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Iron Springs Pub
Fairfax, CA
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2/15/09
Fable Of A Chosen One >
11:15
Edge Of The Wire
6:59
I Feel So Good
5:45
Film at 11
6:49
Sitting Here In Limbo
9:25
Born A Dreamer >
12:18
Just A Season >
13:28
Fable Of Chosen One
7:27
Iko - Iko >
13:40
Cut & Run >
18:44
The Wheel >
10:06
Ghost Train >
12:45
Any Naked Eye >
16:25
Kick In The Head
18:47
E: Ripple
6:25
FIN
View on archive.org
Sources
Taper: Set 1: Dan Ward Set 2: Peter Toluzzi
2:50:18
Rating:
10.00 / 3 ratings
Taper:
Set 1: Dan Ward Set 2: Peter Toluzzi
Transferrer:
Peter Toluzzi
SHNID:
dnb2009-02-15.aud2Neumanns.flac16
Source:
Set 1: Neumann KM184's > Edirol R4; Set 2: Neumann KM140's > U5-A > Sony M1
Lineage:
Set 1: Data DVD > hard drive (EAC) Set 2: M1 > digicable > hard drive. Then both sets Soundforge > CD Wave > dBPoweramp
Taper Notes:
View NotesDavid Nelson, Barry Sless, Mookie Siegel, Pete Sears, Joe Chirco Sound by Tim Steigler Set 1: Neumann KM184's > Edirol R4 > hard drive > data dvd > hard drive via EAC > Soundforge > CD Wave > dBPoweramp; taped by Dan Ward Set 2: Neumann KM140's > U5-A > Sony M1 > Hard drive > Soundforge > CD Wave > dBPoweramp; taped by Peter Toluzzi Mastered, torrented and uploaded by Peter Toluzzi The second set is too long to burn to one disc, and the music never stopped... You can chose any of several layouts, but I like putting just the first two tracks on Disc 2 (more than 30 minutes) and then letting the rest of the show flow seamlessly through Disc 3. I have named the files accordingly. Geeky notes: I had my mics clamped to Dan's mic stand, thanks so much! The Forestville Club is wide and rather shallow, and the soundboard is near the left wall, so the mic stand was well left of center. For the first set I had my mics head to head and about 110 degrees wide. For the second set, I decided to point at the stacks, just like Dan - so for that set our recording configuration was identical, with the mics about two inches above and below each other. I didn't like my first set results (boomy with a narrow image), so I used Dan's first set. I liked my second set and have used it here because the comparison is fascinating. No eq or other sonic effects have been used, just some level adjustment, so you can clearly hear the differences between the KM140s and KM184s. I find the DNB challenging to record, mostly because Pete Sears is a busy bass player who uses lots of low notes, and those fill up a recording pretty quickly. The 184s seem to make a better recording of the bass, especially the lower frequencies. The 140s recorded the bass well too, but not so fully at the bottom; as a result, there seemed more air and space for the other instruments. That's why I often like to boost the bass when I remaster my 140 recordings; bass is like salt: it's easier to add some later than to try to take too much out... If you put these wave files on your computer and inspect them in an audio program like Soundforge, you'll see the different dynamics: it's as if the smoke of the low bass clears to reveal the greater dynamics behind it (on the 140 recording)... Anyway, we both made great recordings, see which you like better! I continue to love Neumann mics; they always seem to do well, even under really challenging conditions. Your microphonage may vary!