If you are a big enough Phish fan to be checking out this blog, then you already know about the Tweezer > No Quarter from this night. That jam alone should make you download this show. Given that, we have 3 sources to choose from this evening. I want to thank the tapers again for making the effort to record the show and get it out on the web so quickly.
Source 1 (hereafter Busman source)
Source: Busman Bsc1 (Hypers)>HYDRA silver Shorty XLR's>Fostex FR-2LE(Busman T-mod) @24/96
Location: Set 1 OTS Sec 203 Seat 102 Set UNoficial tapers Section (Directly behind soundboard)/POS@7'
Transfer: CF Card>Wavelab 6.0(Resample and Dithering>CD Wave(tacking>TLH(flac 16 level 8)
16 bit source
Source 2 (hereafter SP-TFB source)
Source: SP-TFB-2 > SP-SPSB-10 > MARANTZ-PMD620
Location: BOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL (8)
24 bit source
Source 3 (hereafter ME66 source)
Source: Sennheiser ME-66s (PAS, ROC 1') > Lunatec V3 (S/PDIF out) > Tascam HD-P2 (24 bit / 44.1 kHz)
Location: Sec 202 Row L Seat 102
Transfer: Adobe Audition (fades, tracking, minor level adjustments) > xACT (flac level 8, tagged)
24 bit source
Phish - 6/1/11 "Split Open and Melt" from Phish on Vimeo.
The Busman source has really nice mids and highs and great bass response, however the bass doesn't kick quite as much as the MK4v's from Bethel. (I'm sorry I keep fluffing those, they sound great.) As with the previous night, the tracking is screwed up in a few places with several songs tracked together. All that being said, this night sounds better than the previous night as there is not nearly as much wind noise. This is my pick for the best source from this night.
The SPTFB source has excellent bass response, however the rest of the band sounds somewhat muted. Further, there is noticeable crowd noise in this recording. It is only available in 24 bit, so if you want to burn this onto CD, you will have to convert it to 16 bit.
The ME66 source starts out with lower levels, but this improves throughout the recording. Again, the bass is not as well defined as on the Busman source, though the overall sound is less muffled than the SPTFB source.
Happy listening!
Wednesday, June 8, 2011
Tuesday, June 7, 2011
May 31, 2011 PNC Bank Performing Arts Center, Holmdel, NJ Sources Review
I had hoped that after a week more than two sources would show up, but that doesn't seem to be the case. So, I'll tell you what I think of what we have and keep my eyes open should something else appear. After the blistering shows in Bethel, Phish brought their circus to the wilds of New Jersey, Trey's home state. I want to thank the tapers who recorded this night for us. Without their efforts this site wouldn't exist.
Source 1 (hereafter Busman source)
Source: Busman Bsc1(Hypers)>Fostex Fr-@LE
Location: OTS>POS @ 9'
Transfer: None given
16 bit source
Source 2 (hereafter ME66 source)
Source: Sennheiser ME66s > Lunatec V3 > Tascam HDP2 (spidf @ 24/44)
Location: PAS, LOC 3', Sec303 RowAA Seat103
Transfer: Adobe Audition (Fades, tracking, minor level adjustments) > xACT (flac level 8, tagged)
24 bit source
Phish - 5/31/11 "Maze" from Phish on Vimeo.
Neither of these sources are perfect, but they are both quite listenable. Both sources suffer from wind noise, that while not necessarily the rough noise on the mics themselves, creates noticeable phase shift in both recordings that can be a bit annoying at high volumes (and if you can, shouldn't Phish always be listened to at high volumes?).
The Busman source is very crisp in the mids and highs. The low-end lacks the punch of the MK4v sources from Bethel, and worse, many of the low notes are simply lacking in definition. You get the punch but not the feel of the note itself. That being said, this is still the best recording of the evening. One note, the tracking is not correct on the notes and several songs are actually tracked together rather than separately. Take a look at the first page of comments under the torrent for the correct tracking.
