Sunday, June 6, 2010

June 2009 Revisited: Kenny's Picks, pt. 2 of 3

These are not remasters (except 6/12).

As with all the shows in this series, the downloads include a folder with every available photo from each show, as posted on "Phish From The Road". *6/13/09 EDIT* - I just realized I made a bone-headed move and forgot to embed some of the shows w/ album art...for example the AAC versions of 6/9, 6/10, and 6/14.  If you'd like to add the art yourselves, one of the JPEGs in each photo folder should be titled "cover".  That's the one I used.  Also, for the AAC and mp3 versions of 6/14 I mistakenly only put the cover shot in the to get the other half dozen photos you can either DL the FLAC or go online to the "From The Road" Flickr page (link to the right) and get them there.  Sorry!

6/7:  (FOB) Schoeps 4-mic mix, by "SonicSound" (99404)
                     FLAC pt 1    FLAC pt 2     mp3     AAC

6/9:  (FOB) Schoeps CCM 4 Lg, by Dennis Tyler (99475)
                                 FLAC      mp3      AAC

6/10:  Audix m1280/HC, by Mark Terry (99457)  
                     FLAC pt 1     FLAC pt 2     mp3     AAC

6/12:  (FOB/pit) Neumann TLM-170, by Scott Bernstein (99722)
                    FLAC pt 1      FLAC pt 2     mp3      AAC

6/14:  (FOB) Schoeps MK4V, by Martin Medley (99531)
                    FLAC pt 1      FLAC pt 2      mp3      AAC

Similar to the way it can be argued June 2009 was a warmup for August, which was a warmup for fall...and so on, you could also argue that the 5 shows in my first batch of favorite AUD picks were a warmup for this batch of 5 shows.  While there are certainly choice moments from those first shows that I still listen back to from time to time, the shows above just seem a lot more confident.  Anyway, about some of these sources:

The Camden FOB has a really unique quality about it...I want to say "open" or "airy".  Just very immersive, with great energy.  It's a bit bass-oriented (notice how I used a photo of Mike for the album art) and not as clear as most of the others in the batch, but I still like it better than all other Camden sources and find it the most realistic, i.e. "like you're there".  *NOTE* - the taper made a few tracking issues that I forgot to fix before uploading my files; for example the Limb jam begins its own new track and things don't correct themselves until Sugar Shack.  Sorry about that!

The Asheville pick is just an all-around great arena pull, plain and simple.  The Knoxville pick may be a bit polarizing but I still like it best.  It's a bit extreme to the high end, which is especially interesting seeing as though not too many AUDs from large arenas (this place sits 20,000 I believe) have such a sharp, bright quality.  Fishman's solos in Undermind and the crowd's reactions are super fun to crank loudly.  Below is a fan photo from the show with a pretty unique perspective.

Now, I need to dedicate an entire paragraph (or two) to this Bonnaroo night 1 (3-hour late night set) source.  For the first few days after the show, the most heavily downloaded source for this show was this FOB Schoeps 2-mic mix.  After giving it a couple good listens, my thoughts were this:  the music itself sounds great (if a bit distant), but the nearby chatter is unbearable.  For the sections where the band is really raging it's a great recording.  But the talkers during any quieter parts or ballads were just too distracting for me to deal with.  Thank heavens for the TLM-170 source, recorded by Scott Bernstein.  This was taped in an enitely different location and has significantly less chatter nearby, letting the music take center stage, pardon the pun.  I should pause and mention here that I've already broken my original intention of not remastering any of these June 2009 picks.  I've done a slight touch-up to this source.

You may be asking "why would your favorite source of the pack be the one that you remastered?!?"   And to that I would say this:  the first thing I noticed about this source was that while everything else was perfectly balanced, Fishman's kick drum and (to a lesser extent) Mike's bass were overpowering.  I know those should be welcome aspects of the AUDs, in light of how SBDs were seriously lacking in that department, but I thought it was a bit too much here and took away from an otherwise perfect listening experience.  There's a pretty good explanation for how beefy the bass itself came out, while the rest of the recording is so crisp:  Scott's location was "60' back from stage "in the pit", against right-center rail" (quoted from the db page linked above).  60 feet may sound far but when you think about how huge those festival stages are, that's pretty damn close...close enough that taping equipment will capture all that chest-vibrating bass, which doesn't always translate as well on tape.  A common risk of stealth FOB-ing.

So, after tapering off those low frequencies a bit and adding a slight bump to the high end, I think it now REALLY pops, and is one of my very favorite AUDs of 2009.  Seriously, if you've only heard the SBD or another AUD source, do yourself a favor and check this out now!

The source for night 2 is also very good - I actually consider this possibly the best sounding "right off the bat" source of June 2009.  Didn't even need to do a level adjustment.  They definitely mixed the boys right at this festival.



T.R. Donoghue said...

Asheville only holds about 7500

Kenny Powers said...

i was talking about Knoxville

Anonymous said...

Asheville holds 7850 to be exact. But whos counting?

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