August 9, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

To contact us Click HERE
Phish continued their whirlwind tour out West with a two night stand in Lake Tahoe.  Harvey's was really a beautiful venue and there was plenty to do everyday.  This show, and the following, were webcast and while they weren't the greatest shows ever played, they were pretty darn good.  The debate about whether or not webcasting effects performance rages on.  I come down on the side of the more folks who can experience a show the better.  As the fanbase ages, or at least as I do, it is tougher to see as many shows as you would like, but being able to dial it up on the big screen is a nice substitute.  That said, there are 6 sources available for this show.  As usual, I have to tip my hat to the tapers who recorded this night and shared it with all of us.  Thanks a lot guys!

Source 1 (hereafter U89 source)
Source: Neumann U-89i's(Hypers)-V3-Digi out to Dr-680
Location: OTS 1st Stand against railing in section, approximately 70 degree's and 6 inch appart
Mic's raised to approx. 13 Ft.

16 bit source



Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> Edirol R44 (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter M934C source)
Source: (Set I) Schoeps m934c> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Source: (Set II+E) Schoeps mk5> AMC3> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, m934c/cardioid/DIN, mk5/cardioid/DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source

Source 4 (hereafter AK40 source) ***note torrent includes 8-10 recording as well***
Source: Neumann AK 40's (NOS) > LC3 > KM 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 60' Back
Transfer: Cf Card > Wavelab 6.0 > Resample, UV 22HR Dither >
Added +3.5 db For Set I > Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 5 (hereafter Senn source) ***24 bit only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (s/pidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 6 (hereafter CCM4 source)
Source:Schoeps CCM4(Ortf)Vms52ub>R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/9/11 "Light" from Phish on Vimeo.

The U89 source has much better bass response than the other Neuman source or the CCM4 source, however it is fairly muddy, without the distinct notes noticeable on the MK4v source.

The MK4v source is my pick for best of the night.  The bass response is excellent, as are the levels.  There is tremendous dynamic range, making the recording sound very live.  However, on the downside, particularly between songs, there is a fair amount of crowd noise.  This isn't so bad during most of the music on the plus side.

The M934c/MK5 source has lots of bass, but there just isn't much distinction or tone in the lowest frequencies.  Notice the intro to PYITE and the lack of tone in the low end.  You don't hear any notes coming from Mike, just a bass rumble.  The MK5 (used in the 2nd set) improves this slightly, but still doesn't rise to the level of the MK4v source.

The AK40's have lots of crowd noise and while the bass drum kicks the sub, the tone is just lacking in Mike's bass.  Notice the introduction to 46 Days, Mike sounds like a muddy mess down low on this recording and is tight and full on the MK4v source.

The Senn source sounds a bit distant and hollow compared to the other sources.  On the whole, it seems to lack the dynamic range of the MK4v source.

The CCM4 source just doesn't kick the sub very hard.  The bass is there and is more distinct than the M934c source or the AK40 source, it just doesn't have the prominence of the MK4v source.

Happy listening!

August 10, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

To contact us Click HERE
Phish wrapped up their last regular show of their West Coast leg with a sold out show in Lake Tahoe.  With only a festival set to go in San Francisco, many were expecting Phish to bring the fire.  Unfortunately, it wasn't their best show of the tour.  However, as always with Phish, there are several moments that are definitely worth hearing again and luckily for us, there are seven different sources available from this night.  Thanks go out again to all the tapers who record these shows and share them with the community.  Thanks a lot guys!

Source 1 (hereafter MK41 source)
Source:Schoeps MK41(din)> Kcy >Sonosax SX-M2/LS2 >R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source



Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter KM140 source) ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 24/48 WAV 
Location: FOB/pit
Transfer: CD Wave > Audition > FLAC24

24 bit source

Source 4 (hereafter AK40 source) ***note 16 bit torrent includes 8-9 source as well***
Source: Neumann AK 40's (NOS) > Lc3 > Km 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 50' Back >
Transfer: CF Card > Wavelab 6.0 > Cd Wave > TLH 24/48 FLAC

16 bit source
24 bit source

Source 5 (hereafter U89 source)
Source: Neumenn U-89I's-V3(digital out) Dr-680
Location: OTS
Transfer: Normalization and tracking in post using Wave Lab 6
1st Song From AKG 414ULS-Oade Transparent Mod PMD-661Both sets of mics set to Hyper card with approximately 70 Degree angle and 5 inch spacing

16 bit source

Source 6 (hereafter Senn source) ***24 bit source only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (spidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 7 (hereafter CCM4 source)
Source:SchoepsCCM4(wide ortf)>Sonosax SX-M2>R44(ocm) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/10/11 "Stash" from Phish on Vimeo.

The MK41 source has fairly low levels.  There is a fair amount of crowd noise on the source, however the bass is more distinct than on its sister source, the CCM4's.

The MK4v source, again, gets my nod for source of the night.  The bass is nice and full without being overpowering and the separation of the instruments is quite nice. 

The KM140 source is the second best sounding source of the night.  The bass is a little bit fuller than the MK4v source and the separation is even better too.  However, the crowd noise on this source is much more noticeable than on the MK4v's.  If you don't mind the crowd noise, by all means go for this source.  Remember, only available in 24 bit, so it isn't playable on your iPod without down-converting.

The AK40 source is nicely balanced and has a nice, distinct bass tone.  It is very transparent as well.  However, the levels aren't nearly as nice as the MK4v or KM140 source and doesn't kick the sub as hard either.

The U89 source is really nice sounding, but gets a bit muddy in the lowest frequencies.  There seems to be a hollowness in the mids and is just overall a bit boomier than the KM140 or MK4v sources.

The Senn source sounds fairly distant compared to the MK4v or Neumann sources.  Further, the low end isn't nearly as rich or as full as the MK4v or KM140 sources.

The CCM4 source sounds a bit muffled in the low end, especially compared to the MK4v and KM140 sources.  The levels are fairly low and there is a great deal of crowd noise evident on it.

Happy listening!

