.  The levels are very nice and the high end is crisp.  However, despite the fact that it is a front-of-board recording, it still sounds distant.  The bass sounds quite good, but it is overpowering at times. 

The Busman source is quite good.  The bass is not nearly as boomy as the other sources, however, there is very little tone to the bass at lower frequencies either.  The high-end is noticeably crisper than any of the other sources as well.

The Beyer source is boomier than the Busman source, but not as boomy as the MK22.  Again, there are nice, crisp highs.  I like the tone of the guitar on this source in particular.  Unlike some of the other sources, the kick drum is also boomy.

On the DPA source, the kick is quite clear, however Gordon is a bit boomy.  Overall, this is a very listenable recording and I would say it is the 2nd best of the 6.  There is more audience noise than the Busman source, but the overall effect is quite balanced.

The MK5 source has very crisp highs and great definition throughout the sonic range.  The bass is nice and rounded with good tone all the way down to the lowest notes.  This is the best source to my ears.

The AKG source is not nearly as punchy as any of the other sources.  You can't feel the bass at all, and there is not a lot of tonal distinction down low either.

The MK5 source is available in 24 bit and that is the source I will have on my hard drive.

Happy listening!

10-20-10 Utica Memorial Auditorium, Utica, NY Source Review

For this fantastic show, there are 5 sources available.  There are several that are really superb here, in fact, my choice of the best is really a toss-up between two of them.

Source 1 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>kind cables>Fostex FR-2LE(Busman T-mod)
Location: OTS /LOC/DIN
Transfer: FR-2LE>Wavelab 6.0>CD Wave>TLH(flac 16)

Etree Source

Source 2 (hereafter FOB 140 source)
Source: (FOB) Neumann AK40/LC3/KM100 (DIN)> Grace Design Lunatec V3 (Analog)> (Oade Concert Modified) Edirol R-44 (24/48 on a SDHC Card).
Transfer: SDHC Card> Card Reader> PC> Samplitude SE No. 9 (Fade in/out, normalize, dither to 16 bit, and resample to 44.1k)> CD Wav (Tracked and converted to flac @ level 8).

Etree Source

Source 3 (hereafter DPA source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Config/Location: DIN/FOH/OTS/SROC front row right corner of FOH 10' stand
Transfer: 722>Firewire>Macbook>
Sound Studio 3.6(fades, normalize peak, track)>Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 1.71(align on sector boundaries, encode, tag, fingerprint)>flac16

Etree Source

Source 4 (hereafter SKM 140 source)
Location: OTS just FOB, front right corner of soundboard barrier
Mic config: mics outside stacks, Sabra-Som SSM-1 shock mounts/stereo bar, Manfrotto air-cushioned stand @ 10.5 ft, small screens
Source: 2 Neumann SKM 140’s(AK40 caps/LC3 actives/KM100)>>GAKables xlr>Lunatec V2>GAKables xlr>Apogee Mini-Me@96/24>AES/EBU>Sound Devices 722 @96kHz/24bit
Transfer: Sound Devices 722 master file @96kHz/24bit>firewire>Sound Forge 9.0e>44.1/16-CD Wave v1.96.1(tracking)>tag w/Tag Scanner5.0,fingerprint/FLAC16 via FLAC frontend 1.7.1(level 8)
Notes: ~ S.F. 9.0 (mastering limiter by 2db to -.20db character 10, fades, resample(high setting 4) w/anti alias filter & dither-high pass triangular/noise shaping-high pass contour to 44.1/16)


Etree Source
24 bit Etree Source

Source 5 (hereafter Nak source)
Source: Edirol UA-5>Edirol R-09 HR>Nakamichi 300 Mics W/CP4 Shotguns>CD WAV Editor>Traders Little Helper>Flac Level 8

Etree Source

First off, you have to love that picture there.  It pretty much says it all.  I want to thank the tapers for bringing the aud's every night.  They have been great this tour, and this was a great show, plain and simple. 

The Busman source sounds relatively tinny, the highs are very crisp, but the lows just aren't there.  There is really no punch from the kick or from Gordon hitting really low notes.  The levels are quite nice however.

The FOB 140 source has nice levels as well.  The highs are crips, but there is not as much high end as in any of the other sources.   This actually tends to make it sound less crisp in comparison, but the essentials, the high-hats and ride cymbals, still sound great.  The bass is richer than the Busman source.  Overall, this is probably the 3rd best of the 5 recordings.

The Nak 300 source has the most problems in the low end.  It sounds like there is a notch filter on everything below 120 hz.  There is just not bass response at the low end and the kick drum is almost non-existant.  Definitely my least favorite of the 5 recordings.

