Professor Wormbog | 2013-01-18 | Umphrey's McGee

View Notes* - w/ "Ain't Talkin' 'Bout Love" (Van Halen) teases; unfinished
** - w/ "Der Bluten Kat" jam
*** - w/ "Exodus" (Bob Marley) teases and "Theresa" jam
# - w/ Bill Evans on saxophone
## - w/ Jake on keys
-- Thanks to Jon McLennand for guest list spot.
-- Happy 100th show to Jeremy Welsh.
-- Setlist courtesy of ATU.

Recording note:
-- Recording level adjustments audible during s1t01 and s2t01.

Taper: Scott Bernstein

2:35:28

Taper:

um2013-01-18.tlm170.flac16

Source:

FOB Audience

Lineage:

Neumann TLM-170 (cardoids, FOB, Orchestra Row J, right side) -> Sound Devices 722 (@24/96); FLAC File processing in SoundForge Pro 10.0d (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; major clap removal); Tracked in CDWav.

Taper Notes:

View Notes* = with Ain't Talkin' 'Bout Love (Van Halen) teases; unfinished
+ = with Der Bluten Kat jam
^ = with Exodus (Bob Marley) teases and Theresa jam
% = with Bill Evans on saxophone
@ = with Jake on keys for part of jam, a mash-up of Bob Marley's "Exodus" and Talking Heads' "Life During Wartime", with Frank Zappa's "City Of Tiny Lights" sandwiched in the middle

I had to do some major clap scrubbing due to the fact that the Beacon security kept making Justin lower his stand (which seems illogical because the LOWER the stand is, the more likely it is to block someone's view), which meant that any local loud clappers would be MUCH louder on the recording the lower the stand is.  :(  The worst offenders were during "Ocean Billy", "Wappy Sprayberry", and "Example 1" where there were some sections where I had to remove almost constant clapping.  In most cases, the claps have been removed such that there is no trace of them anymore.  In a few cases, there is a tiny remnant of the clap, but it would be very muted compared to the original volume of the clap.

To bring this recording up to my standards, I scrubbed many loud, local claps from the following tracks:  S1T1(10 claps), S1T2(6), S1T3(10), S1T4(6), S1T5(2), S1T6(6), S1T7(80), S1T8(15), S1T9(20), S1T10(10), S1T11(46), S2T1(37), S2T2(40), S2T3(37), S2T4(10), S2T5(104), S2T6(68), S2T7(10), S2T8(45), S2T9(10), S2T11(29), S2T12(45), S2T13(10)

Special thanks to Justin Marinoff for allowing me to clamp to his mic stand in a great up-front location!

Recorded, Mastered, Tracked, Tagged, and Posted by Scott Bernstein (1/18-30/2013)

There is a higher quality 24 bit version of this recording (which I do NOT recommend downloading since it doesn't share the benefits of the clap scrubbing I did on this 16 bit version) available at <a href="http://archive.org/details/um2013-01-18.tlm170.flac24" rel="nofollow">http://archive.org/details/um2013-01-18.tlm170.flac24</a>

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