September 2, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
Coming right off the heels of a pretty good second leg of summer, Phish settled in for what many thought would be the last shows of the year out in Colorado.  A large gathering with onsite camping made for a very festival like atmosphere, and Phish did not disappoint.  The first of these shows, now forever known as the "S" show offered a ton of rare songs, including a bustout of Sparks which hadn't been seen in 15 years.  This is one you definitely want to download.  Making my job difficult, but rewarding, are 11 different sources for this night! I want to thank all the tapers who recorded this and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter AK40 source)
Source:  Neumann AK 40 (NOS) >  Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > Wavelab 6.0 (resample,Uv 22 HR) > Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 2 (hereafter MK22 source)
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 3 (hereafter MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source

Source 4 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 8ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 5 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m148> sd744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source



 Source 6 (hereafter Milab VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source




Source 7 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: UV22HR(16/44.1)->CDWave->FLAC

16 bit source

Source 8 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 9 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 10 (hereafter MK4v source)
Source:Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (hereafter BSC2 source)
Source: Busman bsc2 K2(Omni)>sd744>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source


Phish - 9/2/11 "Seven Below > Suzy Greenberg > Scents And Subtle Sounds" from Phish on Vimeo.

The AK40 source doesn't have the clear bass that you have on the 4022's or the VM44 source.  The recording is a bit boomy as well.

The MK22 source is quite good, though the bass could be a bit higher up in the mix.  Further, the bass is not as clear tonally as I would like.  When you compare the attack on Mike's bass on this recording vs. the VM44's, there really is a big difference.

The MK5 source sounds fantastic.  Unfortunately, the levels are a bit high, resulting in some crispiness during the louder parts.  Barring that, this would be my pick of the night, but with those problems, just couldn't pick it, particularly considering how nice the VM44's sound.

The BSC1 source sounds a bit boomy compared to the VM44 source.

The DPA 4022 source is quite punchy on the bass, with great mids.  However, the high-end just doesn't compare to the VM44 source.

The VM44 source is my pick for best sounding recording.  The bass is excellent and has great tonality throughout the frequency range.  The high-end is fantastic as well.

The DPA Matrix source has a very muffled high-end, though the low-end is quite nice.  Just doesn't have the dynamic range of the VM44 source.

The SKM184 source is not as punchy or as clear as the 4022 or the VM44 source.

The CCM4 source is probably the 2nd or 3rd best of the evening.  The low-end is quite clear and distinct with good dynamic range and tonality.  However, there is a pretty fair amount of crowd noise, and again, the highs aren't as nice as the VM44's.

The MK4v source sounds pretty good, with again, great, punchy low-end, but again, the high's just aren't as nice as the VM44.

The BSC2 source sounds very distant and boomy and has lots of crowd noise.

Happy listening!

September 3, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
I want to apologize for the delay in getting this review up.  There were 14!! sources to listen to.  As most of you know, this was a fantastic show and should be downloaded by everybody who is into Phish.  I want to thank all of the tapers who captured this night and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter MK4v source)
Source: schoeps mk4v(din)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source 


Source 2 (hereafter MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source



Source 3 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: SBD/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)
Tagging: FLACs Tagged With Mp3tag v2.46a

16 bit source

Source 4 (hereafter Senn source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, centered, 12.5 feet high
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

16 bit source

Source 5 (hereafter DPA 4021 source)
Source: DPA 4021  > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source

Source 6 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 7 (hereafter AK40 source)
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (hereafter VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks again for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 9 (hereafter MK21 source)
Source: Schoeps mk21  > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: NOS/FOB
transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 10 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 11 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (hereafter MK22 source)
Source:Schoeps MK22 (stc 22g)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 13 (hereafter BSC2 source)
Source: Busman bsc2 K11(cards)>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 14 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source


Phish - 9/3/11 "Tweezer" from Phish on Vimeo.

The MK4v source sounds a bit muffled in the low-end and loses some tonal characteristics at the lowest frequencies.

The MK5 source is my pick for best of the night.  Frankly, its a toss up between the VM44 source and the MK5 source.  They both have great sonic separation and they both have great bass response.  The levels on the MK5 source are slightly better and I like the tone in the mids a bit better.  Plus, this one is also available in 24 bit for you die-hards out there.

The BSC1 source sounds a bit muffled at the low-end.

The Senn source doesn't have very much bass response at the low-end and overall doesn't sound as transparent as the MK5, VM44, or DPA 4021 source.

The DPA 4021 source is quite good.  I would call it the 3rd best recording of the night.  The bass response is excellent and the separation is also quite good.  However, the high-end just isn't as crisp on this one as the VM44 or MK5 sources.

The DPA 4022 source is, like the 4021's, quite transparent, however the low-end isn't as punchy as in the MK5 or VM44 sources, or even the 4021's for that matter.

The AK40 source is quite nice sounding, but like the 4022's, just doesn't have the bass response of the better sources.

The VM44 source, just like the night before, is excellent.  The sonic separation is fantastic, the bass response is exactly what I am looking for.  There are really only subtle differences between this recording and the MK5.  Easily the 2nd best recording and if your tastes differ slightly, you might prefer it.

The MK21 source, like the 4022's sounds quite nice but doesn't kick the sub like the better sources.

The SKM184 source is quite clean sounding with good separation, but it doesn't have the bass response of the MK5's, the VM44's, or the 4021's.

The CCM4 source sounds a bit distant and the bass doesn't have the tone or punch of the better sources.

The MK22 source, like the CCM4's and MK21's doesn't kick the sub as hard as the better sources.

The BSC2 source sounds distant and muffled.

The DPA Matrix source has quite nice bass response, but like the night before, sacrifices high-end in the process.

Happy listening!

September 4, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
Phish wrapped up an epic three night run outside Denver with a smoking show.  Along with the previous two nights, if you don't download this show, you are missing out on some of the best top to bottom shows of the year.  Like the previous night, we are blessed with a plethora of recordings to choose from.  Thirteen different sources have shown up for this night, making my job more difficult, but ensuring that the best recording is truly fantastic.  Thanks again go out to all the tapers who get out there and capture this great music and share it with the community.  Thanks a lot fellas!

Source 1 (BSC2 source)
Source: Busman bsc2 K31(hypers)>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 2 (MK22 source)
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source



Source 3 (MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source


Source 4 (DPA 4022 source)
Source: DPA 4022 (nos)> Oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source

Source 5 (SKM184 source)
Source: Neumann skm184>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 6 (VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5'
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 7 (AK40 source)
Source:  Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source

Source 9 (BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 10 (CCM4 source)
Source: Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (MK4v source)
Source: Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (MK21 source)
Source: Schoeps mk21  > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: ORTF wide/FOB
Transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 13 (DPA 4021 source)
Source: DPA 4021 > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source


Phish - 9/4/11 "Bathtub Gin" from Phish on Vimeo.