The ME66 source has more punch on the low-end than the Busman, but, like the Busman source, doesn't have particularly good definition on the bass. The really low notes are lost in mud. However, the mids and highs are just not as nice on the Busman source. This source is only available in 24 bit, so if you want to burn to CD without re-sampling, the Busman is the only source for you.
Happy listening!
Source 1 (hereafter Busman source)
Source: Busman Bsc1(Hypers)>Fostex Fr-@LE
Location: OTS>POS @ 9'
Transfer: None given
16 bit source
Source 2 (hereafter ME66 source)
Source: Sennheiser ME66s > Lunatec V3 > Tascam HDP2 (spidf @ 24/44)
Location: PAS, LOC 3', Sec303 RowAA Seat103
Transfer: Adobe Audition (Fades, tracking, minor level adjustments) > xACT (flac level 8, tagged)
24 bit source
Phish - 5/31/11 "Maze" from Phish on Vimeo.
Neither of these sources are perfect, but they are both quite listenable. Both sources suffer from wind noise, that while not necessarily the rough noise on the mics themselves, creates noticeable phase shift in both recordings that can be a bit annoying at high volumes (and if you can, shouldn't Phish always be listened to at high volumes?).
The Busman source is very crisp in the mids and highs. The low-end lacks the punch of the MK4v sources from Bethel, and worse, many of the low notes are simply lacking in definition. You get the punch but not the feel of the note itself. That being said, this is still the best recording of the evening. One note, the tracking is not correct on the notes and several songs are actually tracked together rather than separately. Take a look at the first page of comments under the torrent for the correct tracking.
The ME66 source has more punch on the low-end than the Busman, but, like the Busman source, doesn't have particularly good definition on the bass. The really low notes are lost in mud. However, the mids and highs are just not as nice on the Busman source. This source is only available in 24 bit, so if you want to burn to CD without re-sampling, the Busman is the only source for you.
Happy listening!
Monday, June 6, 2011
May 29, 2011 Bethel Woods Center For The Arts, Bethel, NY Sources Review
Well folks, just got back from my little 2 show tour and I had a blast. Phish is definitely firing on all cylinders. If you have been waiting to get a ticket to a show, don't delay. This band is kicking right now and CK5 has been on fire too.
Anyway, this show doesn't have the jamming that the first two nights had, but it's definitely a raging dance party. There are 6 sources from this show (5 full show, one partial). I want to thank the tapers for the work they put in to getting these recordings into our hands so quickly.
Source 1 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 100, Row H, Seat 16, DFC, ORTF, 7' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter ME80 source)
Source: Sennheiser ME-80's> Sound Devices 702 (@24/48)
Location: OTS Section 100 Row G Seat 16
Transfer: SD702>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
Source 3 (hereafter MK41>Sonosax source)
Source:Schoeps MK41 (Dina)>kcy >Sonosax SX-M2/LS2>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 4 (hereafter CCM4 source)
Source:Schoeps CCM4(Din)>Vms5u>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 5 (hereafter KM150 source)
Source: Neumann KM150's>Sound Devices Mixpre-D>AES OUT> Sound Devices 744t (@24/48)
Location: OTS Section 100 Row G Seat 16
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
Source 6 (hereafter MK41>MP2 source)
**2nd Set Only**
Source: Schoeps MK41's>Schoeps KCY 250/05I>Schoeps VST62iu>Sound Devices MP-2> Sound Devices 744t (@24/48)
Location: OTS Section 100 Row G Seat 16
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
Once again, there are many excellent recordings of this show, and once again, it took quite a bit of listening to decide which one was the best.
For the third night in a row, the MK4v source sounds the best to my ears. The bass is just so rich and the high end sparkles. My subwoofer kicks on this recording early and often, but there is still a lot of clarity to the bass, not the mud that you so often get with a bass-heavy recording.
