matrix:
1)sbd>Mytek Stereo192(24/48)>MT
2)MG200(DIN, 12ft. up, 10′ left of soundboard)>modUltralite(24/48)>MT
both:cardreader>CEPro2.0>CDWav>FLAC(level8)
processing included auto-conversion to 32b.f. format, EQ, mixing, fades, Waves L2 with dither to 16 bits.
I love me some SBD/AUD matrices … enough that I was awful excited today when TEAC/Tascam called me to tell me where they were in repairing my DR-1. Woooo! Anyhow, ShawnF does good work, too.
First, let me provide you a musical setting, friends. This track runs about ten minutes, which is far more time than it will take you to read these meager words, but maybe you’ll get to thinking during the guitar solo.
All of them left us far, far too soon. All of them left us in much the same way—their brains conspiring with their bodies to take them from us long before any of us were ready to see them go. Cindy was my sister-in-law; Noah’s Barry would have been a good friend, I’m sure, had I ever had the chance to make his acquaintance. Leah was an acquaintance, and her husband Jamie is definitely a friend. All three of these men now share the same grief—a lifetime that was to be lived together now suddenly lived apart.
If you aren’t familiar with Over the Rhine, well, I’m sorry for you. The music that should be playing through your computer is, I think, wholly apt for this setting. The lyrics are reprinted, below, in their entirety, with my emphasis:
it makes a difference
when you walk through a room
with that worrisome smile
road weary perfume
but this isn’t the place
and it isn’t the time
for this beautiful delusion
that is robbing me blind
I want to know
I want to know
will it make a difference
when I go
it makes a difference
that I’m feeling this way
with plenty to think about
and so little to say
except for this confession
that is poised on my lips I’m not letting go of God
I’m just losing my grip
I want to know
I want to know
will it keep you guessing
when I go
what is a love
if the love’s not my own
this is not my home this is lonely
but never alone
I just want to hold you
in my gaze for awhile
so I can remember
every line around your smile
then I want to know
I want to know
will it make a difference
when I go
For those left behind, picking up the pieces, let me answer the question: YES.
George Strait’s Strait Country. It’s classic early 1980s country music—you either like it or you don’t. I do, but that’s because I love George Strait’s voice. Two-and-a-half stars.
Feist’s Open Season. I’m a sucker for remixes because they are new ways to hear familiar tracks. Plus, a couple of these are stripped-down, acoustic affairs, which show of Leslie Feist’s greatest asset—her voice. Four stars.
Alejandro Escovedo’s Real Animal. I think I’m beginning to see what all the fuss is about … I like it a lot. This is a big sounding record, solidly out of a roots rock tradition but with a pleasing amount of crunchiness to catch the ear of a more modern listener. Four stars.
The Velvet Underground’s eponymous album. A solid little record. It’s clear what era that VU records come from, but they’re great representatives of that time. Three stars.
24 Jun 2007 [Northampton, MA, USA] concert bootleg of Wilco. It’s kinda hard to tell that this is a bootleg, which I guess is a credit to the mics. Would that I had the bones to drop on those. The recording is quite clear, to the point that you’d have no idea that you were at an outdoor concert. If I have any complaint, it’s that there’s not much bass, but I bet that’s probably a function of the capsule set. Four stars.
6 Aug 2008 [Boston, MA, USA] concert bootleg of Gnarls Barkley. I am of two minds about using binaural mics for bootleg recordings: I don’t think they’re generally up to it, but sometimes, they’re the only thing that you can get past security. I just find that they make the whole thing sound too flat. As such, this gets just three stars.
Sandra McCracken’s Red Balloon. Predictably, I love it. There are a couple moments on the record that I don’t get, but all in all, I think this lives up to the hype that Derek has been giving it. Four stars.
Nirvana’s In Utero. Sadly, it doesn’t have the punch that Nevermind did, probably understandable as a sophomore major-label release. That, plus a dalliance into noise rock that I didn’t enjoy, got it two-and-a-half stars from me. The goods are great! The bads are … meh.
Jackopierce’s Promise of Summer. Quite, quite enjoyable. A four-star record for me, and I’ll be getting more JP records from the back catalog. [See? Giving stuff away for free works.]