The BSC2 source lacks good separation throughout the sonic spectrum and the low-end lacks the umph of the better sources.

The MK22 source loses some of the tonality at the lowest frequencies.

The MK5 source is superb.  The levels are excellent, there is good balance between the instruments, the bass has good tone as well as kicking the sub nicely.  This source gets my nod ever so slightly over the VM44 source because it sounds slightly brighter.

The DPA 4022 source is a bit more bass heavy than the VM44 source, but the highs aren't as nice.

The SKM184 source sounds a bit bass heavy and lacks high-end.

The VM44 source is excellent. There is a tremendous dynamic range.  The tone of the bass is great, even at the lowest frequencies.  In the end, the differences between this recording and the MK5 are slight.  This recording seems to lack a touch of the brightness of the MK5 recording, which is why it did not get the nod.

The AK40 source is really bass heavy and lacks the crisp highs of the MK5 or VM44 source.

The DPA Matrix source has lots of bass, and like so many matrix sources, loses a bit of the high-end.

The BSC1 source lacks good separation and sounds a bit bass heavy.

The CCM4 source sounds a bit distant compared to the VM44 source, but the sound is quite good, if a touch heavy on the bass.

The MK4v source is quite nice sounding, with good bass tone, however some of the tone is lost at the lowest frequencies.

The MK21 source is quite good.  The tone is nice down low, however it lacks the great highs of the VM44 or MK5 source.  I would say this is probably the 3rd best recording of the night.

The DPA 4021 source doesn't have the tone down low of the VM44 or MK5 source, and the highs aren't as nice either.

Happy listening!

August 9, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

To contact us Click HERE
Phish continued their whirlwind tour out West with a two night stand in Lake Tahoe.  Harvey's was really a beautiful venue and there was plenty to do everyday.  This show, and the following, were webcast and while they weren't the greatest shows ever played, they were pretty darn good.  The debate about whether or not webcasting effects performance rages on.  I come down on the side of the more folks who can experience a show the better.  As the fanbase ages, or at least as I do, it is tougher to see as many shows as you would like, but being able to dial it up on the big screen is a nice substitute.  That said, there are 6 sources available for this show.  As usual, I have to tip my hat to the tapers who recorded this night and shared it with all of us.  Thanks a lot guys!

Source 1 (hereafter U89 source)
Source: Neumann U-89i's(Hypers)-V3-Digi out to Dr-680
Location: OTS 1st Stand against railing in section, approximately 70 degree's and 6 inch appart
Mic's raised to approx. 13 Ft.

16 bit source



Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> Edirol R44 (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter M934C source)
Source: (Set I) Schoeps m934c> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Source: (Set II+E) Schoeps mk5> AMC3> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, m934c/cardioid/DIN, mk5/cardioid/DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source

Source 4 (hereafter AK40 source) ***note torrent includes 8-10 recording as well***
Source: Neumann AK 40's (NOS) > LC3 > KM 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 60' Back
Transfer: Cf Card > Wavelab 6.0 > Resample, UV 22HR Dither >
Added +3.5 db For Set I > Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 5 (hereafter Senn source) ***24 bit only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (s/pidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 6 (hereafter CCM4 source)
Source:Schoeps CCM4(Ortf)Vms52ub>R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/9/11 "Light" from Phish on Vimeo.

The U89 source has much better bass response than the other Neuman source or the CCM4 source, however it is fairly muddy, without the distinct notes noticeable on the MK4v source.

The MK4v source is my pick for best of the night.  The bass response is excellent, as are the levels.  There is tremendous dynamic range, making the recording sound very live.  However, on the downside, particularly between songs, there is a fair amount of crowd noise.  This isn't so bad during most of the music on the plus side.

The M934c/MK5 source has lots of bass, but there just isn't much distinction or tone in the lowest frequencies.  Notice the intro to PYITE and the lack of tone in the low end.  You don't hear any notes coming from Mike, just a bass rumble.  The MK5 (used in the 2nd set) improves this slightly, but still doesn't rise to the level of the MK4v source.

The AK40's have lots of crowd noise and while the bass drum kicks the sub, the tone is just lacking in Mike's bass.  Notice the introduction to 46 Days, Mike sounds like a muddy mess down low on this recording and is tight and full on the MK4v source.

The Senn source sounds a bit distant and hollow compared to the other sources.  On the whole, it seems to lack the dynamic range of the MK4v source.

The CCM4 source just doesn't kick the sub very hard.  The bass is there and is more distinct than the M934c source or the AK40 source, it just doesn't have the prominence of the MK4v source.

Happy listening!

August 10, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

To contact us Click HERE
Phish wrapped up their last regular show of their West Coast leg with a sold out show in Lake Tahoe.  With only a festival set to go in San Francisco, many were expecting Phish to bring the fire.  Unfortunately, it wasn't their best show of the tour.  However, as always with Phish, there are several moments that are definitely worth hearing again and luckily for us, there are seven different sources available from this night.  Thanks go out again to all the tapers who record these shows and share them with the community.  Thanks a lot guys!

Source 1 (hereafter MK41 source)
Source:Schoeps MK41(din)> Kcy >Sonosax SX-M2/LS2 >R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source



Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter KM140 source) ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 24/48 WAV 
Location: FOB/pit
Transfer: CD Wave > Audition > FLAC24

24 bit source

Source 4 (hereafter AK40 source) ***note 16 bit torrent includes 8-9 source as well***
Source: Neumann AK 40's (NOS) > Lc3 > Km 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 50' Back >
Transfer: CF Card > Wavelab 6.0 > Cd Wave > TLH 24/48 FLAC

16 bit source
24 bit source

Source 5 (hereafter U89 source)
Source: Neumenn U-89I's-V3(digital out) Dr-680
Location: OTS
Transfer: Normalization and tracking in post using Wave Lab 6
1st Song From AKG 414ULS-Oade Transparent Mod PMD-661Both sets of mics set to Hyper card with approximately 70 Degree angle and 5 inch spacing

16 bit source

Source 6 (hereafter Senn source) ***24 bit source only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (spidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 7 (hereafter CCM4 source)
Source:SchoepsCCM4(wide ortf)>Sonosax SX-M2>R44(ocm) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/10/11 "Stash" from Phish on Vimeo.

