Cumberland Blues | 2007-10-05 | Phil Lesh and Friends

2:52:57

Rating:

10.00 / 1 rating

Taper:

Tucker

Transferrer:

PeterT

SHNID:

plf2007-10-05.balconynak330eq.16

Source:

Nakamichi 300 mics with shotguns > Sony D-100 > HK CDR20 > Silver Disc

Lineage:

EAC > Soundforge (levels, EQ, patching) > CDWave > dBPowerAmp (FLAC)

Taper Notes:

View NotesTech Notes:
Taped DFC Balcony, mics aimed at stacks.  EQ applied in Soundforge: Parametric EQ High-End Shelf -8 db above 16K, parametric EQ -2.5 db @ 85 & 115 Hz at 1.1 octave width each, and then parametric EQ +2 db @ 600 Hz w/2.3 octave width.  Recording started a few seconds into Deal, so I patched a half a minute of audience noise and the first four bars from another LMA source, the balc, sp c4's(bass rolloff) recording, thanks.

General notes:  As of now there are two excellent sources of this show on the Archive, the Balcony sp C4 recording and the Neumann SKM150 OTS source.  I offer this recording as a compromise alternative.  I found the balcony recording to be full of rich mid-range detail but low on any real low bass.  The Neumann's had plenty of bottom end, but sounded a little muddy and (as noted) very chatty.  This hypercard old-style recording was a nice compromise in that it captured good detail across the whole audio spectrum from the quiet balcony.  Some relatively gentle eqalization revealed a startling amount of detail throughout, so that it is rich and punchy whilst also being crisp and clean.  Let me know what you think!  

This is an experiment: I have found the dense sonic mix of a P&F concert can overwhelm many microphones, unless they screen out the offending waveforms.  I was curious if hypercards could take a more accurate sample, which would then provide good information for the equaliser to work with.  It's certainly an interesting compromise.  In future, I think there's also a role for hypercards in a multi-mic or multi-channel mix...  By the way, I chose my eq settings to replicate what I would have liked to do to the sound on the night. ie. notch it down about 3 db between 50 and 150 Hz... and then I brightened up the top end of the bass to replicate Phil's tone more closely.

One more note:  the Jam out of Mississippi Half-Step became it's own track when I listened closely and found it had nothing to do with the song either side, instead it moves through several developing stages... a very interesting piece of music.