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!
