It is with great regret that I must inform you that I cannot continue with the Phish Listening Room. I just don't have the time in my life to devote to this that it requires and looking forward, I won't have that kind of time for several years. Thanks for reading and I hope to see some of you guys on the road in the future.
Chris
Sunday, October 21, 2012
Saturday, July 21, 2012
June 19, 2012 nTelos Pavilion, Portsmouth, VA Sources Review
Phish moved down the eastern shore a bit from Jersey down to Virginia. nTelos was the smallest venue of tour and launched a meme that Phish played with all tour. On top of tucking, Phish played a version of Split Open and Melt that is definitely worth a re-listen. For a Tuesday night show, there were a ton of tapers on hand. There are 9 sources available for this night! I want to thank the tapers for all that they do and for sharing their recordings with the community.
Source 1 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter Busman source)
Source: Busman k11 > BSC2 > Lunatec V2 > Tascam DR100-mkII (24/44.1)
Transfer: SDHC > Sound Forge 10 > CD Wave > .flac (level 8)
Location: FOB / DFC / Mics up 6 feet, ORTF
16 bit source
Source 3 (hereafter MK4v>KC5 source)
Source: Schoeps mk4v's(DIN)>kc5>m222>nt222>aeta psp-3>744t
Location: FOB/SLOC
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 4 (hereafter B&K source)
Source: B&K4022(xy) > Sonosax [55%] + B&K 4027(ortf) > Sonosax [45%] > 744T
Location: fob 1st row seats dfc
Transfer: 744T>soundforge 10.0>cd wave>flac
16 bit source
Source 5 (hereafter MK4v>VST source)
Source:Schoeps MK4v(Din)> Vst 62IUg>Aeta PSP-3>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 6 (hereafter MK41v source)
Source:Schoeps MK41v(NOS)> 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 7 (hereafter MK21 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 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 Nak source)
Source: franken nak 300>cp-1>r4 oade tmod 24/48
Location: fob loc 4 ft pas @9ft
Transfer: r4>pc audacity dither 16/44.1>cd wave splits>tlh flac 8
16 bit source
Source 9 (hereafter MK41 source) ****24 bit only****
Source: Schoeps MK41 > KCY > Schoeps VMS5-U > Mytek 192 > Marantz PMD-661
Location: FOB (just) at left corner of FOH On Stand, approximately 8'
Transfer: SDHC Media Card -> Dell m1730 via media card reader > Sony Sound Forge 10 @ 96kHz, 24
24 bit source
Phish - 6/19/12 "Maze" from Phish on Vimeo.
Once again, the M934c source is my pick for best of the evening. It is extremely clear from the lowest lows to the highest highs and has great presence and levels. The low-end has plenty of umph to it and the tone is very natural.
The Busman source doesn't have the low-end punch of the M934c or MK21 sources. It is quite clear though.
The MK4c>KC5 source is a bit boomy and there is a fair amount of crowd noise.
The B&K source is very muddy sounding, particularly in the low-end.
The MK4v>vst source is nice and clean sounding, but just doesn't have the punch of the MK21 or M934c sources.
The MK41v source sounds a bit distant and doesn't have the definition of the better schoeps sources.
The MK21 source has excellent low-end and is very clean. There is plenty of low-end without being boomy. However, the tone is slightly different from the M934c and I don't prefer this source quite as much. That said, if you already have the MK21 source, by all means keep it. It is really good.
The Franken Nak source is quite good for a Nak source, however the low-end just can't compare to the MK21 and M934c sources.
The MK41 source is incredibly in your face and is really present. However, there is a bit of crowd noise and the low-end isn't quite as punchy as the MK21 or M934c sources.
Happy listening!
Source 1 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter Busman source)
Source: Busman k11 > BSC2 > Lunatec V2 > Tascam DR100-mkII (24/44.1)
Transfer: SDHC > Sound Forge 10 > CD Wave > .flac (level 8)
Location: FOB / DFC / Mics up 6 feet, ORTF
16 bit source
Source 3 (hereafter MK4v>KC5 source)
Source: Schoeps mk4v's(DIN)>kc5>m222>nt222>aeta psp-3>744t
Location: FOB/SLOC
Transfer: 744t>CD Wave>Wavelab 5>Flac
16 bit source
Source 4 (hereafter B&K source)
Source: B&K4022(xy) > Sonosax [55%] + B&K 4027(ortf) > Sonosax [45%] > 744T
Location: fob 1st row seats dfc
Transfer: 744T>soundforge 10.0>cd wave>flac
16 bit source
Source 5 (hereafter MK4v>VST source)
Source:Schoeps MK4v(Din)> Vst 62IUg>Aeta PSP-3>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 6 (hereafter MK41v source)
Source:Schoeps MK41v(NOS)> 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 7 (hereafter MK21 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 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 Nak source)
Source: franken nak 300>cp-1>r4 oade tmod 24/48
Location: fob loc 4 ft pas @9ft
Transfer: r4>pc audacity dither 16/44.1>cd wave splits>tlh flac 8
16 bit source
Source 9 (hereafter MK41 source) ****24 bit only****
Source: Schoeps MK41 > KCY > Schoeps VMS5-U > Mytek 192 > Marantz PMD-661
Location: FOB (just) at left corner of FOH On Stand, approximately 8'
Transfer: SDHC Media Card -> Dell m1730 via media card reader > Sony Sound Forge 10 @ 96kHz, 24
24 bit source
Phish - 6/19/12 "Maze" from Phish on Vimeo.
Once again, the M934c source is my pick for best of the evening. It is extremely clear from the lowest lows to the highest highs and has great presence and levels. The low-end has plenty of umph to it and the tone is very natural.
The Busman source doesn't have the low-end punch of the M934c or MK21 sources. It is quite clear though.
The MK4c>KC5 source is a bit boomy and there is a fair amount of crowd noise.
The B&K source is very muddy sounding, particularly in the low-end.
The MK4v>vst source is nice and clean sounding, but just doesn't have the punch of the MK21 or M934c sources.
The MK41v source sounds a bit distant and doesn't have the definition of the better schoeps sources.
The MK21 source has excellent low-end and is very clean. There is plenty of low-end without being boomy. However, the tone is slightly different from the M934c and I don't prefer this source quite as much. That said, if you already have the MK21 source, by all means keep it. It is really good.
The Franken Nak source is quite good for a Nak source, however the low-end just can't compare to the MK21 and M934c sources.
