Widespread Panic 07/08/2000
Cynthia Woods Pavillion, The Woodlands, TX
Source Summary
flac1648 Matrix-ALD SBD/AKG 460B/CK61 Aud Lineage: SBD:FM ALD reciever>Sondy D8 DAT>Adobe Audition>WAV>FLAC ; AUD:AKG460B/CK61>Lunatec V2>Graham-Patten ADC-20>TascamDA-P1 SBD recorded by Kevin James AUD recorded by Eric Britt
flac1648 Matrix-ALD SBD/AKG 460B/CK61 Aud Lineage: SBD:FM ALD reciever>Sondy D8 DAT>Adobe Audition>WAV>FLAC ; AUD:AKG460B/CK61>Lunatec V2>Graham-Patten ADC-20>TascamDA-P1 SBD recorded by Kevin James AUD recorded by Eric Britt
Other Sources
SHNID 1676 unknown source
SHNID 30255 (fob) AKG 483 (x/y) > Oade m248 > G-P ADC-20 @...
Widespread Panic
7/8/2000
Cynthia Woods Mitchell Pavilion, The Woodlands, TX
Source: Matrix-ALD SBD/AKG 460B/CK61 Aud
Lineage: SBD:FM ALD reciever>Sondy D8 DAT>Adobe Audition>WAV>FLAC ; AUD:AKG460B/CK61>Lunatec V2>Graham-Patten ADC-20>TascamDA-P1
SBD recorded by Kevin James
AUD recorded by Eric Britt
One version or another of this tape has been around since shortly after the show, but I was never really happy with its sound. A friend asked me about this show recently, as well as other ALD boards that I’d made and as we talked, I realized I really should revisit these recordings. I have far superior equipment and control at my fingertips these days as well as decades of FOH work and recording work under my belt, so a remaster was definitely in order.
So the second week of Sept. 2025 I dug this master back out and did a fresh transfer, mix and master.
I used my friend Eric Britt’s AKG aud source on this mix to help lessen the sterility and compressed sound of the fm recording.
I’ve seen various posts about Assisted Listening Device recordings and people usually have it totally wrong or think it was some mystical process. It was simple. Get the ALD from the venue, unplug the garbage headphones, plug in the DAT deck and hope the reception wasn’t horrible. I’d read about it somewhere, probably an email list I was on, and thought “That sounds like BS.” So I tried it myself and it was so straight forward that I was shocked. I mean, it is covered under the ADA act and the venues were incredibly helpful. The first time I asked for one was at the Starplex and nobody had any idea what I was talking about. By some stroke of luck, one of the medics came into the infirmary while we were talking about it and said “yeah, that’s a thing. We have a couple receivers somewhere.” They did. They found them and I was off to the races.
That said, FM recordings were weird. I don’t know if you can still do them or not. By the very early 2000s, the devices were gone. I’d go ask for one and the venues said people never returned them. I didn’t know other tapers making ALD recordings and none of the other Texas tapers I knew ever came across other ALD SBDs. So maybe they walked off or maybe they were lost or maybe they just wanted me to kick rocks. All in all, I was lucky, and by the time I made this recording I’d figured out that the cable from the receiver to the DAT deck (that was usually the cable to the headphones) acted as not only the audio throughput but also as an antenna. Not great for an audio cable that is shielded, but I kind of figured out how to make a cable that served both purposes, or at least be a reliable audio cable and a half way tolerable antenna far better than a monster mini to mini cable. The FM wow and flutter was unavoidable. Checking levels almost always caused some problem. That’s why the static/flutter is usually at the beginning of the show. Using headphones to monitor was pointless. You could hardly hear over the PA and the less movement involved, the better as far as reception was concerned. Not to mention I usually did these gigs as streamlined as possible. Small backpack, D8 deck, extra batteries, DATS and a hillbilly homemade frankencable. As an aside, Bob Dylan was the only act I ever came across that turned the feed off. It was Dylan and Paul Simon. Dylan went on first. No feed. I thought well damn, cest la vie. Then when Paul Simon came out, the feed was there. I always thought that was peculiar. They knew they could turn it off, and did. I’m fairly convinced that guy is a Wizard.
