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Jack White 06/25/2012

SHOWID 554357

Set I

Dead Leaves And The Dirty Ground
Sixteen Saltines
Missing Pieces
Love Interruption
Top Yourself
Hotel Yorba
Weep Themselves To Sleep
Cannon
Blue Blood Blues
I Guess I Should Go To Sleep
We're Going To Be Friends
You Know That I Know
Hypocritical Kiss
Ball And Biscuit
Steady, As She Goes
Freedom At 21
Carolina Drama
Seven Nation Army
Goodnight, Irene

Set II


Set III


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Collectors With This Show

User (active/rating) Media / # Show Sound Details DB Source User Source
BLG (5/0) FLAC / 1 View   Schoeps CCM41v's > Marantz PMD-661 > FLAC
BLG (5/0) FLAC / 1 View   Schoeps CCM41v's + DPA 4060's => FLAC
Brad Foster (4/4.9) FLAC / 1 View   DPA 4060 > DPA MMA6000 > R-09HR
gauloisesblondes (3/5) flac / 2 View  
Notes: watch tech notes for source-info
Jackpumpkinhead (3/0) FLAC / View  
Jackpumpkinhead (3/0) FLAC / View   MATRIX
BFC (2/5) / 0 View  
Notes: 2CDs
John Peters (1/0) FLAC / 1 View   SP-CMC-2 > SP-SPSB-8 > TASCAM DR-03 (16/44.1) > cool edit pro 2.1 (individual clap removal,...
KidAJoe (1/0) FLAC / 0 View  
Notes: Jack White Heineken Music Hall Amsterdam The Netherlands 25th June 2012 (2012-06-25) RECORDING: Type: Audience master, recorded 7 metres back from the left-side, ceiling-mounted PA stack. Source: Factory-matched pair of DPA 4060 microphones -> DPA MMA6000 amplifier (100 Hz low-cut filter) -> Edirol R-09HR recorder (44.1 kHz/24 bit WAV) Lineage: Audacity 2.0.0 * applied minor equalisation to accentuate the high end * added fades * split tracks * converted to 16 bit -> FLAC (compression level 8) [libFLAC 1.2.1 20070917] Taper: Ian Macdonald (ianmacd) SET LIST: 01. [04:38] Dead Leaves And The Dirty Ground 02. [02:51] Sixteen Saltines 03. [03:34] Missing Pieces 04. [03:42] Love Interruption 05. [06:15] Top Yourself 06. [02:30] Hotel Yorba 07. [04:19] Weep Themselves To Sleep 08. [04:20] Cannon 09. [03:28] Blue Blood Blues 10. [01:49] [band introduction] 11. [02:45] I Guess I Should Go To Sleep 12. [03:17] We're Going To Be Friends 13. [04:11] You Know That I Know 14. [03:11] Hypocritical Kiss 15. [05:33] Ball And Biscuit 16. [03:22] [encore break] 17. [05:05] Steady, As She Goes 18. [02:46] Freedom At 21 19. [07:59] Carolina Drama 20. [04:22] Seven Nation Army 21. [06:10] Goodnight, Irene Total running time: 86:07 MD5 CHECKSUMS: 4951f76b63f713c2646da8aed63a8455 flac/01_dead_leaves_and_the_dirty_ground.flac bef5e9f975edd6f6e75fd84a18fc6cfc flac/02_sixteen_saltines.flac 31592a33b44cb8f0d0a1320de7c90529 flac/03_missing_pieces.flac f8d3d34fba5bef8a12beaa1f0d085fc7 flac/04_love_interruption.flac deec812bd75e993513e88bc95e07d196 flac/05_top_yourself.flac 5a7b2c6ce9f5366da0b8a0c2f5360c59 flac/06_hotel_yorba.flac 3af1a00ffc58d6568b3477f8e0b29c3f flac/07_weep_themselves_to_sleep.flac d01d0a62efda69fd2531f783fd0434d9 flac/08_cannon.flac e008ee147f0cd438575213e3baaa425c flac/09_blue_blood_blues.flac 720affcafccf138c6a4b71189ae63206 flac/10_band_introduction.flac efd9b963c9dc4786fa1d78fd8c005ee9 flac/11_i_guess_i_should_go_to_sleep.flac 671e295ef1bb057cc5b5d3d01e5a9c0e flac/12_were_going_to_be_friends.flac 8019f5cdc7ca51a9e51eef1834139009 flac/13_you_know_that_i_know.flac de2e1553f08a9b0c70eb437aa09c17f7 flac/14_hypocritical_kiss.flac f5e93e9abdba0d2f48d4106cd2e81279 flac/15_ball_and_biscuit.flac ade812536d53a73efc6478f982552500 flac/16_encore_break.flac 44ad0fc2e08e8a87b9a210b3bb8dc621 flac/17_steady_as_she_goes.flac c62f92fc08c60b2d26432de234f00274 flac/18_freedom_at_21.flac 1c3f447b2498d132176528030bfd0ddc flac/19_carolina_drama.flac dd854021a9a4b202e60af2c81ac4a93e flac/20_seven_nation_army.flac