The MK41 source is incredibly in your face and is really present. However, there is a bit of crowd noise and the low-end isn't quite as punchy as the MK21 or M934c sources.
Happy listening!
Friday, July 13, 2012
June 17, 2012 Bader Field Atlantic City, NJ Sources Review
The third night of an excellent run at Atlantic City didn't have quite the punch that the first two nights had, but it did offer a few choice nuggets that are worth a re-listen. I would definitely recommend giving the 2001 a spin as well as the Reba that follows. I want to thank the tapers again for their efforts in getting these shows into our hands. I hate to apologize again to my readers, but life and tour got in the way of keeping these up as fast as I would like. However, things look fairly open for the next several days, so I hope to get through nTelos this week and have the OH-PA-OH run up next week, with the Creeks to follow shortly there after. Lots of good stuff to get to. There are 7 sources for this evening.
Source 1 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: FOB/DFC 42' From Stage, 6' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter MK22+MK8 source)
Source: Schoeps mk22 + mk8 [M-S]> Vark KCY> Darktrain 30' KCY Extension> Naiant Littlebox (onboard M-S conversion)> Sony m10 (@24bit/96kHz)
Location: FOB, DFC, ~6' Stand.
Transfer: Dithered to 16bit via Mbit II and resampled to 44.1kHz via iZotope
16 bit source
24 bit source
Source 4 (hereafter MK21 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 5 (hereafter MK4v source)
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Oade 248>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC,Din, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 6 (hereafter MK41v source)
Source: Schoeps Mk41v(NOS)> KCY>Schoeps Vms5u>R44(OCM)24/96
Location: FOB, DFC 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 7 (hereafter AKG source)
Source: AKG392's(Right of SBD behind TS rail) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz
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 -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend
16 bit source
24 bit source
Phish - 6/17/12 "Reba" from Phish on Vimeo.
The M934c source is my pick for the best of the night. It is extremely clear sounding and the bass response is great. The differences between this source and the MK21, and really the MK4v was right there too, are miniscule. I slightly preferred the tone of the bass, it seemed a bit brighter, particularly on some of the really interesting stuff that Mike is doing at the beginning of 2001. That said, if you already have the MK21 source, unless you are really obsessive, there is no reason to replace it.
The CCM4v source is pretty boomy and sounds a bit distant.
The MK22+MK8 source, like so many matrix mixes, has too much low-end without enough definition.
The MK21 source, as mentioned above, is excellent. It is very clear with great separation. The only differences between it and the M934c source are minor tonal differences. If you already have this source, there is no need to switch.
The MK4v source is also quite good. It doesn't have quite the separation of the MK21 or M934c source, but is still excellent.
The MK41v source is a bit boomier than the MK4v source or the MK21 or M934c source.
The AKG source is a bit thin on the low-end. At points where Gordon is really dropping a bomb, the AKG's just kind of fade out. Nowhere near the punch of the M934c or MK21 source.
Happy listening!
Source 1 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: FOB/DFC 42' From Stage, 6' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter MK22+MK8 source)
Source: Schoeps mk22 + mk8 [M-S]> Vark KCY> Darktrain 30' KCY Extension> Naiant Littlebox (onboard M-S conversion)> Sony m10 (@24bit/96kHz)
Location: FOB, DFC, ~6' Stand.
Transfer: Dithered to 16bit via Mbit II and resampled to 44.1kHz via iZotope
16 bit source
24 bit source
Source 4 (hereafter MK21 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 5 (hereafter MK4v source)
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Oade 248>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC,Din, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 6 (hereafter MK41v source)
Source: Schoeps Mk41v(NOS)> KCY>Schoeps Vms5u>R44(OCM)24/96
Location: FOB, DFC 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 7 (hereafter AKG source)
Source: AKG392's(Right of SBD behind TS rail) -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz
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 -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend
16 bit source
24 bit source
Phish - 6/17/12 "Reba" from Phish on Vimeo.
The M934c source is my pick for the best of the night. It is extremely clear sounding and the bass response is great. The differences between this source and the MK21, and really the MK4v was right there too, are miniscule. I slightly preferred the tone of the bass, it seemed a bit brighter, particularly on some of the really interesting stuff that Mike is doing at the beginning of 2001. That said, if you already have the MK21 source, unless you are really obsessive, there is no reason to replace it.
The CCM4v source is pretty boomy and sounds a bit distant.
The MK22+MK8 source, like so many matrix mixes, has too much low-end without enough definition.
The MK21 source, as mentioned above, is excellent. It is very clear with great separation. The only differences between it and the M934c source are minor tonal differences. If you already have this source, there is no need to switch.
The MK4v source is also quite good. It doesn't have quite the separation of the MK21 or M934c source, but is still excellent.
The MK41v source is a bit boomier than the MK4v source or the MK21 or M934c source.
The AKG source is a bit thin on the low-end. At points where Gordon is really dropping a bomb, the AKG's just kind of fade out. Nowhere near the punch of the M934c or MK21 source.
Happy listening!
Wednesday, July 11, 2012
June 16, 2012 Bader Field, Atlantic City, NJ Sources Review
Night two at Atlantic City brought some heat right from the start. There are very few bad shows that kick off with Mike's Song and this show is no exception. The Lighteca in the second set is definitely not to be missed. As with the night before, there are 5 sources available, though the sources are slightly different. I want to thank all the tapers for recording this show and sharing it with the community.
Source 1 (hereafter MK21>KCY source)
Source: Schoeps Mk21> KCY>Schoeps Vms5u >R44(OCM)24/96
Location: FOB, DFC,NOS, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 2 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 3 (hereafter MK21>KC5 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 4 (hereafter MK4v source)
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Sonosax SX-M2>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC,Din, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 5 (hereafter AKG source)
Source: AKG392's(Right of SBD) -> 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 -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend
16 bit source
24 bit source
Phish - 6/16/12 "Light" from Phish on Vimeo.
The MK21>KCY source is a bit boomier than the other sources, all of which sound pretty darn good. However, the separation and balance just isn't as good as the MK21>KC5 source.
The M934c source is very clear and quite well balanced, but it doesn't have the extra umph on the low-end that the MK21>KC5 source has.
The MK21>KC5 source is my pick for the night. It is extremely clear and well balanced. The separation is superior to the AKG source and the low-end has just a bit more kick than the M934c source.
The MK4v source sounds quite good but doesn't have the separation that the MK21>KC5 and M934c sources have.
