Hey folks! Thanks for checking out my site. I also want to extend my thanks to the many tapers without whom this would not be possible. They do a great job. When you see one at the show, tell them thanks, but not while they're taping! Here is a summary of my Holiday Tour picks.
Monday, December 27, 2010 DCU Center, Worcester, MA
Beyer Dynamic CK930
16 bit source
24 bit source
Tuesday, December 28, 2010 DCU Center, Worcester, MA
Microtech Geffell MG21 + MG27 Matrix
16 bit source
Thursday, December 30, 2010 Madison Square Garden, New York, NY
Schoeps MK41v
16 bit source
Friday, December 31, 2010 Madison Square Garden, New York, NY
Schoeps MK41v
16 bit source
Saturday, January 1, 2011 Madison Square Garden, New York, NY
Neumann TLM170
16 bit source
Thanks again and I'll check back in when Trey tour starts up!
Wednesday, January 19, 2011
Sunday, January 16, 2011
01-01-11 Madison Square Garden, New York, New York Source Review
Finally, we come to the end of an epic 5 night run. For many folks, myself included, some of the music from these 5 nights stands as the best Phish has done since coming back. The Ghost from the 31st makes my skin tingle. The closing night offers some prime cuts as well, and there are some great recordings from this evening to choose from. As always, I want to extend my heartfelt thanks to the tapers that get in there and get these recordings out to folks so quickly. I want to make one small request, in response to a reader comment, please don't buy a taper ticket unless you plan on taping. This is especially true if you are ordering mail order tickets. Don't select taper preferred unless you plan on taping. If a taper can't get a ticket, than he (or she) can't make a tape. Further, the taper's section should be a bit quieter and more subdued than the rest of the venue, and it sucks when a tape is ruined by somebody screaming or talking the whole show. Alrighty, enough of the rant.
Source 1 (hereafter MK41>CMC6 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: DIN Just Right of center from Taper's section
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(isotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 2 (hereafter BSC1 source)
Source: BSC1-K3 (hypers)>Lunatec V3 Analog>FR-2LE [BA TMod] (24/96)
Location: OTS (Sec. 11 Row E Seat 8)/LOC/DIN/approx. 9' high
Transfer: CF Card > Audacity (fades, tracking) > r8brain (downsampling) > TLH > Flac (level 8)
Tags added in Foobar
16 bit source
24 bit source
Source 3 (hereafter KM150 source)
Source: Neumann KM150's>Aerco MP2>Sound Devices 744t (24bit/48khz)
Location: Section 11 Row B Seat 14
Transfer: SD744t>Sound Forge Pro 10 (mix,fades, iZotope 64 BIT Sample Rate Conversion /iZotope MBIT+ Bit depth conversion to 16 Bit/44.1khz)>CDWAV>FLAC
16 bit source
24 bit source
Source 4 (hereafter MK41v source)
Source: Schoeps mk41v's(DIN)>kc5>m222>nt222>744t
Location: OTS/Section 10, Row B
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 5 (hereafter SennME80 source)
Source: Sennheiser ME-80's>Sound Devices 744t (24bit/48khz)
Location: Section 11 Row B Seat 14
Transfer: SD744t>Sound Forge Pro 10 (fades, iZotope 64 BIT Sample Rate Conversion /iZotope MBIT+ Bit depth conversion to 16 Bit/44.1khz)>CDWAV>FLAC
16 bit source
24 bit source
Source 6 (hereafter TLM170 source)
Source: Neumann TLM-170 (hypercards) -> Sound Devices 722 (@24/96)
Location: Official tapers section. about 10 seats to the right of center
Transfer: FLAC File processing in SoundForge Audio Studio 10.0c (L/R channel time sync; volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
16 bit source
Source 7 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 10, Row B, Seat 2, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 8 (hereafter Senn441 source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, 1 seat left of center aisle, 12.5 foot stand.
Transfer: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )
16 bit source
Like the 28th, there are lots of sources to get through here. I apologize for taking so much time to get to this show, as it really is great and deserves several listens.
The MK41>CMC6 source has, like most Schoeps sources, excellent highs and great separation in the mids. However, this source lacks punch and the bass is often lost in the mix entirely, and when present, is often overshadowed by Fish's kick drum.
The BSC1 source has lots of crowd noise in it. I love the way the snare sounds on this source, but, as with the MK41>CMC6 source, there just isn't enough bass response to really do it for me.
