Tag: paso robles

ZZ Top – Paso Robles, CA (07/28/99)

ZZ Top
7/28/99
Main Grand Stands
Mid-State Fair
Paso Robles, CA

Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >Sony TCD-D7
DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o
CD Masters >FLAC (Level 8) Via xACT 2.25
FLAC >WAV >Audacity [Combine Tracks To A One-Track File, Amplify, Index Tracks On Similar Index Points, Minor Edits & Repairs (Mic Bumps)] >Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53

[10/2024 Remaster]

SEC 13, Row D, Seat 60, Directly Behind Soundboard

Recorded, Transferred, FLAC, Tags, & Front Cover Artwork By OldNeumanntapr

Disc I:

  1. Thunderbird
  2. Waiting For The Bus >
  3. Jesus Just Left Chicago
  4. I’m Bad I’m Nationwide >
  5. Mexican Blackbird
  6. Pin Cushion
  7. Brown Sugar
  8. I Loved A Woman
  9. Got Me Under Pressure

Disc II:

  1. Heard It On The X
  2. Bang Bang
  3. Cheap Sun Glasses
  4. Just Got Paid
  5. Gimme All Your Lovin’
  6. Sharp Dressed Man
  7. Legs
  8. encore break
  9. Tube Snake Boogie
  10. La Grange >
  11. Tush

OldNeumanntapr Notes;
This was my 1st and only ZZ Top concert. The security was really heavy at this show. They were even searching people coming into the main gates of the fairgrounds, not just the grandstands. Fortunately I had a work pass because my father-in-law (at the time) was working the Democratic booth at the fair and he had an extra pass. So it not only saved me the fair admission charge but I lucked out because they were not searching the work entrance. I was dreading the rowdy drunk crowds that the fair seems to attract but this show was pretty good. We were right behind the board in the first row of the risers. The floor seems to be the craziest. What we missed out on SPL from close proximity to the PA we made up with a quieter crowd.

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

Gov’t Mule – Paso Robles, CA (08/28/16)

Gov’t Mule
8/28/16
Vina Robles Amphitheatre
Paso Robles, CA

OTS, Second To Last Row In SEC 202, DEAD Center. Seats 19 & 20.

Neumann KM-140s (ORTF) On 5ft Stand >Canare Star Quads >Lunatec V2 (30 db Gain) >XLR >Tascam DR100mkII (24bit/48khz)

Post Production: iZotope RX4 advanced & Har-Bal 3.0 (balanced channels and increased the amplitude. Removed stray noises including the loudest claps. Reduced wind noise when needed. Harmonic Balancing and compression)

WAV >Audacity (Track Splits, Down Sample / Dither To 16bit/44.1khz) >FLAC (Level 8) + Tags Via xACT 2.37

Recorded, Tracked, Tagged, & Front Cover Artwork By OldNeumanntapr
Post Production: Flying -M-

  1. World Boss
  2. Lay Your Burden Down
  3. Steppin’ Lightly
  4. World Of Difference
  5. The Shape I’m In
  6. Lively Up Yourself (Instrumental)
  7. Temporary Saint >
  8. Long As I Can See The Light
  9. Sco-Mule *
  10. Monday Morning Meltdown
  11. Frozen Fear >
  12. D’yer Mak’er >
  13. Frozen Fear
  14. King’s Highway
  15. When The World Gets Small
  16. Slackjaw Jezebel >
  17. Mule **

Encore

  1. It Takes A Lot To Laugh, It Takes A Train To Cry ***
  2. Ramblin’ Gamblin’ Man *** (w/ “Mississippi Queen” jam)

Smokin’ Mule 2016 Summer Tour
Blackberry Smoke Opened

  • With Toshi Yanagi On Guitar
    ** With ‘Les Brers In A Minor’ Tease; Also With ‘Who Do You Love?’ And ‘Whole Lotta Love’ Snippets
    *** With Charlie Star (Blackberry Smoke) On Guitar