The AKG source is quite good, but there is a bit of boominess at the lowest frequencies and the overall sonic separation isn't as good as the MK21>KC5 source.
Happy listening!
Source 1 (hereafter MK21>KCY source)
Source: Schoeps Mk21> KCY>Schoeps Vms5u >R44(OCM)24/96
Location: FOB, DFC,NOS, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 2 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 3 (hereafter MK21>KC5 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 4 (hereafter MK4v source)
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Sonosax SX-M2>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC,Din, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 5 (hereafter AKG source)
Source: AKG392's(Right of SBD) -> 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 -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend
16 bit source
24 bit source
Phish - 6/16/12 "Light" from Phish on Vimeo.
The MK21>KCY source is a bit boomier than the other sources, all of which sound pretty darn good. However, the separation and balance just isn't as good as the MK21>KC5 source.
The M934c source is very clear and quite well balanced, but it doesn't have the extra umph on the low-end that the MK21>KC5 source has.
The MK21>KC5 source is my pick for the night. It is extremely clear and well balanced. The separation is superior to the AKG source and the low-end has just a bit more kick than the M934c source.
The MK4v source sounds quite good but doesn't have the separation that the MK21>KC5 and M934c sources have.
The AKG source is quite good, but there is a bit of boominess at the lowest frequencies and the overall sonic separation isn't as good as the MK21>KC5 source.
Happy listening!
Wednesday, June 27, 2012
June 15, 2012 Bader Field, Atlantic City, NJ Sources Review
After a festival set at the 'roo, Phish took most of the next week off prior to what many believe was the real start of tour. A three day, non-festival, stand at Bader Field in Atlantic City, NJ. After a great start to tour in Worcester, there were high hopes for these shows and the first show did not disappoint. Featuring a standout version of Birds of a Feather, as well as a classic Twist > Piper, this is a show to add to the collection. There are 5 different sources available for this show. I want to thank the tapers for recording this show and sharing it with the community.
Source 1 (hereafter AKG source)
Source: AKG392's(Right of SBD) -> 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 -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend
16 bit source
24 bit source
Source 2 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 3 (hereafter MK21 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 4 (hereafter MK4v source)
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Aeta PSP-3>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC,Din, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 5 (hereafter MK41v source)
Source: Schoeps MK41v(NOS)> 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
Phish - 6/15/12 "Birds Of A Feather > Back On The Train > Heavy Things" from Phish on Vimeo.
The AKG source has less separation than the M934c source and lacks in tonal clarity at the lowest frequencies. Basically, it is not as crisp sounding as the Schoeps sources.
The M934c source gets my nod for recording of the evening. The bass tone is excellent without being overpowering and the high-end is fantastic. This recording has great tone and is well balanced from the lows to the highs. I think this is a new set of mics for taylorc, I could be wrong about that, but he consistently produces great recordings and this one is no exception. There is a fair amount of crowd noise, but it is not super distracting.
The MK21 source is also quite good. The companion source to the M934c, it just doesn't have the great highs of the M934c, though the bass is quite good, possibly a touch more rich than the M934c's. However, at closer listen, I like the balance of the M934c's a bit better and definitely like the high-end more.
The MK4v is a very, very good recording. The low-end has a bit more punch than the MK21 or M934c sources, but the levels are a bit lower and the highs don't sound as nice.
The MK41v, a companion source to the MK4v, sounds a bit distant and is quite bass heavy.
Happy listening!
Source 1 (hereafter AKG source)
Source: AKG392's(Right of SBD) -> 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 -> Adobe Audition 3.0 16/44.1 conversion -> Flac Frontend
16 bit source
24 bit source
Source 2 (hereafter M934c source)
Source: Schoeps m934c> M221B> PS> Aeta PSP-3> SD 722 (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, m934c/cardioid
Transfer: SD 722> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 3 (hereafter MK21 source)
Source: Schoeps mk21> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand, NOS
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 4 (hereafter MK4v source)
Source: Schoeps Mk4v> KCY>Schoeps Vst 62IUg>Aeta PSP-3>Mytek 192 adc aes/spdif>R44(OCM)24/96
Location: FOB, DFC,Din, 6' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT
16 bit source
Source 5 (hereafter MK41v source)
Source: Schoeps MK41v(NOS)> 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
Phish - 6/15/12 "Birds Of A Feather > Back On The Train > Heavy Things" from Phish on Vimeo.
The AKG source has less separation than the M934c source and lacks in tonal clarity at the lowest frequencies. Basically, it is not as crisp sounding as the Schoeps sources.
The M934c source gets my nod for recording of the evening. The bass tone is excellent without being overpowering and the high-end is fantastic. This recording has great tone and is well balanced from the lows to the highs. I think this is a new set of mics for taylorc, I could be wrong about that, but he consistently produces great recordings and this one is no exception. There is a fair amount of crowd noise, but it is not super distracting.
The MK21 source is also quite good. The companion source to the M934c, it just doesn't have the great highs of the M934c, though the bass is quite good, possibly a touch more rich than the M934c's. However, at closer listen, I like the balance of the M934c's a bit better and definitely like the high-end more.
The MK4v is a very, very good recording. The low-end has a bit more punch than the MK21 or M934c sources, but the levels are a bit lower and the highs don't sound as nice.
The MK41v, a companion source to the MK4v, sounds a bit distant and is quite bass heavy.
Happy listening!
Tuesday, June 26, 2012
June 10, 2012 Bonnaroo, Manchester, TN Sources Review
With Phish just finishing a scorching two night run in Worcester prior to jetting off for Tennessee, it is not surprising that there weren't a great many tapers there for this show. Many of you probably, like myself, saw this show on the webcast. It certainly doesn't offer the jamming that the Worcester shows had, but it is fun in its own right and the Tweezer and Carini>Shafty are definitely worth the re-listen. There are two different sources available for this show. Thanks a lot for the tapers that captured this and shared it with the scene.
Source 1 (hereafter MK21 source)
Source: Schoeps mk21 > kcy > Sonosax SX-M2-LS2 > Sony M10 (24/48)
Location: NOS/FOB
Transfer: Micro SD > Sound Studio > xACT > .flac (16/44)
16 bit source
24 bit source
Source 2 (hereafter CK-1 source)
Source: Avantone CK-1 (cardoid) > Fostex FR-2LE (24/48)
Location: FOB/DFC; ~110' from stage; mics at ~ 9 feet
Transfer: CF > HDD > Wavelab 6.0 > CD WAVE > Trader's Little Helper
16 bit source
Phish - 6/10/12 "Carini > Shafty" from Phish on Vimeo.
