August 8, 2011 The Hollywood Bowl, Hollywood, CA Sources Review

Phish continued their quick run through the west coast with a stop at the legendary Hollywood Bowl.  While the show didn't pack the heft of either of the Gorge shows, there were, as always, moments worth hearing again as well as a fun cover of Paul Simon's 50 Ways To Leave Your Lover.  For this night, there are currently 6 sources available, not counting 24 bit sources.  I want to thank the tapers for getting these recordings made and for sharing them with the community.  Thanks a lot fellas!

Source 1 (hereafter M934C source)
Source: Schoeps m934c> M221B> Sonosax SX-M2> Edirol R44 (@24bit/96kHz)
Location: Section Garden 932, 8' Stand, ORTF, m934c/cardioid
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source

Source 2 (hereafter AKG source)
Source: AKG c422 > s42 > Grace Design Lunatec V2 > Sonic AD2K+ > Tascam HD-P2 (24 bit, 96 kHz)
Location : Garden Box 932 (right of center), ~8' stand, offset arm/nanoclamp
Mic Config : Blumlein
Transfer : CF card > USB 2.0 card reader > PC > normalize to 95%, fades, invert polarity (Samplitude)
> POW-r #3 (Samplitude) > Resample Ultra High 1 (Samplitude)

16 bit source

Source 3 (hereafter SPC4 source)
Source: Studio Projects C4s (cardioid) > Segue Dogstar XLRs > Fostex FR-2LE (24bit/48khz)
Location: Terrace Box 1032, stand @ 6.5' Config: 20cm @ 70* 
Transfer: CF Card > .bwf > Audacity (fades/gain/resample/dither) > CDWave > .wav > .flac

16 bit source

Source 4 (hereafter MK4 source)
Source: Schoeps CMC6/MK4 -> Sound Devices 744T (24bit/96k)
Location: Terrace Box 1032
Transfer: Samplitude Professional v11.2 -> FLAC/16

16 bit source
24 bit source 



Source 5 (hereafter Senn source)
Source: Sennheiser Mkh8050-Marantz Pmd 661 (Oade Transparent Mod)

16 bit source

Source 6 (hereafter CCM4 source)
Source:Schoeps CCM4(NOS)Vms52ub>R44(ocm)24/96
Location: Section Garden 932, 8' Stand
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/8/11 "Joy" from Phish on Vimeo.

The M934C source sounds a bit muddy down low, in fact the overall effect is like the bass knob has been turned up on an old EQ.  Further, the lowest notes of the bass are lost, they just lack tone. 

The AKG source is quite crisp and well defined, but the bass just doesn't kick my sub and the levels are noticeably lower than the better sources.

The SPC4 source is very crisp sounding as well, with better levels and dynamism than the AKG source, but not quite the umph of the MK4 or Senn sources.  The separation on the instruments is quite good on this source though.

The MK4 source gets my nod for best source of the night.  The bass is great, full and dynamic, the high-end is crisp and the separation of the instruments is fantastic.  In addition, the levels are quite nice. 

The Senn source is probably the second best source of the night.  Like the MK4 source, it kicks the sub, and has great separation.  However, there seems to be something missing in the low-mids that makes the source sound a bit hollow down there.  In essence the difference between the MK4 and Senn source is one of tone.  I just think the MK4 sounds a bit more transparent.  However, the Senn source is quite good.

The CCM4 soruce is crisp, like the AKG source, with a bit better levels.  However, like many of the other sources, it just doesn't get the sub firing hard.

Happy listening!

August 6, 2011 The Gorge, George, WA Sources Review

Hey folks, sorry for the delay.  Getting my daughter started in school has taken WAY more out of me than I had anticipated.  However, I am still dedicated to keeping you guys up to date with the best sources around.  This second night at the Gorge was just fantastic and is a must listen.  So again, sorry it took me so long to get you guys this review.  There were four different sources posted for this night, with 3 available as 24 bit, 1 just as 24 bit.  Thanks again to the tapers who go out there every night and get these amazing pulls and share them with us.

