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Tom Petty & The Heartbreakers
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http://www.tompetty.com
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Date |
Venue - City, State |
Sound Rating | Notes | Media |
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| 1. |
07/24/79 |
Civic Auditorium - Santa Cruz,
CA |
A+ | |
2 flac
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|
| 2. |
06/30/81 |
Forum - Inglewood,
CA |
a- | Tom Petty and the Heartbreakers
The Forum
Inglewood, CA
June 30, 1981
Mike Millard Master Tape via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 67
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
Transfer: Mike Millard Master Cassettes > Nakamichi CR-7A (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > Audacity > TLH > FLAC
01 American Girl
02 Listen To Her Heart
03 A Thing About You
04 Here Comes My Girl
05 The Waiting
06 I Need To Know
07 Cry To Me (Solomon Burke cover)
08 Don't Do Me Like That
09 Even The Losers
10 Don't Bring Me Down (The Animals cover)
11 A Woman In Love (It's Not Me)
12 Insider (with Stevie Nicks)
13 Needles and Pins (The Searchers cover with Stevie Nicks)
14 King's Road
15 Breakdown
16 Refugee
17 Shout (Isley Brothers cover)
Known Issues:
-None
Introduction to the Lost and Found Mike the MICrophone Series
Welcome to JEMS’ Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77. For the complete details on how tapes in this series came to be lost and found again, as well as JEMS' long history with Mike Millard, please refer to the notes in Vol. One: http://www.dimeadozen.org/torrents-details.php?id=500680.
Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.
That all changed with the discovery of many of Mike Millard’s original master tapes.
Yes, you read that correctly, Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1992.
The reason the rediscovery of his master tapes is such a revelation is that we’ve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mike’s mental state was troubled he would do something rash WITH HIS LIFE’S WORK. There’s also a version of the story where Mike’s family dumps the tapes after he dies. Why would they do that?
The truth is Mike’s masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millard’s friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mike’s work.
The full back story on how Mike’s master tapes were saved can be found in the notes for Vol. 18 Pink Floyd, which was the first release in our series transferred from Millard’s original master tapes:
http://www.dimeadozen.org/torrents-details.php?id=667745&hit=1
http://www.dimeadozen.org/torrents-details.php?id=667750&hit=1
Tom Petty and the Heartbreakers, The Forum, Inglewood, CA, June 30, 1981
Hello again, TTD. The Lost and Found series moves here exclusively this week to release a fine Tom Petty show from the Hard Promises tour. As Jim notes below, this period marked an early peak in popularity for Petty broadly and even more so in Southern California.
Petty's set draws heavily from his then new album, led by the undeniably catchy single "The Waiting, which received heavy airplay on AOR stations around the country. Stevie Nicks makes a guest appearance on stage, dueting on "Insider" from Hard Promises as well as The Searchers' "Needles and Pins." Less than a month after this show, Petty would return the favor on Nicks' single "Stop Draggin' My Heart Around," which became a pop hit. Petty also served as co-producer for the album it came from, Bella Donna, which launched Nicks' solo career.
The rest of set includes long versions of Petty classics like "Breakdown" and "Refugee," plus a couple of other familiar Petty covers, The Animals' "Don't Bring Me Down" and the Isley Brothers' "Shout" to end the show.
As explained by Jim R, he and Mike were seated in front of their sweet spot for taping, so close to the stage that Mike's recording gets more amp and monitor sound than PA mix. Those of you following the Lost and Found series closely know this phenomenon has happened to other Millard captures, usually resulting in low vocals and moments of uncannily close guitar or other instrumentation.
In mastering, we've done our best to rebalance the soundscape. The issue isn't as pronounced as it is on the Springsteen Sports Arena show we recently released, recorded the same year, but not dissimilar either, though I find the final Petty audio superior. Samples provided.
Here's what Jim R recalled about the Petty show:
I went with Mike Millard to the Tom Petty concert at The Fabulous Forum on June 30, 1981. We both got our equipment in. Sound and pictures.
Our ticket stubs say Section B Row 4 (fourth row center), but they removed the first two rows of Section B so we actually sat second row center. They did this to extend the stage. Second row is obviously a great location to see a concert, but a little too close for taping purposes. Security is less than ten feet away. Yikes!!! The odds of getting busted go up dramatically. The stage lighting would reflect off of Mike's mic heads, so I had to check them frequently to make sure they were tucked well into his hat.