The KM150 source has much more low-end than either of the previous sources, however the bass lacks clarity and ends up soundy boomy. Also, the mids lack a certain amount of separation. Overall, there are just some better sources to choose from.
The MK41v source doesn't sound as good as it did the previous two evenings. The bass is present, but it lacks clarity, particularly at the lowest frequencies. You get the thud and kick of the bass, but you don't get the nuances of the note, making it often sound like a kick-drum with sustain on it. This is particularly evident during the intro to Jiboo.
The SennME80 source has lower levels than the better sources. It has nice bass, but the high-end lacks the crispness and shimmer than you get from the Schoeps sources.
The TLM170 source is the best sounding to my ears. It has tighter bass than the other Neuman source (KM150), as well as nicer highs and mids. In fact, the highs and mids are quite comparable to the Schoeps sources, with much richer bass, even at the lowest frequencies.
The MK41 source, is as usual, the most popular source for downloads. However, it lacks the bass punch of the TLM170 source. The bass does, however, have better clarity than the MK41v source, which marks an improvement over the previous two nights.
The Senn441 source has a lot of bass, but it is rumbly. It sounds like somebody has turned the bass knob up on one of those old treble/bass EQ's. The high-end, like the SennME80 source, just doesn't sound as crisp as it does on the TLM170, the BSC1, or any of the Schoeps sources.
Just as a heads up, as long as there are multiple sources, I will be doing reviews of the upcoming Trey tour. I've heard rumors of a Mike tour in the spring too. Again, multiple sources will mean that I review it. Hope you enjoy my picks.
Happy Listening!
Source 1 (hereafter MK41>CMC6 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: DIN Just Right of center from Taper's section
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(isotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 2 (hereafter BSC1 source)
Source: BSC1-K3 (hypers)>Lunatec V3 Analog>FR-2LE [BA TMod] (24/96)
Location: OTS (Sec. 11 Row E Seat 8)/LOC/DIN/approx. 9' high
Transfer: CF Card > Audacity (fades, tracking) > r8brain (downsampling) > TLH > Flac (level 8)
Tags added in Foobar
16 bit source
24 bit source
Source 3 (hereafter KM150 source)
Source: Neumann KM150's>Aerco MP2>Sound Devices 744t (24bit/48khz)
Location: Section 11 Row B Seat 14
Transfer: SD744t>Sound Forge Pro 10 (mix,fades, iZotope 64 BIT Sample Rate Conversion /iZotope MBIT+ Bit depth conversion to 16 Bit/44.1khz)>CDWAV>FLAC
16 bit source
24 bit source
Source 4 (hereafter MK41v source)
Source: Schoeps mk41v's(DIN)>kc5>m222>nt222>744t
Location: OTS/Section 10, Row B
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 5 (hereafter SennME80 source)
Source: Sennheiser ME-80's>Sound Devices 744t (24bit/48khz)
Location: Section 11 Row B Seat 14
Transfer: SD744t>Sound Forge Pro 10 (fades, iZotope 64 BIT Sample Rate Conversion /iZotope MBIT+ Bit depth conversion to 16 Bit/44.1khz)>CDWAV>FLAC
16 bit source
24 bit source
Source 6 (hereafter TLM170 source)
Source: Neumann TLM-170 (hypercards) -> Sound Devices 722 (@24/96)
Location: Official tapers section. about 10 seats to the right of center
Transfer: FLAC File processing in SoundForge Audio Studio 10.0c (L/R channel time sync; volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
16 bit source
Source 7 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 10, Row B, Seat 2, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 8 (hereafter Senn441 source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, 1 seat left of center aisle, 12.5 foot stand.
Transfer: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )
16 bit source
Like the 28th, there are lots of sources to get through here. I apologize for taking so much time to get to this show, as it really is great and deserves several listens.
The MK41>CMC6 source has, like most Schoeps sources, excellent highs and great separation in the mids. However, this source lacks punch and the bass is often lost in the mix entirely, and when present, is often overshadowed by Fish's kick drum.
The BSC1 source has lots of crowd noise in it. I love the way the snare sounds on this source, but, as with the MK41>CMC6 source, there just isn't enough bass response to really do it for me.
The KM150 source has much more low-end than either of the previous sources, however the bass lacks clarity and ends up soundy boomy. Also, the mids lack a certain amount of separation. Overall, there are just some better sources to choose from.