The MK41 source has fairly low levels.  There is a fair amount of crowd noise on the source, however the bass is more distinct than on its sister source, the CCM4's.

The MK4v source, again, gets my nod for source of the night.  The bass is nice and full without being overpowering and the separation of the instruments is quite nice. 

The KM140 source is the second best sounding source of the night.  The bass is a little bit fuller than the MK4v source and the separation is even better too.  However, the crowd noise on this source is much more noticeable than on the MK4v's.  If you don't mind the crowd noise, by all means go for this source.  Remember, only available in 24 bit, so it isn't playable on your iPod without down-converting.

The AK40 source is nicely balanced and has a nice, distinct bass tone.  It is very transparent as well.  However, the levels aren't nearly as nice as the MK4v or KM140 source and doesn't kick the sub as hard either.

The U89 source is really nice sounding, but gets a bit muddy in the lowest frequencies.  There seems to be a hollowness in the mids and is just overall a bit boomier than the KM140 or MK4v sources.

The Senn source sounds fairly distant compared to the MK4v or Neumann sources.  Further, the low end isn't nearly as rich or as full as the MK4v or KM140 sources.

The CCM4 source sounds a bit muffled in the low end, especially compared to the MK4v and KM140 sources.  The levels are fairly low and there is a great deal of crowd noise evident on it.

Happy listening!

September 2, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
Coming right off the heels of a pretty good second leg of summer, Phish settled in for what many thought would be the last shows of the year out in Colorado.  A large gathering with onsite camping made for a very festival like atmosphere, and Phish did not disappoint.  The first of these shows, now forever known as the "S" show offered a ton of rare songs, including a bustout of Sparks which hadn't been seen in 15 years.  This is one you definitely want to download.  Making my job difficult, but rewarding, are 11 different sources for this night! I want to thank all the tapers who recorded this and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter AK40 source)
Source:  Neumann AK 40 (NOS) >  Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > Wavelab 6.0 (resample,Uv 22 HR) > Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 2 (hereafter MK22 source)
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 3 (hereafter MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source

Source 4 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 8ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 5 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m148> sd744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source



 Source 6 (hereafter Milab VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source




Source 7 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: UV22HR(16/44.1)->CDWave->FLAC

16 bit source

Source 8 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 9 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 10 (hereafter MK4v source)
Source:Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (hereafter BSC2 source)
Source: Busman bsc2 K2(Omni)>sd744>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source


Phish - 9/2/11 "Seven Below > Suzy Greenberg > Scents And Subtle Sounds" from Phish on Vimeo.

The AK40 source doesn't have the clear bass that you have on the 4022's or the VM44 source.  The recording is a bit boomy as well.

The MK22 source is quite good, though the bass could be a bit higher up in the mix.  Further, the bass is not as clear tonally as I would like.  When you compare the attack on Mike's bass on this recording vs. the VM44's, there really is a big difference.

The MK5 source sounds fantastic.  Unfortunately, the levels are a bit high, resulting in some crispiness during the louder parts.  Barring that, this would be my pick of the night, but with those problems, just couldn't pick it, particularly considering how nice the VM44's sound.

The BSC1 source sounds a bit boomy compared to the VM44 source.

The DPA 4022 source is quite punchy on the bass, with great mids.  However, the high-end just doesn't compare to the VM44 source.

The VM44 source is my pick for best sounding recording.  The bass is excellent and has great tonality throughout the frequency range.  The high-end is fantastic as well.

The DPA Matrix source has a very muffled high-end, though the low-end is quite nice.  Just doesn't have the dynamic range of the VM44 source.

The SKM184 source is not as punchy or as clear as the 4022 or the VM44 source.

The CCM4 source is probably the 2nd or 3rd best of the evening.  The low-end is quite clear and distinct with good dynamic range and tonality.  However, there is a pretty fair amount of crowd noise, and again, the highs aren't as nice as the VM44's.

The MK4v source sounds pretty good, with again, great, punchy low-end, but again, the high's just aren't as nice as the VM44.

The BSC2 source sounds very distant and boomy and has lots of crowd noise.

Happy listening!

September 3, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
I want to apologize for the delay in getting this review up.  There were 14!! sources to listen to.  As most of you know, this was a fantastic show and should be downloaded by everybody who is into Phish.  I want to thank all of the tapers who captured this night and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter MK4v source)
Source: schoeps mk4v(din)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source 


Source 2 (hereafter MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source



Source 3 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: SBD/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)
Tagging: FLACs Tagged With Mp3tag v2.46a

16 bit source

Source 4 (hereafter Senn source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, centered, 12.5 feet high
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

16 bit source

Source 5 (hereafter DPA 4021 source)
Source: DPA 4021  > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source

Source 6 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 7 (hereafter AK40 source)
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (hereafter VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks again for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 9 (hereafter MK21 source)
Source: Schoeps mk21  > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: NOS/FOB
transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 10 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 11 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (hereafter MK22 source)
Source:Schoeps MK22 (stc 22g)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 13 (hereafter BSC2 source)
Source: Busman bsc2 K11(cards)>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 14 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source


Phish - 9/3/11 "Tweezer" from Phish on Vimeo.

The MK4v source sounds a bit muffled in the low-end and loses some tonal characteristics at the lowest frequencies.

The MK5 source is my pick for best of the night.  Frankly, its a toss up between the VM44 source and the MK5 source.  They both have great sonic separation and they both have great bass response.  The levels on the MK5 source are slightly better and I like the tone in the mids a bit better.  Plus, this one is also available in 24 bit for you die-hards out there.

The BSC1 source sounds a bit muffled at the low-end.

The Senn source doesn't have very much bass response at the low-end and overall doesn't sound as transparent as the MK5, VM44, or DPA 4021 source.

The DPA 4021 source is quite good.  I would call it the 3rd best recording of the night.  The bass response is excellent and the separation is also quite good.  However, the high-end just isn't as crisp on this one as the VM44 or MK5 sources.

The DPA 4022 source is, like the 4021's, quite transparent, however the low-end isn't as punchy as in the MK5 or VM44 sources, or even the 4021's for that matter.

The AK40 source is quite nice sounding, but like the 4022's, just doesn't have the bass response of the better sources.