The DPA source has really nice levels, good bass response and crisp highs.  Just a great sounding recording.

The SKM 140 source is also great sounding.  Great bass response and crisp highs.  Quite honestly, you can't go wrong with either the DPA source, or the SKM 140 source.  For myself, I have gone with the SKM source because it is available in 24 bit.  Either way, great recordings guys.

Happy listening!

My Setup

In response to the excellent comment from T.R. Donoghue, I think it reasonable to let you know what I am listening to the recordings on.

First off, I listen to the recordings digitally, as wave files.  I download them to my computer and then stream the audio to an airport express which is connected via an optical digital cable to my receiver. 

My receiver/amplifier is an Integra DTR-6.8.  It is a 7.1 receiver, however I run it as a 5.1.  The mains are Paradigm Audio Monitor 11 v.5's.  The center channel is a Paradigm Audio CC290.  The rears are Paradigm Audio ADP 390's.  The subwoofer is a Klipsch RW-10D.

I have used Monster Cabling throughout, however, I don't have a note as to what the type of Monster Cabling is. 

I hope that gives you some idea of my setup and why I choose the recordings I do.  As always, your mileage may vary, and I encourage you to submit comments on my reviews, positive or negative.

10-19-10 Augusta Civic Center, Augusta, ME Source Review

Yet again, Phish has played a great show in an out of the way place and there are 5 different tapers (at least) there to chronicle it.  The recordings for this evening are all quite good, with a few that rose above the rest.

Source 1 (hereafter MK22 source)

Source:FOB-Schoeps mk22>kc5>cmc6>psp3>mini-me@48-24>r-44>sd

Transfer:sd>vegasSRC44-16>cdwave>flac

Etree Source

Source 2 (hereafter AKG 214 source)
Source: AKG c214 > Silver Cables > FR-2LE [BA TMod] (24/96)
Transfer: CF Card > Audacity (fades, tracking) > r8brain (downsampling) > TLH > Flac (level 8)
couple of feet left of DFC/DIN/about 10' high

Etree Source
24 bit Etree Source

Source 3 (hereafter AKG 393 source)
Source: AKG393's(OTS/DFC) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> NJB3 @ 48 Khz
Transfer: NJB3 -> Firewire -> PC-> r8Brain (Resample to 44.1 Khz) -> CD WAVE Editor -> Flac Frontend
Microphone Config:Mics aimed at outside edges of PA Stacks, 10 ft high

Etree Source

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

Etree Source

Source 5 (hereafter ADK source)
Location:  OTS just LOC
Microphone Configuration: DIN
Source: ADK SC-Ts  > Busman UA-5 > Iriver 120
Transfer: Audacity > WAV > FLAC

Etree Source

I want to thank the tapers for doing all the work to make this kind of blog possible.  Also, I want to thank the folks at etree for setting up a site that allows these recordings to be disseminated so quickly.

The MK22 source has low levels, and like many FOB recordings, has more crowd noise than the other sources.  The kick drum is really, really boomy on this recording.  Overall, there is less tonal quality on lower frequencies, which really hurts this recording.

The AKG 214 source has much lower levels than either the AKG 393 source, the Sennheuser source, or the ADK source.  Gordon sounds really good at higher frequencies, but become really muddy at lower frequencies.  At the beginning of A Day In The Life, Page doesn't sound nearly as good as he does on the ADK source.

The AKG 393 source has fairly low levels to begin with, but the taper corrected this early in the show.  The bass is nice and full throughout the frequency range and the highs are quite crisp.  This is my favorite recording of the five sources.

The Sennheuser source has great levels right from the start.  The bass is very distinct, but doesn't have the punch that the ADK or AKG 393 sources have.  I would say this is the 2nd or 3rd best recording, pretty much a tossup with the ADK source. 

The ADK source has great levels right from the starts.  The high end is very crisp and the bass has nice tone.  However, at lower frequencies the bass becomes muddy and the recording is very boomy overall.  As with most of the shows on this tour, Page is fairly low in the mix.  Overall, this is probably the 2nd or 3rd best of the recordings as the Sennheuser source is also very good.

Happy listening!

10-16-10 North Charleston Coliseum, North Charleston, NC Source Review

As with the first night of this run, there are 6 sources available.  Unlike last night, there are 3 different sources from Schoeps MK41's, which makes for an interesting comparison. 