The MK21 source is my pick for the best of the two. The levels are excellent, the separation is very good, and the bass response is quite good as well. There is minimal crowd noise, which can be a problem at a festival. The mids are noticeably superior to the CK1 source and the low-end really hits well during "the note" at the beginning of Tweezer Reprise.
The CK1 source doesn't have the tight high-end of the MK21 source and the levels get a bit crunchy at times. The recording is quite good, but with the level problems, I would pass on this and grab the MK21.
Happy listening!
Source 1 (hereafter MK21 source)
Source: Schoeps mk21 > kcy > Sonosax SX-M2-LS2 > Sony M10 (24/48)
Location: NOS/FOB
Transfer: Micro SD > Sound Studio > xACT > .flac (16/44)
16 bit source
24 bit source
Source 2 (hereafter CK-1 source)
Source: Avantone CK-1 (cardoid) > Fostex FR-2LE (24/48)
Location: FOB/DFC; ~110' from stage; mics at ~ 9 feet
Transfer: CF > HDD > Wavelab 6.0 > CD WAVE > Trader's Little Helper
16 bit source
Phish - 6/10/12 "Carini > Shafty" from Phish on Vimeo.
The MK21 source is my pick for the best of the two. The levels are excellent, the separation is very good, and the bass response is quite good as well. There is minimal crowd noise, which can be a problem at a festival. The mids are noticeably superior to the CK1 source and the low-end really hits well during "the note" at the beginning of Tweezer Reprise.
The CK1 source doesn't have the tight high-end of the MK21 source and the levels get a bit crunchy at times. The recording is quite good, but with the level problems, I would pass on this and grab the MK21.
Happy listening!
Thursday, June 21, 2012
June 8, 2012 DCU Center, Worcester, MA Sources Review
After a scorching night one at Worcester, Phish continued to bring the heat in night two, with particular highlights in Set 1. These two shows are definitely must listen Phish for all the real heads out there. There are seven sources available for this show, many in both 16 and 24 bit audio. I want to thank all the tapers that recorded these shows and shared them with the rest of us. Thanks a lot guys!
Source 1 (hereafter MK22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SX-R4(24bit/96khz)
Location: Mics were 40' from stage DFC FOB (21cm,110 degrees
Transfer: WAV>USB>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 2 (hereafter M200 source)
Source: Microtech Gefell m200 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: Front of the taper's section, dead center
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, track splits) > SoX 14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Source 3 (hereafter MD441u source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, OTS 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
Source 4 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: FOB/DFC/ Approximately 42' From Stage, 6' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 5 (hereafter DPA 4011 source)
Source: DPA 4011 > V3 Digital > R44 (24/96)
Location: DFC/DIN/8' high
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, Normalize, Izotope 5, resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav (tracking) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 6 (hereafter DPA 4023 source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: ORTF/FOB/DFC 6' stand 40' from the stage
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor 1.5.7 (iZotope Resampler/MBIT+ Dither)> xACT 2.18(align on sector boundaries,encode, tag, fingerprint)>flac16 (level 8)
16 bit source
24 bit source
Source 7 (hereafter AKG source)
Source: AKG c480b/ck63 > Lunatec V3 Digital > Edirol R-44(24/96)
Location: PAS, OTS
Transfer: Wave > Sound Forge Pro 10.0(Fade,Track,Resample,Dither 16/44.1) > TLH > Flac
16 bit source
Phish - 6/8/12 "Character Zero" from Phish on Vimeo.
Once again, thanks to all the tapers. If you are at a show, please be courteous around the tapers. You don't want your drunk ramblings preserved for posterity do you? Thanks again!
The MK22 source has great levels, a fair amount of crowd noise, though not as much as the DPA 4023 source. The bass response is quite nice, but on close inspection, is just not as good as the DPA 4023 source. Notice the intro to Sand, on the DPA 4023 source, the bass is quite distinct and on this source, it just isn't quite up to that level.
The M200 source, just like the night before, is quite warm sounding, but lacks tonal clarity in the lowest frequencies.
The MD441u source is a very good sounding recording, probably the 3rd best of the night. However, like most of the other tapes, it just doesn't have that crystal clear tone at the lowest frequencies that the DPA 4023 source has.
The CCM4v source is very boomy without much clarity in the lower registers.
The DPA 4011 source sounds a bit hollow in the mids, particularly compared to the MK22 and DPA 4023 sources. The bass is also a bit boomy.
The DPA 4023 source is my pick for the night. It has great levels, outstanding separation, and great tonal clarity throughout the frequency range. The only downside of this recording is that the crowd noise is noticeably more than on the previous nights recording.
The AKG source doesn't have the excellent separation of the DPA 4023 source and the bass tone isn't as clear at the lowest frequencies.
Happy listening!
Source 1 (hereafter MK22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SX-R4(24bit/96khz)
Location: Mics were 40' from stage DFC FOB (21cm,110 degrees
Transfer: WAV>USB>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 2 (hereafter M200 source)
Source: Microtech Gefell m200 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: Front of the taper's section, dead center
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, track splits) > SoX 14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Source 3 (hereafter MD441u source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, OTS 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
Source 4 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: FOB/DFC/ Approximately 42' From Stage, 6' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 5 (hereafter DPA 4011 source)
Source: DPA 4011 > V3 Digital > R44 (24/96)
Location: DFC/DIN/8' high
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, Normalize, Izotope 5, resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav (tracking) > TLH > Flac (level 8)
16 bit source
24 bit source
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: ORTF/FOB/DFC 6' stand 40' from the stage
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor 1.5.7 (iZotope Resampler/MBIT+ Dither)> xACT 2.18(align on sector boundaries,encode, tag, fingerprint)>flac16 (level 8)
16 bit source
24 bit source
Source 7 (hereafter AKG source)
Source: AKG c480b/ck63 > Lunatec V3 Digital > Edirol R-44(24/96)
Location: PAS, OTS
Transfer: Wave > Sound Forge Pro 10.0(Fade,Track,Resample,Dither 16/44.1) > TLH > Flac
16 bit source
Phish - 6/8/12 "Character Zero" from Phish on Vimeo.
Once again, thanks to all the tapers. If you are at a show, please be courteous around the tapers. You don't want your drunk ramblings preserved for posterity do you? Thanks again!
