| Tech Note | TAPER: John Redmond
SOURCE Nak 300s > D5
AUD MCass (Maxell MX 100 min)> Sony TC-WE805S >
Art DI/O (48Khz, Input gain +10dB, No "Tube Warmth")>
Delta DIO 2496> WaveLab v4.0c> WAV (@24/48)> FLAC (24-bit, v1.1.0)>
Mastering (see notes) > SNHv3
Mastering Notes:
This a near flawless AUD, great sound, great performance. The tapeflips were smoothed with crossfades (try and find the one in the YEM vocal jam!), there was also a small drop out fixed during the YEM vocal jam. There was a level change in Highway to Hell which I fixed with vector-based volume control. Tape was stopped between the last tune and encore, I smoothed this out with a long crossfade.
The 24/48 FLACs were converted to .WAV and opened in the Wavelab Audio Montage, all edits were performed at the 24/48 stage.
The following mastering processes were used: Waves REQ 2-band, rolloff at 42Hz, Blue Tubes FA770 compression, BBE Sonic Maximizer and the Waves L2. The audio was downsampled to 44.1 with the 192KHz Stereo Resampler, and rendered to 16-bits with UVHR22 dithering. The resulting .WAVs were tracked in CD-WAV and converted to SHNv3 (seektables appended).
transfer>24bit FLAC files by Weave - Weave@furthurnet.org on 10/19/2003
All edits and mastering were peformed on Doomtooth by shakedown@furthurnet.org on 11/01/03.
The taper ran two D5s from two different mic sources for this night and 9/20/90. The mics both nights were Nak 300s and Sony ECM-MS5s. For 9/21/90, the sources were labeled on the tapes and tape cover as to which mics were used.
WOW! This is my favorite tape from the Oldschool batch so far - the second set is epic.
NO tracking/editing/alterations performed before archiving to 24-bit FLAC (except to trim silence from the ends). |