The MK41v source doesn't sound as good as it did the previous two evenings. The bass is present, but it lacks clarity, particularly at the lowest frequencies. You get the thud and kick of the bass, but you don't get the nuances of the note, making it often sound like a kick-drum with sustain on it. This is particularly evident during the intro to Jiboo.
The SennME80 source has lower levels than the better sources. It has nice bass, but the high-end lacks the crispness and shimmer than you get from the Schoeps sources.
The TLM170 source is the best sounding to my ears. It has tighter bass than the other Neuman source (KM150), as well as nicer highs and mids. In fact, the highs and mids are quite comparable to the Schoeps sources, with much richer bass, even at the lowest frequencies.
The MK41 source, is as usual, the most popular source for downloads. However, it lacks the bass punch of the TLM170 source. The bass does, however, have better clarity than the MK41v source, which marks an improvement over the previous two nights.
The Senn441 source has a lot of bass, but it is rumbly. It sounds like somebody has turned the bass knob up on one of those old treble/bass EQ's. The high-end, like the SennME80 source, just doesn't sound as crisp as it does on the TLM170, the BSC1, or any of the Schoeps sources.
Just as a heads up, as long as there are multiple sources, I will be doing reviews of the upcoming Trey tour. I've heard rumors of a Mike tour in the spring too. Again, multiple sources will mean that I review it. Hope you enjoy my picks.
Happy Listening!
Wednesday, January 12, 2011
12-31-10 Madison Square Garden, New York, NY Source Review
And our adventure continues to New Years Eve. One of the most sacred nights in the Phish pantheon, right there with Halloween, and at one of the great indoor arenas in America. You just knew this would be great. And, thankfully, there were at least 4 tapers there to document it. I want to thank them for doing the work on this night. I know, from personal experience, that it is WAY more fun to party down on a night like this than it is to tape the show, but these guys not only did it, but they kept it up through most of tour. Thanks again.
Source 1 (hereafter Neuman source)
Source: Neumann TLM-170 (hypercards) -> Sound Devices 722 (@24/96);
Location: Official tapers section. one seat to the right of the center aisle, 3 rows back
Transfer: FLAC File processing in SoundForge Audio Studio 10.0c (L/R channel time sync; volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
16 bit source
Source 2 (hereafter MK41>CMC6 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: DIN Right of center from Taper's section
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(isotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 3 (hereafter MK41V source)
Source: Schoeps mk41v's(DIN)>kc5>m222>nt222>744t
Location: OTS/Section 10, Row D
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 4 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: Section 10, Row D, Seat 8, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
For this evening, all 4 sources are excellent. The differences between them are subtle, and it was quite difficult to choose one that was clearly the best.
The Neuman source has the best bass response, but, unlike the previous night, it tends to boominess, and the mids are not as well defined as in any of the Schoeps sources.
The MK41>CMC6 source, like the previous night, just doesn't have enough bass response. The sub just doesn't get to kicking, and it is probably the worst of the 4 sources. That said, it is still an excellent sounding source.
The MK41V source gets the nod for best source of the night again. It is much brighter than the Neuman source, and it has excellent bass response, without being as boomy as the Neumans. The bass response is ever so slightly better than the MK41 source. For a listening comparison, listen to the first big bass note at the beginning of Free. Mike is just more defined, with nice tone.
The MK41 source is excellent, with great highs and mids. It has just slightly less punch than the MK41V source and also has a bit more crowd noise. However, crowd noise is evident on all of the sources. The crowd was clearly pumped up, you can even hear them counting off the beginning of PYITE with Trey.
Happy Listening!
Source 1 (hereafter Neuman source)
Source: Neumann TLM-170 (hypercards) -> Sound Devices 722 (@24/96);
Location: Official tapers section. one seat to the right of the center aisle, 3 rows back
Transfer: FLAC File processing in SoundForge Audio Studio 10.0c (L/R channel time sync; volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
16 bit source
Source 2 (hereafter MK41>CMC6 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: DIN Right of center from Taper's section
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(isotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 3 (hereafter MK41V source)
Source: Schoeps mk41v's(DIN)>kc5>m222>nt222>744t
Location: OTS/Section 10, Row D
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 4 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: Section 10, Row D, Seat 8, 9' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
For this evening, all 4 sources are excellent. The differences between them are subtle, and it was quite difficult to choose one that was clearly the best.
The Neuman source has the best bass response, but, unlike the previous night, it tends to boominess, and the mids are not as well defined as in any of the Schoeps sources.