ace489f7f1d18dfb33db62b2b6948b3d flac/21_goodnight_irene.flac 22e72bc5a7a014500d1d5da72d48dac8 flac/checksums.ffp NOTES: An exciting night. Not only is Jack White playing, but the occasion is also set to be the subject of my new recording rig's inaugural use in the field. The chief component of the new rig is a pair of factory-matched Schoeps CCM 41V microphones. These supercardioids should be able to outclass my trusty DPA 4060 omnidirectionals in many situations, as well as produce recordings with much less ambient (read: crowd) noise. In order to conduct a scientific test (and as an insurance policy against technical or human failure with new and unfamiliar equipment), I went to the Heineken Music Hall this evening equipped with both rigs. The Heineken Music Hall is the only venue in Amsterdam with any door security to speak of. Bags are always searched, so the recording equipment must be distributed about one's person. Secreting a single small rig isn't hard, but stashing two, one of which is considerably larger than the other, presents more of a challenge. As a result, the sigh of relief I breathe when I make it inside the venue this evening is slightly deeper than usual. Set-up takes much longer than usual and I emerge from the lavatories wired up like a suicide bomber, sporting four microphones, one pre-amp and two recording decks. If I should faint this evening and fall on the ground with my jacket open, cables protruding from pockets and LEDs flashing all over the place, someone will probably be killed in the resulting stampede. My double- and triple-checking of all the connections and settings sees to it that I miss all but the finishing strains of the support band, First Aid Kit. My only objective this evening, however, is bringing home the best recording that I can of the main act, so I concentrate solely on that goal. I might have missed a great band in First Aid Kit; I really have no idea. Standing in my preferred recording location, when the lights go down for the start of the gig, I can't see the PMD661. I'd anticipated this and knew where the right button was, or thought I did, but in the darkness I accidentally hit 'Play' instead of 'Record'. It takes me a few seconds to realise my mistake and a further few to fumble my way around the deck until I've hit the right sequence of buttons and got the tape rolling, as it were. Then, a few seconds are lost as I notice that the recording level is set too high. I'd anticipated this beforehand and configured the PMD661 to run on its lowest gain setting (-18 dB), but obviously still estimated too high on the correct position for the level knob. The signal from these microphones is clearly very hot, but I know that now and will be better prepared at my next gig. All of this took place before Jack White had played even his first chord, but I did miss some of the drum intro to opening song, 'Dead Leaves And The Dirty Ground'. My insurance policy of running a second rig saved my skin here, allowing me to patch in the small section of missing audio using a subtle crossfade that makes the transition, starting 21 seconds into the music, smooth and not distracting. Jack White and his all-female backing band played a blistering set, but I already find my visual memory of the event to be lacking. Not only was I distracted by thoughts related to the unfamiliar equipment I was using, but recording with supercardioids vs. omnis demands a bigger compromise between enjoying the moment and capturing it for posterity. The strong directionality of the microphones requires one to keep as still as possible and not turn away from the PA stack. A pity, because all of the action is over there