Source 1 (hereafter VM44 source)
Source: Milab VM-44 Link (omni) -> Lunatec V2 -> Tascam DR-680 (24/48)
Location: 25’ split at front corners of soundboard, 9.5’ high
Transfer: sdhc card -> AudioGate (16/44) -> CD Wave -> FLAC (6)

16 bit source

Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, NOS, 6' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source




Source 3 (hereafter AK40 source)
Source: Neumann Ak 40's(NOS) > Lc3 > Km100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > Wavelab 6.0 > Resample, Uv22 Hr dither >
Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 4 (hereafter KM140 source) ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 (24/48)
Location: FOB
Transfer: WAV > CD Wave > Audition (fades) > FLAC24

24 bit source


Phish - 8/6/11 "Run Like An Antelope" from Phish on Vimeo.

The VM-44 source sounds a bit distant compared to the other sources and is a bit muddy in the low-end.  It doesn't have the punch of the MK4v or AK40 source either.

As with the previous night, the MK4v gets my nod as best source.  The low-end is excellent, though perhaps a touch overpowering, the high-end is quite crisp and the subwoofer kicks hard when I turn it up.

The AK40 source is, like the MK4v source, very punchy.  However, the high-end isn't as nice as the MK4v.

The KM140 source is very crisp. The low-end isn't nearly as punchy as the MK4v or AK40, however, the high-end is very nice.  The separation is also quite excellent.  Given that this source is only available in 24 bit and that the low-end just doesn't have the punch of the other sources, I have to give the nod to the MK4v.  If bass isn't your thing, by all means go with this source.  It does sound quite good.

Happy listening!

August 5, 2011 The Gorge, George, WA Sources Review

Hey folks!
Thanks for your patience as I waited for sources to come in.  There are four sources available for this night and they all sound pretty darn good.  Phish played a great show to start this leg of tour, which has kind of become a trend with them.  Bottom line, don't miss a tour opener if you can help it.  I want to thank the tapers who recorded this night.  Without their efforts, I couldn't do what I do.  Thanks a lot!

Source 1 (hereafter VM44 source)
Source: Milab VM-44 Link (omni) -> Lunatec V2 -> Tascam DR-680 (24/48)
Location: 50" split at front right corner of soundboard, 9’ high
Transfer: sdhc card -> AudioGate (16/44) -> CD Wave -> FLAC (6)

16 bit source

Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, DIN, 6' Stand
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source 



Source 3 (hereafter AK40 source)
Source: Neumann Ak 40's(NOS) > Lc3 > Km100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > Wavelab 6.0 > Resample, Uv22 Hr dither >
Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 4 (hereafter KM140 source)  ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 (24/48) > WAV
Location: FOB
Transfer: WAV > CD Wave > Audition (fades) > FLAC24

24 bit source


Phish - 8/5/11 "Roggae" from Phish on Vimeo.

The VM-44 source is a bit thin on the bass and the lowest frequencies seem to be lost in the mud.

The MK4v source is a very, very nice recording.  The bass is rich and full and the high-end is also excellent.  The bass is not overwhelming, leaving plenty of space for the rest of the band members to be heard.  It is just a hair better than the KM140 source which is also quite good.

The AK40 source sounds a bit muffled in the low-end, particularly compared to the KM140 and the MK4v sources.  Considering this is an FOB source, I was surprised that the overall effect wasn't more up front. 

The KM140 source is quite good and is much more transparent than the AK40 pull.  The bass response is better and deeper than the AK40's as well, which is surprising considering they are the same mics.  It must have something to do with the preamps.  Either way, this recording is just slightly less lively than the MK4v's, but it is definitely the second best pull of the night.

Happy listening!