The MK41>CMC6 source, like the previous night, just doesn't have enough bass response. The sub just doesn't get to kicking, and it is probably the worst of the 4 sources. That said, it is still an excellent sounding source.
The MK41V source gets the nod for best source of the night again. It is much brighter than the Neuman source, and it has excellent bass response, without being as boomy as the Neumans. The bass response is ever so slightly better than the MK41 source. For a listening comparison, listen to the first big bass note at the beginning of Free. Mike is just more defined, with nice tone.
The MK41 source is excellent, with great highs and mids. It has just slightly less punch than the MK41V source and also has a bit more crowd noise. However, crowd noise is evident on all of the sources. The crowd was clearly pumped up, you can even hear them counting off the beginning of PYITE with Trey.
Happy Listening!
Tuesday, January 11, 2011
12-30-10 Madison Square Garden, New York, NY Source Review
I want to thank you all, again, for your patience as I work through these sources. Again, Phish played a great show, and again we have some excellent sources to choose from. However, as with the previous night, none of the sources have quite the bass response I really like, while all of the sources deliver excellent highs, and well defined mids. I want to thank the tapers for getting these recordings out to the community so quickly. They really do yeoman's work.
Source 1 (hereafter MK41>CMC6 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: DIN Right of center from Taper's section
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,add gain(first minute of cities),resample(isotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit 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/Dina
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)
16 bit source
Source 3 (hereafter MK41v source)
Source: Schoeps mk41v's(DIN)>kc5>m222>nt222>744t
Location: OTS/Section 11, Row D
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 4 (hereafter Neuman source)
Source: Neumann TLM-170 (hypercards) -> Sound Devices 722 (@24/96)
Location: official tapers section. about 10 seats to the right of center
Transfer: FLAC File processing in SoundForge Audio Studio 10.0c (L/R channel time sync; volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
16 bit source
Source 5 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: Section 10, Row C, Seat 8, 8' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Phish at the Garden. It just kind of has a ring to it. Being a midwesterner, I am glad that I have had a chance to see them 7 times at that hallowed hall. So, I was really fired up to see that they were playing 3 nights there this year. Unfortunately, I was unable to secure a ticket, and thus spent the New Year in New Orleans, which turned out to be excellent in its own way. I know on this night, 12/30, I ended up sitting in with a cajun band on Bourbon Street, and that didn't suck at all. Anyways, on to the review.
The MK41>CMC6 source is nice and clean sounding, but the bass is not particularly punchy, and there is a lot of crowd noise. You can really hear the lack of bass on the Boogie On intro and during the heavy bomb of Tweezer Reprise. This source just doesn't stack up to the Neuman or the MK41v source in that regard.
The Busman source continues to suffer from a lack of bass response. The highs are excellent, however. This would probably sound great in headphones, but it just doesn't kick my subwoofer at all.
The MK41v source is the best sounding of the 5 sources available from this evening. The bass just sounds the best. The highs are just as good as on any of the other recordings, but it has more bass response. This is especially clear on the Tweezer Reprise bomb (this is one of my go-to moments when checking sources) where it edges out the Neuman source. There is a bit of crowd noise on this, but it actually seems to add to the ambience, rather than distracting.
The Neuman source sounds the second best to my ears. The levels are quite nice, and the mids have great definition. The bass is better than most of the other sources, but it just lacks that extra umph that you get from the MK41v.
As usual, from a quick perusal of the download numbers, the MK41 source has been the most popular download, but it just doesn't have the punch in the lowend that either the MK41v or the Neuman source has. However, as usual, the highs are excellent.
Happy Listening!
Source 1 (hereafter MK41>CMC6 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: DIN Right of center from Taper's section
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,add gain(first minute of cities),resample(isotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit 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/Dina
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)
16 bit source
Source 3 (hereafter MK41v source)
Source: Schoeps mk41v's(DIN)>kc5>m222>nt222>744t
Location: OTS/Section 11, Row D
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 4 (hereafter Neuman source)
Source: Neumann TLM-170 (hypercards) -> Sound Devices 722 (@24/96)
Location: official tapers section. about 10 seats to the right of center
Transfer: FLAC File processing in SoundForge Audio Studio 10.0c (L/R channel time sync; volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
16 bit source
Source 5 (hereafter MK41 source)
Source: Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: Section 10, Row C, Seat 8, 8' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Phish at the Garden. It just kind of has a ring to it. Being a midwesterner, I am glad that I have had a chance to see them 7 times at that hallowed hall. So, I was really fired up to see that they were playing 3 nights there this year. Unfortunately, I was unable to secure a ticket, and thus spent the New Year in New Orleans, which turned out to be excellent in its own way. I know on this night, 12/30, I ended up sitting in with a cajun band on Bourbon Street, and that didn't suck at all. Anyways, on to the review.