to my right, on that thing they call a stage. The set was made up of new songs from Jack's solo debut, 'Blunderbuss', as well as selected songs from the repertoires of The White Stripes, The Raconteurs and The Dead Weather. The bluesman even threw in a couple of Hank Williams and Leadbelly covers for good measure. I felt the set could have been a couple of songs longer, but what we got was impassioned and earnest. I certainly have no complaint. When the lights come up, a woman comes up to me and asks if I need assistance. As amusing as it is, it's also a real eye-opener. There you are, doing your best to appear as natural as possible while making a stealthy recording, unaware of continuously transmitting these (not so) subtle signals through body language, signals that indicate that you're not entirely focussed on the same thing as your fellow revellers. I daresay my apparent fascination with the PA in front of me, rather than the stage on which some fellow by the name of Jack White was performing, had something to do with it. In all seriousness, the woman probably thought that I was partially blind. This is the recording made with the omnidirectional microphones. The recording made with the supercardioids is available separately. Which you will prefer is mostly a matter of personal taste. They are both excellent, although the recording made with the supercardioids predictably features less audience noise (which is not to say that this recording has much, either; quite the contrary, in fact). The sound in the venue this evening had been exceptionally good, with Jack's band mixed to perfection. That comes across in this recording, which is presented here with very slight equalisation to accentuate the high end. No other massaging was required. The use of minor equalisation means that a true apples-to-apples comparison with the supercardioid recording isn't quite possible, but I felt it was more important to present this recording in its best possible form than to produce material for what is, anyway, a largely subjective and experiment. The listening experience is also the more enduring one. As always, samples are included, so that you can judge the quality for yourself.
KidAJoe (1/0) FLAC / 0 View  
Notes: Jack White and the Peacocks Heineken Music Hall Amsterdam, Netherlands 2012-06-25 Source: SP-CMC-2>SP-SPSB-8>TASCAM DR-03 (16/44.1)>cool edit pro 2.1 (individual clap removal, fades)>CD Wave Editor (tracking)>Traders Little Helper (flac 8, logs, verify) Location: on the floor about 20 meters back dead center Taper: Michael Treasure Artwork Many thanks to rival for the cd art. Disc 1 1. Dead Leaves And The Dirty Ground 2. Sixteen Saltines 3. Missing Pieces 4. Love Interuption 5. Top Yourself 6. Hotel Yorba 7. Weep Themselves To Sleep 8. Cannon > John The Revelator 9. Blue Blood Blues 10."band introductions" 11.I Guess I Should Go To Sleep 12.We're Going To Be Friends 13.You Know That I Know 14.Hypocritical Kiss 15.Ball And Biscuit 16.encore break Disc 2 17.Steady As She Goes 18.Freedom At 21 19.Carolina Drama 20.Seven Nation Army 21.Goodnight, Irene
-SoG- (0/5) Flac / 1 A+ View   Source: Factory-matched pair of Schoeps CCM 41V microphones -> Marantz PMD661 recorder with Oade...
Notes: Audience Recording Source #2: Source: Factory-matched pair of DPA 4060 microphones -> DPA MMA6000 amplifier (100 Hz low-cut filter) -> Edirol R-09HR recorder (44.1 kHz/24 bit WAV) -> Audacity 2.0.0 -> FLAC (compression level 8) Sound Quality: AUD A+ Source #3: Source: SP-CMC-2>SP-SPSB-8>TASCAM DR-03 (16/44.1)>cool edit pro 2.1 (individual clap removal, fades)>CD Wave Editor (tracking)>Traders Little Helper (flac 8, logs, verify) Sound Quality: AUD A