The ME80's are also very good sounding. The bass is nearly as good as the MK4v, however while it packs the punch of the Schoeps, it just doesn't have the clarity. Also, there seems to be some lack of response in the upper-mids. However, Page's piano work sounds stellar on this recording. I would say this is the 2nd best recording from this night.
The MK41>Sonosax source is again, quite clear, especially in the higher frequencies, but is lacking at the low-end. The same taper also runs the CCM4 source. I suspect that a well-done matrix of these two sources would sound excellent.
The CCM4 source is again, very, very good, with excellent bass response and nice highs. However, yet again, it just doesn't have the punch of the MK4v.
The KM150 source is also excellent for the 3rd night straight. The clarity on this recording is just fantastic. However, yet again, it just doesn't punch you the way the MK4v does.
The MK41>MP2 source has better bass response than the other MK41 source, but it still doesn't have the punch of the ME80's or the MK4v.
The MK4v source is available in 24 bit as well. Be aware that 24 bit files will not work in your CD player, and even many iPods (at least it won't play on my nano).
Happy listening!
Anyway, this show doesn't have the jamming that the first two nights had, but it's definitely a raging dance party. There are 6 sources from this show (5 full show, one partial). I want to thank the tapers for the work they put in to getting these recordings into our hands so quickly.
Source 1 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 100, Row H, Seat 16, DFC, ORTF, 7' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter ME80 source)
Source: Sennheiser ME-80's> Sound Devices 702 (@24/48)
Location: OTS Section 100 Row G Seat 16
Transfer: SD702>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
Source 3 (hereafter MK41>Sonosax source)
Source:Schoeps MK41 (Dina)>kcy >Sonosax SX-M2/LS2>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 4 (hereafter CCM4 source)
Source:Schoeps CCM4(Din)>Vms5u>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 5 (hereafter KM150 source)
Source: Neumann KM150's>Sound Devices Mixpre-D>AES OUT> Sound Devices 744t (@24/48)
Location: OTS Section 100 Row G Seat 16
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
Source 6 (hereafter MK41>MP2 source)
**2nd Set Only**
Source: Schoeps MK41's>Schoeps KCY 250/05I>Schoeps VST62iu>Sound Devices MP-2> Sound Devices 744t (@24/48)
Location: OTS Section 100 Row G Seat 16
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
Once again, there are many excellent recordings of this show, and once again, it took quite a bit of listening to decide which one was the best.
For the third night in a row, the MK4v source sounds the best to my ears. The bass is just so rich and the high end sparkles. My subwoofer kicks on this recording early and often, but there is still a lot of clarity to the bass, not the mud that you so often get with a bass-heavy recording.
The ME80's are also very good sounding. The bass is nearly as good as the MK4v, however while it packs the punch of the Schoeps, it just doesn't have the clarity. Also, there seems to be some lack of response in the upper-mids. However, Page's piano work sounds stellar on this recording. I would say this is the 2nd best recording from this night.
The MK41>Sonosax source is again, quite clear, especially in the higher frequencies, but is lacking at the low-end. The same taper also runs the CCM4 source. I suspect that a well-done matrix of these two sources would sound excellent.
The CCM4 source is again, very, very good, with excellent bass response and nice highs. However, yet again, it just doesn't have the punch of the MK4v.
The KM150 source is also excellent for the 3rd night straight. The clarity on this recording is just fantastic. However, yet again, it just doesn't punch you the way the MK4v does.
The MK41>MP2 source has better bass response than the other MK41 source, but it still doesn't have the punch of the ME80's or the MK4v.
The MK4v source is available in 24 bit as well. Be aware that 24 bit files will not work in your CD player, and even many iPods (at least it won't play on my nano).
Happy listening!
Friday, June 3, 2011
May 28, 2011 Bethel Woods Center For The Arts, Bethel, NY Sources Review
Thanks again for your patience. I wanted to get this review up before I left for Ohio. As such, don't look for a review of night 3 until Monday. I will do my best to get you guys a review every day next week. Anyways, by all accounts, and to my ears, the second night of Bethel was much better than the third. There are 6 sources to review here and I want to thank all the tapers for taking the time to both record the concert and to post the show to etree. Without their work, I wouldn't get to listen to so much music.