The VM44 source, just like the night before, is excellent.  The sonic separation is fantastic, the bass response is exactly what I am looking for.  There are really only subtle differences between this recording and the MK5.  Easily the 2nd best recording and if your tastes differ slightly, you might prefer it.

The MK21 source, like the 4022's sounds quite nice but doesn't kick the sub like the better sources.

The SKM184 source is quite clean sounding with good separation, but it doesn't have the bass response of the MK5's, the VM44's, or the 4021's.

The CCM4 source sounds a bit distant and the bass doesn't have the tone or punch of the better sources.

The MK22 source, like the CCM4's and MK21's doesn't kick the sub as hard as the better sources.

The BSC2 source sounds distant and muffled.

The DPA Matrix source has quite nice bass response, but like the night before, sacrifices high-end in the process.

Happy listening!

September 4, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
Phish wrapped up an epic three night run outside Denver with a smoking show.  Along with the previous two nights, if you don't download this show, you are missing out on some of the best top to bottom shows of the year.  Like the previous night, we are blessed with a plethora of recordings to choose from.  Thirteen different sources have shown up for this night, making my job more difficult, but ensuring that the best recording is truly fantastic.  Thanks again go out to all the tapers who get out there and capture this great music and share it with the community.  Thanks a lot fellas!

Source 1 (BSC2 source)
Source: Busman bsc2 K31(hypers)>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 2 (MK22 source)
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source



Source 3 (MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source


Source 4 (DPA 4022 source)
Source: DPA 4022 (nos)> Oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source

Source 5 (SKM184 source)
Source: Neumann skm184>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 6 (VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5'
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 7 (AK40 source)
Source:  Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source

Source 9 (BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 10 (CCM4 source)
Source: Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (MK4v source)
Source: Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (MK21 source)
Source: Schoeps mk21  > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: ORTF wide/FOB
Transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 13 (DPA 4021 source)
Source: DPA 4021 > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source


Phish - 9/4/11 "Bathtub Gin" from Phish on Vimeo.

The BSC2 source lacks good separation throughout the sonic spectrum and the low-end lacks the umph of the better sources.

The MK22 source loses some of the tonality at the lowest frequencies.

The MK5 source is superb.  The levels are excellent, there is good balance between the instruments, the bass has good tone as well as kicking the sub nicely.  This source gets my nod ever so slightly over the VM44 source because it sounds slightly brighter.

The DPA 4022 source is a bit more bass heavy than the VM44 source, but the highs aren't as nice.

The SKM184 source sounds a bit bass heavy and lacks high-end.

The VM44 source is excellent. There is a tremendous dynamic range.  The tone of the bass is great, even at the lowest frequencies.  In the end, the differences between this recording and the MK5 are slight.  This recording seems to lack a touch of the brightness of the MK5 recording, which is why it did not get the nod.

The AK40 source is really bass heavy and lacks the crisp highs of the MK5 or VM44 source.

The DPA Matrix source has lots of bass, and like so many matrix sources, loses a bit of the high-end.

The BSC1 source lacks good separation and sounds a bit bass heavy.

The CCM4 source sounds a bit distant compared to the VM44 source, but the sound is quite good, if a touch heavy on the bass.

The MK4v source is quite nice sounding, with good bass tone, however some of the tone is lost at the lowest frequencies.

The MK21 source is quite good.  The tone is nice down low, however it lacks the great highs of the VM44 or MK5 source.  I would say this is probably the 3rd best recording of the night.

The DPA 4021 source doesn't have the tone down low of the VM44 or MK5 source, and the highs aren't as nice either.

Happy listening!

August 9, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

To contact us Click HERE
Phish continued their whirlwind tour out West with a two night stand in Lake Tahoe.  Harvey's was really a beautiful venue and there was plenty to do everyday.  This show, and the following, were webcast and while they weren't the greatest shows ever played, they were pretty darn good.  The debate about whether or not webcasting effects performance rages on.  I come down on the side of the more folks who can experience a show the better.  As the fanbase ages, or at least as I do, it is tougher to see as many shows as you would like, but being able to dial it up on the big screen is a nice substitute.  That said, there are 6 sources available for this show.  As usual, I have to tip my hat to the tapers who recorded this night and shared it with all of us.  Thanks a lot guys!

Source 1 (hereafter U89 source)
Source: Neumann U-89i's(Hypers)-V3-Digi out to Dr-680
Location: OTS 1st Stand against railing in section, approximately 70 degree's and 6 inch appart
Mic's raised to approx. 13 Ft.

16 bit source



Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> Edirol R44 (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter M934C source)
Source: (Set I) Schoeps m934c> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Source: (Set II+E) Schoeps mk5> AMC3> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, m934c/cardioid/DIN, mk5/cardioid/DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source

Source 4 (hereafter AK40 source) ***note torrent includes 8-10 recording as well***
Source: Neumann AK 40's (NOS) > LC3 > KM 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 60' Back
Transfer: Cf Card > Wavelab 6.0 > Resample, UV 22HR Dither >
Added +3.5 db For Set I > Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 5 (hereafter Senn source) ***24 bit only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (s/pidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 6 (hereafter CCM4 source)
Source:Schoeps CCM4(Ortf)Vms52ub>R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/9/11 "Light" from Phish on Vimeo.

The U89 source has much better bass response than the other Neuman source or the CCM4 source, however it is fairly muddy, without the distinct notes noticeable on the MK4v source.

The MK4v source is my pick for best of the night.  The bass response is excellent, as are the levels.  There is tremendous dynamic range, making the recording sound very live.  However, on the downside, particularly between songs, there is a fair amount of crowd noise.  This isn't so bad during most of the music on the plus side.

The M934c/MK5 source has lots of bass, but there just isn't much distinction or tone in the lowest frequencies.  Notice the intro to PYITE and the lack of tone in the low end.  You don't hear any notes coming from Mike, just a bass rumble.  The MK5 (used in the 2nd set) improves this slightly, but still doesn't rise to the level of the MK4v source.

The AK40's have lots of crowd noise and while the bass drum kicks the sub, the tone is just lacking in Mike's bass.  Notice the introduction to 46 Days, Mike sounds like a muddy mess down low on this recording and is tight and full on the MK4v source.

The Senn source sounds a bit distant and hollow compared to the other sources.  On the whole, it seems to lack the dynamic range of the MK4v source.