July 3, 2011 Superball IX, Watkins Glen, NY Sources Review

Hey folks.  Again, sorry for the big delay in bringing you this sources review.  Life intervened, but now I'm looking forward to the second half of summer tour.  This is one of the best nights that Phish played all year and everybody needs to have this in their collection.  As such, its pretty important to get it right.  There are 10 different sources available for this night and I can tell you from listening to them all, that there are some seriously good ones and the best of them isn't a whole lot better than the worst of them.  Given that, it was definitely difficult to choose the best.  I want to give a big shout out to all the tapers who took the time to record this and all the shows so far this year.  Without their efforts we wouldn't get to share in the groove like this.  Thanks a lot guys!

Source 1 (hereafter DPA matrix)
Source 1:DPA_4052_(omni)_V2_AD2K_SD744_Split_24_inches
Source 2:DPA_4023_(cards)_V3_SD744_Split_12_inches
Location: F.O.B_ROC_ORTF_Stand_Height_Apporx._12_Feet
Recorded in 24/96 *16 bit Version *MATRIX
Transfer: Compact Flash> Adobe Audition 3.0> Sound Forge 7.0>CDwav

16 bit source

Source 2 (hereafter MBHO source)
Source: MBHO KA500HN >>> Hi Ho Silver Actives >>> MBHO MBP 603A >>> Darktrain Silver Interconnects >>>  Naiant LittleBox[Output Transformers] >>> Darktrain Silver Interconnects >>> Sony PCM-M10[24-Bit/96kHz]
Location: NOS/FOB/DFC
Lineage: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98
> CKRename > Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source
24 bit source

Source 3 (hereafter CCM4 source)
Source:Schoeps CCM4(ortf) Schoeps/VMS5u>R44(ocm) 24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 4 (hereafter MG Matrix source) ***24 bit only***
Source: Microtech Gefell um900 (omni, 52cm split, fob) + Schoeps mk41v (dina, fob) > kc5 > cmc6 > lunatec V3 (digital out) > SD744T (24/48);
Location: FOB
Transfer: Wavelab 5 (matrix, fades, tracking)

24 bit source

Source 5 (hereafter AT source)
Source: AT4050ST-> Marantz Oade Warm PMD660
Location: OTS/DFC, 120°Stereo @ 8'h
Transfer: CDWave->FLAC16

16 bit source

Source 6 (hereafter AKG source)
Source: AKG392's(OTS/DFC) -> 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 -> Flac Frontend

16 bit source
24 bit source

Source 7 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>13ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 8 (hereafter SPTFB-2 source)
Source: SP-TFB-2 > SP-SPSB-10 > MARANTZ-PMD620
Location: BOB  
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL (8)

16 bit source

Source 9 (hereafter DPA 4023 source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: NOS/FOB/DFC 6' stand
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 2.13(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8)

16 bit source
24 bit source


Source 10 (hereafter Oktava source)
Source: Oktava MC-012s  > Edirol UA-5 (DIY digi-mod, 44.1kHz) > optical > Creative Nomad JB3 (WAV)
Location: hyper, OTS, 10' up, NOS
Transfer: Creative Nomad JB3 > USB > Creative Play Center > CDWav > normalize -b (+1.49dB) > Trader's Little Helper (FLAC Level 8)

16 bit source


Phish - 7/3/11 "A Song I Heard The Ocean Sing" from Phish on Vimeo.

The DPA matrix source is very nice sounding.  However, it is not as full as the DPA 4023 by themselves.  The highs are quite nice, but the sub just doesn't kick the way it does on the DPA 4023's.

The MBHO source has nice bass response, but lacks definition and clarity at the lowest frequencies.

The CCM4, like the MBHO's has nice bass response, however the highs aren't as crisp as the AKG, the AT, or the DPA 4023 source.

The MG matrix has a lot of bass.  The highs, like the CCM4's, aren't as crisp as you would like.  This source is also a tad boomy.  As is often the case with matrix mixes, I would love to hear the MG's all by themselves.

The AT source has nice and crisp highs, however there seems to be a bit of hollowness in the high-mids.  The bass response is nice, but again, not as full as the DPA 4023's.