In addition to tucked-in mics, sitting second row means the PA was mostly over our heads. All of this contributed to Petty's vocals sounding on the thin, hollow side. If only they left in the first two rows, I think the sound would have been better. But what can you do? As we knew about the stage set up a few days before, we had the pleasure of telling our friends also sitting in section B that they were moving up two rows.
This tour marked a surge in popularity with Petty playing three nights at The Forum. The year before he played only one. It was a fun concert overall especially given the set list and some of Tom's comments to the crowd. Stevie Nicks showing up was an added bonus.
I hope you enjoy the show and my pictures as much as Mike and I did.
###
JEMS is proud to join with Rob, Jim R, Barry G, Ed F and others to release Millard's historic recordings and to help set the record straight about the man himself.
We can’t thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mike’s precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program. Our releases would not be nearly as compelling without Jim’s memories, photos and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mike’s incredible audio documents.
Special thanks to Professor Goody for pitching checking this week's release and to mjk5510 for his essential work on the post-production side of JEMS.
Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.
BK for JEMS |
2 flac
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|
| 3. |
06/01/87 |
Reunion Arena - Dallas,
TX |
A | Recording: 2 x Sony ECM 33F Mics > Marantz PMD 430 (DBX Encoded)
Transfer: mjk5510 Master > Nakamichi DR-01 (DBX decoded / azimuth adjusted) > Audacity (24/96) > Peak Pro 6 (pitch adjusted +35 cents) > iZotope RX / ozone 5 (mastered) > Peak Pro 6 (post production) > 16/44 > xACT 2.39 > FLAC
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2 flac
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| 4. |
06/23/87 |
Blossom Music Center - Cleveland,
OH |
A | Likely but unverified recording gear: AKG 460 mins > Sony PCM-F1/beta Deck
Transfer/Lineage: Beta Masters > Sony Beta Deck (model unknown) > Panasonic SV 3700 DAT > DAT rip to 16/44.1 .wav |
2 flac
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|
| 5. |
07/29/89 |
Universal Amphitheatre - Los Angeles,
CA |
A+ | Mike Millard First-Generation Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 106
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
JEMS 2021 Transfer: Mike Millard First-Generation Cassettes > Nakamichi RX-505 (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX8 > iZotope Ozone 8 > MBIT+ resample to 1644 > Audacity > TLH > FLAC
*************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr |
2 flac
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|
| 6. |
08/19/89 |
Brendan Byrne Arena - East Rutherford,
NJ |
A | Transfer: Low Gen Tape from KS archives > Nakamichi DR-01 (azimuth adjusted) > Audacity > iZotope RX / Ozone 5 (mastered) > Peak Pro 6 (post production) > xACT 2.39 > FLAC
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2 flac
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| 7. |
09/13/89 |
Dean Smith Center, University Of North Carolina - Chapel Hill,
NC |
A | Comments: Sourced from FM Broadcast; mostly very clean, excellent performance all around.
CD -> WAV -> FLAC 1.1.2 |
2 flac
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|
| 8. |
03/03/90 |
Pacific Amphitheater - Costa Mesa,
CA |
AA | Tom Petty and the Heartbreakers
Pacific Amphitheatre
Costa Mesa, CA
March 3, 1990
Mike Millard Original Master Tapes via JEMS
1644 Edition
The Lost and Found Mike the MICrophone Tapes Volume 25
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
JEMS 2020 Transfer: Mike Millard Master Cassettes > Nakamichi RX- 505 (azimuth adjustment; Dolby On) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX6 > iZotope Ozone 6 > MBIT+ resample to 1644 > Audacity > TLH > FLAC
01 Love Is A Long Road
02 A Mind With A Heart Of Its Own
03 Breakdown
04 I Won’t Back Down
05 Free Fallin’
06 Down The Road Apiece (Will Bradley Trio cover, sung by Stan Lynch)
07 Lonely Weekends (Charlie Rich cover)
08 Ben’s Boogie
09 Don’t Come Around Here No More
10 A Face In The Crowd
11 Listen To Her Heart
12 Something In The Air (Thunderclap Newman cover)
13 Alright For Now
14 Yer So Bad
15 Mr. Tambourine Man (Bob Dylan cover with Roger McGuinn)
16 Turn! Turn! Turn! (Pete Seeger/The Byrds cover with Roger McGuinn)
17 Eight Miles High (The Byrds cover with Roger McGuinn)
18 You Got Lucky
19 Rebels
20 What Are You Doin’ In My Life?
21 Refugee
22 Runnin’ Down A Dream
23 The Waiting
24 Straight Into Darkness
25 How Many More Days
26 Don’t Do Me Like That
27 Even The Losers
Known Flaws: cut/tape change at the start of “Refugee”
Intro to the Lost and Found Mike the MICrophone Series
Welcome to JEMS’ Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77. For further details on how tapes in this series came to be lost and found again, as well as JEMS' history with Mike Millard, please refer to the notes in Vol. One: http://www.dimeadozen.org/torrents-details.php?id=500680
Until this year, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.
