Porter, Kimock, Kreutzmann 01/01/2011
Sullivan Hall, New York, NY
Source Summary
flac1644 Neumann TLM-170 (FOB 10 feet from stage, latched to left column; left mic: subcardoid; right mic: hypercardoid) -> Sound Devices 722 (@24/96); FLAC File processing in SoundForge Audio Studio 10.0c (volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav. Recorded, mastered, and tracked by Scott Bernstein
flac1644 Neumann TLM-170 (FOB 10 feet from stage, latched to left column; left mic: subcardoid; right mic: hypercardoid) -> Sound Devices 722 (@24/96); FLAC File processing in SoundForge Audio Studio 10.0c (volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav. Recorded, mastered, and tracked by Scott Bernstein
Other Sources
SHNID 173906 Sennheiser 441s pointed straight at speakers...
SHNID 173908 flac2496 Neumann TLM-170 (FOB 10 feet from...
George Porter, Steve Kimock, Bill Kreutzmann, Nigel Hall
Sullivan Hall
New York, NY
1/1/2011
Neumann TLM-170 (FOB 10 feet from stage, latched to left column; left mic: subcardoid; right mic: hypercardoid) -> Sound Devices 722 (@24/96); FLAC File processing in SoundForge Audio Studio 10.0c (volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
Late show only
1. intro
2. If You Only Knew (aka "Sea Blues")
3. Every Day I Have The Blues
4. (unknown jazz tune) ->
5. Junco Partner ->
6. (Turn On Your) Lovelight
7. Here But I'm Gone
8. A Song For You *
9. Bottle Up And Go ->
10. People Say
11. banter - no break or George will fall asleep, senior citizens
12. Sit Right Here For A Minute
13. banter - Nigel appreciates Kimock, a repeat
14. Sugaree
* = Nigel Hall mostly solo, w/George adding some fills on bass
Note this show was billed as a post-Phish "Sullivan Hall 2nd Anniversary" show and started well after midnight. So technically it started in the very early morning hours of 1/2/11.
Every time I post something I've run in this configuration (with different mic patterns for each mic) at Sullivan Hall, someone invariably comments "What is up with the different mic patterns?" Well, in this room it's impossible to set up in the center of the room unless you set up in the very back, next to the soundboard (or hang your mics from the ceiling). So I generally opt for getting really really close, and taping my stand to a column about 10 feet from the stage. The column is unforunately just inside of the left PA speaker, far off center. So what I do is point the left mic straight at the stage in subcard setting (appropriate when you're 10 feet from the source) to get mostly what's coming out of the PA and some stage bleedthrough and then point the right mic wide to the right (in hypercard to give me a bit more reach) and the ratio of stage volume to PA volume flips -- in the right mic I get slightly more stage volume and slightly less PA. In most cases it works out pretty well, and it definitely did on this recording. The upshot is that you get a bit more guitar and cymbals and a bit less vocals in the right channel. Ultimately I think this is the best I can do given the siuation and I think it sounds pretty stellar regardless (if it wasn't NYE and I wasn't coming from a Phish show before I'd probably have run a SBD+onstage mic matrix). I have expeimented with different configurations, but I think this tends to yield the most pleasing results. It is a difficult work securing my stand on the column, though.
ALSO note: I am also in the process of posting Bob Jacobson's early and late sets, recorded from the back of the room, near the SBD. So if you would prefer a more well-balanced but slightly more distant recording I'll post a link to his recording when I'm done posting mine.
Recorded, mastered, and tracked by Scott Bernstein
Sullivan Hall
New York, NY
1/1/2011
Neumann TLM-170 (FOB 10 feet from stage, latched to left column; left mic: subcardoid; right mic: hypercardoid) -> Sound Devices 722 (@24/96); FLAC File processing in SoundForge Audio Studio 10.0c (volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.
Late show only
1. intro
2. If You Only Knew (aka "Sea Blues")
3. Every Day I Have The Blues
4. (unknown jazz tune) ->
5. Junco Partner ->
6. (Turn On Your) Lovelight
7. Here But I'm Gone
8. A Song For You *
9. Bottle Up And Go ->
10. People Say
11. banter - no break or George will fall asleep, senior citizens
12. Sit Right Here For A Minute
13. banter - Nigel appreciates Kimock, a repeat
14. Sugaree
* = Nigel Hall mostly solo, w/George adding some fills on bass
Note this show was billed as a post-Phish "Sullivan Hall 2nd Anniversary" show and started well after midnight. So technically it started in the very early morning hours of 1/2/11.
Every time I post something I've run in this configuration (with different mic patterns for each mic) at Sullivan Hall, someone invariably comments "What is up with the different mic patterns?" Well, in this room it's impossible to set up in the center of the room unless you set up in the very back, next to the soundboard (or hang your mics from the ceiling). So I generally opt for getting really really close, and taping my stand to a column about 10 feet from the stage. The column is unforunately just inside of the left PA speaker, far off center. So what I do is point the left mic straight at the stage in subcard setting (appropriate when you're 10 feet from the source) to get mostly what's coming out of the PA and some stage bleedthrough and then point the right mic wide to the right (in hypercard to give me a bit more reach) and the ratio of stage volume to PA volume flips -- in the right mic I get slightly more stage volume and slightly less PA. In most cases it works out pretty well, and it definitely did on this recording. The upshot is that you get a bit more guitar and cymbals and a bit less vocals in the right channel. Ultimately I think this is the best I can do given the siuation and I think it sounds pretty stellar regardless (if it wasn't NYE and I wasn't coming from a Phish show before I'd probably have run a SBD+onstage mic matrix). I have expeimented with different configurations, but I think this tends to yield the most pleasing results. It is a difficult work securing my stand on the column, though.
ALSO note: I am also in the process of posting Bob Jacobson's early and late sets, recorded from the back of the room, near the SBD. So if you would prefer a more well-balanced but slightly more distant recording I'll post a link to his recording when I'm done posting mine.
Recorded, mastered, and tracked by Scott Bernstein
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Sennheiser 441s pointed...