All of the ALD recordings I made always came in with the left channel solid and strong and the right channel very faint. Didn’t matter what venue, they were all the same. They were always dual mono, always incredibly compressed and the right channel was always anemic, but not without information. Both channels had information, you just really had to raise the volume of the right channel to hear it. The left channel contained low and middle frequencies, the right channel contained some high mids and high frequencies. The feeds from The Pavilion in The Woodlands always produced superior results. No idea how or why.
This particular night was kind of funny. The venue roped off a huge section of the lawn knowing that it was a band that allowed recording, but by 2000 the policy was tape from your seat. So I’m on the lawn near the entrance, kind of getting plugged in etc and a worker walked past and saw me. He came over and asked if I was taping. I said “Um, yep” and he got all excited and said “oh, come with me, we have a place for you!”. He marched me over to this big roped off spot in the front center of the lawn and was like “Here you go!”. So I lifted up the rope and walked in. The only person in this massive parcel of prime lawn. No microphones, no mic stand and a little backpack. I was the only person in there the entire show. My other friends were either taping from their seats or hanging out under the cover in seats. I got better reception on the lawn, or at the very back rows of the cover. Folks would come over and ask why they couldn’t come in and I’d say “Oh, no no no, they aren’t keeping you out, They’re keeping me in!”. Nobody questioned any of it. They just gave a confused look and wandered off. The good ol days.
Anyway, I’m happy with this mix/master. Is it great? No. It is not. It sounds okay. It’s better than any audience tapes I’ve come across. It’s still far too mono for me and well, you can only do so much with a heavily compressed master. But it serves its purpose and it reminds me of those hot-as-hell Texas summer nights hangin out on the lawn of the sheds and jamming out. With all the freaks roped out and held at distance from the crazy cat with no mics in the taper section.
Set 1
01 Crowd
02 The Take Out
03 Tall Boy
04 Little Lilly
05 Hope In A Hopeless World
06 Airplane
07 Rock
08 Walkin
09 Sometimes
10 One Arm Steve
Set 2
11 House music (Dubtribe Sound System’s Aint Gonna Do Ya No Good)/crowd
12 Action Man
13 Thought Sausage
14 Pusher Man
15 Stop Go
16 Drums
17 Mercy
18 Surprise Valley
19 Love Tractor
20 Crowd/tuning
21 Heaven
22 Flat Foot Flewzy
FFP Fingerprint================
;flac fingerprints generated by xACT 2.57 on 2025-09-12 06:03:03 +0000
01 Crowd.flac:b1387e0f30bcb31c77a04ce4f21b7a86
02 The Take Out.flac:595f2160aa187690f5419fd289d38a19
03 Tall Boy.flac:d0a31d534711ddfcca0239e2195a78ec
04 Little Lilly.flac:e70be7901e5925c7434ca7715e2f6a3a
05 Hope In A Hopeless World.flac:36eb5060c465254da7ff7c2b66af3095
06 Airplane.flac:e6842dfda6d288542f0c520a3a251a05
07 Rock.flac:91e9c8245b03e2232f2b200741a120ce
08 Walkin.flac:e8602b28bba6a99f49cde2058ec3f9a4
09 Sometimes.flac:8875c310f3a624e7a662006322d3aef2
10 One Arm Steve.flac:48f36a34c0fcc7e0c594feadfde4ccd0
11 House Music and tuning.flac:009d6f1627ed28fb10149c63f7286740
12 Action Man.flac:170e63c8d19a57eeb4c286deabd0c428
13 Thought Sausage.flac:e8d6ba7c8ca6332bbe5b0d020fff51ae
14 Pusher Man.flac:6403440df4f237fd2acd220592d55083
15 Stop Go.flac:e6d7459ff046bf427c4022cc4589b68f
16 Drums.flac:b853349826baddef936e50efc6f21807
17 Mercy.flac:31d28b4937c161026580e25fb9fe1846
18 Surprise Valley.flac:cdaa02d0ea1ecca4c11f6461fd0a224b
19 Love Tractor.flac:648d3daa70c43ad327acfe1ec8227227
20 Crowd-tuning.flac:86d5129d21ec370b9e2ff87c092393ef
21 Heaven.flac:ac2900bb15dcc2c45bcb1cb4b9871854
22 Flat Foot Flewzy.flac:cf1897ebe3f924a77ad631b086df82f3
7/8/2000
Cynthia Woods Mitchell Pavilion, The Woodlands, TX
Source: Matrix-ALD SBD/AKG 460B/CK61 Aud
