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!