Source 1 (hereafter MK41 > M248)
Source: schoeps mk41 (DINa)> CMR> Naiant PFA > Oade m248> SD 744t
Location: DFC/OTS 10'
Transfer: SD 744t HD> Samplitude> cd wave editor> TLH

Etree Source

Source 2 (hereafter MK4v)
Source: Source: schoeps mk 4v (DIN) > KCY> Sonosax SX- M2 LS> SD 744t (24/48)
Location: DFC/OTS 10'
Transfer: SD 744t HD> Samplitude> cd wave editor> TLH

Etree Source

Source 3 (hereafter Neuman)
Source:   Neumann ak40 > lc3 > km100 (din) > Lunatec V3 > Edirol R-44 @ 24/48
Location: OTS,DFC
Transfer: SDHC card > PC > wavelab 6.1 > cd wave > traders little helper (flac level 8)

Etree Source
24 bit Etree Source

Source 4 (hereafter DPA)
Source: DPA 4023 (FOB, DFC, 6' up, DIN) > Sonosax SX-M2 > Edirol R44 (24/48)
Transfer: SDHC Card > PC > Wavelab 6 (Bass Rolloff, Fades, Resampled via resampler 192, MBIT+ Dither) > CD Wave > FLAC

Etree Source
24 bit Etree Source

Source 5 (hereafter FOB MK41)
Source: Schoeps mk41v's(DINa)>kc5>m222>nt222>744t
Location: FOB/DFC
Transfer: 744t>CD Wave>Wavelab 5>Flac

Etree Source

Source 6 (hereafter MK41)
Source: Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: OTS, DFC, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source

Photo by Lacy Lynn

Lots of nice recordings to choose from for this show.  First of all, I want to thank the tapers for making such nice recordings.  If it weren't for their efforts, I wouldn't have anything to listen to.  Thanks guys.

The MK41>M248 source starts out with low levels, but they increase as Kill Devil Falls goes on.  The recording is quite crispy, but in comparison, seems a bit trebbley compared to some of the other sources.  There is a fair amount of crowd noise.  The bass isn't as distinct as I would like.  Overall, this is probably the 3rd best of the various recordings available.

The MK4v source has lower levels and a muddier bass than some of the other recordings.  The recording sounds muffled compared to any of the MK41 sources, or than the Neuman source. 

The Neuman AK40 source sounds fantastic.  The levels are nice, and the recording is very crisp.  There is some muddiness in the bass, but all of the other recordings have that problem, mostly to a greater degree.  The tone of the bass is great and the highs are very crisp.  In addition, this recording is available in 24 bit.  In my opinion, and it is a close call, this is the recording to go with.

The DPA source has low levels and a muddy bass and well as a muddy kick drum.  The whole thing is muddy in the lower frequencies, at least compared to the schoeps or neuman sources.  There is also a lot of crowd noise on this source. It is also noticeably thinner sounding than the other sources.

The FOB MK41 source suffers from lower levels and muddiness as well.

The MK41 source has great bass and great levels.  It is a fantastic recording.  The differences between it and the Neuman source is strictly a gut call.  They are both great, and both clearly superior to the other sources.  The main reason I went with the Neuman source was the availability of the 24 bit recording as well as the bass response during Tweezer Reprise being slightly better. 

Happy Listening!

10-15-10 North Charleston Coliseum, Charletston, SC Source Review

Lots of sources to choose from here.  In addition to the 6 I am reviewing here, there are at least 2 24 bit sources of these that are also available, at least as of 10-16 in the evening. 

Source 1 (hereafter Neuman source)
Source: Neumann ak40's(dina)>lc3>km100>V3>722>@24/48
Location: FOB>DFC>50' from stage @ 6'
Transfer: 722>cd wave>wavelab(fades/resample)>trader's little helper>flac

Etree Source

Source 2 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: OTS, DFC, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

Etree Source

Source 3 (hereafter MK4V source)
Source: Schoeps mk4v's(DINa)>kc5>m222>nt222>744t
Location: FOB/DFC
Transfer: 744t>CD Wave>Wavelab 5>Flac

Etree Source

Source 4 (hereafter DPA source)
Source: DPA 4023 (FOB, DFC, 6' up, DIN) > Sonosax SX-M2 > Edirol R44 (24/48)
Transfer: SDHC Card > PC > Wavelab 6 (Bass Rolloff, Fades, Resampled via resampler 192, MBIT+ Dither) > CD Wave > FLAC

Etree Source

Source 5 (hereafter AKG source)
Source: AKG 483 (OTS, DIN @ 10ft) > Oade m248 > Oade mod-SBM-1 > JB3 @ 44.1kHz
Transfer: JB3 > WaveLab > CD Wave > flac (6)

Etree Source

Source 5 (hereafter MK41+MK21 matrix, or just matrix source)
Source: schoeps mk41 (DINa)> KCY> Sonosax SX-M2 LS + mk21> KCY> vms5u> SD 744t (24/48) (suzzie till end mk41's only)
Location: DFC/OTS 10'
Transfer: SD 744t HD> Samplitude> cd wave editor> TLH

Etree Source

First of all, big thanks to all the tapers for making great recordings again.  If it weren't for the efforts of these tapers, and the amazing turn around times, it would be months or longer before we would get to hear these shows.  As it is, we only have to wait 1 day or so for multiple sources to show up.