The MK41>CMC6 source is nice and clean sounding, but the bass is not particularly punchy, and there is a lot of crowd noise. You can really hear the lack of bass on the Boogie On intro and during the heavy bomb of Tweezer Reprise. This source just doesn't stack up to the Neuman or the MK41v source in that regard.
The Busman source continues to suffer from a lack of bass response. The highs are excellent, however. This would probably sound great in headphones, but it just doesn't kick my subwoofer at all.
The MK41v source is the best sounding of the 5 sources available from this evening. The bass just sounds the best. The highs are just as good as on any of the other recordings, but it has more bass response. This is especially clear on the Tweezer Reprise bomb (this is one of my go-to moments when checking sources) where it edges out the Neuman source. There is a bit of crowd noise on this, but it actually seems to add to the ambience, rather than distracting.
The Neuman source sounds the second best to my ears. The levels are quite nice, and the mids have great definition. The bass is better than most of the other sources, but it just lacks that extra umph that you get from the MK41v.
As usual, from a quick perusal of the download numbers, the MK41 source has been the most popular download, but it just doesn't have the punch in the lowend that either the MK41v or the Neuman source has. However, as usual, the highs are excellent.
Happy Listening!
Monday, January 10, 2011
12-28-10 DCU Center, Worcester, MA Source Review
Hey Now!
Thanks for your patience. 10 sources for this show made it difficult to decide the best recording, and frankly, most are quite good, but all have some flaws. As always, I want to thank the tapers for making such great recordings and getting them out to the community so fast. Without their hard work, this kind of site wouldn't be possible.
Source 1 (hereafter MK22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: ORTF FOB DFC 60' from stage
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 2 (hereafter Beyer source)
Source: beyerdynamic CK930 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: dead center of the front row of the taper's section
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, resample to 44.1 kHz, dither to 16 bit, track splits) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Source 3 (hereafter BSC source)
Source: BSC1-K3 (hypers)>Lunatec V3 Analog>FR-2LE [BA TMod] (24/96)
Location: OTS/DFC/DIN/approx. 9' high
Transfer: CF Card > Audacity (fades, tracking, slight gain adjustment) > r8brain (downsampling) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 4 (hereafter Busman source)
Source Busman Bsc1 (Hypers)HYDRA silver Shorty XLR'sFostex FR-2LE(Busman T-mod) @2496
Location OTS
Transfer CF CardWavelab 6.0(Resample and DitheringCD Wave(tackingTLH(flac 16 level 8)
16 bit source
Source 5 (hereafter AKG483 source)
Source: AKG c480b/ck63(DINa,OTS) > Lunatec V3 Digital > Edirol R-44(24/96)
Transfer: Wave > Soundforge 9.0(Normalize,Fade,Track,Resample,Dither 16/44.1) > Flac
16 bit source
Source 6 (hereafter MG200 source)
Source: Microtech Gefell M200's(DIN)>Audio Magic Hyper-Conductors>Edirol R-4(Oade T mod) @ 24/96
Location: OTS DFC
Transfer: R-4>USB>pc>Sound Forge 7(track, resample and dither to 16/44.1)> Flac Frontend 1.7.1
16 bit source
Source 7 (hereafter MG21+MG27 Matrix source)
Source 1: MG21 hyper's>Neve Portico 5012 (silk) mode>Tascam DR-680 @ 24/96
Source 2: MG27 omni's (3' split)>Lunatec V3>Tascam DR-680 @ 24/96
Location: behind soundboard just right of center, about 10' high
Transfer: Tascam DR-680 >Soundforge 9.0e (tracking, volume bump, fade on outro, resample, dither to 16/44.1) >Trader's Little Helper (flac conversion)
16 bit source
Source 8 (hereafter MK41 source)
Source: Schoeps One:MK41 (DINa) > KC5 > CMC6 > Apogee Mini-MP > Tascam HD-P2
@ 96 kHz/24 bit
Location: OTS: 2nd row, DFC, on stand 10-12' courtesy of Teddy
Transfer: Tascam HD-P2 > via firewire > Dell XPS M1730
Edited, downsampled, dithered and track split using
Vegas 9.0 & Sony Sound Forge 10.0c
Flac'd (8/8) using Trader's Little Helper
16 bit source
24 bit source
Source 9 (hereafter MK5 source)
Source: Schoeps mk5> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, NOS, mk5/cardioid
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 10 (hereafter Sennheiser source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, centered, 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
Again, sorry for the delay on getting this out. There was a lot to plow through, coupled with family stuff, just couldn't get it done until today.