The MK22 source has great levels, a fair amount of crowd noise, though not as much as the DPA 4023 source. The bass response is quite nice, but on close inspection, is just not as good as the DPA 4023 source. Notice the intro to Sand, on the DPA 4023 source, the bass is quite distinct and on this source, it just isn't quite up to that level.
The M200 source, just like the night before, is quite warm sounding, but lacks tonal clarity in the lowest frequencies.
The MD441u source is a very good sounding recording, probably the 3rd best of the night. However, like most of the other tapes, it just doesn't have that crystal clear tone at the lowest frequencies that the DPA 4023 source has.
The CCM4v source is very boomy without much clarity in the lower registers.
The DPA 4011 source sounds a bit hollow in the mids, particularly compared to the MK22 and DPA 4023 sources. The bass is also a bit boomy.
The DPA 4023 source is my pick for the night. It has great levels, outstanding separation, and great tonal clarity throughout the frequency range. The only downside of this recording is that the crowd noise is noticeably more than on the previous nights recording.
The AKG source doesn't have the excellent separation of the DPA 4023 source and the bass tone isn't as clear at the lowest frequencies.
Happy listening!
Wednesday, June 20, 2012
June 7, 2012 DCU Center, Worcester, MA Sources Review
Hey Folks!
Sorry for the long delay between posts and the delay on getting started on this summer tour. I was on vacation last week and this is my first chance to delve into this summer's madness. And madness it was to start the tour off right. The second set to this show has been rightly praised and you owe it to yourself to set aside the time to listen to the whole thing. There are nine sources available for this night. I want to thank all the tapers for taking the time to record the show and share it with the rest of us.
Source 1 (hereafter M200 source)
Source: Microtech Gefell m200 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: Recorded from the front of the taper's section, dead center
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, splice, track splits) > SoX 14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: FOB/DFC Approximately 45'From Stage, 6' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter MD441u source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, OTS 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
Source 4 (hereafter MK22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SXR4(24bit/96khz)
Location: Mics were 50' from stage DFC FOB (21cm,110 degrees)
Transfer: WAV>USB>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 5 (hereafter DPA 4023 source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: Wide ORTF/FOB/DFC 6' stand 50' from the stage
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor 1.5.7 (iZotope Resampler/MBIT+ Dither)>
xACT 2.18(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )
16 bit source
24 bit source
Source 6 (hereafter DPA 4011 source)
Source: DPA 4011 > V3 Digital > R44 (24/96)
Location: DFC/DIN/9 1/2' high
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, Normalize, Izotope 5, resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav (tracking) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 7 (hereafter MG210 source)
Source: Microtech Gefell M210>V3>Edirol R-44(24/96)
Location: OTS
Transfer: Edirol R44 > USB > WaveLab 6 > CDWav 1.71 >Flac Frontend 1.7.1 (Level 8)
16 bit source
Source 8 (hereafter Schoeps Matrix)
Source: Schoeps mk41 + mk8 [m-s]> Vark KCY> Darktrain 30' KCY Extension Cable> Naiant Littlebox (onboard m-s conversion)> Sony m10 @ 24bit/96 kHz
Location: OTS, DFC, Clamped to Jason Sobel's stand.
Transfer: Dithered to 16bit via MBIT II and Resampled to 44.1kHz via iZotope
16 bit source
24 bit source
Source 9 (hereafter Microtech Matrix)
Source 1: Microtech Gefell m210 (hypercardioid) > Edirol R-4 (Oade T mod) @ 24 bit / 48 kHz
Source 2: Microtech Gefell m270 (omni) > Edirol R-4 @ 24 bit / 48 kHz
Location: Recorded from the front of the taper's section, slightly right of center.
The m210's (hypercardioids) were in the "DIN" configuration
The m270's (omnis) were AB, spaced approximately 3 ft
Transfer: Edirol R-4 > USB > pc > Samplitude SE v9.1.1 (mix sources, fades, track splits) > SoX v14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Phish - 6/7/12 "Buried Alive > Runaway Jim" from Phish on Vimeo.
Again, I'm terribly sorry about the delay. I had hoped to have this up on Monday, but slow internet connection in my hotel room prevented that. Then yesterday a construction crew tore out the cable to my house running under the street. But, all that has been fixed and you can expect regular updates as the summer tour progresses. I will be hitting Cincy this Friday and will be at the Creek next week, if you see me say hello. And as always, look out for the tapers and give them your thanks when you see them.
The M200 source has lower levels than the MK22 or DPA sources and the bass response isn't nearly as good. That said, as with most Geffell sources, it is nice and warm and sounds great on phones as well as speakers. However, it is not, in my opinion, quite as good as the MK22 or DPA 4023 source.
The CCM4v source is also very warm sounding, but the bass is not as well defined down low as the DPA4023 or MK22 source.
The MD441u source is quite good, but like the M200 and CCM4v source, just doesn't have that great definition down low that I really like to hear.
The MK22 source is quite good. The levels are excellent, the separation is fantastic and the response is full across the spectrum. However, there is a slight tone difference between it and the DPA 4023 source and I just barely prefer the DPA source. However, if you have already downloaded the MK22 source, there is really no reason to replace it.
The DPA 4023 source is my preferred source for this evening. The sonic separation is fantastic, the bass is rich and well defined, and the levels are perfect. There is a bit of crowd noise here, but to my ears, it adds rather than detracts. You don't hear conversations, just the occasional Woot!
The DPA 4011 source has nice bass response, but is boomier than either the MK22 or DPA 4023 source.
The MG210, like the other Microtech sources, sounds quite good, it just lacks the bass clarity at the lowest frequencies.
The Schoeps Matrix is quite boomy sounding, like the bass tone knob was turned up. The bass response is quite good, but the high-end just doesn't have the crispness of the MK22 or DPA 4023 sources.
The Microtech Matrix is also quite boomy and in this case, the bass is poorly defined as well.
Happy listening!
Sorry for the long delay between posts and the delay on getting started on this summer tour. I was on vacation last week and this is my first chance to delve into this summer's madness. And madness it was to start the tour off right. The second set to this show has been rightly praised and you owe it to yourself to set aside the time to listen to the whole thing. There are nine sources available for this night. I want to thank all the tapers for taking the time to record the show and share it with the rest of us.