The matrix source looks great on paper, but it has noticeably low levels and sounds pretty thin right from the start.  The highs are quite crisp, but there isn't really good bass response.  Further, at low frequencies, the bass becomes nothing but a thud with little to no tonal quality.  There is a lot of crowd noise.  The main thing noticeable about this recording is that it is really bright sounding.

The AKG source is probable the second best of the bunch.  The levels are really nice, but the bass has a little bit poorer response than the MK41 source and overall, the recording is a bit tinny.

The DPA source has lower levels and really rumbly sounding bass, however the bass does have a nice tone where it is clear.  Like the matrix, there is a lot of crowd noise. 

The MK4v source has a whole lot of crowd noise.  At times, it sounds like its underwater compared to the other sources.  The bass is very thuddy with very little tone at the lowest frequencies.

The Neuman source has low levels, particularly compared to the MK41 or AKG, again the bass is a bit thuddy, but it is noticeably better than the DPA, MK4V, or matrix source as far as tone is concerned, particularly down low.  Overall, a nice recording.

The MK41 source sounds the best to my ears.  The bass is very nice and distinct to the lowest frequencies.  There is nice separation amongst the instruments and the highs are very crisp.  There is a 24 bit version of this available and if you have the capabilities, this is what I would recommend.

Happy listening!

10-12-10 1st Bank Center, Broomfield, CO Source Review Update

Alrighty! There is a new source available for this show, the Sennheuser source that has been available for the other two Phish shows at Broomfield, which I have compared to the Neuman source previously available.

Here is my first source review for this night.

Source 2 (hereafter Sennheuser source)

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

Etree Source

Photo By A. Gordy

As with the other three nights, the Sennheuser source is quite good.  Compared to the Neuman source, there is much less crowd noise.  The highs are great, nice and crisp.  However, the overall effect is a bit thinner than the Neuman source.  As well, there is muddiness in the very lows which is absent on the Neuman source.  Notice at the beginning of the David Bowie, Mike hits some very low notes prior to the "1st verse!", these are no longer noticeable as notes on the Sennheuser source, while they are still distinct on the Neuman source.  Both sources continue to suffer from Page being low in the mix.  We can only hope that this is fixed tonight.

Again, I have to tip the hat at all of these tapers who have made excellent tapes.  If you don't like bass hitting you in the gut the way I do, you might prefer the Sennheuser source.  I am still going with the Neuman source unless something better comes along.

Happy Listening!

10-12-10 1st Bank Center, Broomfield, CO Source Review

Well, I've tried to give it some time, but as of this writing (October 14 pm) there is still only 1 source available.  Luckily for us, it sounds great. 

Source 1 (hereafter Neuman source)

Source: FOB/DFC > Neumann ak40's(NOS) > lc3 >
km100 > Aerco mp2 @ 20db > Sd 702 @ 24/48
Transfer: Cf Card > *Wavelab 6.0 > Resample/Uv 22Hr Dither >
Cd Wave > TLH > 16/44 FLAC

Etree Source

This source is identical to the Neuman source from the other two nights at Broomfield, as well as the Mike & Trey acoustic set from the 4 Mile Canyon Benefit.  As with the other nights, these tapes have excellent presence.  The highs are very crisp and the low-end is quite well defined.  As with the other two nights, Page seems low in the mix to my ears, particularly on the piano.  As with the other nights, there is noticeable crowd noise, which is not surprising coming from an FOB recording.  It is not distracting, and actually adds to the illusion of actually being there. 

I heartily recommend this recording, though I will be on the lookout for others, if just to have a point of comparison. As new sources become available for this, or any other show, I will add those to the show review, and point out any that are clear upgrades for those of you out there that are looking for the best (and isn't that why you're reading this anyway?). 

Once again, I must thank gotfob for his work at taping all 4 of these shows.  He does an excellent job and is to be commended. 

Happy listening.

10-11-10 1st Bank Center, Broomfield, CO Source Review

As of this afternoon (October 13) there are again 3 sources available.

