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June 5th
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15
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1
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48h00m
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48h00m
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4
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1 show
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2013
9/7/13
intro
0:43
Funny Bone
3:54
Back In Love
5:32
Power
16:30
Shake
7:49
Mighty Mighty
9:38
Nemesis ->
8:44
Cheap
14:24
track 09 (new tune)
9:57
Handcuffs ->
5:04
Expensive
15:07
D.M.S.R
6:27
encore break/crowd
12:00
track 15
1:59
outro/crowd
4:43
approximately 00:01:16 my SBD feed drops out entirely. I quickly speak to house engineer Justin who is not running the board but had been taking care of my feeds all 3 nights of NMS. At this point Dave Tash was trying to get the house sound right so Justin was trying to stay out of his way but get me back up and running.
0:17
FIN
View on archive.org
Sources
Taper: Eric McRoberts
2:02:48
SBD
Rating:
10.00 / 1 rating
Taper:
Eric McRoberts
Transferrer:
Eric McRoberts
SHNID:
motet2013-09-07.cmc621.sbd.matrix.flac16
Source:
On Stage Audience/SBD Matrix
Lineage:
Source 1: Schoeps mk21/cmc6xt (On Stage DFC, Wide ORTF) -> Sonosax SX-M2 -> Apogee Mini-Me -> Sound Devices 744T -> WAV (@24/96); Source 2: SBD (Digidesign/Avid Profile) -> Sound Devices 744T (stereo XLR, @24/96); Transfer: WAVs -> Vegas Pro 11.0 (time align, mix/render) -> SoundForge Pro 10.0d (normalize, fades, minor EQ; 96->44.1 resample with iZotope 64-Bit SRC at higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings) -> CDWav -> FLAC
Taper Notes:
View NotesSource 1: Schoeps mk21/cmc6xt (On Stage DFC, Wide ORTF) -> Sonosax SX-M2 -> Apogee Mini-Me -> Sound Devices 744T -> WAV (@24/96); Source 2: SBD (Digidesign/Avid Profile) -> Sound Devices 744T (stereo XLR, @24/96); Transfer: WAVs -> Vegas Pro 11.0 (time align, mix/render) -> SoundForge Pro 10.0d (normalize, fades, minor EQ; 96->44.1 resample with iZotope 64-Bit SRC at higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings) -> CDWav -> FLAC Recorded, mixed, tracked and posted by Eric McRoberts - On stage mics by Eric McRoberts - FOH mix by Dave Tash - House Engineer Justin Ripley This was a late night set performing after <a href="https://archive.org/details/nms2013-09-07.cmc621.sbd.matrix.flac16" rel="ugc nofollow">New Mastersounds</a> who had just completed a three night run at Brooklyn Bowl. The Motet set began at approximately 12:30 PM, technically on 09/08/2013. Recording Notes: I had a lot of issues with the snake feeds this evening (for The Motet set only, no issues for New Mastersounds). Here is a brief rundown. 1.) @ approximately 00:01:16 my SBD feed drops out entirely. I quickly speak to house engineer Justin who is not running the board but had been taking care of my feeds all 3 nights of NMS. At this point Dave Tash was trying to get the house sound right so Justin was trying to stay out of his way but get me back up and running. 2.) @ approximately 00:02:46, about 90 seconds after the feed cut out, Justin gets my board feed back. 3.) @ approximately 00:02:49 the on stage mic feed cuts out. I let Justin know immediately who at this point is a little frustrated and trying to get things right for me. 4.) @ approximately 00:03:20 the on stage mic feed comes back but this time it doesn't sound like my mics, it sounds like a messy matrix coming out of the digitial board which is rough and muddy. This mix remains in place of my on stage mics for the remainder of the night. 5.) @ approximately 00:10:27 the "on stage" mic feed randomly brickwalls and is distorted until about 00:10:48 - this random brickwalling then continues infrequently but intermittently for the remainder of the show. By keeping this source low in the overall mix I minimized the impact of these issues to the extent I could. 6.) @ approximately 01:53:25 the "on stage" mic feed again brickwalls, this time for the remainder of the show. At this point I fade out the "on stage" source resulting in a SBD only recording for the remainder of the show. Various other significant adjustments are made to the house mix by Dave Tash throughout the night. For each of the dropouts early on, because there was overlap I was able to crossfade in/out the alternate source so no music was lost. I kept the "on stage" mics very low in the mix but did want to keep them in there because the SBD itself was a little flat. While I know the on stage mics after 00:03:20 are not really my mics at all, I still thought the resulting source was additive to the overall matrix and used it to the extent possible. Overall, this took a lot to get listenable and I'm not particularly happy with the matrix but it's better than nothing and obviously the issues were outside of my control. Thanks to Jeff Kennedy and The Motet for the taper guest list spot. There is a higher quality 24 bit version of this recording available here: <a href="https://archive.org/details/motet2013-09-07.cmc621.sbd.matrix.flac24" rel="ugc nofollow">https://archive.org/details/motet2013-09-07.cmc621.sbd.matrix.flac24</a>