Source 1 (hereafter M200 source)
Source: Microtech Gefell m200 > Sonosax SX-M2 > Marantz PMD-661 w/ "Oade Concert Mod" (@ 24 bit / 96 kHz)
Location: Recorded from the front of the taper's section, dead center
mics angled 90 degrees, spaced approximately 8 inches
Transfer: SDHC Card > Samplitude SE v9.1.1 (fades, splice, track splits) > SoX 14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: FOB/DFC Approximately 45'From Stage, 6' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter MD441u source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, OTS 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
Source 4 (hereafter MK22 source)
Source: Schoeps MK22>KC5>CMC6>Sonosax SXR4(24bit/96khz)
Location: Mics were 50' from stage DFC FOB (21cm,110 degrees)
Transfer: WAV>USB>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 5 (hereafter DPA 4023 source)Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: Wide ORTF/FOB/DFC 6' stand 50' from the stage
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor 1.5.7 (iZotope Resampler/MBIT+ Dither)>
xACT 2.18(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )
16 bit source
24 bit source
Source: DPA 4011 > V3 Digital > R44 (24/96)
Location: DFC/DIN/9 1/2' high
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, Normalize, Izotope 5, resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav (tracking) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 7 (hereafter MG210 source)
Source: Microtech Gefell M210>V3>Edirol R-44(24/96)
Location: OTS
Transfer: Edirol R44 > USB > WaveLab 6 > CDWav 1.71 >Flac Frontend 1.7.1 (Level 8)
16 bit source
Source 8 (hereafter Schoeps Matrix)
Source: Schoeps mk41 + mk8 [m-s]> Vark KCY> Darktrain 30' KCY Extension Cable> Naiant Littlebox (onboard m-s conversion)> Sony m10 @ 24bit/96 kHz
Location: OTS, DFC, Clamped to Jason Sobel's stand.
Transfer: Dithered to 16bit via MBIT II and Resampled to 44.1kHz via iZotope
16 bit source
24 bit source
Source 9 (hereafter Microtech Matrix)
Source 1: Microtech Gefell m210 (hypercardioid) > Edirol R-4 (Oade T mod) @ 24 bit / 48 kHz
Source 2: Microtech Gefell m270 (omni) > Edirol R-4 @ 24 bit / 48 kHz
Location: Recorded from the front of the taper's section, slightly right of center.
The m210's (hypercardioids) were in the "DIN" configuration
The m270's (omnis) were AB, spaced approximately 3 ft
Transfer: Edirol R-4 > USB > pc > Samplitude SE v9.1.1 (mix sources, fades, track splits) > SoX v14.4.0 (resample to 44.1 kHz, dither to 16 bit) > FLAC v1.2.1 (Level 8)
16 bit source
24 bit source
Phish - 6/7/12 "Buried Alive > Runaway Jim" from Phish on Vimeo.
Again, I'm terribly sorry about the delay. I had hoped to have this up on Monday, but slow internet connection in my hotel room prevented that. Then yesterday a construction crew tore out the cable to my house running under the street. But, all that has been fixed and you can expect regular updates as the summer tour progresses. I will be hitting Cincy this Friday and will be at the Creek next week, if you see me say hello. And as always, look out for the tapers and give them your thanks when you see them.
The M200 source has lower levels than the MK22 or DPA sources and the bass response isn't nearly as good. That said, as with most Geffell sources, it is nice and warm and sounds great on phones as well as speakers. However, it is not, in my opinion, quite as good as the MK22 or DPA 4023 source.
The CCM4v source is also very warm sounding, but the bass is not as well defined down low as the DPA4023 or MK22 source.
The MD441u source is quite good, but like the M200 and CCM4v source, just doesn't have that great definition down low that I really like to hear.
The MK22 source is quite good. The levels are excellent, the separation is fantastic and the response is full across the spectrum. However, there is a slight tone difference between it and the DPA 4023 source and I just barely prefer the DPA source. However, if you have already downloaded the MK22 source, there is really no reason to replace it.
The DPA 4023 source is my preferred source for this evening. The sonic separation is fantastic, the bass is rich and well defined, and the levels are perfect. There is a bit of crowd noise here, but to my ears, it adds rather than detracts. You don't hear conversations, just the occasional Woot!
The DPA 4011 source has nice bass response, but is boomier than either the MK22 or DPA 4023 source.
The MG210, like the other Microtech sources, sounds quite good, it just lacks the bass clarity at the lowest frequencies.
The Schoeps Matrix is quite boomy sounding, like the bass tone knob was turned up. The bass response is quite good, but the high-end just doesn't have the crispness of the MK22 or DPA 4023 sources.
The Microtech Matrix is also quite boomy and in this case, the bass is poorly defined as well.
Happy listening!
Thursday, January 19, 2012
December 29, 2011 Madison Square Garden, New York, NY Sources Review
Phish began their second of four nights at the Garden with a bang, The Sloth > You Enjoy Myself. While this show didn't quite rise to the heights of the first night, in my opinion, and others, there are still some great moments in this show and it is worth having if just for the Lifeboy, one of my all-time favorite Phish ballads, and the interesting Weekapaug. I want to thank all the tapers for capturing this evening. Thanks a lot guys!
Source 1 (hereafter SPC4 source)
Source: Studio Projects C4s (hypers) > Segue Dogstar XLRs > Fostex FR-2LE(24bit/44.1khz)
Location: Sec 2, Row 4, Seat 12, 8' high; PAS, 20cm @ 60*
Transfer: CF Card > .bwf > Audacity (gain/fades/dither) > CDWav > .wav > .flac
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: OTS/BOB/DFC Section 2, Row 4, Seat 12, 8' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter DPA 4011 source)
Source: DPA 4011 > V3 Digital > R44 (24/96)
Location: OTS Sec.2 Row 3 Seat 14/DIN/8' ft. high
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav (tracking) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 4 (hereafter TLM 170 source)
Source: Neumann TLM-170 (hypercardoids,) -> Sound Devices 722 (@24/96);
Location: front row of tapers' section dead center
Transfer: FLAC file processing in SoundForge 10.0C (some volume leveling; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings); Tracked in CDWav
16 bit source
Source 6 (hereafter MK41>KC5 source)
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out,24bit/96khz)>COAX>Edirol R-44
Location: OTS mics were DIN
Transfer: SDHC Card>USB>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 7 (hereafter MK41>KCY source) ***24 bit only***
Source: Schoeps MK41 (DINa) > Schoeps KCY > Schoeps VMS-5u > Mytek 192 > Marantz PMD-661 @ 06 kHz 24 bits
Location: OTS: Very close to centered, on stand approx. 10' -
Transfer: SDHC 08 GB Card > Card Reader Slot on Dell XPS m1730 > Sony Sound Forge 10.0
24 bit source
Phish - "Mike's Song > Chalk Dust Torture > I Am Hydrogen > Weekapaug Groove" 12/29/11 from Phish on Vimeo.
