Anders Osborne
Sullivan Hall
New York, NY
12/31/2010
Late (2AM) Show

Neumann TLM-170 (FOB 10 feet from stage, latched to left column; left mic: subcardoid; right mic: hypercardoid) > Sound Devices 722 (@24/96); FLAC File processing in SoundForge Audio Studio 10.0c (volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24>16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings;) Tracked in CDWav.

1.  intro / tuning
2.  Love Is Taking Its Toll >
3.  Echoes Of My Sins
4.  Burning On The Inside
5.  Coming Down
6.  Ohio
7.  Call On Me
8.  The Road To Charlie Parker
9.  Boxes Bills And Pain
10. Got Your Heart
11. Stoned Drunk And Naked
12. thanks/encore break
13. Ya Ya

Lineup:
Anders Osborne - guitar and vocals
Carl Dufrene - bass and vocals
Brady Blade - drums

Note this show was billed as a post-Phish at MSG show and started well after midnight.  So technically it started in the very early morning hours of 1/1/11.  The time stamp on the file for the Anders show 4:32AM!  That was a LONG night, starting with dinner at 5:30, Phish at 8, and then this show ending 11 hours later....

Every time I post something I've run in this configuration (with different mic patterns for each mic) at Sullivan Hall, someone invariably comments "What is up with the different mic patterns?"  Well, in this room it's impossible to set up in the center of the room unless you set up in the very back, next to the soundboard (or hang your mics from the ceiling).  So I generally opt for getting really really close, and taping my stand to a column about 10 feet from the stage.  The column is unfortunately just inside of the left PA speaker, far off center.  So what I do is point the left mic straight at the stage in subcard setting (appropriate when you're 10 feet from the source) to get mostly what's coming out of the PA and some stage bleed through and then point the right mic wide to the right (in hypercard to give me a bit more reach) and the ratio of stage volume to PA volume flips -- in the right mic I get slightly more stage volume and slightly less PA.  In most cases it works out pretty well, and it definitely did on this recording.  The upshot is that you get a bit more guitar and cymbals and a bit less vocals in the right channel.  Ultimately I think this is the best I can do given the situation and I think it sounds pretty stellar regardless (if it wasn't NYE and I wasn't coming from a Phish show before I'd probably have run a SBD+onstage mic matrix).  I have experimented with different configurations, but I think this tends to yield the most pleasing results.  It is a difficult work securing my stand on the column, though.

Hope you all enjoy, and happy new year!

NOTE:  As far as I know, the early show was not recorded.

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