The MK22 source has kind of a hollow sound to it, its not that it's dull, it's just got a strange EQ to it. There is a fair amount of crowd noise, which is not surprising considering it's an FOB source. The bass has a bit of rumble to it, just not really clear. The drums, however, sound nice and crisp. Overall, this is not one of the best recordings from this evening.
The Beyer source, which was the best from the night before, suffers from low bass levels, which is surprising given that the night before the bass was excellent. Trey sounds really in front on this recording for whatever reason.
The BSC source sounds a bit tinny, with extremely low bass in the mix. The levels start very low, but are fixed after a few seconds, but even then, just not a lot of bass at all.
The Busman source, as typical for this fall, is very thin sounding, and the bass just isn't noticeable.
The AKG 483 source has a nicer bass presence than the previous 4 sources, but it is fairly rumbly as well. Just not enough definition in the low-end for my tastes.
The MG200 source also suffers from relatively low bass levels.
The MG21 Matrix sounds the best of all the sources. It has nice highs, good mids, and good bass. It is not as punchy as I would like, but it is the best of what is available.
The MK41 source has amazing levels, but the bass is still lacking in clarity at the low-end. The Gefell matrix is just a bit better than this one.
The MK5 source, as usual, has excellent balance, but again, there isn't enough clarity at the very low-end.
The Sennheiser source, like the FOB MK22, sounds a bit hollow. The bass is basically lost at the lowest frequencies.
After listening to all the sources, I have to wonder if the bass sounded good in the venue. All of the sources suffer in one way or another from a lack of clarity in the lowest frequencies. This was not a problem for the 27th. Any comments from folks who were there would be appreciated.
Happy Listening!
Thanks for your patience. 10 sources for this show made it difficult to decide the best recording, and frankly, most are quite good, but all have some flaws. As always, I want to thank the tapers for making such great recordings and getting them out to the community so fast. Without their hard work, this kind of site wouldn't be possible.
Source 1 (hereafter MK22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: ORTF FOB DFC 60' from stage
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 2 (hereafter Beyer source)
Source: beyerdynamic CK930 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: dead center of the front row of the taper's section
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, resample to 44.1 kHz, dither to 16 bit, track splits) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Source 3 (hereafter BSC source)
Source: BSC1-K3 (hypers)>Lunatec V3 Analog>FR-2LE [BA TMod] (24/96)
Location: OTS/DFC/DIN/approx. 9' high
Transfer: CF Card > Audacity (fades, tracking, slight gain adjustment) > r8brain (downsampling) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 4 (hereafter Busman source)
Source Busman Bsc1 (Hypers)HYDRA silver Shorty XLR'sFostex FR-2LE(Busman T-mod) @2496
Location OTS
Transfer CF CardWavelab 6.0(Resample and DitheringCD Wave(tackingTLH(flac 16 level 8)
16 bit source
Source 5 (hereafter AKG483 source)
Source: AKG c480b/ck63(DINa,OTS) > Lunatec V3 Digital > Edirol R-44(24/96)
Transfer: Wave > Soundforge 9.0(Normalize,Fade,Track,Resample,Dither 16/44.1) > Flac
16 bit source
Source 6 (hereafter MG200 source)
Source: Microtech Gefell M200's(DIN)>Audio Magic Hyper-Conductors>Edirol R-4(Oade T mod) @ 24/96
Location: OTS DFC
Transfer: R-4>USB>pc>Sound Forge 7(track, resample and dither to 16/44.1)> Flac Frontend 1.7.1
16 bit source
Source 7 (hereafter MG21+MG27 Matrix source)
Source 1: MG21 hyper's>Neve Portico 5012 (silk) mode>Tascam DR-680 @ 24/96
Source 2: MG27 omni's (3' split)>Lunatec V3>Tascam DR-680 @ 24/96
Location: behind soundboard just right of center, about 10' high
Transfer: Tascam DR-680 >Soundforge 9.0e (tracking, volume bump, fade on outro, resample, dither to 16/44.1) >Trader's Little Helper (flac conversion)
16 bit source
Source 8 (hereafter MK41 source)
Source: Schoeps One:MK41 (DINa) > KC5 > CMC6 > Apogee Mini-MP > Tascam HD-P2
@ 96 kHz/24 bit
Location: OTS: 2nd row, DFC, on stand 10-12' courtesy of Teddy
Transfer: Tascam HD-P2 > via firewire > Dell XPS M1730
Edited, downsampled, dithered and track split using
Vegas 9.0 & Sony Sound Forge 10.0c
Flac'd (8/8) using Trader's Little Helper
16 bit source
24 bit source
Source 9 (hereafter MK5 source)
Source: Schoeps mk5> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, NOS, mk5/cardioid
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 10 (hereafter Sennheiser source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, centered, 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
Again, sorry for the delay on getting this out. There was a lot to plow through, coupled with family stuff, just couldn't get it done until today.