Source 1 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter KM150 source)
Source: Neumann KM150's> Sound Devices Mixpre-D>Sony PCM-M10 (@24/48)
Location: OTS Section 100 Row G Seat 15
Transfer: PCM-M10>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 3 (hereafter MK41>Sonosax source)
Source:Schoeps MK41 (Dina)>kcy >Sonosax SX-M2/LS2>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 4 (hereafter CCM4 source)
Source: Schoeps CCM4(Din)>Vms5u>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 5 (hereafter Nak source)
Source: Nakamichi 300 Mics W/CP1 Cardioids(X/Y Position On Mic Stand At 9')>Edirol UA-5>Edirol R-09 HR(24/44.1KHZ)
Location: OTS,Section 100,Row H,Seats 20,21
Transfer: CD Wav Editor>Traders Little Helper>Flac level 8.Sector Boundaries Aligned Using Traders Little Helper
16 bit source
Source 6 (hereafter MK41>Aerco source)
Source: Schoeps MK41's>Schoeps KCY 250/05I>Schoeps VST62iu>Aerco MP-2> Sound Devices 744t (@24/48)
Location: OTS Section 100 Row G Seat 15
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
Just like the first night of Bethel, there are some great sources to choose from. Choosing the best one was frankly much more difficult than it was for the first night. Thanks again to the tapers for making such great recordings.
The MK4v source is once again the best, but only by a fraction. The bass is full and has less rumble than the other bass heavy source, the CCM4's. The high-end remains crisp. The bass is just on the edge of being too much. A bit more and the recording would sound muddy, as it stands, this recording is excellent and kicks my sub hard.
The KM150 source is also excellent. The clarity of the bass is un-matched. It sounds so tight, but lacks the punch of the MK4v. I went back and forth, listening to these two sources. They are definitely different, but both excellent. I would say this is the 2nd best source of the 6.
The MK41>Sonosax source has lower levels than either the MK4v or KM150 and doesn't have the rich bass of its sister source, the CCM4's.
The CCM4 source has a nice rich bass, but there is a bit of a low rumble that makes the low end sound a bit muddy, particularly in comparison to the MK4v or KM150 source. I would say this is the 3rd best source of the night.
The Nak 300 source, much like the previous night, suffers from a noticeable lack of bass and a general tinniness to the entire sound.
The MK41>Aerco source, like the other MK41 source, just doesn't have the bass response or clarity of the CCM4, MK4v, or KM150 source. Also, there is a bit of hollowness in the high-mids.
Both the KM150 and MK4v sources are available in 24 bit resolution, by all means grab those if you play your music from your hard drive. I went with the MK4v source, but the the KM150 source is also excellent.
Happy listening!
Source 1 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter KM150 source)
Source: Neumann KM150's> Sound Devices Mixpre-D>Sony PCM-M10 (@24/48)
Location: OTS Section 100 Row G Seat 15
Transfer: PCM-M10>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 3 (hereafter MK41>Sonosax source)
Source:Schoeps MK41 (Dina)>kcy >Sonosax SX-M2/LS2>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 4 (hereafter CCM4 source)
Source: Schoeps CCM4(Din)>Vms5u>R44(OCM) 24/96
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT
16 bit source
Source 5 (hereafter Nak source)
Source: Nakamichi 300 Mics W/CP1 Cardioids(X/Y Position On Mic Stand At 9')>Edirol UA-5>Edirol R-09 HR(24/44.1KHZ)
Location: OTS,Section 100,Row H,Seats 20,21
Transfer: CD Wav Editor>Traders Little Helper>Flac level 8.Sector Boundaries Aligned Using Traders Little Helper
16 bit source
Source 6 (hereafter MK41>Aerco source)
Source: Schoeps MK41's>Schoeps KCY 250/05I>Schoeps VST62iu>Aerco MP-2> Sound Devices 744t (@24/48)
Location: OTS Section 100 Row G Seat 15
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
Just like the first night of Bethel, there are some great sources to choose from. Choosing the best one was frankly much more difficult than it was for the first night. Thanks again to the tapers for making such great recordings.