26 Jul 2008 [Anchorage, AK, USA] concert bootleg of Wilco. No, I didn’t pick this in honor of Sarah Palin. This is the band whose debut release was titled A.M.; sadly, it sounds like it was recorded from an AM broadcast: over-compressed, tinny, and muddled. An example: when the band does their Wall of Noise trick in the opening cut, “Via Chicago”, everything is … the same sound level. Jeff is clearly heard. This … just isn’t the way it ought to be at all. Having looked at the mic used in the recording, I’m guessing that this is the sound guy’s fault, or perhaps just crappy mains. But, you know, if I lived in Anchorage, I really wouldn’t give a shit, because Wilco rocks. The good thing is that we get two new songs out of it, and new songs? Always good. The rating is two stars.
Jackopierce’s Promise of Summer. This is a NoiseTrade success—wouldn’t have bought this album without listening to the EP. So, if you’re interested … get the EP at the end of the post.
Matthew Perryman Jones’s Swallow the Sea. I have sadly not given this album the time that it deserves this week, but a copy will go in my car for my Labor Day driving. But from the first few listens, it gets four-and-a-half stars.
20 Apr 2004 [Minneapolis, MN, USA] concert bootleg of M. Ward, Jim James, and Conor Oberst. Matt started his set with a harmonica, which is a sure-fire way to have me love it. [I have yet to understand my affinity for the instrument, but it's undeniable.] Matt’s set is pretty much everything you’d expect from a 2004-era show. As usual, Jim James’s stuff confounds me—I just don’t grok it, for whatever reason. Conor Oberst’s set mostly bored me. Two-and-a-half stars overall.
Nirvana’s Nevermind. Is there an album with a better opening than Nevermind? I mean, it’s a Led Zeppelin-esque tour de force to kick things off. Just fantastic. Four-and-a-half stars.
The Cardigans’ Life. Still definitely in a pop vein, but it’s got a lot more groove behind Nina’s voice musically. Three stars.
Over the Rhine’s Live From Nowhere, Volume Three. Worth the wait, as usual. Four-and-a-half stars. People, this is how you do it: put out a live album every year. Put a couple covers on it. Sell to your hardcore fans directly, and you’ll keep them happy.
16 Jul 2006 [Florence, MA, USA] concert bootleg of The Autumn Defense. I own Birds, Beasts, and Flowers, their half-and-half EP with Hem [because of the latter], but this is the first time I’ve given them a serious listen. I thought BBF was uninspiring for bringing people to Hem, and I think the same can be said for The Autumn Defense—I’ll be checking more out now. Three stars.
R.E.M.’s Murmur. Admittedly, I haven’t given this enough of a listen [just getting to it on Saturday], but I’m just not feeling it yet. I’ll keep trying, but right now, it’s just a three-star record on my radar.
George Strait’s Does Fort Worth Ever Cross Your Mind. I don’t like a whole lot of country music, but there’s just … something about George Strait’s voice. I figure between George and Lyle Lovett, I can get all the country I ever need in my life. [And I still blame my junior-year-at-MSMS roommate, Thomas, for listening to country music in the first place. I had two choices: listen to country or kill him. I chose the former. But working in country radio right out of high school pretty well fixed me on listening to too much country.] So yeah, I’m going through Strait’s catalog some. Three stars, if you like country.
The Cardigans’ Emmerdale. For a band with this much rock and roll chops—Peter Svensson and Magnus Sveningsson had been in heavy metal bands prior to The Cardigans—it’s weird to hear a pop record from them, but it’s still solid, because Nina Persson’s voice is stellar. Two-and-a-half stars.
25 Apr 2008 [Dayton, OH, USA] concert bootleg of Over the Rhine. The mix is just off, but I’m afraid that there’s not much to be done about it by the taper, given that it seems like everything was done that was possible with the AUD part of the mix. Three-and-a-half stars.
28 Apr 2008 [Los Angeles, CA, USA] concert bootleg of She & Him. Persic is one of the best tapers I know, so I lay all the fault here on the vocalists—not only Zooey [who just needs to get more stage presence, which should shock no one who's read about her on the Internet at this point], but whoever was doing the bgv’s, too. But the musicianship of the band is great … three-and-a-half stars.