The AKG 392's, like most AKG sources, are very crisp sounding, however there is a bit of boominess down low.  The bass also lacks definition in the lowest frequencies.

The SKM184's sound nicely balanced, but are actually a tad lacking in low-end response compared to the DPA's. 

The SP-TFB-2 source doesn't kick the sub like the DPA's.  Also, like the AT source, there is a hollowness in the high-mids.  Overall, it is a bit muddy down low as well.

The DPA 4023 source is my pick for the night.  The bass response is excellent, while still maintaining excellent highs.  Overall the recording is very transparent and makes for a great listen.

The Oktava source doesn't have the bass response that was evident in the first night.  It is still very nice sounding and I look forward to hearing this source at more shows.

Happy listening!

July 2, 2011 Late Night Set, Superball IX, Watkins Glen, NY Sources Review

Sorry for the delay on getting this post up.  I had hoped that there would be a few more sources appear for this set, but unfortunately, there are only two.  Luckily for us, though, one of them sounds excellent.  After several listens, this is a must have set for any Phish fan.  The band explores new territory with abandon and I just think its brilliant.  Both of these sources are appended to the full July 2nd torrents.  To just download the Late Night set, you have to select just those tracks. 

Source 1 (hereafter MBHO source)
Source: MBHO KA500HN >>> Hi Ho Silver Actives >>> MBHO MBP 603A >>> Darktrain Silver Interconnects >>>  Naiant LittleBox[Output Transformers] >>> Darktrain Silver Interconnects >>> Sony PCM-M10[24-Bit/96kHz]
Location: DINa/FOB/DFC
Transfer: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98 > CKRename > Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source
24 bit source

Source 2 (hereafter SP-TFB source)
Source: SP-TFB-2 > SP-SPSB-10 > MARANTZ-PMD620
Location: FOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL (8)

16 bit source




As a basically secret and spontaneous set, and given that it was done in surround sound, it is amazing how good these two sources sound.

The MBHO is the best of these two sources.  The bass response is pretty darn good and the stereo separation is pretty nice too.  The highs are there as well and the crowd is fairly quiet.

The SP-TFB source is fairly thin compared to the MBHO source.  Mike just doesn't sound as full and when Page starts dropping synth bombs, those are also lost compared to the MBHO source.

Happy listening!

July 2, 2011 Superball IX, Watkins Glen, NY Sources Review

After a smoking beginning to Superball IX, Phish settled in for a fairly routine first couple of sets, highlighted by several new songs, but then the third set raised the bar several notches.  This review will only encompass recordings of the 1st 3 sets.  Tomorrow, I will have a review of the Storage Jam (4th set) sources.  Once again, I have to take my hat off to the tapers who chose to record this magic rather than partying like rock stars.  I know that is one choice I would not want to have to make.  There are nine sources available for this recording and several are really top notch.

Source 1 (hereafter CCM4 source)
Source:Schoeps CCM4(ortf) Schoeps/VMS5u>R44(ocm) 24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 2 (hereafter MK41 source)
Source:Schoeps MK41(din) > 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 3 (hereafter MBHO source)
Source: MBHO KA500HN >>> Hi Ho Silver Actives >>> MBHO MBP 603A >>> Darktrain Silver Interconnects >>>  Naiant LittleBox[Output Transformers] >>> Darktrain Silver Interconnects >>> Sony PCM-M10[24-Bit/96kHz]
Location: DINa/FOB/DFC
Transfer: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98 > CKRename > Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source
24 bit source

Source 4 (hereafter AKG392 source)
Source: AKG392's -> Hydra Silver XLR's -> Edirol UA-5 (Oade warm mod) -> Microtrack II 24 bit @ 48 Khz
Location: OTS/DFC; 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 5 (hereafter Oktava source)
Source: Oktava MC-012s > Edirol UA-5 (DIY digi-mod, 44.1kHz) > optical > Creative Nomad JB3 (WAV)
Location: hyper, OTS, 10' up, NOS
Transfer: Creative Nomad JB3 > USB > Creative Play Center > CDWav > Trader's Little Helper (FLAC Level 8)