That all changed with the discovery of many of Mike Millard’s original master tapes.
Yes, you read that correctly, Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1992.
The reason the rediscovery of his master tapes is such a revelation is that we’ve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mike’s mental state was troubled he would do something rash WITH HIS LIFE’S WORK. There’s also a version of the story where Mike’s family dumps the tapes after he dies. Why would they do that?
The truth is Mike’s masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millard’s friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mike’s work.
Here is Rob’s account of how Millard’s master tapes were saved:
After Mike left us, I visited his mom Lia occasionally, usually around the holidays. She’d talk about the grandkids and show me pictures. She had no one to help out around the house so I did some minor improvements like fixing a kitchen shelf that collapsed and another time a gate that hadn’t worked for years.
After a few visits, I explained to Lia how the tapes were metal, up to 25 years old already and would eventually deteriorate. She agreed to let me take the tapes and make copies. We went into Mike’s bedroom and it was exactly like I remembered it when I was there years before. I loaded up every tape I could find and went to work copying them. Oldest first, some requiring “surgery.”
Months later when I was done copying, I compared what I had copied to a list Mike had compiled of his masters and realized there were many shows missing. I returned the tapes and asked Lia if we could see if there were any more somewhere else in the house. We went into a back bedroom and found a bunch of boxes filled with more original master tapes. I loaded them up, thanked Lia and left. This was the last time I would see her. I copied the rest of the tapes and stored the masters in a cool dry place until late last year when Jim R. reached out. We had known each other through Mike. After speaking with Jim and later BK who had tracked him down, I knew their partnership was the “right way” to get this music out to everyone who wanted it. I’m sure Mike would agree.
###
Initially, Rob copied a large batch of Millard’s master cassettes to DAT and returned them to the house. The second time around, he was given a large portion of the cassette collection, different from what he had copied to DAT.
The first round of DAT transfers features some of Millard’s most famous recordings of Led Zeppelin, ELP, the Rolling Stones and Jethro Tull. The second traunch of actual cassette masters includes his captures of Yes, Genesis, Peter Gabriel, Rush and Pink Floyd.
As exciting as it is to access Millard’s masters of the shows we know and love, there are many new recordings in both batches from artists like Elton John, Queen, Thin Lizzy, Eric Clapton, The Who, the Rolling Stones, Paul McCartney, Fleetwood Mac, Tom Petty, Guns N’ Roses, Linda Ronstadt, David Bowie, the Moody Blues, U2 and more.
Even with an information gap in the mid ‘80s (when Millard was surely taping but there is no tape or written evidence as to what he captured), we have confirmed nearly 300 shows Millard did record. Of those, there are master cassettes for approximately 100 shows, DATs off masters of another 75 and first generation analog copies for 30-35. Collectively, that nearly quadruples the number of extant Millard recordings.
Our original master tapes series began with Pink Floyd, which you can find here:
http://www.dimeadozen.org/torrents-details.php?id=667745&hit=1
http://www.dimeadozen.org/torrents-details.php?id=667750&hit=1
Tom Petty, Pacific Amphitheatre, Costa Mesa, CA, March 03, 1990
We extend our series with a cracking capture of Tom Petty and the Heartbreakers on tour supporting Petty’s first solo album, Full Moon Fever, released in the Spring of 1989. This show came near the end of the run, and as such benefits from some loosening of the set list. The show is several songs longer than the one at the Forum two nights earlier (though to be fair that show boasted guest appearances by Bob Dylan AND Bruce Springsteen, though unfortunately it would not appear Millard was there to capture it). Costa Mesa gets its own special friend dropping in, Roger McGuinn, who joins for a fine mini Byrds set of “Mr. Tambourine Man,” “Turn! Turn! Turn!” and “Eight Miles High.”