Source 1 (hereafter Neuman source)
Source:  FOB/DFC > Neumann ak40's(NOS) > lc3 >
km100 > Aerco mp2 @ 20db > Sd 702 @ 24/48
Transfer: Cf Card > Wavelab 6.0 > Resample/Uv 22Hr Dither >
Cd Wave > TLH > 16/44 FLAC


Etree Source

Source 2 (hereafter Schoeps source)
Source: Schoeps mk4v's(DINa)>kc5>m222>nt222>744t
Location: FOB/DFC
Transfer: 744t>CD Wave>Wavelab 5>Flac

Etree Source

Source 3 (hereafter Sennheuser source)
Field: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
config: pointed slightly outside PA array, centered, 12 feet 4 inches high.
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

Etree Source

These three sources are identical to those available from the night before, however, for whatever reason, my ears tell me that they have changed slightly.  Perhaps the mix was different in the house, causing these differences.  Nevertheless, the same basic problem from the first night is still evident, namely, Page is too low in the mix, particularly the piano.

The Schoeps source comes in a bit bass heavy at the start of Runaway Jim, but this seems to back off, and the sound of the bass is quite crisp, even at the low notes.  To really hear the low notes, check out when Gordon and Fish hit together at the beginning of Tweezer Reprise.  My house shook, just the way I like it.  About 30 seconds later, Mike does a kind of sweeping thing with the bass, and this is where the Schoeps source outshines the others, it is clear, and distinct.  On the Sennheuser source, this is muddy. 

The Neuman source has a more balanced bass response from the beginning.  The highs, as usual shimmer nicely, and you can hear the air being pushed from the house speakers.  Actually, what I think you are hearing is Fish's snare drum rattling from the noise being produced on stage.  This is particularly noticeable during quieter parts.  There is noticeable chatting during quieter parts as well, but this is to be expected from an FOB recording. 

As stated above, the bass is a bit muddy on the Sennheuser source as well as the mids.  I am not sure what changed here as the source info is identical to the night before. 

I want to thank the tapers for making some excellent tapes again.  All three are very good, with the Neuman and Schoeps source being a bit better than the Sennheuser.  If forced to choose, I think the Schoeps source is the one to go with for this night.  Its what will be on my hard drive going forward.

Happy Listening.

10-10-10 1st Bank Center, Broomfield, CO Tape Review

As of this morning (October 12) there are 3 sources available.  All three are excellent and you can't really go wrong with any one of them.  However, it is my job to review and critique them, so here goes.

Source 1 (hearafter Schoeps source)

Source: Schoeps mk4v's(DINa)>kc5>m222>nt222>744t
Location: FOB/DFC
Transfer: 744t>CD Wave>Wavelab 5>Flac

Etree Source

Source 2 (hearafter Neuman source)

Source:  FOB/DFC > Neumann ak40's(NOS) > lc3 >
km100 > Aerco mp2 @ 20db > Sd 702 @ 24/48
Transfer: Cf Card > *Wavelab 6.0 > Resample/Uv 22Hr Dither >
Cd Wave > TLH > 16/44 FLAC (*Lowered Gain By -1db.)

Etree Source

Source 3 (hereafter Sennheuser source)

Field: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
config: pointed slightly outside PA array, centered, 12 feet 4 inches high.
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )


Etree Source

Much like the Trey and Mike benefit show from the night before, all of the recordings available are excellent, and where they are deficient, they are all that way, which I attribute to the house mix.  First the deficiency, Page is very low in the mix and I think this is to the detriment of the show overall.

Now the good stuff, the Neuman source, as with the night before, has a long intro of crowd noise before the first track, while the other two sources split the crowd intro into a separate track.  There is a strong bass response from the Neuman source, but it does have a slight lack of definition between the bass and kick drum at the low end.  However, this problem is more pronounced in the Sennheuser and Schoeps sources.  When you hear Gordon hit an extremely low note all alone, as in the intro to Ocelot, it is clear and well-defined. 

The Sennheuser source has especially crisp highs and, like the Neuman source, good frequency response into the lower registers.  There is a bit more mid-range in Trey's tone which makes this source slightly less preferred than the Neuman.

Unlike the night before, the Schoeps source performed the least well.  The levels are noticeably low at the beginning of Chalkdust Torture, though the taper quickly remedies this as the full band comes in.  However, there is not as much punch as I like when Gordon really gets the song going.  There is great definition in the highs.  Also, there is noticeable chatting during some of the quieter parts of songs. 

