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| Artist | The Dead |
| Show | the dead 2009-04-17 albany, ny ~ schoeps mk4v > nbox > r09hr *24 bit* |
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non-Trade-Friendly | Email us |
| Torrent | dead2009-04-17.mk4v.nbox.r09hr.burke.flac24.torrent (click to download) |
| Downloads as | dead2009-04-17.mk4v.nbox.r09hr.burke.flac24 |
| Info hash | f41c1e1ba61fca1cb8a2a894e112b7600ed8044f |
| db link | http://db.etree.org/shn/99012 | Show | Source |
| Description | The Dead
April 17, 2009 (Friday)
Times Union Center
Albany, NY
Recordist : Tim Burke - tburke @t upstatetapers d@t org
Location : Set 1: Floor, official taper section, directly behind the soundboard, centered, ~150' from the stage lip, ~10' high
: Set 2: Floor 2, Row N (14th Row), Seats 9 and 10, centered, ~30' from the stage lip, 6' high
Mic Config : Set 1: 20 cm, 90º (DIN Nola Bar, vertical capsule orientatation)
: Set 2: 17 cm, 90º (backwards DINa Kwon Bar, horizontal capsule orientation)
Source : Schoeps MK4V > Nbox > Edirol R-09HR
Recorded Format : 24 bit, 48 kHz
Conversion : SDHC Card > IBM ThinkPad T41
Editing : Steinberg WaveLab v5.01b, minimize balloons and clapping with volume envelope tool, decibel increase to both channels (resulting in -.20 peaks) via the "change gain" command
Final Format : 24 bit, 48 kHz
Tracking : CD Wave v1.93.3
Compression : FLAC v1.2.1, FLAC Frontend v1.7.0.1, Level 8
DSP performed by Tim Burke during April and May of 2009.
Released into circulation on May 14, 2009.
70m 21s
s1t01. (tuning)
s1t02. Casey Jones
s1t03. Cold Rain and Snow
s1t04. New Minglewood Blues
s1t05. Into The Mystic
s1t06. West L.A. Fadeaway
s1t07. Jam >
Brown Eyed Women
s1t08. Cumberland Blues
142m 30s
s2t01. Viola Lee Blues >
s2t02. Sugaree >
s2t03. The Other One >
s2t04. Drums >
s2t05. Space >
s2t06. Comes A Time >
s2t07. Unbroken Chain >
s2t08. Throwing Stones
s2t09. (encore break, donor rap)
s2t10. Not Fade Away
Notes:
A balloon strikes the microphones at 00:24 and 21:21 of s2t01, 18:46 of s2t03, and 04:26 of s2t08.
Thanks to Chris LaPorte for the 1st set clamp space.
Thanks to Adam Egert and Michael Miller for the DSP assistance.
The Times Union Center was previously named Pepsi Arena, and opened as Knickerbocker Arena.
Personnel:
Jeff Chimenti - keyboards, vocals
Mickey Hart - drums, percussion
Warren Haynes - electric guitar, vocals
Bill Kreutzmann - drums
Phil Lesh - electric bass guitar, vocals
Bob Weir - electric guitar, vocals |
| Checksums | dead2009-04-17s1t01.flac:5d77befd4f2a2f59f87ad87eb58ef7b9
dead2009-04-17s1t02.flac:758ba534d1d845f4fc531b44df581d6f
dead2009-04-17s1t03.flac:e2295a68a807e8ab1ebc2ac43dd979db
dead2009-04-17s1t04.flac:4d7125aec300bade859926444bffa5cc
dead2009-04-17s1t05.flac:156d6416b51dfa2a858ce87115954eb2
dead2009-04-17s1t06.flac:838f2f35ab3a93107a6eb00673cdf718
dead2009-04-17s1t07.flac:3f70311a503e4c26d82076668b8761ee
dead2009-04-17s1t08.flac:c09bb435e3f08a487817da85c2f99263
dead2009-04-17s2t01.flac:22047e2d922f06613cd8c1edbab7071b
dead2009-04-17s2t02.flac:0835546a76bac4a676e824f4420a1698
dead2009-04-17s2t03.flac:92557cad0fbcd7e9920f59b51b122028
dead2009-04-17s2t04.flac:00c1d48d24a239cc43965af787dd297b
dead2009-04-17s2t05.flac:4b4137d15b69a3ac74cb3568b61bbb35
dead2009-04-17s2t06.flac:cd65b06a8c3dae7fb8d1d33c62b95b11
dead2009-04-17s2t07.flac:eba4caabe588faebe13c453ff9e4cb41
dead2009-04-17s2t08.flac:96286874e5ffc2da5e4017389ce8a30b
dead2009-04-17s2t09.flac:816e060a58dc398d1d975b47de830dcd
dead2009-04-17s2t10.flac:ccdf28755e5d56422a8aa87878ebdaee |
| Type | The Dead |
| Last seeder | Last activity 237 days, 16:50:29 ago |
| Size | 2.161 GB (2320112266 Bytes) |
| Added | 2009-05-14 13:38:16 |
| Views | 1 |
| Hits | 273 |
| Snatched | 50 times |
| Upped by | raoulduke |
Num files
[See full list] | 22 files |
Peers
[See full list] | 0 seeders, 1 leecher = 1 peer total |
Add a comment
| raoulduke |
2009-05-14 13:39:31 |