The Heartbreakers get their share of the spotlight too, with drummer Stan Lynch singing “Down The Road Apiece,” while keyboard player Benmont Tench shines in his instrumental “Ben’s Boogie.” Also making a rare appearance is “What Are You Doin’ In My Life,” played for the first time since the early ’80s. The rest of the set is no slouch either, with Petty in fine voice and the band in great form if perhaps slightly road weary by the end of a long night.
The same can be said for Millard, who, as Jim R points out, was recording from his sweet spot at the Pac Amp, Row CC, Seat 38, three rows behind the pit in front of section 2. Like the previously posted Linda Ronstadt recording from the same venue seven months later, Mike gets an incredible pull on his home court, with a rich, deep, full-fidelity recording. Samples provided.
Neither Jim nor Rob attended the show with Mike, so we’ll just have to let his amazing audio provide all the color and memories. Mike’s cassettes are labeled in the standard method he favored in this period with straightforward lettering of the band and his bubble writing name logo.
###
JEMS is proud to partner with Rob, Jim R and Barry G to release Millard's historic recordings and to help set the record straight about the man himself. I recently saw a post in which someone wondered where Millard placed his microphones. The answer of course was in his hat, which allowed him to stand up and sit down when needed and not lose his angle of attack on the PA. He kept his hair just long enough to cover the wires coming out the back and down his neck. Millard may have been one of the first, but the hat method was used by other great tapers including our own Jared Houser of JEMS, who used a Kangol for this purpose over the last 20-25 years of his taping career.
We can’t thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept these precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program.
Our series would not happen without the support of our post-production lead mjk5510, who always answers the call and never says no. His love of the music and our preservation work runs as deep as mine does.
In these unprecedented times we will attempt to accelerate our release schedule to put more music in your hands and ears while we are bunkered in. Please stay positive, help your neighbors, help strangers and let’s get to the other side of this intact. Better still, make a donation to a food bank or other key support organization helping out those who are struggling even more than you are to get by.
Lastly, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.
BK for JEMS
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2 flac
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|
| 9. |
05/18/90 |
Southern Choice - Wilmington,
NC |
A+ | Unofficial Soundboard Recordung - Excellent Sound Quality
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2 flac
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|
| 10. |
03/08/95 |
United Center - Chicago,
IL |
9 | Remixed & remastered by Mr. Sifter, March 2024
Remaster notes:
This comes from a leaked in-house video, so the 'low-gen SBD' vague notes of the source are a bit misleading. Demuxed using DeMix Pro, remixed to give the drums a bit more presence, try to find at least a little of Howie's bass when I could, and give the rest a slight stereo image to open things up. Used Ozone Spectral De-Noise to remove quite a bit of unpleasant noise throughout the tape, unfortunately there are no other known sources to patch the occasional moments of static that crop up now and then. Mastering done via Izotope Ozone.
************************************************************************
FLAC >WAV >Audacity (Drop Out Repairs) >Fix SBEs >
FLAC + Tags Via xACT 2.53 By OldNeumanntapr (+ front cover artwork) |
2 Flac
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|
| 11. |
01/10/97 |
The Fillmore - San Francisco,
CA |
A | new transfer from dat
taped on dat with Schoeps mic by (code name) Mr HCE>who sent me this clone>microtrack>cut into tracks in Goldwave>TLH
Upped by Dolphinsmile
from the Dolphinsmile Archives
|
2 flac
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|
| 12. |
01/12/97 |
The Fillmore - San Francisco,
CA |
A | Sonic Studios DSM-6s > Sony SBM1 (48k) > Sony TCD-D8
DAT Master > Tascam us144-mkII > PC > Audacity > CD Wave > TLH FLAC 16/48
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2 flac
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|
| 13. |
01/15/97 |
The Fillmore - San Francisco,