16 May 2008 [St. Louis, MO, USA] concert bootleg of Wilco. The musicianship is great. The recording is solid. It just … doesn’t really feel like I’m there, which is pretty much my standard for bootleg recordings. I guess I’m faulting Steve’s mix here, which rightly focuses on the music, but feels like it weighs a bit too heavy on the SBD patch. I’m not saying that it’s not good; I’m just saying that I guess I think it could be better. Three-and-a-half stars.
3 Jun 2008 [Paris, France] concert bootleg of Feist. It’s a bit treble-y and feels weak, but it has good crowd capture, which to me is something that you want [because, otherwise, it's a one-off rendition of songs you've heard before; this is why I'm not the biggest fan of soundboards]. Two-and-a-half stars.
Led Zeppelin’s Houses of the Holy. Okay, so the Led Zeppelin that I love is the rockin’, bluesy stuff. And to quote Wikipedia on Houses of the Holy, “This album was a stylistic turning point in the lifespan of Led Zeppelin.” And, well, on “The Song Remains the Same”, I was confused for a minute, thinking that maybe Geddy Lee had replaced Robert Plant or something. [I'm sure that several people broke things after reading that sentence.] Admittedly, it gets back to sounding a little more like Led Zeppelin as the album progresses, and I am the person that did say, just two weeks ago, “I’m a firm believer that bands have to experiment lest they [and/or their fans] become totally bored with the thing.” But that doesn’t mean that I have to like it. So, yes, I should rate this now, right? Three stars, mainly on the strength of “Dancing Days” and “D’yer Mak’er”.
The Cardigans’ Super Extra Gravity. The phrase that I was going to use for this album was “solid, but boring” until I got to “I Need Some Fine Wine and You, You Need to Be Nicer”. I have a lot of friends who are excellent singer/songwriters, so I say this with a bit of trepidation, but … man, The Cardigans rock way too damn much to try to do the singer/songwriter+backing band thing. Sadly, that and a fusion of quasi-country stuff [although it felt like Nina Persson was channeling Sixpence's Leigh Nash for the first few tracks] made for a boring start. But it picks up in the second half of the record, which is good. Three-and-a-half stars.
Coldplay’s Viva La Vida. Egad. Jacobsaid this about Coldplay on a forum I run: “The best way I can put it is that I like simpler Coldplay. It just feels like they’re trying to be something that they’re not right now. The indie-rock/prog-rock (good call Adriene) feel just doesn’t fit what Coldplay was. Sure that sounds like the old fan wishing their band hadn’t grown up and changed their sound…I’ll cop to that. But some of their earlier songs made me want to cry. Now their new stuff does that but for different reasons.” I can’t say it any frickin’ better. One-and-a-half stars, and if any of my friends wants it, I’ll give it to them. I don’t want it back. One-and-a-half stars. I haven’t bought an album that I’ve actively hated in quite some time, but … this is it. Gah.
25 Oct 1997 [Utica, NY, USA] concert bootleg of Blues Traveler. I’m surprised that a SBD sounds this poorly-mixed, but then I probably shouldn’t be. Sound board operators don’t have time to give tapers jacking into their boards the time to give perfectly-mixed feeds. The mix is very definitely pushed towards the treble and towards John’s voice standing out above all others. For people that crap on me wanting to do SBD/AUD matrices, well, suck on this. Two stars. [Sad, because Bob Sheehan was really on this night. And before Chris Smith says crap to me ... suck on it, LC.]
1 Sep 2007 [Denver, CO, USA] concert bootleg of Wilco. Gah. Another week of getting burnt by a stealth rig. Venues that don’t allow tapers suck. This sounds pretty good despite being stealthily done. Two-and-a-half stars.
26 Apr 2008 [Dayton, OH, USA] concert bootleg of Over the Rhine. It’s a rare case when I’m disappointed by a matrix [well, other than my own, heh], but I am by this one. Karin’s vocals are too hot in the mix, but I fear that’s probably a fault of the sound board op [which shocks me, because this typically isn't the case with CST shows] than the taper. [After all, if she's too hot in the SBD feed, she's probably too hot in the mains, and you can't compensate with the AUD part of the feed to get more of the band.] I mean, it’s still a decent recording, but I only give it three stars. I expected four-plus.
27 May 2008 [Milan, Italy] concert bootleg of Feist. Feist bootlegs are hard to come by, so I was willing to chance it on a recording made by a Zoom H2’s internal mics. [Hey, I own and use a Tascam DR-1, so I'm understanding. It's just that internal mics aren't going to get a big band's sound, especially not in a room like that.] So it’s not terribly surprising that the recording is muddy and distant, but hey, it’s free, right? Two-and-a-half stars.
