| Identifier | 4155830 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Type | shn |
| Media Count | 1 |
| Note | AUD: DAT > SHN
Core Sonic Mikes (omni) > Sony D7., 3700>ProdifPlus>PC. |
| Source Info | Audience |
| Microphones | Core Sonic Mikes (omni) |
| Microphone Location | ?? |
| J-Card Comment | label |
| Tech Note | About this Recording (musings on the art of sonic documentation) - Josh Belkin Recorded dead-center front row of balcony by JB. Core Sonic Mikes (omni) > Sony D7., 3700>ProdifPlus>PC. The mics were spaced about 18", clipped to a convienent lighting-equipment rail that was about a foot in front of the lip of the balcony. Edited/mastered with Sampitude 2496. The SHNs were made from .WAVs directly written from Sampitude - no CDR>EAC>WAV step. The only editing was to adjust volume levels, mainly to reduce the overly-loud applause parts. No EQ was used or needed. About 2 minutes of the beginning of the Set 1's first tune are missing due to, ah, technical difficulties. Two brief crackles at Disk 2/Set 2 track 1 0:13 and 0:20 are from the microphone wire - these are not digi-dropouts. The interior layout and proportions of the Palace Theater are similar to the Boston Orpheum Theater. The Palace has the same high arched ceiling and steep balcony that extends down to just behind mid-orchestra. But it is smaller (seating about 850), more intimate, and in very nice condition. Sound at this concert was provided by two main speaker PAs at the left and right front corners of the stage (aimed out at the orchestra), plus four or five speakers spread out evenly across the front of lip of the stage. These speakers looked like the usual wedge-shaped stage monitors, but looked to me as if "turned around" and facing up at the balcony. It sounded that way, too. Leo's sound seemed to rise up off the stage in a smooth sweep. The soundman (Tex, who used to do sound for Slipknot) had the place really dialed in perfectly. Leo played his 6 and 12 string guitars in a variety of tunings, as he always does. I wish I?d kept track of each tune?s guitar type. Tex was likely running the whole PA in mono (I didn't hear any noticable obvious stereo panning of guitar or vocals) but the theater's acoustics add a huge ambience and warmth. Leo played with NO pedal effects boxes. So every sound and tone you hear is from his fingers, technique, and obvious playing off of the theater sound. Check out the dazzling Set 2 Track 2! Using the theater so expertly as an extension of his guitar reminds me very much of how Jerry used to do this. This recording IMHO very accurately captures Leo's full, amazingly rich sound that night. The imaging is even better when listened with headphones (due to the spaced-omni recording method). It really sounds like you are there, with your head just over the front-center of the balcony. At least, it does to me. J |
| Trades Allowed | |
| Taper Name | ?? |
| Attendence | NO |
| SCMS Status | NO |
Performance
| Leo Kottke 2001-02-10 Palace Theater, Manchester, NH | |
|---|---|
| Set 1 | Too Fast Morning is the Long Way Home Standing on the Outside William Powell Mona Ray Wonderland by Night Rings Corrina, Corrina Banks of Marble Disco Louise Oddball |
| Set 2 | Cripple Creek Little Martha Standing in My Shoes Gewerbegebiet Pamela Brown June Bug Jack Fig |
| Set 3 | |
| Comment | |