CA |
A+ | Aud -> DAT (Unknown Equipment) -> DAT (SV-3800x2) |
2 flac
|
|
| 14. |
01/16/97 |
The Fillmore - San Francisco,
CA |
A+ | could be a house feed its that good |
2 flac
|
|
| 15. |
01/21/97 |
The Fillmore - San Francisco,
CA |
A | Source: Schoeps mics > pre-amp > DAT
Lineage: DAT1 16/48 > FLAC
Transfer (BLG): DA-20 > digital coax > Marantz PMD-670 > usb reader > Adobe Audition > iZotope Ozone 5 > WavePad > xACT > FLAC
|
2 flac
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|
| 16. |
01/24/97 |
The Fillmore - San Francisco,
CA |
A | MK4 -> RMOD -> DTR80P (DAT) -> DAT (SV-3800x2)
|
2 flac
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|
| 17. |
01/25/97 |
The Fillmore - San Francisco,
CA |
A | MK4 -> RMOD -> Sony D8 (DAT) -> DAT (SV-3800x2) |
2 flac
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|
| 18. |
01/29/97 |
The Fillmore - San Francisco,
CA |
A- | Lineage
-Recording
Aud -> DAT (Unknown Equipment) -> DAT (SV-3800x2)
Talking got it a lower rating |
2 flac
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| 19. |
02/01/97 |
The Fillmore - San Francisco,
CA |
A | Source: Audience
Lineage: Sonic Studio DSM-1S/x mics > DAT > cass > Sony KA1ESA > Pre Sonus Inspire GT > SoundForge > FLAC
Quality: 8
Comments:
Notes:
* with Roger McGuinn
# Removed - Officially Released
|
2 flac
|
|
| 20. |
02/06/97 |
The Fillmore - San Francisco,
CA |
A | Source: Schoeps CMC64 > Aerco > Sony TCD-D8
Lineage: DAT1 16/44.1 > FLAC
Transfer (BLG): DA-20 > digital coax > Marantz PMD-670 > usb reader > Adobe Audition > iZotope Ozone 5 > WavePad > xACT > FLAC
|
2 flac
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| 21. |
02/07/97 |
The Fillmore - San Francisco,
CA |
A+ | Source: FM Broadcast (SBD) > DAT > CDR > EAC (secure test/copy mode) >
WAV > TLH > SBE checks, aucdtect checks > FLAC (level 8)
|
2 flac
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| 22. |
04/12/99 |
Irving Plaza - New York,
NY |
A | Recording: SBD > DAT Master > CDR
Transfer: unknown
Master Recording & Transfer by Anonymous
Source provided by Ted Mattes
Edited & Mastered with Adobe Audition by Joe Noel
July 20, 2020
Notes:
* The majority of the source material in this series originated from Master DATs but some are master cassettes, CDR's & unfortunately that information wasn't passed along.
- several drop outs throughout were cleaned up. |
2 flac
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| 23. |
06/23/99 |
Star Lake Amphitheater - Burgettstown,
PA |
AA | ource: Soundboard > ? > CDR > EAC > .wav > FLAC Frontend > FLAC > DVD+R |
2 flac
|
|
| 24. |
06/23/99 |
Star Lake Amphitheater - Burgettstown,
PA |
A | Taper: Steve K [part of JSSS]
Source Info: Sonic Studios Mics -> Sony TCD-D8, on floor in front of board.
Transfer Info: Mac Soundedit Program to CD-R from DAT Master -> Max Rip Software
|
2 flac
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|
| 25. |
06/26/99 |
Sony E-Center - Camden,
NJ |
a- | recording gear: Sonic Studios DSM-6 mics > Pa-6LC3 > Sony D7 DAT
Supplied .wav file > Adobe Audition CC2020 (level boost) > CD Wave Editor (track) > flac8
Recorded by: maddbakker
Tracked by: smores
the crowd noise is what made this less |
2 flac
|
|
| 26. |
08/03/99 |
Target Center - Minneapolis,
MN |
A+ | Lineage :
SFX preFM Radio CD -> EAC : Wav extraction -> Audacity : track editing -> TLH : fixing SBE and MD5 Wav -> FlacFrontEnd : Flac conversion, Tag and Fingerprint -> YOU
|
2 flac
|
|
| 27. |
10/16/99 |
Hollywood Bowl - Hollywood,
CA |
A | Source: Sonic Studios DSM-6P w/3-way lo-cut filter, position unknown (most likely @ 80hz, middle setting) > Sony WM-D6
Transfer: Master cassettes (Maxell Tyle IV metal) > Denon 790R > Kenwood A-522 amplifier > Kenwood GE-622 Equalizer > Audacity (boosting/splicing) > .WAV
Mastering: .WAV > Sound Forge Pro 11.0 (Build 299) [iZotope Mastering Suite (declick); minor edits, normalize, & fades] > CDWav (tracking) > Trader's Little Helper (level 5) > FLAC > TagScanner 6.0.18 (tagging)
Location: Near the front of the bleacher section
Recorded & transferred by: Steve "ballsdeep" Hagar
Mastered by: Dennis Orr |
2 flac
|
|
| 28. |
07/18/01 |
Sandstone Amphitheater - Bonner Springs,
KS |
a- | Lineage: Biccio59 CD-R >
Easy Audio Copy > FLAC |
2 flac
|
|
| 29. |
10/20/06 |
Raley Field - Sacramento,
CA |
A | |
2 flac
|
|
| 30. |
05/30/08 |
Van Andel Arena - Grand Rapids,
MI |
A | Church Audio cards (ST-11)-->SP battery box-->Marantz PMD620--
-->Audacity-->Nero Wave Editor-->flac
fades out/in on tracks 12 & 13 for CD use.
