Phish Listening Room: 2011

Sunday, October 9, 2011

September 4, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

Phish 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!

Source 1 (BSC2 source)
Source: Busman bsc2 K31(hypers)>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

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

16 bit source

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

16 bit source
24 bit source

Source 4 (DPA 4022 source)
Source: DPA 4022 (nos)> Oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source

Source 5 (SKM184 source)
Source: Neumann skm184>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 6 (VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5'
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 7 (AK40 source)
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source

Source 9 (BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 10 (CCM4 source)
Source: Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (MK4v source)
Source: Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (MK21 source)
Source: Schoeps mk21 > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: ORTF wide/FOB
Transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 13 (DPA 4021 source)
Source: DPA 4021 > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Phish - 9/4/11 "Bathtub Gin" from Phish on Vimeo.

The BSC2 source lacks good separation throughout the sonic spectrum and the low-end lacks the umph of the better sources.

The MK22 source loses some of the tonality at the lowest frequencies.

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.

The DPA 4022 source is a bit more bass heavy than the VM44 source, but the highs aren't as nice.

The SKM184 source sounds a bit bass heavy and lacks high-end.

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.

The AK40 source is really bass heavy and lacks the crisp highs of the MK5 or VM44 source.

The DPA Matrix source has lots of bass, and like so many matrix sources, loses a bit of the high-end.

The BSC1 source lacks good separation and sounds a bit bass heavy.

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.

The MK4v source is quite nice sounding, with good bass tone, however some of the tone is lost at the lowest frequencies.

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.

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.

Happy listening!

Sunday, October 2, 2011

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

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

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

16 bit source

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

16 bit source
24 bit source

Source 3 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: SBD/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)
Tagging: FLACs Tagged With Mp3tag v2.46a

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source
24 bit source

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

16 bit source
24 bit source

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

16 bit source

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

16 bit source
24 bit source

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

16 bit source

Source 11 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (hereafter MK22 source)
Source:Schoeps MK22 (stc 22g)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

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

16 bit source

Source 14 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source

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

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

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

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

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

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

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

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

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

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

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

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

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

The BSC2 source sounds distant and muffled.

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

Happy listening!

Wednesday, September 21, 2011

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

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

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

16 bit source
24 bit source

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

16 bit source
24 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

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

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

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

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

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

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

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

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

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

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

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

Happy listening!

Tuesday, September 20, 2011

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

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

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

16 bit source
24 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

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

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

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

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

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

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

Happy listening!

Saturday, September 17, 2011

1 Year of the Phish Listening Room

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

Thanks again for your support!

Friday, September 16, 2011

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

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

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

16 bit source
24 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

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

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

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

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

Happy listening!

Thursday, September 15, 2011

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

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

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

16 bit source
24 bit source

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

16 bit source
24 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source

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

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

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

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

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

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

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

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

Happy listening!

Tuesday, September 13, 2011

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

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

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

16 bit source

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

16 bit source

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

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

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

Happy listening!

Monday, September 12, 2011

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

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

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

16 bit source

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

16 bit source

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

24 bit source

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

16 bit source
24 bit source

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

16 bit source

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

24 bit source

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

16 bit source

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

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

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

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

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

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

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

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

Happy listening!

Thursday, September 8, 2011

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

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

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

16 bit source

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

16 bit source

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

16 bit source
24 bit source

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

16 bit source
24 bit source

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

24 bit source

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

16 bit source

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

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

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

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

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

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

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

Happy listening!

Tuesday, September 6, 2011

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

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

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

16 bit source

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

16 bit source

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

16 bit source

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

16 bit source
24 bit source

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

16 bit source

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

16 bit source

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

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

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

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

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

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

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

Happy listening!

Tuesday, August 30, 2011

August 6, 2011 The Gorge, George, WA Sources Review

Hey 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.

