THE ALLMAN BROTHERS BAND
INGLEWOOD, CA @ THE FORUM
1979-05-15
Cassette Master -> Untracked Aiff File -> Soundforge -> FLAC
Gregg Allman & Friends
5/27/99
Majestic Ventura Theater
Ventura, CA
Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >Tascam DA-P1
DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o,
CD Masters (HHb Gold Discs) >FLAC (Level 8) Via xACT 2.28
FOB, 2nd Tier, Center Table. Microphones On 10ft Stand
Recorded, Transferred, FLAC’d, Tagged, & Front Cover Artwork By OldNeumanntapr
Set I
Set II
OldNeumanntapr Notes:
This ‘review’ I had originally posted to DAT-Heads soon after the show in 1999
Just back from Greg Allman and Friends at the Ventura Theatre.
The theatre people gave me the usual run around even though I had a print
out of the ABB web page which stated the taping policy. I finally went
directly to Robert, the manager, who is a friend of a friend of mine.
He was cool and said he didn’t mind but someone would have to personally
ask the road manager. I relayed this to one of the security people outside
who came back 5 minutes later with a long face and said, ‘sorry dude. You
can’t’. I told him that Robert had already given his OK but they would
have to talk with the road manager. This guy then said he would go back
and ask again. I figured I was just going to get the run around so I
walked down the street and found an open side door near back stage. The
road manager was outside talking to this same security kid. I walked up
and smiled and the security guy looked at me then looked at the road
manager and said, ‘oh yeah. One other thing. You can answer this guy’s
question. You Don’t allow recording do you?’ He asked expecting the answer
no. ‘Sure. Audio, no video’ was his response.
I thanked him and went to go in. The door people were a little alarmed at
my mic stand and wanted to know what it was. All the tables on the floor
were reserved for dinner except for 4 seats on the center table, second
tier. Myself and another taper sat down. He had already paid for dinner, I
hadn’t. Immediately the floor manager was all over me telling me I
couldn’t set up here because it was for dinner people only, blah blah
blah. So I had to pay the $20 on the spot for dinner but got to keep my
killer FOB center location. Right where I wanted to be anyway.
Moral to the story is it helped having the printout of the web page but it
also helped more being able to go right to the manager. But still I had to
work to get my gear inside because I basically had to ask the band’s road
manager myself. I couldn’t believe I was the only stand in the room!
I was expecting more tapers in Ventura. Especially since it was so close
to LA.
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
Bela Fleck & The Flecktones
4/10/01
Cuesta College Auditorium
San Luis Obispo, CA
Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >SBM-1 >Sony TCD-D7,
DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o,
CD Masters >FLAC (Level 8) Via xACT 2.35
(Recorded, Transferred, FLAC’d, Tagged (Via xACT 2.53) & Front-Cover Artwork By OldNeumanntapr)
Set I
Disc I:
Set II
Disc II:
Encore:
OldNeumanntapr:
This was another Bela Fleck show at the old Cuesta College Auditorium, which was located on the old campus behind the creek and once a part of the National Guard army base. The theater was built back during World War II and had amazing acoustics and a lot of charm but was a real eyesore and was eventually deemed to be not worthy for earthquake retrofitting and was abandoned in the late 2000s. Again, because of the cramped spaces in the aisles, the theater would not allow microphone stands so I had to hand-hold the Neumanns on a T-Bar. After the show I got my ticket stub signed by Bela.
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
Allman Brothers Band
7/24/92
Shoreline Amphitheatre
Mountain View, CA
Nakamichi CM-300’s w/CP-4 Shotgun Capsules >Sony WM-D6C
Audience Master (Maxell XLIIS), front & center of lawn on T-bar duct taped to steel cables >CDR >FLAC
XLIIS Cassette Master Transferred: Sony TC-D5M >HHb CDR 800 PRO,
CD Masters >FLAC (Level 8) Via xACT 2.35 >FLAC Tags Via xACT 2.43
(Recorded, Transferred, FLAC’d, Tagged & Front Cover Artwork By OldNeumanntapr)
Disc I
Disc II
Encore:
OldNeumanntaper Notes:
This was a show I almost didn’t go to. As I remember, one of my coworkers had tickets that they couldn’t use, but I had to drive to Sacramento to pick them up. I left early that morning with my friend Jim Burns and we drove to Sac from Morro Bay, up I-5. I didn’t know until we got there that they were only lawn tickets. (I could have bought those at the show!) I was thinking that they were reserved seats, but,,, they were free. It just took a lot of gas to get there. When we finally got to Shoreline the security staff would not allow us entry with the recording gear. We had to wait until the Allman’s bus arrived and have them inform them that tape recorders were in fact OK. Thanks to Kirk West! (While we were waiting, I sent Jimmy in with my blanket and had him grab a spot front and center of the lawn, right up against the fence that separates the general admission area from the reserved sections.) Once I got inside I duct taped my microphone brace to the steel cables, about six feet high, because they would not allow microphone stands inside the amphitheatre.