taper willyp523
|
2 flac
|
|
| 31. |
06/06/08 |
Wachovia Center - Philadelphia,
PA |
A- | source : schoeps mk-4 > actives > nbox+ >
korg mr-1 dsd recorder (dff 1 bit/2.8mhz)
macintosh > audiogate 1.0.1 > 16/44 wav >
dsp-quattro x (volume,tracking & fades) > xACT 1.59 > flac
taper : edtyre
|
2 flac
|
|
| 32. |
06/08/08 |
Nissan Pavilion - Bristow,
VA |
A- | *** THIS IS A 16-BIT FILESET INTENDED FOR AUDIO CD ***
Recorded, processed and upped by Kubacheck
SOURCE: dpa 4061 > coresound batt box > edirol r09 (24/48)
PROCESSING: soundforge 8.0 (tracking, fades, resample, dither) > flac 1.1.2
|
2 flac
|
|
| 33. |
06/25/08 |
Hollywood Bowl - Hollywood,
CA |
A | SOURCE: Schoeps MK4 > actives > NBox+ > R-09HR @ 16bit/44.1kHz
TRANSFER: Sound Forge 8.0 > CD Wave > FLAC Frontend
LOCATION: Garden Section, Left of Center
RECORDED BY: "Josephine" |
1 flac
|
|
| 34. |
07/02/08 |
United Center - Chicago,
IL |
A- | Source: Audio Technica AT-899 omnis => Edirol R-09
Transfer: R-09 => WAV => Magix Audio Cleaning Lab => WAV => FLAC (level 8)
Location: Beside stage, Left side, 8th row |
2 flac
|
|
| 35. |
07/16/08 |
St. Pete Times Forum - Tampa,
FL |
A | lineage
church audio cardioids -> stc-9000 -> r-09 24/44.1 -> soundforge 16/44.1 -> flac
|
2 flac
|
|
| 36. |
07/23/08 |
Target Center - Minneapolis,
MN |
A- | Audience Recording: Zoom H4 w/ built-in stereo mic L & R .wav file 44.1 kHz 16-bit -> WavePad (track splitting & amplification) .wav PCM format (44.1 kHz, 16-bit, Stereo 172 kb/sec) -> FLAC Frontend (level 8) -> ABC 3.1 -> DIME
Recorded by Hurricane62 from 14th row. I selected the boot title, "...And You Smell Like Marijuana" from Tom's ad lib during "Gloria" in the encore.
Overall I was very pleased with the quality of this recording. There have been several good boots from this tour already and I'd rank this one right up there for sound quality. Tom and the band sounded great, there was a minimum of crowd noise (and that was kept to the pauses between songs), and the set-list was a good mix of greatest hits.
I deleted the crowd applause leading to the encore as well as about 30 seconds of applause after the end of "American Girl" before Tom says his "Good Night" to the crowd.