16 bit source

Source 6 (hereafter CA source) ***lossy (MD) source***
Source: CA-14s > CA-9100 > Sharp MD-MT15
Location: cardioid, OTS, 10' up, NOS
Transfer: Sony MDS-PC3 > optical > Creative Nomad JB3 > USB > Creative Play Center > CDWav > Trader's Little Helper (FLAC Level 8)

16 bit source

Source 7 (hereafter CK93 source)
Source: AKG-CK93 > PS-2 > DEAD-20 > MARANTZ-PMD661
Location: BOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL(8)

16 bit source

Source 8 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>13ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 9 (hereafter DPA source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: DIN/FOB/DFC 6' stand
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, +gain, track)>
Wave Editor (iZotope Resampler/MBIT+ Dither)>
xACT 2.13(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )

16 bit source

 

Phish - 7/2/2011 "Tube" from Phish on Vimeo.

The CCM4 source sounds very distant.  The bass tone is quite nice.  However, the levels are fairly low and there is a large amount of crowd noise.

The MK41 source has even lower levels than the CCM4 source and, like the CCM4 source, has quite a bit of crowd noise. 

The MBHO source has better bass response than I have come to expect from these mics.  However, it still isn't as much as I would like, and doesn't really compare to the Oktava or DPA sources when it comes to bass response.  Still, a very nice recording.

The AKG392 source is very crisp sounding, however the bass response just isn't there.  While this was one of the top 3 sources from the previous night, it just doesn't have the umph that would put it there for this one.

The Oktava source is, once again, very good.  The low-end is quite nice and the highs are excellent.  However, the tone on the bass just isn't as nice as on the DPA's.  Notice Mike's first big bomb at the beginning of Tweezer Reprise.  Just not comparison really.

The CA source sounds a bit hollow in the high-mids.  The levels are fantastic though.  It just doesn't have the punch of the Oktava or the DPA source.

The CK93 source is relatively thin sounding compared to the DPA or Oktava sources.  Also, there is a large amount of crowd noise on this recording.

The SKM184 source has great bass tone and has excellent highs as well.  As you  might expect, this recording is very warm sounding.  There is lots of crowd noise, and good overall balance.  The levels aren't as nice as on the Oktavas, but this is still right there as one of the top 3 sources for the evening.

The DPA source is the best sounding of the recordings from this evening.  The bass isn't as overpowering on this recording as it was on the previous evening.  There is just great tone from low to high and the sub kicks when it is supposed to.  As I stated earlier, listen to Mike's first bomb on Tweezer Reprise.  Once you hear that, you know this is the best sounding recording.

Happy listening!

July 1, 2011 Superball IX, Watkins Glen, NY

It's been a little over a week since these shows, and the more I listen to them, the more I think they are some seriously top notch stuff.  Given the fireworks of the 3rd and 4th sets from night 2 (figuratively) and all of night 3 (figuratively and literally), this night is somewhat overlooked.  However, to my ears, the Sand, Crosseyed, and Simple from this show are all top notch.  The Wolfman's and Quinn in the first set are also really good.  At the time of this writing, there are 9 sources available from this night.  My hat goes off to all the tapers.  To put in the effort at a festival where you can pretty much party as hard as you like, is an even more difficult task than at a regular show.  Thanks a lot fellas.

Source 1 (hereafter CK93 source)
Source: AKG-CK93 > PS-2 > DEAD-20 > MARANTZ-PMD661
Location: BOB
Transfer: MASTER > AUDACITY > CD WAVE > FLAC LEVEL(8)

16 bit source

Source 2 (hereafter DPA source)
Source: DPA 4023>Sonosax SX-M2>Sound Devices 722 (24/96)
Location: DIN/FOB/DFC 6' stand
Transfer: 722>Firewire>Macbook>Sound Studio 3.6(fades, normalize peak, track)>Wave Editor (iZotope Resampler/MBIT+ Dither)>xACT 2.12(align on sector boundaries, encode, tag, fingerprint)>flac16 (level 8 )