Radiohead’s In Rainbows. Admittedly, I’ve never really gotten into Radiohead, the way Amy’s never gotten into Wilco. But I really liked this one. Four stars.
Angels & Airwaves’ I-Empire. I was fully prepared to hate it, but it was merely okay. There are some decent moments, but it feels too … processed and commercial … for my tastes. Two-and-a-half stars.
4 Aug 1997 [Atlanta, GA, USA] concert bootleg of Counting Crows. I’m always tempted to give old recordings a break when I review them, but at the end of the day, well, if I rate them too highly, then I’ll have to listen to them too often in iTunes. [I listen to iTunes nearly exclusively in Party Shuffle mode.] This sounds like a bad FM radio broadcast from just slightly out of the coverage area—treble-heavy, static-y, and generally plain bad. One-and-a-half stars, but only because it’s Adam Duritz in his good years.
6 Jul 2002 [Bushnell, IL, USA] concert bootleg of Over the Rhine. I’m impressed that a six-year-old bootleg sounds this good. This is exactly how an AUD should sound, to my ears—a faithful representation of how the room sounded. Given that this took place under a tent at Cornerstone, it’s all the more impressive. Jeff, if you did record this, you deserve kudos, sir. Four stars.
2 Mar 2008 [Nashville, TN, USA] concert bootleg of Wilco. Freakin’ Ryman and their no-recording rules. No wonder this recording stinks. One-and-a-half stars. [Seriously, I hate the Ryman for that. It's all stealth rigs. Nazis.]
This week has two new studio releases: one that everyone has, and the other one that BMG sent me when I missed the chance to reply no. Hey, I’ll take the chance.
My Brightest Diamond’s A Thousand Shark’s Teeth. Nothing on A Thousand Shark’s Teeth ever grabbed me like “Golden Star” off of Bring Me the Workhorse did, but “Ice & The Storm” comes close. There’s no doubt that Shara Worden is quite ridiculously talented, but it feels on this one that she’s so there and I’m so … here, with little connection. All in all, it’s a solid effort, though. Three stars.
Sigur Rós’s Með suð í eyrum við spilum endalaust. Brad asked me what I thought of the new Sigur Rós pretty quickly after GNM went up last week, so I sat down and listened to it on Sunday night [which watching baseball, which was quite the dissonant experience, I assure you]. It’s … definitely quite different from what I have of their catalogue to date. I understand the criticisms of it in terms of why people don’t like the more straightforward pop direction this album took, but I’m a firm believer that bands have to experiment lest they [and/or their fans] become totally bored with the thing. Style changes notwithstanding, it’s still very much Sigur Rós—I’d recognize Jónsi’s vocals anywhere—and that’s a good thing. Bands that don’t experiment don’t grow, and bands that don’t grow die. [Unless, of course, you're the Rolling Stones, but then Keith Richards has to be pickled from all the crap he's ingested over the years.] Three-and-a-half stars, and it could grow on me even more.
21 Apr 2002 [Toronto, ON, Canada] concert bootleg of Wilco. The set starts off with “Spiders (Kidsmoke)”, which is weird given their current sound. It’s also pre-Glenn and pre-Mikael, so it’s just an overall different feel—more straightforward than present-day Wilco [my favorite incarnation of the band]. This is a fine-sounding audience recording, which is great given its age [and how blessed we Wilco fans are with the fine rigs folks bring to shows these days]. I give it three stars.
5 Nov 2005 [Dayton, OH, USA] concert bootleg of Over the Rhine. The Canal Street Tavern is where I first saw OtR live, in a city I used to call home, so all those shows hold a special place in my heart. [I want to see a CST OtR show in 2008 or 2009 with Lara if she's still in Ohio then.] This is a fine, fine recording. Four stars.
4 May 2008 [Birmingham, AL, USA] concert bootleg of Derek Webb & Sandra McCracken. I wish that I’d gotten a board feed of this show, because the AT2021s don’t really get lows. Of course, this works fine for acoustic singer/songwriter-y stuff, but the end result still sounds a little thin. But it sounds pretty great. Three-and-a-half stars.