Source 1 (hereafter VM44 source)
Source: Milab VM-44 Link (omni) -> Lunatec V2 -> Tascam DR-680 (24/48)
Location: 25’ split at front corners of soundboard, 9.5’ high
Transfer: sdhc card -> AudioGate (16/44) -> CD Wave -> FLAC (6)

16 bit source

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

16 bit source
24 bit source

Source 3 (hereafter AK40 source)
Source: Neumann Ak 40's(NOS) > Lc3 > Km100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > Wavelab 6.0 > Resample, Uv22 Hr dither >
Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 4 (hereafter KM140 source) ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 (24/48)
Location: FOB
Transfer: WAV > CD Wave > Audition (fades) > FLAC24

24 bit source

Phish - 8/6/11 "Run Like An Antelope" from Phish on Vimeo.

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.

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.

The AK40 source is, like the MK4v source, very punchy. However, the high-end isn't as nice as the MK4v.

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.

Happy listening!

Monday, August 15, 2011

August 5, 2011 The Gorge, George, WA Sources Review

Hey folks!
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!

Source 1 (hereafter VM44 source)
Source: Milab VM-44 Link (omni) -> Lunatec V2 -> Tascam DR-680 (24/48)
Location: 50" split at front right corner of soundboard, 9’ high
Transfer: sdhc card -> AudioGate (16/44) -> CD Wave -> FLAC (6)

16 bit source

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

16 bit source
24 bit source

Source 3 (hereafter AK40 source)
Source: Neumann Ak 40's(NOS) > Lc3 > Km100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > Wavelab 6.0 > Resample, Uv22 Hr dither >
Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 4 (hereafter KM140 source) ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 (24/48) > WAV
Location: FOB
Transfer: WAV > CD Wave > Audition (fades) > FLAC24

24 bit source

Phish - 8/5/11 "Roggae" from Phish on Vimeo.

The VM-44 source is a bit thin on the bass and the lowest frequencies seem to be lost in the mud.

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.

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.

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.

Happy listening!

Thursday, August 4, 2011

July 3, 2011 Superball IX, Watkins Glen, NY Sources Review

Hey 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!

Source 1 (hereafter DPA matrix)
Source 1:DPA_4052_(omni)_V2_AD2K_SD744_Split_24_inches
Source 2:DPA_4023_(cards)_V3_SD744_Split_12_inches
Location: F.O.B_ROC_ORTF_Stand_Height_Apporx._12_Feet
Recorded in 24/96 *16 bit Version *MATRIX
Transfer: Compact Flash> Adobe Audition 3.0> Sound Forge 7.0>CDwav

16 bit source

Source 2 (hereafter MBHO source)
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]
Location: NOS/FOB/DFC
Lineage: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98
> CKRename > Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source
24 bit source

Source 3 (hereafter CCM4 source)
Source:Schoeps CCM4(ortf) Schoeps/VMS5u>R44(ocm) 24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 4 (hereafter MG Matrix source) ***24 bit only***
Source: Microtech Gefell um900 (omni, 52cm split, fob) + Schoeps mk41v (dina, fob) > kc5 > cmc6 > lunatec V3 (digital out) > SD744T (24/48);
Location: FOB
Transfer: Wavelab 5 (matrix, fades, tracking)

24 bit source

Source 5 (hereafter AT source)
Source: AT4050ST-> Marantz Oade Warm PMD660
Location: OTS/DFC, 120°Stereo @ 8'h
Transfer: CDWave->FLAC16

16 bit source

Source 6 (hereafter AKG source)
Source: AKG392's(OTS/DFC) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) ->
Microtrack II 24 bit @ 48 Khz
Location: Omnidirectional 39" separation, 75 HZ bass rolloff, Mics aimed at PA Stacks, approximately 12 ft high on stand.
Transfer: Microtrack II-> USB -> PC-> CD WAVE Editor -> Flac Frontend