The CCM4 source just doesn't kick the sub very hard.  The bass is there and is more distinct than the M934c source or the AK40 source, it just doesn't have the prominence of the MK4v source.

Happy listening!

August 10, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

To contact us Click HERE
Phish wrapped up their last regular show of their West Coast leg with a sold out show in Lake Tahoe.  With only a festival set to go in San Francisco, many were expecting Phish to bring the fire.  Unfortunately, it wasn't their best show of the tour.  However, as always with Phish, there are several moments that are definitely worth hearing again and luckily for us, there are seven different sources available from this night.  Thanks go out again to all the tapers who record these shows and share them with the community.  Thanks a lot guys!

Source 1 (hereafter MK41 source)
Source:Schoeps MK41(din)> Kcy >Sonosax SX-M2/LS2 >R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source



Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter KM140 source) ***24 bit only***
Source: Neumann KM140s > Sound Devices MP2 > Edirol R09 24/48 WAV 
Location: FOB/pit
Transfer: CD Wave > Audition > FLAC24

24 bit source

Source 4 (hereafter AK40 source) ***note 16 bit torrent includes 8-9 source as well***
Source: Neumann AK 40's (NOS) > Lc3 > Km 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 50' Back >
Transfer: CF Card > Wavelab 6.0 > Cd Wave > TLH 24/48 FLAC

16 bit source
24 bit source

Source 5 (hereafter U89 source)
Source: Neumenn U-89I's-V3(digital out) Dr-680
Location: OTS
Transfer: Normalization and tracking in post using Wave Lab 6
1st Song From AKG 414ULS-Oade Transparent Mod PMD-661Both sets of mics set to Hyper card with approximately 70 Degree angle and 5 inch spacing

16 bit source

Source 6 (hereafter Senn source) ***24 bit source only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (spidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 7 (hereafter CCM4 source)
Source:SchoepsCCM4(wide ortf)>Sonosax SX-M2>R44(ocm) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/10/11 "Stash" from Phish on Vimeo.

The MK41 source has fairly low levels.  There is a fair amount of crowd noise on the source, however the bass is more distinct than on its sister source, the CCM4's.

The MK4v source, again, gets my nod for source of the night.  The bass is nice and full without being overpowering and the separation of the instruments is quite nice. 

The KM140 source is the second best sounding source of the night.  The bass is a little bit fuller than the MK4v source and the separation is even better too.  However, the crowd noise on this source is much more noticeable than on the MK4v's.  If you don't mind the crowd noise, by all means go for this source.  Remember, only available in 24 bit, so it isn't playable on your iPod without down-converting.

The AK40 source is nicely balanced and has a nice, distinct bass tone.  It is very transparent as well.  However, the levels aren't nearly as nice as the MK4v or KM140 source and doesn't kick the sub as hard either.

The U89 source is really nice sounding, but gets a bit muddy in the lowest frequencies.  There seems to be a hollowness in the mids and is just overall a bit boomier than the KM140 or MK4v sources.

The Senn source sounds fairly distant compared to the MK4v or Neumann sources.  Further, the low end isn't nearly as rich or as full as the MK4v or KM140 sources.

The CCM4 source sounds a bit muffled in the low end, especially compared to the MK4v and KM140 sources.  The levels are fairly low and there is a great deal of crowd noise evident on it.

Happy listening!

September 2, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
Coming right off the heels of a pretty good second leg of summer, Phish settled in for what many thought would be the last shows of the year out in Colorado.  A large gathering with onsite camping made for a very festival like atmosphere, and Phish did not disappoint.  The first of these shows, now forever known as the "S" show offered a ton of rare songs, including a bustout of Sparks which hadn't been seen in 15 years.  This is one you definitely want to download.  Making my job difficult, but rewarding, are 11 different sources for this night! I want to thank all the tapers who recorded this and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter AK40 source)
Source:  Neumann AK 40 (NOS) >  Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > Wavelab 6.0 (resample,Uv 22 HR) > Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 2 (hereafter MK22 source)
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 3 (hereafter MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source

Source 4 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 8ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 5 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m148> sd744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source



 Source 6 (hereafter Milab VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source




Source 7 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: UV22HR(16/44.1)->CDWave->FLAC

16 bit source

Source 8 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 9 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 10 (hereafter MK4v source)
Source:Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (hereafter BSC2 source)
Source: Busman bsc2 K2(Omni)>sd744>wav24/48
Location: FOB>LOC>10ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source


Phish - 9/2/11 "Seven Below > Suzy Greenberg > Scents And Subtle Sounds" from Phish on Vimeo.

The AK40 source doesn't have the clear bass that you have on the 4022's or the VM44 source.  The recording is a bit boomy as well.

The MK22 source is quite good, though the bass could be a bit higher up in the mix.  Further, the bass is not as clear tonally as I would like.  When you compare the attack on Mike's bass on this recording vs. the VM44's, there really is a big difference.

The MK5 source sounds fantastic.  Unfortunately, the levels are a bit high, resulting in some crispiness during the louder parts.  Barring that, this would be my pick of the night, but with those problems, just couldn't pick it, particularly considering how nice the VM44's sound.

The BSC1 source sounds a bit boomy compared to the VM44 source.

The DPA 4022 source is quite punchy on the bass, with great mids.  However, the high-end just doesn't compare to the VM44 source.

The VM44 source is my pick for best sounding recording.  The bass is excellent and has great tonality throughout the frequency range.  The high-end is fantastic as well.

The DPA Matrix source has a very muffled high-end, though the low-end is quite nice.  Just doesn't have the dynamic range of the VM44 source.

The SKM184 source is not as punchy or as clear as the 4022 or the VM44 source.

The CCM4 source is probably the 2nd or 3rd best of the evening.  The low-end is quite clear and distinct with good dynamic range and tonality.  However, there is a pretty fair amount of crowd noise, and again, the highs aren't as nice as the VM44's.

The MK4v source sounds pretty good, with again, great, punchy low-end, but again, the high's just aren't as nice as the VM44.

The BSC2 source sounds very distant and boomy and has lots of crowd noise.

Happy listening!

September 3, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
I want to apologize for the delay in getting this review up.  There were 14!! sources to listen to.  As most of you know, this was a fantastic show and should be downloaded by everybody who is into Phish.  I want to thank all of the tapers who captured this night and shared it with the community.  Thanks a lot fellas!

