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!
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