Once again, I must tip my hat to these tapers who put forth so much effort in both recording the performances as well as disseminating them so rapidly.  All three sources were available before 12 noon eastern the day after the show.  That's incredible.  As I said from the outset, all three recordings are excellent.  However, if forced to choose, I would rate the Neuman source the best, the Sennheuser source next, and the Schoeps source last. 

Happy listening!

10-09-10 Four Mile Canyon Benefit Trey & Mike

At this point (Monday, October 11th am) there are two different recordings available.
Source 1 (hereafter Neuman Source)
Source:  FOB/DFC > Neumann ak40's(NOS) > lc3 >
km100 > Aerco mp2 @ 23db > Sd 702 @ 24/48
Transfer: Cf Card > *Wavelab 6.0 > Resample/Uv 22Hr Dither >
Cd Wave > TLH > 16/44 FLAC (*Lowered Gain By -1db.)

Etree Source

Source 2 (hereafter Schoeps Source)
Source: Schoeps mk4v's(DINa)>kc5>m222>nt222>744t
Location: FOB/DFC
Transfer: 744t>CD Wave>Wavelab 5>Flac

Etree Source

The Schoeps source is only available as a download of the entire concert, while the Neuman source is available as strictly a Trey & Mike download.  The Leftover Salmon and String Cheese sets (with sit-ins by Page and Trey) are available separately.

First of all, thanks to the tapers for doing the work and making these recordings available so quickly after the show.  Both of these recordings are top notch with very subtle differences between them.  The Neuman source has slightly lower levels overall than the Schoeps source.  There is good separation between the guitar and bass on both recordings, with the Schoeps source having a bit more shimmer in the highs (which I like on the acoustic guitar) but this could be because the levels are hotter and thus is more noticeable at constant volume.  There is crowd noise evident on both of these recordings, which are both front of board.  There is a long lead-in to the first track on the Neuman source which is cut into a separate track on the Schoeps source.  The bass is a little bit better defined on the Schoeps source, but only marginally so.  It appears that the Schoeps have better bass response at extreme low frequencies, resulting in an overall better bass sound.  However, these differences are extremely minute.

Thus, I must give the nod to the Schoeps source, but both tapers are to be commended, they both sound excellent and you can't go wrong with either recording.


As an addendum, I compared the recordings of Leftover Salmon from both sources.  There are similar problems with each that I attribute to the house mix rather than the mics, particularly since they both suffer virtually identically.  The low end and mids are a muddy mess.  There is very little distinction between the kick drum and bass, and very little distinction between the guitar and mandolin while both are playing rhythm.  If the banjo didn't have such a distinct attack, I am sure it would be lost in the middle too.  The vocals are clear and distinct.  Overall, its a tape worth having if you are a fan of the band, but otherwise, I think the mix just isn't that good.

Friday, October 8, 2010 - Austin City Limits Tapes Reviewed

Well, at this point (Sunday afternoon) there is only 1 source available (other than the sbd source from phish.com).  The source is as follows:
Source: Mod Nak 701’s -> Luminous Audio P/S -> Korg MR-1 (1bit/2.8MHz DSD)
Location: fob, 6’ right of dfc, 60’ from stage
Transfer: Korg MR-1 -> AudioGate (16/44) -> CD Wave -> FLAC

Etree source

My frequency analyzer says that this tape is fairly bass heavy, but my ears tell me differently.  One thing the frequency analyzer is right about, however, is that the levels are low on this recording.  The levels peak at -10db, which leaves plenty of room for the taper to boost it, certainly after the fact. There is definitely something missing at the low end.  When Mike lays a bomb, there is no blow to the gut, which is kind of the way I like it.  Mike actually sounds kind of buried, particularly in the low end, where the attack and sonic quality of the note seem to be lost. However, at this point, this is all that's out there.  The drums are well defined with no whirring in the high-hats.  Trey is not as out in front as he usually is.  This is a very listenable tape however.  There is some muddiness in the middle of the spectrum and there isn't great separation between the instruments.  However, this could well be the result of the "festival mix" which is notoriously not as good as what Phish brings to the table on their own.  I will continue to look for other options as the week goes on.

April 6, 1994 Concert Hall, Toronto, Ontario, Canada

Etree Source

Spreadsheet Source

Miner's Archive Source

Last Show: April 5, Metropolis, Montreal, Quebec, Canada
Distance from last show: 340 miles, roughly 6 hours.