16 bit source

Source 3 (hereafter CCM4 source)
Source:Schoeps CCM4(ortf) Schoeps/VMS5u>R44(ocm) 24/96
Location:FOB/DFC 6' stand
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 4 (hereafter MK41 source)
Source:Schoeps MK41(din) > 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 5 (hereafter MG source) ***24 bit only***
Source: Microtech Gefell um900  + Schoeps mk41v > kc5 > cmc6 > lunatec V3 (digital out) > SD744T (24/48)
Location: MG:omni, 52cm split, fob MK41v: dina, fob
Transfer: Wavelab 5 (matrix, fades, tracking)

24 bit source

Source 6 (hereafter MBHO source)
Source: MBHO KA500HN >>> Hi Ho Silver Actives >>> MBHO MBP 603A >>> Darktrain Silver Interconnects >>>
Naiant LittleBox[Output Transformers] >>> Darktrain Silver Interconnects >>> Sony PCM-M10[24-Bit/96kHz]
Location: DINa/FOB/LOC
Transfer: Sony PCM-M10 > WaveLab 6[Normalize/Crystal Resampler/UV22HR Dither] > CD Wave 1.98 > CKRename >
Traders Little Helper v2.6.0[Encode To FLAC/Level 8/Align On Sector Boundaries]

16 bit source

Source 7 (hereafter Oktava source)
Source: Oktava MC-012s  > Edirol UA-5 (DIY digi-mod, 44.1kHz) > optical > Creative Nomad JB3 (WAV)
Location: omni, OTS, 10'up, NOS
Lineage: Creative Nomad JB3 > USB > Creative Play Center > CDWav > Trader's Little Helper (FLAC Level 8)

16 bit source


Source 8 (hereafter AKG 392 source)
Source: AKG392's(OTS/DFC) -> 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 -> Flac Frontend

16 bit source
24 bit source

Source 9 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>13ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source


Phish - 7/1/11 "Simple" > "Bug" from Phish on Vimeo.

The CK93 source is a bit tinny, especially compared to the robust bass on so many of the other sources.  However, the highs, as might be expected, are excellent.

The DPA source has great bass, but at the lowest end tends towards the boomy side.  This is a problem with several of the recordings, perhaps the bass was just kicking a bit more than usual at the show.  However, there are other sources with a bit more tightness on the bass.

The CCM4 source is a bit distant sounding, and like the DPA source, is a bit boomy down low.

The MK41 source, like its sister source, the CCM4's, is also boomy down low.  Though, it does sound, on the whole, better than the CCM4's.

The MG source, as often happens with matrix mixes, is fairly muddy down low, without the tight warmth that comes with the best MG sources.

The MBHO source is very thin compared to the other sources.  Just needs a lot more bass response.

The Oktava source has several problems that may turn people off of it.  First of all, it is not complete, several of the tracks have been patched with the CCM4 source.  Further the last several tracks of set 1 were recorded in 256kHz MP3 rather than wav files.  Also, there is a fair amount of crowd noise, which is a bit surprising to me, given that it is an OTS source and the mic stand was 12' in the air.  All of that said, this source sounds the best to my ears.  The highs are excellent, the low end is full without being boomy and the attack on Mike's bass is fantastic.  I listened to this source on the treadmill today and it only confirmed to me that is sounds great.

The AKG 392 source is either the 2nd or 3rd best of the bunch.  The main issue with it, compared to the Oktava source, is the lack of bass response.  The bass is nice and clear, though the tone isn't as good as the SKM184 source, but it just doesn't kick the sub.  The highs, as you expect from AKG's are just fantastic. 

The SKM184 source is a very warm recording with great bass tone, all the way into the lowest frequencies.  However, like the AKG392 source, it just doesn't kick the sub the way the Oktava source does.  I would say this is right there with the 392 source as the 2nd or 3rd best recording.

Happy listening!