Lineage: SBD:FM ALD reciever>Sondy D8 DAT>Adobe Audition>WAV>FLAC ; AUD:AKG460B/CK61>Lunatec V2>Graham-Patten ADC-20>TascamDA-P1
SBD recorded by Kevin James
AUD recorded by Eric Britt
One version or another of this tape has been around since shortly after the show, but I was never really happy with its sound. A friend asked me about this show recently, as well as other ALD boards that I’d made and as we talked, I realized I really should revisit these recordings. I have far superior equipment and control at my fingertips these days as well as decades of FOH work and recording work under my belt, so a remaster was definitely in order.
So the second week of Sept. 2025 I dug this master back out and did a fresh transfer, mix and master.
I used my friend Eric Britt’s AKG aud source on this mix to help lessen the sterility and compressed sound of the fm recording.
I’ve seen various posts about Assisted Listening Device recordings and people usually have it totally wrong or think it was some mystical process. It was simple. Get the ALD from the venue, unplug the garbage headphones, plug in the DAT deck and hope the reception wasn’t horrible. I’d read about it somewhere, probably an email list I was on, and thought “That sounds like BS.” So I tried it myself and it was so straight forward that I was shocked. I mean, it is covered under the ADA act and the venues were incredibly helpful. The first time I asked for one was at the Starplex and nobody had any idea what I was talking about. By some stroke of luck, one of the medics came into the infirmary while we were talking about it and said “yeah, that’s a thing. We have a couple receivers somewhere.” They did. They found them and I was off to the races.
That said, FM recordings were weird. I don’t know if you can still do them or not. By the very early 2000s, the devices were gone. I’d go ask for one and the venues said people never returned them. I didn’t know other tapers making ALD recordings and none of the other Texas tapers I knew ever came across other ALD SBDs. So maybe they walked off or maybe they were lost or maybe they just wanted me to kick rocks. All in all, I was lucky, and by the time I made this recording I’d figured out that the cable from the receiver to the DAT deck (that was usually the cable to the headphones) acted as not only the audio throughput but also as an antenna. Not great for an audio cable that is shielded, but I kind of figured out how to make a cable that served both purposes, or at least be a reliable audio cable and a half way tolerable antenna far better than a monster mini to mini cable. The FM wow and flutter was unavoidable. Checking levels almost always caused some problem. That’s why the static/flutter is usually at the beginning of the show. Using headphones to monitor was pointless. You could hardly hear over the PA and the less movement involved, the better as far as reception was concerned. Not to mention I usually did these gigs as streamlined as possible. Small backpack, D8 deck, extra batteries, DATS and a hillbilly homemade frankencable. As an aside, Bob Dylan was the only act I ever came across that turned the feed off. It was Dylan and Paul Simon. Dylan went on first. No feed. I thought well damn, cest la vie. Then when Paul Simon came out, the feed was there. I always thought that was peculiar. They knew they could turn it off, and did. I’m fairly convinced that guy is a Wizard.
All of the ALD recordings I made always came in with the left channel solid and strong and the right channel very faint. Didn’t matter what venue, they were all the same. They were always dual mono, always incredibly compressed and the right channel was always anemic, but not without information. Both channels had information, you just really had to raise the volume of the right channel to hear it. The left channel contained low and middle frequencies, the right channel contained some high mids and high frequencies. The feeds from The Pavilion in The Woodlands always produced superior results. No idea how or why.