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2 flac
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| 37. |
08/07/08 |
Verizon Wireless Amphitheatre - St Louis,
MO |
A+ | Schoeps MK4V's->
N-Box->
Edriol R9 |
2 flac
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| 38. |
08/23/08 |
Golden Gate Park - San Francisco,
CA |
A | Neumann KM140s > Sound Devices MP2 > Edirol R09 (16/44) WAV > CD Wave > FLAC
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2 flac
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| 39. |
10/05/11 |
Treasure Island - San Francisco,
CA |
AA | Recorded by Daspyknows
Recorded halfway between stage and soundboard right side of center aisle along the
rail in the non VIP section
Schoeps MK4s >NBox >Tascam DR100 (24bit/48kHz)
Processed Using Soundforge 10b, Resample To 16bit/44.1kHz
TLH To Convert To FLAC
***************************************
Tags Via xACT 2.48 By OldNeumanntapr
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2 flac
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| 40. |
06/29/12 |
Piazza Napoleone - Lucca,
Italy |
A | Soundboard recording never surfaced before
Sound editing and masterinb by Zhuki Dolgonaski
Artwork by: Nephronic
Unknown lineage |
2 flac
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| 41. |
06/03/13 |
The Fonda - Hollywood,
CA |
A | Source: Schoeps CCM4s > Tinybox > Sony PCM-M10
Lineage: wav 16/44 > minor editing > FLAC |
2 flac
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| 42. |
06/16/13 |
Bonnaroo Festival - Manchester,
TN |
A | Source: DPA 4061 > Custom BB > R-09HR @ 24/96
Transfer: RAW WAV > SF 10 Minor EQ & Mastering > WAV > FLAC 16/44
Taper: BennyBlanco aka ScreamingSlave (ETS)
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2 flac
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| 43. |
06/29/13 |
Target Center - Minneapolis,
MN |
A- | Recorded by Hurricane62, 4th row of floor, just to the stage-right side of center.
Audio Technica SP-CMC-2 Cardioid Mics -> SP-SPSB-11 Battery Box with Bass Rolloff set at 95 hZ -> Sony PCM-M10 (44.1 MHz/16 bit) with Limiter ON and Low Pass Filter OFF -> WavePad (eq/amp & track splitting) -> converted to .flac using Traders Little Helper (SBE's fixed, flac level 8)
Great show by the master showmen. Have seen TPatH several times since the late 80's and each show is my new favorite. Traditional set-list with one surprise, "It's Good To Be King" on this last show of their 2013 US Tour.
Very good recording. Had to add 2 dB to the mids (1000-5000 Hz) to bring the vocals and guitar up front a bit, then amped the whole thing about 2 dB overall. Some nearby audience noise, but nothing too bothersome. I'd rate it at an A- though samples are included so you can judge for yourself.
ARTWORK is included (all photos taken by Hurricane62 during the show)
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2 flac
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| 44. |
09/06/14 |
Oak Ridge Farm - Arrington,
VA |
A- | Source: AKG ck61 (DIN) > Naiant Couplings/PFA > Naiant Littlebox > Sony M-10 (24/48)
Transfer: M-10 > iMac. Tracked and dithered via Sound Studio, FLAC via xACT
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2 flac
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| 45. |
09/16/14 |
PPL Center - Allentown,
PA |
A | source : schoeps mk41v's > kcy 250/05I > naiant pfa >
marantz pmd661mkII (oade concert mod) >
adobe audition > ozone 5 > sample manager > xACT 2.33 > flac 16
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2 flac
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| 46. |
09/20/14 |
Cruzan Amphitheater - West Palm Beach,
FL |
A | Source: Schoeps MK41 Cards - Nbob Actives - Naiant Tinybox Transfo Out - Sony M10 (24-48)
Transfer: Micro SD card > wav file > coolEdit > Normalize-Downsample > CD Wave Cut > TLH > FLAC level 8 & Align on SB
Recording Location: 8th Row Center
Recorded by: Datfly |
2 flac
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| 47. |
06/29/17 |
Wrigley Field - Chicago,
IL |
A | Source: DPA 4060 => Tascam DR-2D
Lineage: 24-bit WAV files => Magix Audio Cleaning Lab => FLAC (level 8)
Location: 7th row center |
2 flac
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| 48. |
08/17/17 |
Rogers Arena - Vancouver,
BC |
A- | Source: SP-CMC-8 cardioids > SP-SPSB-7 battery box > Edirol R-05 @ 24 bit/48 kHz
Mastering: .WAV > iZotope RX7 Advanced v7.01.315 (De-click) > Sound Forge Pro 14.0 Build 138 [minor edits, normalize, & fades, Boz Digital Labs T-Bone plug-in (slant EQ)] > CDWav
(tracking) > iZotope MBIT+ (dithered and downsampled to 16 bit/44.1 kHz) > Trader's Little Helper (level 5) > FLAC > TagScanner 6.0.35 (tagging)
Recorded by: Chris Bold
Mastered by: Dennis Orr
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2 flac
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| 49. |
09/25/17 |
Hollywood Bowl - Hollywood,
CA |
A | This is the audio ripped from the DVD. I don't have the lineage of this or any other info. Some songs are cut at the beginning or the end. Enjoy.
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2 flac
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