16 bit source
24 bit source

Source 7 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>13ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 8 (hereafter SPTFB-2 source)
Source: SP-TFB-2 > SP-SPSB-10 > MARANTZ-PMD620
Location: BOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL (8)

16 bit source

Source 9 (hereafter DPA 4023 source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: NOS/FOB/DFC 6' stand
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 2.13(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8)

16 bit source
24 bit source

Source 10 (hereafter Oktava source)
Source: Oktava MC-012s > Edirol UA-5 (DIY digi-mod, 44.1kHz) > optical > Creative Nomad JB3 (WAV)
Location: hyper, OTS, 10' up, NOS
Transfer: Creative Nomad JB3 > USB > Creative Play Center > CDWav > normalize -b (+1.49dB) > Trader's Little Helper (FLAC Level 8)

16 bit source

Phish - 7/3/11 "A Song I Heard The Ocean Sing" from Phish on Vimeo.

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.

The MBHO source has nice bass response, but lacks definition and clarity at the lowest frequencies.

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.

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.

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.

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.

The SKM184's sound nicely balanced, but are actually a tad lacking in low-end response compared to the DPA's.

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.

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.

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.

Happy listening!

Tuesday, July 19, 2011

July 2, 2011 Late Night Set, Superball IX, Watkins Glen, NY Sources Review

Sorry for the delay on getting this post up. I had hoped that there would be a few more sources appear for this set, but unfortunately, there are only two. Luckily for us, though, one of them sounds excellent. After several listens, this is a must have set for any Phish fan. The band explores new territory with abandon and I just think its brilliant. Both of these sources are appended to the full July 2nd torrents. To just download the Late Night set, you have to select just those tracks.

Source 1 (hereafter MBHO source)
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]
Location: DINa/FOB/DFC
Transfer: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98 > CKRename > Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source
24 bit source

Source 2 (hereafter SP-TFB source)
Source: SP-TFB-2 > SP-SPSB-10 > MARANTZ-PMD620
Location: FOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL (8)

16 bit source

As a basically secret and spontaneous set, and given that it was done in surround sound, it is amazing how good these two sources sound.

The MBHO is the best of these two sources. The bass response is pretty darn good and the stereo separation is pretty nice too. The highs are there as well and the crowd is fairly quiet.

The SP-TFB source is fairly thin compared to the MBHO source. Mike just doesn't sound as full and when Page starts dropping synth bombs, those are also lost compared to the MBHO source.

Happy listening!

Wednesday, July 13, 2011

July 2, 2011 Superball IX, Watkins Glen, NY Sources Review

After a smoking beginning to Superball IX, Phish settled in for a fairly routine first couple of sets, highlighted by several new songs, but then the third set raised the bar several notches. This review will only encompass recordings of the 1st 3 sets. Tomorrow, I will have a review of the Storage Jam (4th set) sources. Once again, I have to take my hat off to the tapers who chose to record this magic rather than partying like rock stars. I know that is one choice I would not want to have to make. There are nine sources available for this recording and several are really top notch.

Source 1 (hereafter CCM4 source)
Source:Schoeps CCM4(ortf) Schoeps/VMS5u>R44(ocm) 24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 2 (hereafter MK41 source)
Source:Schoeps MK41(din) > Kcy > Sonosax SX-M2/LS2 >R44(OCM)24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 3 (hereafter MBHO source)
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]
Location: DINa/FOB/DFC
Transfer: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98 > CKRename > Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source
24 bit source

Source 4 (hereafter AKG392 source)
Source: AKG392's -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz
Location: OTS/DFC; Omnidirectional 39" separation, 75 HZ bass rolloff, Mics aimed at PA Stacks, approximately 12 ft high on stand.
Transfer: Microtrack II-> USB -> PC-> CD WAVE Editor -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend

