Dave

Dave

DOTT2012-08-16.MastrScheopMK41CMC6xtGraceV3SD744T192-24AudFlac24-192

Recorded with a pair of Scheops MK41CMC6XTs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, and fades in Soundforge 9. Then converted to 24-192 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.MastrScheopMK41CMC6xtGraceV3SD744T192-24.AudFlac24-96

Recorded with a pair of Scheops MK41CMC6XTs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, fades, and sample rate conversion to 24-96 in Soundforge 9. Then converted to 24-96 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.MastrScheopMK41CMC6xtGraceV3SD744T192-24.AudFlac24-48

Recorded with a pair of Scheops MK41CMC6XTs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, fades, and sample rate conversion to 24-48 in Soundforge 9. Then converted to 24-48 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.Master.AKG568EBGraceV3SD744T192-24.AudFlac24-192

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, and fades in Soundforge 9. Then converted to 24-192 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.Master.AKG568EBGraceV3SD744T192-24.AudFlac24-96

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, fades, and sample rate conversion to 24-96 in Soundforge 9. Then converted to 24-96 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.Master.AKG568EBGraceV3SD744T192-24.AudFlac24-48

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, fades, and sample rate conversion to 24-48 in Soundforge 9. Then converted to 24-48 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.ARM.SchoepsMK41CMC6xtGraceV3SD744T192-24AudFlac24-192

Recorded with a pair of Scheops MK41CMC6XTs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is an analog remaster (in the name ARM = analog remaster). Remastering effects chain; Soundforge 9 played thru a Lynx Studio AES16 into UA2192 for 24-192 digital to analog conversion. Then into SPL 9526 stereo vitalizer just for the stereo exspanded effect nothing else. Then into Klark Teknik DN 410 for EQ. Then back into the UA2192 for analog to 24-192 digital conversion and recorded on to a Sound Devices 744T. The Lynx Studio AES16 and UA2192 are clocked to an antilope Isochrome master clock set at 192Khz. Edited, tracked, and fades in Soundforge 9. Then converted to 24-192 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.ARM.SchoepsMK41CMC6xtGraceV3SD744T192-24.AudFlac24-96

Recorded with a pair of Scheops MK41CMC6XTs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is an analog remaster (in the name ARM = analog remaster). Remastering effects chain; Soundforge 9 played thru a Lynx Studio AES16 into UA2192 for 24-192 digital to analog conversion. Then into SPL 9526 stereo vitalizer just for the stereo exspanded effect nothing else. Then into Klark Teknik DN 410 for EQ. Then back into the UA2192 for analog to 24-192 digital conversion and recorded on to a Sound Devices 744T. The Lynx Studio AES16 and UA2192 are clocked to an antilope Isochrome master clock set at 192Khz. Edited, tracked, fades, and sample rate conversion to 24-96 in Soundforge 9. Then converted to 24-96 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.ARM.AKG568EBGraceV3SD744T192-24.AudFlac24-192

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is an analog remaster (in the name ARM = analog remaster). Remastering effects chain; Soundforge 9 played thru a Lynx Studio AES16 into UA2192 for 24-192 digital to analog conversion. Then into SPL 9526 stereo vitalizer just for the stereo exspanded effect nothing else. Then into Klark Teknik DN 410 for EQ. Then back into the UA2192 for analog to 24-192 digital conversion and recorded on to a Sound Devices 744T. The Lynx Studio AES16 and UA2192 are clocked to an antilope Isochrome master clock set at 192Khz. Edited, tracked, and fades in Soundforge 9. Then converted to 24-192 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.ARM.AKG568EBGraceV3SD744T192-24.AudFlac24-96

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is an analog remaster (in the name ARM = analog remaster). Remastering effects chain; Soundforge 9 played thru a Lynx Studio AES16 into UA2192 for 24-192 digital to analog conversion. Then into SPL 9526 stereo vitalizer just for the stereo exspanded effect nothing else. Then into Klark Teknik DN 410 for EQ. Then back into the UA2192 for analog to 24-192 digital conversion and recorded on to a Sound Devices 744T. The Lynx Studio AES16 and UA2192 are clocked to an antilope Isochrome master clock set at 192Khz. Edited, tracked, fades, and sample rate conversion to 24-96 in Soundforge 9. Then converted to 24-96 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.ARM.AKG568EBGraceV3SD744T192-24.AudFlac24-48

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is an analog remaster (in the name ARM = analog remaster). Remastering effects chain; Soundforge 9 played thru a Lynx Studio AES16 into UA2192 for 24-192 digital to analog conversion. Then into SPL 9526 stereo vitalizer just for the stereo exspanded effect nothing else. Then into Klark Teknik DN 410 for EQ. Then back into the UA2192 for analog to 24-192 digital conversion and recorded on to a Sound Devices 744T. The Lynx Studio AES16 and UA2192 are clocked to an antilope Isochrome master clock set at 192Khz. Edited, tracked, fades, and sample rate conversion to 24-48 in Soundforge 9. Then converted to 24-48 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.MastrScheopMK41CMC6xtGraceV3SD744T192-24.AudFlac16-44

Recorded with a pair of Scheops MK41CMC6XTs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, fades, and sample rate conversion to 16-44.1 in Soundforge 9. Then converted to 16-44.1 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.Master.AKG568EBGraceV3SD744T192-24.AudFlac16-44

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is a copy of the master. Edited, tracked, fades, and sample rate conversion to 16-44.1 in Soundforge 9. Then converted to 16-44.1 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.ARM.SchoepsMK41CMC6xtGraceV3SD744T192-24.AudFlac16-44

Recorded with a pair of Scheops MK41CMC6XTs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is an analog remaster (in the name ARM = analog remaster). Remastering effects chain; Soundforge 9 played thru a Lynx Studio AES16 into UA2192 for 24-192 digital to analog conversion. Then into SPL 9526 stereo vitalizer just for the stereo exspanded effect nothing else. Then into Klark Teknik DN 410 for EQ. Then back into the UA2192 for analog to 24-192 digital conversion and recorded on to a Sound Devices 744T. The Lynx Studio AES16 and UA2192 are clocked to an antilope Isochrome master clock set at 192Khz. Edited, tracked, fades, and sample rate conversion to 16-44.1 in Soundforge 9. Then converted to 16-44.1 Flac in Media Center 17.

Dave

Dave

DOTT2012-08-16.ARM.AKG568EBGraceV3SD744T192-24.AudFlac16-44

Recorded with a pair of AKG 568EBs. The mics goes into a Grace Design V3 with the analog to digital converters turned off. The V3 analog outputs go into a Sound Design 744T's analog inputs. The Sound Design 744T then records at 24/192. Mics Are set up at the last table furthest from stage in the middle, 35-40 feet from stage. Mics are XYed at about 40 degrees, and aimed at the speakers, and about 10 feet high.

This is an analog remaster (in theThis is an analog remaster (in the name ARM = analog remaster). Remastering effects chain; Soundforge 9 played thru a Lynx Studio AES16 into UA2192 for 24-192 digital to analog conversion. Then into SPL 9526 stereo vitalizer just for the stereo exspanded effect nothing else. Then into Klark Teknik DN 410 for EQ. Then back into the UA2192 for analog to 24-192 digital conversion and recorded on to a Sound Devices 744T. The Lynx Studio AES16 and UA2192 are clocked to an antilope Isochrome master clock set at 192Khz. Edited, tracked, fades, and sample rate conversion to 16-44.1 in Soundforge 9. Then converted to 16-44.1 Flac in Media Center 17.