Taper: Eric McRoberts
2:02:48
SBD
Taper:
Eric McRoberts
Transferrer:
Eric McRoberts
SHNID:
motet2013-09-07.cmc621.sbd.matrix.flac24
Source:
On Stage Audience/SBD Matrix
Lineage:
Source 1: Schoeps mk21/cmc6xt (On Stage DFC, Wide ORTF) -> Sonosax SX-M2 -> Apogee Mini-Me -> Sound Devices 744T -> WAV (@24/96); Source 2: SBD (Digidesign/Avid Profile) -> Sound Devices 744T (stereo XLR, @24/96); Transfer: WAVs -> Vegas Pro 11.0 (time align, mix/render) -> SoundForge Pro 10.0d (normalize, fades, minor EQ) -> CDWav -> FLAC
Taper Notes:
View NotesSource 1: Schoeps mk21/cmc6xt (On Stage DFC, Wide ORTF) -> Sonosax SX-M2 -> Apogee Mini-Me -> Sound Devices 744T -> WAV (@24/96); Source 2: SBD (Digidesign/Avid Profile) -> Sound Devices 744T (stereo XLR, @24/96); Transfer: WAVs -> Vegas Pro 11.0 (time align, mix/render) -> SoundForge Pro 10.0d (normalize, fades, minor EQ) -> CDWav -> FLAC Recorded, mixed, tracked and posted by Eric McRoberts - On stage mics by Eric McRoberts - FOH mix by Dave Tash - House Engineer Justin Ripley This was a late night set performing after <a href="https://archive.org/details/nms2013-09-07.cmc621.sbd.matrix.flac24" rel="nofollow">New Mastersounds</a> who had just completed a three night run at Brooklyn Bowl. The Motet set began at approximately 12:30 PM, technically on 09/08/2013. Recording Notes: I had a lot of issues with the snake feeds this evening (for The Motet set only, no issues for New Mastersounds). Here is a brief rundown. 1.) @ approximately 00:01:16 my SBD feed drops out entirely. I quickly speak to house engineer Justin who is not running the board but had been taking care of my feeds all 3 nights of NMS. At this point Dave Tash was trying to get the house sound right so Justin was trying to stay out of his way but get me back up and running. 2.) @ approximately 00:02:46, about 90 seconds after the feed cut out, Justin gets my board feed back. 3.) @ approximately 00:02:49 the on stage mic feed cuts out. I let Justin know immediately who at this point is a little frustrated and trying to get things right for me. 4.) @ approximately 00:03:20 the on stage mic feed comes back but this time it doesn't sound like my mics, it sounds like a messy matrix coming out of the digitial board which is rough and muddy. This mix remains in place of my on stage mics for the remainder of the night. 5.) @ approximately 00:10:27 the "on stage" mic feed randomly brickwalls and is distorted until about 00:10:48 - this random brickwalling then continues infrequently but intermittently for the remainder of the show. By keeping this source low in the overall mix I minimized the impact of these issues to the extent I could. 6.) @ approximately 01:53:25 the "on stage" mic feed again brickwalls, this time for the remainder of the show. At this point I fade out the "on stage" source resulting in a SBD only recording for the remainder of the show. Various other significant adjustments are made to the house mix by Dave Tash throughout the night. For each of the dropouts early on, because there was overlap I was able to crossfade in/out the alternate source so no music was lost. I kept the "on stage" mics very low in the mix but did want to keep them in there because the SBD itself was a little flat. While I know the on stage mics after 00:03:20 are not really my mics at all, I still thought the resulting source was additive to the overall matrix and used it to the extent possible. Overall, this took a lot to get listenable and I'm not particularly happy with the matrix but it's better than nothing and obviously the issues were outside of my control. Thanks to Jeff Kennedy and The Motet for the taper guest list spot. The normal 16 bit CD quality version of this recording is available here: <a href="http://www.archive.org/details/motet2013-09-07.cmc621.sbd.matrix.flac16" rel="nofollow">http://www.archive.org/details/motet2013-09-07.cmc621.sbd.matrix.flac16</a>