Luckily I had the CP4 shotgun capsules for my Nakamichi CM-300s, because the crowd was really loud and unruly. I was the only taper up front on the lawn that night. Another guy came in at the last minute and patched into my D6 with a Marantz, either a 420 or 430, but my microphones were the only ones I could see anywhere. I actually had people walk up to where we were set up and cup their hands and scream up toward the mics, trying to ruin the recording. They looked at me and just laughed! I was not happy, but there was nothing I could do about it. I just hate people who deliberately try to ruin someone else’s time, in this case; my recording. I thought that the tape would certainly be a disaster, but fortunately the CP4 capsules have excellent side rejection so the screams were greatly attenuated. I remember another taper I met at a Jerry show once who said that crowd noise on a recording was, ‘All part of the show’ and there was no use worrying about it, but in this case I thought it was a little excessive.
I didn’t get home until two or three am and accidentally left my ticket stub on the dash of the car. By the time I went outside the next day the sun had turned the Bass ticket stub black. Oh well, at least I have the recording.
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
Leo Kottke
9/17/17
Lobero Theatre
Santa Barbara, CA
11th Row DEAD Center:
Neumann AK 40s (ORTF) >LC3 >KM100s >Beyer MV-100 >Tascam DR-100mkII (24bit/48khz)
WAV >iZotope RX6 Advanced & Har-Bal 3.0 >
WAV >Audacity (Track Splits, Down Sample / Dither To 16bit/44.1khz) >FLAC (Level 8) Plus Tags Via xACT 2.41
Recorded, Audacity, FLAC, & Tags By OldNeumanntapr
iZotope / Har-Bal Post Production By Flying M
Disc I:
Disc II:
Encore:
Leo Kottke Solo Acoustic – Six & 12 String Guitars, Vocals
OldNeumanntapr Notes-
I’m still kicking myself that it took so many years for me to discover Leo Kottke. I’d heard of him for a long time but never took the time to seek out his music. I even had the chance to see / record him not too far from home in 2011 or 2012. When I finally did listen to one of his recordings I was instantly hooked. I’d never heard anything quite like his playing before. I noticed right away that in addition to being a virtuoso guitar player he was a superb story teller. Another taper / collector summed it up really well. “Leo is a very funny comedian who just happens to be a virtuoso guitarist!” I couldn’t have said it better myself. This is the second time that I have seen him, the first being also at the Lobero Theatre in November of 2014. I think one of the reasons I collect so many of his live shows is to hear the meandering, nonsensical, funny stories that he tells! Leo tried a new instrumental at the end of the set but abandoned it partway through when he couldn’t get it to work. He said, “I used to say that I play everything that I can remember, but I guess I can’t say that anymore.” He said that what made it worse was that it was a new song, and he couldn’t remember how it went. There was another song in the set that I couldn’t place. Leo usually plays instrumentals, which can be hard to identify, but this track had lyrics and I still couldn’t uncover anything on it when I Googled the words. Hopefully someone else can give it a name. This was a quiet acoustic show. It was so quiet that the microphones picked up the sounds of my breathing, even though I was conscious that it might happen. There’s really no way to get around that, and still be alive to record the show! Thanks, as always, for Flying M’s awesome work in post production!