Show highlights: Stash, Mike's Song, Squirming Coil

Set 1: Llama, Guelah Papyrus, Poor Heart, Stash, Lizards, Sample In A Jar, Scent Of A Mule, Fee, Run Like An Antelope

Set 2: The Curtain, Down With Disease, Wolfman's Brother, Sparkle, Mike's Song, Lifeboy, Weekapaug Groove, Squirming Coil, Cavern

Encore: Ginseng Sullivan, Nellie Cane, Sweet Adeline

For this show, I listened to the source from Mr. Miner's archive.  His site is fantastic both for his great writing and reviews, but also for his easy to use and access archive of many, many shows.  This source is a Panasonic SV-3700 into a Tascam PCI-822. 

That beating drum can only mean a Llama opener.  Great, pumping way to start the show.  Page is all over the organ to get it started.  Page is definitely on it to start this show.  Great solo with Trey adding some discordant strumming behind him.  Trey comes in high and then just starts rocking.  A little low jam to build tension almost sounds like a chalkdust jam for a moment.  Really nice jam overall.  A great way to start a show.

Guelah Papyrus follows.  I wish that recordings showed you the Guelah dance, because I absolutely love the dance.  A nice little breakdown before the first verse.  The Asse Festival part is just played flawlessly.  One of Phish's many 5 minute jamless pieces.  Well crafted and well played.

They still haven't really gotten jamming yet, and Poor Heart isn't the place for that to start.  Still, always fun.  Trey says "cactus" two or three times at the start of Gordon's break.  High speed bluegrass, nicely played.  The boys are having fun, but really haven't gotten going yet.

I was thinking Stash all the way through Poor Heart, and sure enough there is was.  Just so you guys know, I don't peak at the setlists before I hit play on the show, figure it gives me a "blank slate" review.  A few hiccups by Trey into the 2nd vocal part.  The drums are a little low in the mix at this point.  Trey is immediately heading into a dark space with the jam, repeating a figure down low while Page plays up higher on the piano.  Got a little psychedelic before the first peak, but you can just tell that Trey is nowhere near through with this one.  Trey gets further and further out there, and the crowd roars its approval, hitting a brief peak before diving back in.  Then the band goes into a staccato jam, the bass is now low in the mix.  The band gets really, really quiet, just a little feedback from Trey.  Really sparse jam here, with Fish just tapping the woodblocks, kind of building it up from Trey and Page.  Fish and Mike bring it back to the traditional Stash jam.  Wow.  This is a really, really good version of Stash.

Lizards provides a nice opportunity to cool off after that Stash.  However, it still keeps the crowd engaged.  The band is exhibiting nice harmonies.  Trey says "my bad" in the middle of the first chorus, but I can't really tell why.  However there is a slight hint of feedback coming from somewhere, perhaps that's it.  Page takes a nice break, but nothing remarkable.  Basically, same from Trey, nice but not noteworthy.  Lizards is always a treat, but is never really special. This version is no different.

Apparently Trey wants to rock it out a bit, so we get the obligatory Sample In A Jar.  Heavy bass lines in the intro.  At this point, Trey is low in the mix, just like the version from Burlington.  Standard Sample, rocking, but you know, not much else.

Scent of A Mule comes next.  Another new song, at least back then.  Its standard right into Page's solo.  Page does some nice trills, a little reminiscent of a Close Encounters jam, but only hinting at it.  Then the duel.  Nice yelling during the duel.  Hey! The band accelerates together, unlike in Burlington.  Overall, a much tighter version than the debut from two nights earlier.

Fee, another repeat from Vermont.  Lots of crowd singing on the chorus.  Nice dissonant piano by Page before the last verse.  There is a neat little harmonic jam at the end into a pretty ending.

Page continues with the piano part that ended Fee as Trey starts in to Run Like An Antelope.  Time for a raging jam to end the set.  The band starts whistling during the intro.  That's a little different.  Trey seems to get lost, so he goes into a start/stop thing.  They are clearly having fun.  The jam starts off really rocking, no drop down here, just balls-to-the-wall, in your face rock.  Trey could definitely be higher in the mix.  Page continues to shine with some nice dissonant chords on the piano while Trey keeps rocking.  Heading up to the ending, Trey adds some descending figures and they kind of crash into the breakdown.  Not the worst transition I have heard, but not the best either.  Basically, a good Antelope, but not particularly inspired.

Overall, not the best first set of the tour.  Really, the only highlight was Stash, though the Llama opener was pretty good too.  Trey is low in the mix and maybe that is part of the problem.

The second set opens up with The Curtain.  Always a nice opener.  Usually leads into something big.  They are definitely in sync for this one.  A few missed chords, but overall, well played.