The recordings this evening, like the prior evening, don't have the great bass tone of some of the better recordings from the summer. Once again, I suspect this must have been a problem with the sound system. However, that said, the differences between these six recordings are largely minor. The very best is not radically different from the very worst. Thanks a lot guys, you made some great pulls!
The SPC4 source is probably the second best source. The bass tone is nice, though not quite as defined as the KC5 source, but still better than some of the others. The levels are good as well.
The CCM4V source is missing some tonality down low and is not quite as bright sounding as the KC5 source either.
The DPA source has relatively low levels, though still decent, and nice bass tone, but not the punch of the KC5 source. The high-end doesn't sound as nice on this source as the KC5 source either.
The TLM170 source has great bass response, but it borders on boomy. The high-end isn't as crisp as the MK41>KC5 source and the low-end, while kicking the sub plenty hard, doesn't have the punch of the KC5 source either.
As I have mentioned repeatedly above, the MK41>KC5 source is my pick for best of the evening. It has nice crisp highs and the low-end is quite good as well. Definitely an enjoyable recording.
The MK41>KCY source has ridiculously high levels. Really in your face recording. The high-end is a bit too bright to my ears, and the low-end has a bit of boominess.
Happy listening!
Source 1 (hereafter SPC4 source)
Source: Studio Projects C4s (hypers) > Segue Dogstar XLRs > Fostex FR-2LE(24bit/44.1khz)
Location: Sec 2, Row 4, Seat 12, 8' high; PAS, 20cm @ 60*
Transfer: CF Card > .bwf > Audacity (gain/fades/dither) > CDWav > .wav > .flac
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: OTS/BOB/DFC Section 2, Row 4, Seat 12, 8' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter DPA 4011 source)
Source: DPA 4011 > V3 Digital > R44 (24/96)
Location: OTS Sec.2 Row 3 Seat 14/DIN/8' ft. high
Transfer: SDHC Card > Sound Forge Pro 10.0 (fades, resample iZotope 64-Bit SRC, dither iZotope MBIT+ Dither) > CD Wav (tracking) > TLH > Flac (level 8)
16 bit source
24 bit source
Source 4 (hereafter TLM 170 source)
Source: Neumann TLM-170 (hypercardoids,) -> Sound Devices 722 (@24/96);
Location: front row of tapers' section dead center
Transfer: FLAC file processing in SoundForge 10.0C (some volume leveling; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings); Tracked in CDWav
16 bit source
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out,24bit/96khz)>COAX>Edirol R-44
Location: OTS mics were DIN
Transfer: SDHC Card>USB>Macbook Pro>Wave Editor(tracking,fades,add gain,resample(izotope)/dither(mbit+)to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 7 (hereafter MK41>KCY source) ***24 bit only***
Source: Schoeps MK41 (DINa) > Schoeps KCY > Schoeps VMS-5u > Mytek 192 > Marantz PMD-661 @ 06 kHz 24 bits
Location: OTS: Very close to centered, on stand approx. 10' -
Transfer: SDHC 08 GB Card > Card Reader Slot on Dell XPS m1730 > Sony Sound Forge 10.0
24 bit source
Phish - "Mike's Song > Chalk Dust Torture > I Am Hydrogen > Weekapaug Groove" 12/29/11 from Phish on Vimeo.
The recordings this evening, like the prior evening, don't have the great bass tone of some of the better recordings from the summer. Once again, I suspect this must have been a problem with the sound system. However, that said, the differences between these six recordings are largely minor. The very best is not radically different from the very worst. Thanks a lot guys, you made some great pulls!
The SPC4 source is probably the second best source. The bass tone is nice, though not quite as defined as the KC5 source, but still better than some of the others. The levels are good as well.
The CCM4V source is missing some tonality down low and is not quite as bright sounding as the KC5 source either.
The DPA source has relatively low levels, though still decent, and nice bass tone, but not the punch of the KC5 source. The high-end doesn't sound as nice on this source as the KC5 source either.
The TLM170 source has great bass response, but it borders on boomy. The high-end isn't as crisp as the MK41>KC5 source and the low-end, while kicking the sub plenty hard, doesn't have the punch of the KC5 source either.
As I have mentioned repeatedly above, the MK41>KC5 source is my pick for best of the evening. It has nice crisp highs and the low-end is quite good as well. Definitely an enjoyable recording.
The MK41>KCY source has ridiculously high levels. Really in your face recording. The high-end is a bit too bright to my ears, and the low-end has a bit of boominess.
Happy listening!
Tuesday, January 10, 2012
December 28, 2011 Madison Square Garden, New York, NY Sources Review
I want to thank all of you who have waited patiently for the return of the Phish Listening Room. Like many of you, I eagerly awaited these shows, and at least for this night, was not disappointed. The Holiday Run, particularly at MSG, is one of fabled lore. Unfortunately, this run did not live up to the hype. However, there are some great nuggets from each night and if you only download one concert in its entirety from this run, this is the night to grab. There are seven sources available for this show. I want to thank the tapers who recorded this and all of the other nights of the run. I know how much fun a holiday show is, and I know how challenging it is to get a good recording when people are jazzed out of their minds, screaming, and throwing things. Given all that, there are some remarkably good recordings here! Thanks again guys!