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
Allman Brothers Band
Aug 1,1999
Shoreline Amphitheatre
Mountain View, CA
*Neumann AK-40’s (x/y) >LC3->KM-100’s >Beyer MV-100 >Tascam DA-P1,
DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o,
Taiyo Uden CD Masters >WAV Via xACT 2.35 >Audacity (Minor Edits, Minor Selective Compression [To Repair Wind Noise] >FLAC (Level 8) + Tags Via xACT 2.44
Recorded, Transferred, FLAC’d, Tagged, & Front Cover Artwork By OldNeumanntapr
*SEC 202, Row H (Some Minor Wind Noise / Distortion during first couple of songs.
Disc I:
Disc II:
Encore:
*acoustic
**w/Susan Tedeschi on guitar and vocals
***w/Martin Fierro on saxophone
Susan Tedeschi Opened
OldNeumanntapr Notes:
This was my third Allman Brothers Band recording at Shoreline, and at least by now the venue staff was clued into tapers and let us bring microphone stands into the venue. Whereas the Dead had a designated tapers section, the Allman Brothers would let you record wherever your seat was. This was both good and bad, because even though you could record from up front if you had the ticket, you were still at the mercy of the crowd around you. It’s why they say ‘safety in numbers’. In the tapers section you could be helped by like-minded individuals who all had the common goal of recording, but the Allman Brothers tapers were scattered hither and yon and your neighbors could make or break your recording. At least I was able to run my microphone capsules on the stand with the active cables so they took up as little room as possible. I remember people yelling to security about tapers with larger mics that were obscuring their view and they made them lower their stands. I think this was the only time that I was able to see Martin Fierro play. He added so much to Jerry Garcia’s funk band ‘Legion Of Mary’. I loved his playing.
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
Amanda Shires
May 9 2013
SLO Brewing Co.
San Luis Obispo, CA
FOB: Neumann KM-140s (ORTF) >25 ft XLRs >Beyer MV-100 >Tascam DR-100mkII (24bit/48hz)
Master WAV >Audacity (Amplify, Normalize, Track Splits, Minor Edits) >FLAC (Level 8) + Tags Via xACT 2.37
Microphone Cross Bar Bungeed To Front Center Ceiling Post, 8 Ft From Stage Center, 9.5 Ft High
(Recorded, Transferred, FLAC’d, Tagged (Via xACT 2.53) & Front Cover Artwork By OldNeumanntapr)
*(new song abandoned-noisy audience?)-chat about being stoned listening to Carol King
Solo Acoustic
Amanda Shires – Acoustic Guitar, Vocals
Opened For Todd Snider, you can find his set here.
OldNeumanntapr Notes-
This was the very first recording that I made with my, at that time, brand new Tascam DR-100mkII. I was recording Amanda’s set mostly just to get a feel for the new deck, and to practice a little with it before Todd Snider came out.
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
Jethro Tull
3/18/94
Warnors Theater
Fresno, CA
FOB, 8th Row, Right: Nyquist Omnis >Sony TCD-D7
(Missing: Second Half Of ‘Thick As A Brick’ & All Of ‘Beggar’s Farm’ & ‘Sossity-You’re A Woman’, Because Of An Unplugged Microphone Cable.)
Transfer:
Otari DTR-8S >S/PDIF >Korg MR2000-S @ 16bit/48khz)
Mastering
Har-Bal 3.0 & iZotope RX6 advanced
Flying -M- (Feb. 2018)
WAV >Audacity (Track Splits, Down Sample / Dither To 16bit/44.1khz) >FLAC (Level 8) + Tags Via xACT 2.53
Recorded, Audacity, FLAC, Tags, And Front Cover Artwork By OldNeumanntapr.
Transfer & Har-Bal / iZotope Post Production By Flying M.
(missing intro)
*Title Announced By Ian
Ian Anderson – Lead Vocals, Flute
Andy Giddings – Keyboards, Backing Vocals
Doane Perry – Drums, Percussion
Dave Peg – Bass Guitar, Backing Vocals
Martin Barre – Lead Guitar
OldNeumanntapr Notes:
This was my first Jethro Tull concert and I was impressed. This was also the first time that I had used a Sony D7 for recording a concert. As I remember, I borrowed this particular D7 from a taper in Florida that I met though DAT Heads online. I let him use my Nakamichi CM-300s to record a Grateful Dead show in exchange for the use of his D7.