Source 1 (hereafter MK4v source)
Source: schoeps mk4v(din)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source 


Source 2 (hereafter MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source



Source 3 (hereafter BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: SBD/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)
Tagging: FLACs Tagged With Mp3tag v2.46a

16 bit source

Source 4 (hereafter Senn source)
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2
Location: pointed at PA array, centered, 12.5 feet high
Path: R4Pro > WaveBurner ( track on sector boundaries, fades, SRC, BDC ) > xACT ( to flac, and for tagging and checksums )

16 bit source

Source 5 (hereafter DPA 4021 source)
Source: DPA 4021  > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source

Source 6 (hereafter DPA 4022 source)
Source: DPA 4022(din)> oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source
24 bit source

Source 7 (hereafter AK40 source)
Source: Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (hereafter VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5' (thanks again for the clamp space Adam!)
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 9 (hereafter MK21 source)
Source: Schoeps mk21  > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: NOS/FOB
transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 10 (hereafter SKM184 source)
Source: Neumann skm184>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 11 (hereafter CCM4 source)
Source:Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (hereafter MK22 source)
Source:Schoeps MK22 (stc 22g)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 13 (hereafter BSC2 source)
Source: Busman bsc2 K11(cards)>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 14 (hereafter DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source


Phish - 9/3/11 "Tweezer" from Phish on Vimeo.

The MK4v source sounds a bit muffled in the low-end and loses some tonal characteristics at the lowest frequencies.

The MK5 source is my pick for best of the night.  Frankly, its a toss up between the VM44 source and the MK5 source.  They both have great sonic separation and they both have great bass response.  The levels on the MK5 source are slightly better and I like the tone in the mids a bit better.  Plus, this one is also available in 24 bit for you die-hards out there.

The BSC1 source sounds a bit muffled at the low-end.

The Senn source doesn't have very much bass response at the low-end and overall doesn't sound as transparent as the MK5, VM44, or DPA 4021 source.

The DPA 4021 source is quite good.  I would call it the 3rd best recording of the night.  The bass response is excellent and the separation is also quite good.  However, the high-end just isn't as crisp on this one as the VM44 or MK5 sources.

The DPA 4022 source is, like the 4021's, quite transparent, however the low-end isn't as punchy as in the MK5 or VM44 sources, or even the 4021's for that matter.

The AK40 source is quite nice sounding, but like the 4022's, just doesn't have the bass response of the better sources.

The VM44 source, just like the night before, is excellent.  The sonic separation is fantastic, the bass response is exactly what I am looking for.  There are really only subtle differences between this recording and the MK5.  Easily the 2nd best recording and if your tastes differ slightly, you might prefer it.

The MK21 source, like the 4022's sounds quite nice but doesn't kick the sub like the better sources.

The SKM184 source is quite clean sounding with good separation, but it doesn't have the bass response of the MK5's, the VM44's, or the 4021's.

The CCM4 source sounds a bit distant and the bass doesn't have the tone or punch of the better sources.

The MK22 source, like the CCM4's and MK21's doesn't kick the sub as hard as the better sources.

The BSC2 source sounds distant and muffled.

The DPA Matrix source has quite nice bass response, but like the night before, sacrifices high-end in the process.

Happy listening!

September 4, 2011 Dick's Sporting Goods Park, Commerce City, CO Sources Review

To contact us Click HERE
Phish wrapped up an epic three night run outside Denver with a smoking show.  Along with the previous two nights, if you don't download this show, you are missing out on some of the best top to bottom shows of the year.  Like the previous night, we are blessed with a plethora of recordings to choose from.  Thirteen different sources have shown up for this night, making my job more difficult, but ensuring that the best recording is truly fantastic.  Thanks again go out to all the tapers who get out there and capture this great music and share it with the community.  Thanks a lot fellas!

Source 1 (BSC2 source)
Source: Busman bsc2 K31(hypers)>sd702>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 2 (MK22 source)
Source: schoeps mk22 (stc 22g)> kc5> m222> nt222> Lunatec V3 (ACM)> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source



Source 3 (MK5 source)
Source: Schoeps mk5> KCY> VST62IU> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, cardioid/ORTF
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source


Source 4 (DPA 4022 source)
Source: DPA 4022 (nos)> Oade m248> SD 744t
Location: FOB/DFC 6.5'
Transfer: 744>samplitude>cd wave> tlh

16 bit source

Source 5 (SKM184 source)
Source: Neumann skm184>sd744>wav24/48
Location: OTS>15ft
Transfer: CF>goldwave(dither resample 16/441)>cd wave>flac level 8

16 bit source

Source 6 (VM44 source)
Source: Milab VM44-link > Lunatec V3 (24/44.1k) > Sony D50
Location: FOB/DFC 6.5'
Transfer: D50> Amadeus Pro > xACT

16 bit source

Source 7 (AK40 source)
Source:  Neumann AK 40 (NOS) > Lc3 > Km 100 > Aerco Mp2 > Sd 702 @ 24/48
Location: FOB/DFC 50' Back
Transfer: Cf Card > *Wavelab 6.0 (resample,Uv 22 HR) >
Cd Wave > TLH > 16.44 FLAC

16 bit source
24 bit source

Source 8 (DPA Matrix source)
Source: [DPA 4027(ORTF/FOB)->V2->Mytek 192 + DPA 4022(XY/FOB)->V3(analog)] -> Busman DR-680(24/96)->UV22HR(16/44.1)
Transfer: CDWave->FLAC

16 bit source

Source 9 (BSC1 source)
Source: Busman Audio BSC1/K21 (A/B @ 3 ft) > GAKable XLR > Busman HD-P2 (24/48)
Location: FOB/LOC 10ft up
Transfer: CF > WaveLab 6 (-24dB @ 85Hz, -12dB RMS Normalize, Fades,
Convert to 16bit, Resample to 44.1 with Apogee UV22HR Dither) >
CDWave (Tracking) > Traders Little Helper (FLAC6)

16 bit source

Source 10 (CCM4 source)
Source: Schoeps CCM4 (Ortf)>VMS5u>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 11 (MK4v source)
Source: Schoeps MK4v(ortf)> Kcy > Sonosax SX-M2/LS2 >Mytek 192 adc aes/spdif>R44(OCM) 24/96
Location: FOB, DFC, 6'
Transfer: SDHC>Audacity 16/44 >Amadeus Pro>xACT

16 bit source

Source 12 (MK21 source)
Source: Schoeps mk21  > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/96)
Location: ORTF wide/FOB
Transfer: CF > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source

Source 13 (DPA 4021 source)
Source: DPA 4021 > Lunatec V2 > Sony D50 (24/96)
Location: ORTF/FOB
Transfer: Memory Stick > Sound Studio > xACT > .flac (16/44)

16 bit source
24 bit source


Phish - 9/4/11 "Bathtub Gin" from Phish on Vimeo.