| this 24 bit, 48 khz recording is also available on the live music archive: http://www.archive.org/details/dead2009-04-17.mk4v.nbox.r09hr.burke.flac24 |
| raoulduke |
2009-05-14 14:52:43 |
the 16 bit, 44.1 khz (cd-ready) version is also available via torrent and the archive:
http://bt.etree.org/details.php?id=525110
http://www.archive.org/details/dead2009-04-17.mk4v.nbox.r09hr.burke.flac16 |
| beebster |
2009-05-14 15:20:22 |
As a recording engineer, I'd like to point out to everyone that the difference between 16-bit and 24-bit on these audience recordings is probably barely audible. There is simply not enough dynamic range for it to be significant. So in my opinion, posting the 24-bit files is largely a waste of bandwidth. I'm not trying to be negative though. If you can hear the difference, please ignore me. :)
There is an advantage to doing your DSP at 24-bits. But after DSP is done, I would dither to 16-bit. If you use a good noise-shaped dither algorithm, the difference between 16-bit and 24-bit should be negligible. |
| simonwagstaff |
2009-05-14 17:31:58 |
As a big fan of 24 bit and the audible difference I hear, I am most pleased to ignore you.
:)
It is not a matter of signal to noise, nor dynamic range, which you are quite right in pointing out will not make an audible difference in a recording like this. However, 24 bit sounds much smoother in the midrange and sets up a more 3 dimensional soundstage than 16 bit.
One way to tell the difference is to listen to the background chatter. It is much more annoying and detailed in a 24 bit recording, and seems like it is coming from a more 3 dimensional space.
I believe (and of course it is just a belief) that in digital recording the digital "noise" manifests itself in different ways than analogue noise and 24 bit recordings make a huge difference to me, in ways that are important to me. this "digital noise" needs to be further back down the S/N ration to get out of the way of the music than with analogue recording and hiss.
And no, there aren't a lot of "recording engineers" who agree with me, some do, but lots of other folks do as well.
Of course, a lot of people are happy with MP3, think they sound good and are a viable medium for distributing music...
For those who do appreciate them, thanks so much for upping the 24 bit files. 24 bit rawks!! |
| beebster |
2009-05-14 20:53:48 |
Yes, in fact, you will probably notice more increase in the spatial detail of the audience, because they are closer to the mics. Also, the audience is an acoustic source, and it's coming from multiple points in space time. This gives your ears more information to work with when forming a stereo image.
Actually the 24-bit recordings are very useful if you want to EQ them yourself before burning to disc. That way you're doing your DSP at 24-bit, which is better. I hadn't really thought of that before. |
| simonwagstaff |
2009-05-14 23:45:23 |
DVD audio creator is a great program, can burn 24 bit files onto a DVD that will play in just about any DVD player. Even if you don't think 24 bit sounds better you can still get an entire 24/48 show onto one disc.
After a while you may get it.
:)
Relaxing, smooth sound. Great soundstage, non-fatiguing sound.
Of course, there are not any "numbers" that support that.
:)
You bring up a good point, 24 bit will be more accurate in the time domain, those little things can make a difference. |
| beebster |
2009-05-15 06:19:12 |
I've been recording 24-bit for over 10 years. I agree, 24-bit is better. I was just talking specifically about these "long distance" audience recordings.
Regarding the time domain, the way the waveform is interpolated by the A/D converter, supposedly there's no difference there. I thought the same thing... more slices in time, more accurate waveform... but digital is weird. |
| 1478 |
2009-05-18 16:35:32 |
| Thank you. |
| randolo |
2009-08-05 18:20:56 |
| thanks for sharing the 24-bit version! |
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