16 bit source
24 bit source

Source 5 (hereafter Oktava source)
Source: Oktava MC-012s > Edirol UA-5 (DIY digi-mod, 44.1kHz) > optical > Creative Nomad JB3 (WAV)
Location: hyper, OTS, 10' up, NOS
Transfer: Creative Nomad JB3 > USB > Creative Play Center > CDWav > Trader's Little Helper (FLAC Level 8)

16 bit source

Source 6 (hereafter CA source) ***lossy (MD) source***
Source: CA-14s > CA-9100 > Sharp MD-MT15
Location: cardioid, OTS, 10' up, NOS
Transfer: Sony MDS-PC3 > optical > Creative Nomad JB3 > USB > Creative Play Center > CDWav > Trader's Little Helper (FLAC Level 8)

16 bit source

Source 7 (hereafter CK93 source)
Source: AKG-CK93 > PS-2 > DEAD-20 > MARANTZ-PMD661
Location: BOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL(8)

16 bit source

Source 8 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>13ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 9 (hereafter DPA source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: DIN/FOB/DFC 6' stand
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 2.13(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )

16 bit source

Phish - 7/2/2011 "Tube" from Phish on Vimeo.

The CCM4 source sounds very distant. The bass tone is quite nice. However, the levels are fairly low and there is a large amount of crowd noise.

The MK41 source has even lower levels than the CCM4 source and, like the CCM4 source, has quite a bit of crowd noise.

The MBHO source has better bass response than I have come to expect from these mics. However, it still isn't as much as I would like, and doesn't really compare to the Oktava or DPA sources when it comes to bass response. Still, a very nice recording.

The AKG392 source is very crisp sounding, however the bass response just isn't there. While this was one of the top 3 sources from the previous night, it just doesn't have the umph that would put it there for this one.

The Oktava source is, once again, very good. The low-end is quite nice and the highs are excellent. However, the tone on the bass just isn't as nice as on the DPA's. Notice Mike's first big bomb at the beginning of Tweezer Reprise. Just not comparison really.

The CA source sounds a bit hollow in the high-mids. The levels are fantastic though. It just doesn't have the punch of the Oktava or the DPA source.

The CK93 source is relatively thin sounding compared to the DPA or Oktava sources. Also, there is a large amount of crowd noise on this recording.

The SKM184 source has great bass tone and has excellent highs as well. As you might expect, this recording is very warm sounding. There is lots of crowd noise, and good overall balance. The levels aren't as nice as on the Oktavas, but this is still right there as one of the top 3 sources for the evening.

The DPA source is the best sounding of the recordings from this evening. The bass isn't as overpowering on this recording as it was on the previous evening. There is just great tone from low to high and the sub kicks when it is supposed to. As I stated earlier, listen to Mike's first bomb on Tweezer Reprise. Once you hear that, you know this is the best sounding recording.

Happy listening!

Monday, July 11, 2011

July 1, 2011 Superball IX, Watkins Glen, NY

It's been a little over a week since these shows, and the more I listen to them, the more I think they are some seriously top notch stuff. Given the fireworks of the 3rd and 4th sets from night 2 (figuratively) and all of night 3 (figuratively and literally), this night is somewhat overlooked. However, to my ears, the Sand, Crosseyed, and Simple from this show are all top notch. The Wolfman's and Quinn in the first set are also really good. At the time of this writing, there are 9 sources available from this night. My hat goes off to all the tapers. To put in the effort at a festival where you can pretty much party as hard as you like, is an even more difficult task than at a regular show. Thanks a lot fellas.