The MK4v source is once again the best, but only by a fraction. The bass is full and has less rumble than the other bass heavy source, the CCM4's. The high-end remains crisp. The bass is just on the edge of being too much. A bit more and the recording would sound muddy, as it stands, this recording is excellent and kicks my sub hard.
The KM150 source is also excellent. The clarity of the bass is un-matched. It sounds so tight, but lacks the punch of the MK4v. I went back and forth, listening to these two sources. They are definitely different, but both excellent. I would say this is the 2nd best source of the 6.
The MK41>Sonosax source has lower levels than either the MK4v or KM150 and doesn't have the rich bass of its sister source, the CCM4's.
The CCM4 source has a nice rich bass, but there is a bit of a low rumble that makes the low end sound a bit muddy, particularly in comparison to the MK4v or KM150 source. I would say this is the 3rd best source of the night.
The Nak 300 source, much like the previous night, suffers from a noticeable lack of bass and a general tinniness to the entire sound.
The MK41>Aerco source, like the other MK41 source, just doesn't have the bass response or clarity of the CCM4, MK4v, or KM150 source. Also, there is a bit of hollowness in the high-mids.
Both the KM150 and MK4v sources are available in 24 bit resolution, by all means grab those if you play your music from your hard drive. I went with the MK4v source, but the the KM150 source is also excellent.
Happy listening!
Thursday, June 2, 2011
May 27, 2011 Bethel Woods Center For The Arts, Bethel, NY Sources Review
Alrighty, thanks for your patience. Not only have I been waiting for some more sources to become available (I will be reviewing 4 today), but I've been on vacation all week with my 4 year old and that has left precious little time to sit down and listen to music at bone-jarring volumes. As you know, this is the first show of tour and frankly, it, along with the 2nd night, have been the best so far. This mirrors what happened last year at Toyota and Blossom which offered some of the best shows of the first half of summer tour. Seeing as how I am going to Blossom and Riverbend this weekend, I am hoping that Bethel is not the best of this half of tour, if only for selfish reasons. Once again, I want to thank all the tapers for the work they do. It really is a challenge and a gift that they give to the community.
Source 1 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter Nak300 source)
Source: Nakamichi 300 Mics W/CP1 Cardioids>Edirol UA-5>Edirol R-09 HR(24/44.1 KHZ)
Location: Mics At X/Y Position On Mic Stand At 9'
Transfer: CD Wav Editor>Traders Little Helper>Flac Level 8.Sector Boundaries Aligned using Traders Little Helper
16 bit source
Source 3 (hereafter KM150 source)
Source: Neumann KM150's>Sound Devices Mixpre-D>AES OUT> Sound Devices 744t (@24/48), 2nd Set analog out of Mixpre-D>Sony PCM-M10 due to 744t battery issues.
Location: OTS Section 100 Row G Seat 15
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
Source 4 (hereafter MK41 source)
Source: Schoeps MK41's>Schoeps KCY 250/05I>Schoeps VST62iu> Sound Devices 744t (@24/48).. due to 744t battery issues, Possum is patched with Neumann KM150's>SD Mixpre-D>Sony PCM-M10
Location: OTS Section 100 Row G Seat 15
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
There are several excellent sources here, but I think one is definitely better.
The MK4v source has nice and clear highs and the bass response is just fantastic. When you hear it, it just kind of punches you in the gut, which, if you've read much of this blog, you know is how I like it. On top of that, the bass has pretty good definition. However, the bass definition is not as good as on the KM150 source. On the whole though, it is good enough to make this source my choice. This source has been available from soon after the show, so many already have it. However, if you downloaded it immediately and didn't check back, you may want to re-download it. The original posted source (now labeled DO NOT DOWNLOAD) had one channel out of phase with the other (kind of technical, upshot is it does not sound as good). This has been fixed and if you use my links, you will bypass this problem.