The MK22 source has kind of a hollow sound to it, its not that it's dull, it's just got a strange EQ to it. There is a fair amount of crowd noise, which is not surprising considering it's an FOB source. The bass has a bit of rumble to it, just not really clear. The drums, however, sound nice and crisp. Overall, this is not one of the best recordings from this evening.
The Beyer source, which was the best from the night before, suffers from low bass levels, which is surprising given that the night before the bass was excellent. Trey sounds really in front on this recording for whatever reason.
The BSC source sounds a bit tinny, with extremely low bass in the mix. The levels start very low, but are fixed after a few seconds, but even then, just not a lot of bass at all.
The Busman source, as typical for this fall, is very thin sounding, and the bass just isn't noticeable.
The AKG 483 source has a nicer bass presence than the previous 4 sources, but it is fairly rumbly as well. Just not enough definition in the low-end for my tastes.
The MG200 source also suffers from relatively low bass levels.
The MG21 Matrix sounds the best of all the sources. It has nice highs, good mids, and good bass. It is not as punchy as I would like, but it is the best of what is available.
The MK41 source has amazing levels, but the bass is still lacking in clarity at the low-end. The Gefell matrix is just a bit better than this one.
The MK5 source, as usual, has excellent balance, but again, there isn't enough clarity at the very low-end.
The Sennheiser source, like the FOB MK22, sounds a bit hollow. The bass is basically lost at the lowest frequencies.
After listening to all the sources, I have to wonder if the bass sounded good in the venue. All of the sources suffer in one way or another from a lack of clarity in the lowest frequencies. This was not a problem for the 27th. Any comments from folks who were there would be appreciated.
Happy Listening!
Phish Listening Room now on Twitter
You can check out updates on this blog as well as my somewhat coherent thoughts on twitter at:
@phlisteningroom
@phlisteningroom
Sunday, January 9, 2011
Update
Hey folks, sorry for the delay. I'm working hard on 12-28 right now. I have 10 sources to listen to! Thanks for all the sources tapers!
Monday, January 3, 2011
12-27-10 DCU Center, Worcester, MA Source Review
Hey now!
Thanks for waiting it out with me. I just had a fantastic trip down to NOLA for some serious jazz, some serious partying, and some serious eating. If you can't be at Phish for New Years, I highly recommend New Orleans. Also, be sure and check out the Free Agents Brass Band, and the Stooges. Both of those just blew me away. Plus a big shout out to the zydeco band at the Tropical Isle on Bourbon St. Thanks for letting me and Erin sit in, that was a blast!
Anyways, enough about me, you came here to see what I think of the sources for this show. There are five sources for this show currently, and they also sound pretty darn good. I want to thank and commend all the tapers for delivering such great tapes to the community in such a short period of time. Great job fellas.
Source 1 (hereafter MK 22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: ORTF FOB DFC 60' from stage
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(izotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,ffp)
16 bit source
24 bit source
Source 2 (hereafter Beyer source)
Source: beyerdynamic CK930 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: dead center of the front row of the taper's section
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, level adjustments, splice, resample to 44.1 kHz, dither to 16 bit, track splits) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit 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
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)
16 bit source
Source 4 (hereafter MG200 source)
Source: Microtech Gefell M200's(DIN)>Audio Magic Hyper-Conductors>Edirol R-4(Oade T mod) @ 24/96
Mic Placement: OTS (LOC)
Transfer: R-4>USB>pc>Sound Forge 7(track, resample and dither to 16/44.1)> Flac Frontend 1.7.1
16 bit source
Source 5 (hereafter MK5 source)
Source: Schoeps mk5> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, NOS, mk5/cardioid
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
There is little that separates the three best recordings and the other two are quite good as well.