Source 1 (hereafter CK93 source)
Source: AKG-CK93 > PS-2 > DEAD-20 > MARANTZ-PMD661
Location: BOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL(8)

16 bit source

Source 2 (hereafter DPA source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: DIN/FOB/DFC 6' stand
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, track)>Wave Editor (iZotope Resampler/MBIT+ Dither)>xACT 2.12(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )

16 bit source

Source 3 (hereafter CCM4 source)
Source:Schoeps CCM4(ortf) Schoeps/VMS5u>R44(ocm) 24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 4 (hereafter MK41 source)
Source:Schoeps MK41(din) > Kcy > Sonosax SX-M2/LS2 >R44(OCM)24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 5 (hereafter MG source) ***24 bit only***
Source: Microtech Gefell um900 + Schoeps mk41v > kc5 > cmc6 > lunatec V3 (digital out) > SD744T (24/48)
Location: MG:omni, 52cm split, fob MK41v: dina, fob
Transfer: Wavelab 5 (matrix, fades, tracking)

24 bit source

Source 6 (hereafter MBHO source)
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]
Location: DINa/FOB/LOC
Transfer: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98 > CKRename >
Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source

Source 7 (hereafter Oktava source)
Source: Oktava MC-012s > Edirol UA-5 (DIY digi-mod, 44.1kHz) > optical > Creative Nomad JB3 (WAV)
Location: omni, OTS, 10'up, NOS
Lineage: Creative Nomad JB3 > USB > Creative Play Center > CDWav > Trader's Little Helper (FLAC Level 8)

16 bit source

Source 8 (hereafter AKG 392 source)
Source: AKG392's(OTS/DFC) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz
Location: Omnidirectional 39" separation, 75 HZ bass rolloff, Mics aimed at PA Stacks, approximately 12 ft high on stand.
Transfer: Microtrack II-> USB -> PC-> CD WAVE Editor -> Flac Frontend

16 bit source
24 bit source

Source 9 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>13ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Phish - 7/1/11 "Simple" > "Bug" from Phish on Vimeo.

The CK93 source is a bit tinny, especially compared to the robust bass on so many of the other sources. However, the highs, as might be expected, are excellent.

The DPA source has great bass, but at the lowest end tends towards the boomy side. This is a problem with several of the recordings, perhaps the bass was just kicking a bit more than usual at the show. However, there are other sources with a bit more tightness on the bass.

The CCM4 source is a bit distant sounding, and like the DPA source, is a bit boomy down low.

The MK41 source, like its sister source, the CCM4's, is also boomy down low. Though, it does sound, on the whole, better than the CCM4's.

The MG source, as often happens with matrix mixes, is fairly muddy down low, without the tight warmth that comes with the best MG sources.

The MBHO source is very thin compared to the other sources. Just needs a lot more bass response.

The Oktava source has several problems that may turn people off of it. First of all, it is not complete, several of the tracks have been patched with the CCM4 source. Further the last several tracks of set 1 were recorded in 256kHz MP3 rather than wav files. Also, there is a fair amount of crowd noise, which is a bit surprising to me, given that it is an OTS source and the mic stand was 12' in the air. All of that said, this source sounds the best to my ears. The highs are excellent, the low end is full without being boomy and the attack on Mike's bass is fantastic. I listened to this source on the treadmill today and it only confirmed to me that is sounds great.

The AKG 392 source is either the 2nd or 3rd best of the bunch. The main issue with it, compared to the Oktava source, is the lack of bass response. The bass is nice and clear, though the tone isn't as good as the SKM184 source, but it just doesn't kick the sub. The highs, as you expect from AKG's are just fantastic.

The SKM184 source is a very warm recording with great bass tone, all the way into the lowest frequencies. However, like the AKG392 source, it just doesn't kick the sub the way the Oktava source does. I would say this is right there with the 392 source as the 2nd or 3rd best recording.

Happy listening!

Thursday, June 30, 2011

Summer Tour 2011 Leg 1 Summary

By most accounts, this was the best tour that Phish has played since returning in 2009. While the jams may not have been as ubiquitous as many would like, the playing was always tight and ferocious, and the best jams (DTE Disease, Blossom Sally, or Charlotte Rock n' Roll>Ghost to name a few) rank there with anything they've ever played. Here are my picks for the best sources from each night of tour with links to the downloads. Thanks for following me this tour, look for a week or so before my SuperBall picks, got to give tapers a chance to get home and decompress.