The ending of The Curtain leads into wet chords from Gordon, which can only mean Down With Disease.  While this is only the second Disease ever played, the crowd response is already great.  Again, with Trey low  in the mix, you can hear Page play the lead line as they head into the start of the jam.  Usually that part is drowned out by Trey.  Gordon isn't particularly distinct either.  As he moves up the fretboard, his bass is clearer, but in the lower registers it is just muddy.  All around, it's a nice, rocking jam.  It never leaves the structure of Disease, but then it doesn't really have to either.  The vocal part is nice to end the song, complete with the "oh, oh, oh's".  Fun.

Wolfman's Brother follows.  Gordon is laying it down thick to start the song.  Trey is having fun layering in some trills.  Really laid-back version.  A little doo-woppy heading into the jam.  They go into a start/stop jam.  It is clear that they are still working out how to do the jam in this song.  Page is dancing up the piano, Gordon is laying down some bombs.  Trey is kind of fading away here.  Neat little jam, with Page ending it singing "shouldn't have took more..."

Trey starts up Sparkle.  Time for the crowd to shake their ass.  Tight into the jam.  Page is on it nicely and Trey is still low in the mix.  They nail the ending.

Finally a jam song.  Trey kicks those opening notes to Mike's Song and the crowd goes wild.  In the first set there was actually a Mike's Song chant that is audible on the recording "Mike's Song, Mike's Song, Mike's Song....."  Ask and you shall receive.  Page sets the stage on the piano for the beginning of the jam, then switches to organ when Trey starts playing.  Trey immediately goes into a repetitive, droning jam with Trey and Page duplicating each other.  That heads into a funny little ditty that is reminiscent of a children's song.  Then is starts to slow down, staying on the same scale, though more menacing now.  Then Fishman kicks it into double time, and Trey starts to hint at getting back into Mike's.  They get back to the theme and start rocking it pretty hard.  Definitely an interesting Mike's and worth a second or third listen.

Lifeboy flows out of Mike's and this transition works really well.  Page lays a nice sounding grand piano hit at the start of the song, and then the usual ascending figure.  Very tight.  However, like the If I Could from Montreal, Trey is just too impatient to let the jam build up.  Hopping to quickly to a more forceful jam, it can't hit the heights if it doesn't have the quiet parts at the beginning for comparison. 

Fish immediately kicks Weekapaug Groove, but then pauses as if to check with Trey and make sure that's really what's next.  Then he kicks into it again.  Page is playing great.  Trey is still low in the mix, and he does his typical triplet figures.  Trey leads the band into another droning jam, and then they get atonal.  Gordon is playing syncopated beats.  Fish hits the snare twice and then boom!, back into the Groove.  Trey holds a long note while Page just gets down.  Nice Weekapaug! Rocking!  As they get back to the final chorus, Gordon lays down a cool bass lick.  They're singing the chorus an octave high, and then Trey starts going down really low.  Kind of vocal jammy here.  Page leads the ending lick too.  He is on fire tonight.

It's fitting that since Page is the clear MVP of the show, Squirming Coil comes next.  The composed section is solid.  With Trey so low in the mix, the final chorus just doesn't have the punch that it should.  Page is just playing beautifully though, reminiscent of Keith Jarrett.  Once he is on his own, he plays a gorgeous ascending figure that sounds very classically influenced.  Wow! Nice solo by Page.

Cavern follows to end the set probably.  Always a nice rocker.  Gordon is using his envelope filter.  Rocking version as usual, and it does end the set. 

The Coil and the Mike's are the only standouts in this set, and even then, the Coil suffers from Trey being low in the mix for the composed part.

Fishman comes out and says "Did any of you guys see Madonna on Letterman?  Yeah?  Well this is my Madonna washboard."  This leads the band into an acoustic, unplugged encore.  I had to juice the volume by 6dB in order to make the songs audible.  At that volume, there was noticeable hiss in the recording.  Ginseng Sullivan was nice.  The vocals are audible, as is the hit of the bass, but the guitar and mouth piano are basically lost entirely.  During the washboard solo there is some giggling by the audience.  I wonder what Fish was getting up to?  Trey's solo is basically inaudible. 

Nellie Cane is played next.  The high harmony is a bit rough.  In the middle of the song, somebody is doing something because the crowd starts hooting and hollering, but whatever they are doing is inaudible, made worse by the crowd shouts. 

The band finishes up their encore with an a capella Sweet Adeline.  The crowd stays quiet throughout and the song sounds quite nice. 

All in all, this recording suffers mainly from Trey being low in the mix, which is no fault of the taper.  However, there is a noticeable lack of clarity in the lowest registers as Mike gets muddy in the mix.  Definitely listenable though.  I will check out the Stash and Mike's Song again.