The BSC2 source lacks good separation throughout the sonic spectrum and the low-end lacks the umph of the better sources.

The MK22 source loses some of the tonality at the lowest frequencies.

The MK5 source is superb.  The levels are excellent, there is good balance between the instruments, the bass has good tone as well as kicking the sub nicely.  This source gets my nod ever so slightly over the VM44 source because it sounds slightly brighter.

The DPA 4022 source is a bit more bass heavy than the VM44 source, but the highs aren't as nice.

The SKM184 source sounds a bit bass heavy and lacks high-end.

The VM44 source is excellent. There is a tremendous dynamic range.  The tone of the bass is great, even at the lowest frequencies.  In the end, the differences between this recording and the MK5 are slight.  This recording seems to lack a touch of the brightness of the MK5 recording, which is why it did not get the nod.

The AK40 source is really bass heavy and lacks the crisp highs of the MK5 or VM44 source.

The DPA Matrix source has lots of bass, and like so many matrix sources, loses a bit of the high-end.

The BSC1 source lacks good separation and sounds a bit bass heavy.

The CCM4 source sounds a bit distant compared to the VM44 source, but the sound is quite good, if a touch heavy on the bass.

The MK4v source is quite nice sounding, with good bass tone, however some of the tone is lost at the lowest frequencies.

The MK21 source is quite good.  The tone is nice down low, however it lacks the great highs of the VM44 or MK5 source.  I would say this is probably the 3rd best recording of the night.

The DPA 4021 source doesn't have the tone down low of the VM44 or MK5 source, and the highs aren't as nice either.

Happy listening!

August 9, 2011 Lake Tahoe Outdoor Arena at Harvey's, Stateline, NV Sources Review

To contact us Click HERE
Phish continued their whirlwind tour out West with a two night stand in Lake Tahoe.  Harvey's was really a beautiful venue and there was plenty to do everyday.  This show, and the following, were webcast and while they weren't the greatest shows ever played, they were pretty darn good.  The debate about whether or not webcasting effects performance rages on.  I come down on the side of the more folks who can experience a show the better.  As the fanbase ages, or at least as I do, it is tougher to see as many shows as you would like, but being able to dial it up on the big screen is a nice substitute.  That said, there are 6 sources available for this show.  As usual, I have to tip my hat to the tapers who recorded this night and shared it with all of us.  Thanks a lot guys!

Source 1 (hereafter U89 source)
Source: Neumann U-89i's(Hypers)-V3-Digi out to Dr-680
Location: OTS 1st Stand against railing in section, approximately 70 degree's and 6 inch appart
Mic's raised to approx. 13 Ft.

16 bit source



Source 2 (hereafter MK4v source)
Source: Schoeps mk4v> KC5> M222> NT222> Aeta PSP-3> Edirol R44 (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, DIN
Transfer: SDHC> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source



Source 3 (hereafter M934C source)
Source: (Set I) Schoeps m934c> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Source: (Set II+E) Schoeps mk5> AMC3> M221B> EAA PSP-2> SD 744t (@24bit/96kHz)
Location: FOB, DFC, 6' Stand, m934c/cardioid/DIN, mk5/cardioid/DIN
Transfer: SD 744t> Samplitude SE 9.1.1(dither/resample)> CDWave> flac(16/44.1)

16 bit source
24 bit source

Source 4 (hereafter AK40 source) ***note torrent includes 8-10 recording as well***
Source: Neumann AK 40's (NOS) > LC3 > KM 100 > Aerco MP2 > SD 702 @ 24/48
Location: FOB/DFC 60' Back
Transfer: Cf Card > Wavelab 6.0 > Resample, UV 22HR Dither >
Added +3.5 db For Set I > Cd Wave > TLH > 16/44 FLAC

16 bit source
24 bit source

Source 5 (hereafter Senn source) ***24 bit only***
Source: Sennheiser ME66s (PAS, LOB) > Lunatec V3 > Tascam HD-P2 (s/pidf @ 24/48)
Transfer: Adobe Audition (fades, tracking) > xACT (flac level 8, tagged)

24 bit source

Source 6 (hereafter CCM4 source)
Source:Schoeps CCM4(Ortf)Vms52ub>R44(ocm)24/96
Location: FOB, DFC, 6'
Transfer:SDHC>Audacity 16/44>Amadeus Pro>xACT

16 bit source


Phish - 8/9/11 "Light" from Phish on Vimeo.

The U89 source has much better bass response than the other Neuman source or the CCM4 source, however it is fairly muddy, without the distinct notes noticeable on the MK4v source.

The MK4v source is my pick for best of the night.  The bass response is excellent, as are the levels.  There is tremendous dynamic range, making the recording sound very live.  However, on the downside, particularly between songs, there is a fair amount of crowd noise.  This isn't so bad during most of the music on the plus side.

The M934c/MK5 source has lots of bass, but there just isn't much distinction or tone in the lowest frequencies.  Notice the intro to PYITE and the lack of tone in the low end.  You don't hear any notes coming from Mike, just a bass rumble.  The MK5 (used in the 2nd set) improves this slightly, but still doesn't rise to the level of the MK4v source.

The AK40's have lots of crowd noise and while the bass drum kicks the sub, the tone is just lacking in Mike's bass.  Notice the introduction to 46 Days, Mike sounds like a muddy mess down low on this recording and is tight and full on the MK4v source.

The Senn source sounds a bit distant and hollow compared to the other sources.  On the whole, it seems to lack the dynamic range of the MK4v source.

The CCM4 source just doesn't kick the sub very hard.  The bass is there and is more distinct than the M934c source or the AK40 source, it just doesn't have the prominence of the MK4v source.

Happy listening!