The Nak300 source has a serious lack of bass. It sounds tinny and, given the clarity of the KM150 source and the punch of the MK4v source, this one just doesn't cut it.
The KM150 source is very, very good. The frequency response is very good from low to high. The bass is very well defined tonally, however, it lacks the punch of the MK4v source. As a result, it is sometimes buried underneath both Trey and Page. As a result, I would rate this the second best source.
The MK41 source has a bit more bass response than the KM150 source, though less than the MK4v source. However, the overall effect is muddier than either of those sources.
For myself, the MK4v 24 bit source will be on my hard drive, though the KM150 source might be preferred by those that don't want as heavy a bass response.
Happy listening!
Source 1 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: Section 100, Row H, Seat 16, DFC, DIN, 7' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)
16 bit source
24 bit source
Source 2 (hereafter Nak300 source)
Source: Nakamichi 300 Mics W/CP1 Cardioids>Edirol UA-5>Edirol R-09 HR(24/44.1 KHZ)
Location: Mics At X/Y Position On Mic Stand At 9'
Transfer: CD Wav Editor>Traders Little Helper>Flac Level 8.Sector Boundaries Aligned using Traders Little Helper
16 bit source
Source 3 (hereafter KM150 source)
Source: Neumann KM150's>Sound Devices Mixpre-D>AES OUT> Sound Devices 744t (@24/48), 2nd Set analog out of Mixpre-D>Sony PCM-M10 due to 744t battery issues.
Location: OTS Section 100 Row G Seat 15
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
Source 4 (hereafter MK41 source)
Source: Schoeps MK41's>Schoeps KCY 250/05I>Schoeps VST62iu> Sound Devices 744t (@24/48).. due to 744t battery issues, Possum is patched with Neumann KM150's>SD Mixpre-D>Sony PCM-M10
Location: OTS Section 100 Row G Seat 15
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
There are several excellent sources here, but I think one is definitely better.
The MK4v source has nice and clear highs and the bass response is just fantastic. When you hear it, it just kind of punches you in the gut, which, if you've read much of this blog, you know is how I like it. On top of that, the bass has pretty good definition. However, the bass definition is not as good as on the KM150 source. On the whole though, it is good enough to make this source my choice. This source has been available from soon after the show, so many already have it. However, if you downloaded it immediately and didn't check back, you may want to re-download it. The original posted source (now labeled DO NOT DOWNLOAD) had one channel out of phase with the other (kind of technical, upshot is it does not sound as good). This has been fixed and if you use my links, you will bypass this problem.
The Nak300 source has a serious lack of bass. It sounds tinny and, given the clarity of the KM150 source and the punch of the MK4v source, this one just doesn't cut it.
The KM150 source is very, very good. The frequency response is very good from low to high. The bass is very well defined tonally, however, it lacks the punch of the MK4v source. As a result, it is sometimes buried underneath both Trey and Page. As a result, I would rate this the second best source.
The MK41 source has a bit more bass response than the KM150 source, though less than the MK4v source. However, the overall effect is muddier than either of those sources.
For myself, the MK4v 24 bit source will be on my hard drive, though the KM150 source might be preferred by those that don't want as heavy a bass response.
Happy listening!
Wednesday, June 1, 2011
Bethel 1
I should have my source review for the first night of Bethel up later today. I've been waiting for a few more sources to get posted. Currently there are 3.
Sunday, May 15, 2011
May is upon us
Have no fear faithful readers. I am anxiously awaiting the beginning of summer tour and will be back with my recommendations of sources for every show of the tour. I will be hitting the Ohio run early in the summer, so there might be a bit of a delay on my picks for the last Bethel show and for Detroit. Otherwise, look for my picks a couple days after the show. Thanks for reading.
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