My friend Dave got tickets up front on the right hand side in the old Warnors Theater in Fresno. My friend Tom gave me a ride to the show with his group, and that was an experience in itself! We took two cars and Tom followed his wife Jan who had some of her friends with her in her car. Tom ended up running a red light in Fresno because he didn’t want to lose Jan in city traffic. (This was before we all had cell phones.) His driving scared the hell out of me, as I was in the back seat trying to assemble my taping gear. I’m glad I went home with my friend Dave in his car after the show!
My cable that connects the mics to the deck came unplugged for about 13 minutes during the show before I noticed I had no levels so that was a bummer. I missed the very last part of Thick As A Brick, all of Beggar’s Farm, and Sossity. Otherwise the tape sounds pretty good. Musically I thought the show was very good. Ian played a good show. I really enjoyed seeing a show in the old Warnors Theater. It really is a neat place. Around the corner on a side street there was an even older, seedier theater, that I didn’t catch the name of. I think the Ramones were playing there that night, from what I remember seeing on the marquee. Thanks to Flying M for a fresh digital transfer and his post production fairy-dust magic!
A suggested disc break would be possibly between tracks 10 and 11, for those that still burn CDs.
Flying M Notes:
Recording starts just a tad late to get the musical introduction but it catches all of the first song.
Just a few minutes into “Thick As A Brick” the microphone cable becomes unplugged missing most of that song and the next 2.
Some applause clips from a couple different places were spliced together to create a false ending for that song and bridge the abrupt break.
Applause was tamed by removing the loudest clapping as well as muffling the who-hoo’s and close whistling.
These microphones don’t pick up low frequency real well so Har-Bal was used to re-shape the spectral balance.
Adding some bottom end while trying to retain the crystal clear highs these mics are so good at catching.
A light compression was used to increase the quieter parts by 3dB thus bringing out additional detail.
It also brings up those little handling noises that I then spent so much time removing for this.
-M-
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
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John Hiatt (Acoustic)
June 26, 2019
Fremont Theater
San Luis Obispo, California
12th Row, Slightly Left Of Center: Neumann AK-40s >LC3 >KM-100s >Tascam DR-100mkII (24bit/48khz) w/Internal Preamp And Phantom Power.
iZotope RX6 advanced & Har-Bal 3.7 (prep by Flying -M-)
WAV >Audacity (Track Splits, Down Sample To 16 bit / 44.1khz) >FLAC (Level 8) + Tags Via xACT 2.47
Recording, Audacity, FLAC, Tags, & Rear Cover Artwork Photo By OldNeumanntapr
Post Production Wizardry By Flying M
Disc I:
Disc II:
Encore:
[45:01]
John Hiatt -Vocals, Acoustic Guitars, Electric Piano
The Historic Fremont (Movie) Theater Was Built In 1942
OldNeumanntapr Notes-
The last time that John Hiatt played an acoustic show at the Fremont my first Tascam had an electronic convulsion and I lost most of the show except for two or three songs.
Hiatt is an amazing songwriter and performer and I always enjoy seeing him in concert.
The Fremont has really good acoustics with its curved interior walls.
My hat is off to Flying M for his uncanny ability to get the most out of my recordings with his vast computer processing knowledge.
This recording really shines and actually sounds better than my ears heard the show live!!!
I hope everybody enjoys this one.
I was pleased to hear ‘Memphis In The Meantime’ because for some reason I was humming it at home the night before while I was getting my recording gear ready!
Flying M Preparation Notes-
It was a good workout pulling the audience back and pushing the music forward.
Have gone from end to end 4 times and I keep finding little things to “fix” and it’s been a week now so it’s becoming OCD and I had to stop.
Must have made 500 little repairs removing background noises, some easier than others.
Equalized with Har-Bal to flatten the frequency response reducing the hump in the low mid-range and giving it a little more presence in the top and bottom end.
Resulted in a “fuller” sound with the vocals being brought up making the singing clearer.
The audience exploded between songs so the loudest claps, whistling and whoo-hooing were removed as much as I could.
Coughing sniffing, chatting, singing and other random noises were also removed or minimized.
Finally the applause segments were reduced by an additional 3dB and then the overall amplitude was increased by 12dB.
Acoustic shows are tough to prepare as so many small noises become distracting once the volume is increased as much as this was.
-M-
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉
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