This particular night was kind of funny. The venue roped off a huge section of the lawn knowing that it was a band that allowed recording, but by 2000 the policy was tape from your seat. So I’m on the lawn near the entrance, kind of getting plugged in etc and a worker walked past and saw me. He came over and asked if I was taping. I said “Um, yep” and he got all excited and said “oh, come with me, we have a place for you!”. He marched me over to this big roped off spot in the front center of the lawn and was like “Here you go!”. So I lifted up the rope and walked in. The only person in this massive parcel of prime lawn. No microphones, no mic stand and a little backpack. I was the only person in there the entire show. My other friends were either taping from their seats or hanging out under the cover in seats. I got better reception on the lawn, or at the very back rows of the cover. Folks would come over and ask why they couldn’t come in and I’d say “Oh, no no no, they aren’t keeping you out, They’re keeping me in!”. Nobody questioned any of it. They just gave a confused look and wandered off. The good ol days.
Anyway, I’m happy with this mix/master. Is it great? No. It is not. It sounds okay. It’s better than any audience tapes I’ve come across. It’s still far too mono for me and well, you can only do so much with a heavily compressed master. But it serves its purpose and it reminds me of those hot-as-hell Texas summer nights hangin out on the lawn of the sheds and jamming out. With all the freaks roped out and held at distance from the crazy cat with no mics in the taper section.
Set 1
01 Crowd
02 The Take Out
03 Tall Boy
04 Little Lilly
05 Hope In A Hopeless World
06 Airplane
07 Rock
08 Walkin
09 Sometimes
10 One Arm Steve
Set 2
11 House music (Dubtribe Sound System’s Aint Gonna Do Ya No Good)/crowd
12 Action Man
13 Thought Sausage
14 Pusher Man
15 Stop Go
16 Drums
17 Mercy
18 Surprise Valley
19 Love Tractor
20 Crowd/tuning
21 Heaven
22 Flat Foot Flewzy
FFP Fingerprint================
;flac fingerprints generated by xACT 2.57 on 2025-09-12 06:03:03 +0000
01 Crowd.flac:b1387e0f30bcb31c77a04ce4f21b7a86
02 The Take Out.flac:595f2160aa187690f5419fd289d38a19
03 Tall Boy.flac:d0a31d534711ddfcca0239e2195a78ec
04 Little Lilly.flac:e70be7901e5925c7434ca7715e2f6a3a
05 Hope In A Hopeless World.flac:36eb5060c465254da7ff7c2b66af3095
06 Airplane.flac:e6842dfda6d288542f0c520a3a251a05
07 Rock.flac:91e9c8245b03e2232f2b200741a120ce
08 Walkin.flac:e8602b28bba6a99f49cde2058ec3f9a4
09 Sometimes.flac:8875c310f3a624e7a662006322d3aef2
10 One Arm Steve.flac:48f36a34c0fcc7e0c594feadfde4ccd0
11 House Music and tuning.flac:009d6f1627ed28fb10149c63f7286740
12 Action Man.flac:170e63c8d19a57eeb4c286deabd0c428
13 Thought Sausage.flac:e8d6ba7c8ca6332bbe5b0d020fff51ae
14 Pusher Man.flac:6403440df4f237fd2acd220592d55083
15 Stop Go.flac:e6d7459ff046bf427c4022cc4589b68f
16 Drums.flac:b853349826baddef936e50efc6f21807
17 Mercy.flac:31d28b4937c161026580e25fb9fe1846
18 Surprise Valley.flac:cdaa02d0ea1ecca4c11f6461fd0a224b
19 Love Tractor.flac:648d3daa70c43ad327acfe1ec8227227
20 Crowd-tuning.flac:86d5129d21ec370b9e2ff87c092393ef
21 Heaven.flac:ac2900bb15dcc2c45bcb1cb4b9871854
22 Flat Foot Flewzy.flac:cf1897ebe3f924a77ad631b086df82f3
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