Source 1 (hereafter SP C4 source)
Source: Studio Projects C4s (hypers) > Segue Dogstar XLRs > Fostex FR-2LE(24bit/44.1khz)
Location: Sec 2, Row 4, Seat 13, 8' high; PAS, 20cm @ 60*
Transfer: CF Card > .bwf > Audacity (gain/fades/dither) > CDWav > .wav > .flac
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: OTS/BOB/DFC/KFC/ZFC/AARP Section 2, Row 4, Seat 13, 8' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter TLM170 source)
Source: Neumann TLM-170 -> Sound Devices 722 (@24/96)
Location: hypercardoids, 5th row of tapers' section, about 7 seats left of center
Transfer: FLAC file processing in SoundForge 10.0C (some volume leveling; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings; clap removal); Tracked in CDWav
16 bit source
Source 4 (hereafter MK41>PSP2 source)
Source: Schoeps MK41'S>PSP 2>Tascam DP2(24/44)
Location: OTS/BOB/DFC Section 2, Row 4, Seat 13, 8' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 5 (hereafter MK41>KC5 source) ***Encore Is Patched from MK41>KCY source***
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out,24bit/96khz)>COAX>Edirol R-44
Location: OTS DIN
Transfer: SDHC Card>USB>Macbook Pro>Wave
Editor(tracking, fades, resample (izotope) / dither (mbit+) to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 6 (hereafter KM184 source)
Source: Neumann km184 > Sound Devices MP-2 > Edirol R-09HR (16/44)
Transfer: WAV > PC > CDWav > FLAC
16 bit source
Source 7 (hereafter MK41>KCY source) ***24 bit source only***
Source: Schoeps MK41 (DINa) > Schoeps KCY > Schoeps VMS-5u > Mytek 192 > Marantz PMD-661 @ 06 kHz 24 bits
Location: OTS: Slightly LoC, on stand approx. 10' -
Transfer: SDHC 16 GB Card > Card Reader Slot on Dell XPS m1730 > Sony Sound Forge 10.0
24 bit source
Phish - "Contact" > "Sample In A Jar" 12/28/11 from Phish on Vimeo.
The SPC4 source is probably the second best source available. Like all the sources, the low-end isn't as well defined as it was on the best tapes from the summer. Given that all the recordings suffered from this, I must presume that the room didn't have the best bass definition. The low-end is quite punchy, it is just a tad less defined than the MK41>KC5 source. Given that the encore of the KC5 source is patched from the KCY source, you might want to grab the encores from this source for the best possible source.
The CCM4v source gets the bronze medal from me for this evening. The low-end has a nice kick, but is not quite as defined as the SPC4 or the MK41>KC5 source. Notice about 18 seconds in on Carini, when Mike is playing the up and down lick. The notes aren't as well defined as on the two superior sources. Overall, though, nice levels and good recording.
The TLM170 source has kind of a hollow sound on the high-end and the bass isn't as well defined and only seems to really kick at the lowest frequencies.
The MK41>PSP2 source has relatively low levels, decent separation, but again lacks great definition down low and doesn't kick the sub very well at all.
The MK41>KC5 source is my pick for the best of the evening. While it doesn't have the great definition of some of best sources from the summer tour, it has the best of this evening. It was definitely close and I had to check between this one, the CCM4's and the SPC4's repeatedly. Because this source uses a patch for the encores, I would suggest downloading the encores from the SPC4 source to get the best possible combination.
The KM184 source is almost devoid of bass response. Definitely pass on this source.
The MK41>KCY source has relatively low bass response and sounds kind of thin.
Happy listening!
Source 1 (hereafter SP C4 source)
Source: Studio Projects C4s (hypers) > Segue Dogstar XLRs > Fostex FR-2LE(24bit/44.1khz)
Location: Sec 2, Row 4, Seat 13, 8' high; PAS, 20cm @ 60*
Transfer: CF Card > .bwf > Audacity (gain/fades/dither) > CDWav > .wav > .flac
16 bit source
24 bit source
Source 2 (hereafter CCM4v source)
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>
Sound Devices 722 (24/48)
Location: OTS/BOB/DFC/KFC/ZFC/AARP Section 2, Row 4, Seat 13, 8' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source 3 (hereafter TLM170 source)
Source: Neumann TLM-170 -> Sound Devices 722 (@24/96)
Location: hypercardoids, 5th row of tapers' section, about 7 seats left of center
Transfer: FLAC file processing in SoundForge 10.0C (some volume leveling; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings; clap removal); Tracked in CDWav
16 bit source
Source 4 (hereafter MK41>PSP2 source)
Source: Schoeps MK41'S>PSP 2>Tascam DP2(24/44)
Location: OTS/BOB/DFC Section 2, Row 4, Seat 13, 8' High
Transfer: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
16 bit source
Source: Schoeps MK41>KC5>CMC6>Sonosax SX-M2>Apogee Mini-me(aes out,24bit/96khz)>COAX>Edirol R-44
Location: OTS DIN
Transfer: SDHC Card>USB>Macbook Pro>Wave
Editor(tracking, fades, resample (izotope) / dither (mbit+) to 16 bit/44.1k)>XAct(FLAC 8,ffp,fix sbe)
16 bit source
24 bit source
Source 6 (hereafter KM184 source)
Source: Neumann km184 > Sound Devices MP-2 > Edirol R-09HR (16/44)
Transfer: WAV > PC > CDWav > FLAC
16 bit source
Source 7 (hereafter MK41>KCY source) ***24 bit source only***
Source: Schoeps MK41 (DINa) > Schoeps KCY > Schoeps VMS-5u > Mytek 192 > Marantz PMD-661 @ 06 kHz 24 bits
Location: OTS: Slightly LoC, on stand approx. 10' -
Transfer: SDHC 16 GB Card > Card Reader Slot on Dell XPS m1730 > Sony Sound Forge 10.0
24 bit source
Phish - "Contact" > "Sample In A Jar" 12/28/11 from Phish on Vimeo.
The SPC4 source is probably the second best source available. Like all the sources, the low-end isn't as well defined as it was on the best tapes from the summer. Given that all the recordings suffered from this, I must presume that the room didn't have the best bass definition. The low-end is quite punchy, it is just a tad less defined than the MK41>KC5 source. Given that the encore of the KC5 source is patched from the KCY source, you might want to grab the encores from this source for the best possible source.
The CCM4v source gets the bronze medal from me for this evening. The low-end has a nice kick, but is not quite as defined as the SPC4 or the MK41>KC5 source. Notice about 18 seconds in on Carini, when Mike is playing the up and down lick. The notes aren't as well defined as on the two superior sources. Overall, though, nice levels and good recording.
The TLM170 source has kind of a hollow sound on the high-end and the bass isn't as well defined and only seems to really kick at the lowest frequencies.
The MK41>PSP2 source has relatively low levels, decent separation, but again lacks great definition down low and doesn't kick the sub very well at all.
The MK41>KC5 source is my pick for the best of the evening. While it doesn't have the great definition of some of best sources from the summer tour, it has the best of this evening. It was definitely close and I had to check between this one, the CCM4's and the SPC4's repeatedly. Because this source uses a patch for the encores, I would suggest downloading the encores from the SPC4 source to get the best possible combination.
The KM184 source is almost devoid of bass response. Definitely pass on this source.
The MK41>KCY source has relatively low bass response and sounds kind of thin.
Happy listening!
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