The MK22 source has nice balance, however Mike lacks some clarity in the lowest registers. Further, this source is not quite as punchy as the Beyer source. As an FOB, there is some crowd noise, but it is not as noticeable as on the MK5 source.
The Beyer source is, to my ears, the best of the bunch. It has great highs, good balance, and some real punch on Mike's bass without losing any tone. The MK22 and MK5's only shortcomings compared to the Beyer are the extra umph that seems to be on the low end. I love a great sounding tape that can kick my sub hard, and this recording delivers.
The Busman source is quite good, but, as with much of fall tour, is just a bit thin. The low-end just lacks much punch at all, and compared to all the other sources, ends up lacking as a result.
The MG200 source is very warm, something I really like about the mics, however, in this case, the warmth is covering up a lack of bass tone in the lowest registers. There is some real roundness down there, but not as much clarity and attack as the other sources. I like it better than the Busman source, but any of the top three provide a bit more clarity while sacrificing little warmth.
The MK 5 source has, as noted above, a fair amount of crowd noise. As usual, these mics have great balance, nice lows and highs. However, this recording just doesn't have the punch of the Beyer source.
Thanks for checking in. Look for a review of the 28th tomorrow.
Happy New Year and Happy Listening!
Thanks for waiting it out with me. I just had a fantastic trip down to NOLA for some serious jazz, some serious partying, and some serious eating. If you can't be at Phish for New Years, I highly recommend New Orleans. Also, be sure and check out the Free Agents Brass Band, and the Stooges. Both of those just blew me away. Plus a big shout out to the zydeco band at the Tropical Isle on Bourbon St. Thanks for letting me and Erin sit in, that was a blast!
Anyways, enough about me, you came here to see what I think of the sources for this show. There are five sources for this show currently, and they also sound pretty darn good. I want to thank and commend all the tapers for delivering such great tapes to the community in such a short period of time. Great job fellas.
Source 1 (hereafter MK 22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out 24bit/96khz)>COAX>Edirol R-44
Location: ORTF FOB DFC 60' from stage
Transfer: SDHC Card>usb>Macbook Pro>Wave Editor(tracking,fades,resample(izotope)/dither(mbit+) to 16bit/44.1k)>XAct(FLAC 8,ffp,ffp)
16 bit source
24 bit source
Source 2 (hereafter Beyer source)
Source: beyerdynamic CK930 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: dead center of the front row of the taper's section
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, level adjustments, splice, resample to 44.1 kHz, dither to 16 bit, track splits) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit 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
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)
16 bit source
Source 4 (hereafter MG200 source)
Source: Microtech Gefell M200's(DIN)>Audio Magic Hyper-Conductors>Edirol R-4(Oade T mod) @ 24/96
Mic Placement: OTS (LOC)
Transfer: R-4>USB>pc>Sound Forge 7(track, resample and dither to 16/44.1)> Flac Frontend 1.7.1
16 bit source
Source 5 (hereafter MK5 source)
Source: Schoeps mk5> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, NOS, mk5/cardioid
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
There is little that separates the three best recordings and the other two are quite good as well.
The MK22 source has nice balance, however Mike lacks some clarity in the lowest registers. Further, this source is not quite as punchy as the Beyer source. As an FOB, there is some crowd noise, but it is not as noticeable as on the MK5 source.
The Beyer source is, to my ears, the best of the bunch. It has great highs, good balance, and some real punch on Mike's bass without losing any tone. The MK22 and MK5's only shortcomings compared to the Beyer are the extra umph that seems to be on the low end. I love a great sounding tape that can kick my sub hard, and this recording delivers.
The Busman source is quite good, but, as with much of fall tour, is just a bit thin. The low-end just lacks much punch at all, and compared to all the other sources, ends up lacking as a result.
The MG200 source is very warm, something I really like about the mics, however, in this case, the warmth is covering up a lack of bass tone in the lowest registers. There is some real roundness down there, but not as much clarity and attack as the other sources. I like it better than the Busman source, but any of the top three provide a bit more clarity while sacrificing little warmth.
The MK 5 source has, as noted above, a fair amount of crowd noise. As usual, these mics have great balance, nice lows and highs. However, this recording just doesn't have the punch of the Beyer source.
Thanks for checking in. Look for a review of the 28th tomorrow.
Happy New Year and Happy Listening!
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