OldNeumanntapr Notes-
Vina Robles Amphitheatre is a beautiful facility on the outskirts of Paso Robles amongst the vineyards. It’s like a small scale Shoreline Amphitheatre, without the canopy and with a much smaller lawn area. It’s about one third the size of Shoreline. It’s been 17 years since the last time that I’ve recorded Gov’t Mule, in Santa Barbara. 15 years ago I met Warren Haynes back stage at the Allman Brothers Band concert at Red Rocks Amphitheatre in Colorado. Warren can still play like a man possessed. Most of the songs that the band played tonight were new to me. They did a cover of Dylan’s ‘It Takes A Lot To Laugh, It Takes A Train To Cry’ for one of the encores that was pretty good, though I still like Jerry’s version better. The Mule played for a little over two and a half hours, while opener Blackberry Smoke played for one hour. I’m afraid that my recording of the opening set will be heavily marred by wind noise. I was hesitant when I got to the amphitheatre this afternoon, as I know how their security can be clueless about tapers. Thankfully there was no hassle getting in. They didn’t even look in my bag, which surprised me, and they were more concerned with my microphone stand. The band had designated the center part of the last three rows of Section 202 as the official taping area, and it was cordoned off with yellow tape. The only stipulation was that tapers could only raise their stands about five feet because it would affect site lines from the row of private boxes directly behind. I was the first taper inside, and I picked two seats DEAD center in the second to the last row, directly in front of the soundboard area. There were only three other tapers tonight, one with DPAs, one with a triple set of older Sennheisers (without windscreens). I can only imagine how his recording will sound with all the wind gusts at sundown. And one guy from Long Beach who was running six mics on a large cross bar on his stand. The crowd was very well behaved tonight and consisted of mostly older folks. The floor area, SEC 100, was fairly crowded all night, but toward the later part of the Mule set the 202 section was not even a third full, and there was NO one in the center seats in front of me almost all the way to the front of the section. At set break I ran into my brother in law Brent and my friend Karl who were guests in one of the private boxes that belonged to someone that I went to high school with. The sound was really good tonight. Very clear and clean with no distortion or coloration. I ran the Lunatec V2 preamp at 30 db of gain and could have probably bumped it up to 35 db, as I had just a hint of red on the display. Damon, one of the other tapers, told me that the tapers section the night before in San Diego was way in the back and the sound there was terrible. He said that tonight’s show as much better sound wise. Thanks SO MUCH to Flying M for his amazing post production !!!

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

Flying M notes:
Recording came out nice and the wind wasn’t too bad and only in a few places does it nudge its way into your consciousness. After a good gust a clunk would follow so thinking it may have been a loose cable? Went away after a while. Took those clunks out and attenuated the wind noise (below 100Hz if bad-usually only below 50Hz). Even though the microphones were set up away from people this still had some of those pesky loud claps I can’t take and spend so much time removing. As always all of this is done as spot repairs and entire files are not subjected to these filters. iZotope RX is a fantastic program for scrubbing undesirable noises out of a recording. Add to that my OCD and too much spare time on my hands you get a much cleaner recording. Har-Bal’s compression tool helped to restore the punch which was reduced by wind and distance from source. Also balanced the frequency spectrum allowing softer detail to be exposed. Then a final review with iZotope removing additional noises resulting from the compression process of increasing the amplitude of softer content including weird noises.

-M-

Ottmar Liebert – Paso Robles, CA (10/02/16)

Ottmar Liebert And Luna Negra
10/2/16
Tooth & Nail Winery
Paso Robles, CA

FOB: Neumann AK 40s (ORTF In Hat) >LC3 >KM 100s >Beyer MV 100 >Tascam DR100mkII (24bit/48khz)

Recorded Third Row Center.
Recorded, Audacity, FLAC, Tags, & Front-Cover Artwork By OldNeumanntapr
Sound Forge Post Production By Dennis Orr

WAV >Sound Forge Pro 11.0 Build 299 [iZotope Mastering Suite (declick), Minor Edit And Normalize) >

Audacity (Track Splits, Down Sample / Dither To 16bit/44.1khz) >FLAC (Level 8) + Tags Via xACT 2.37

NEED SET LIST!!

Otmar Liebert – Acoustic Guitar
John Gagan – Five String Electric Bass Guitars
Chris Steele – Drums, Percussion
Peter Adams – Accordion, Keyboards

Oldneumanntapr Notes-
I’ve never been to the Tooth & Nail Winery before but I love Ottmar’s music so I had to go. The winery’s main building resembles a castle, with a circular moat in the front. (I took the photo from the winery website). The stage was set up on the right side of the front patio. Ottmar was late taking the stage, and then they only played about 80 minutes. I heard that because it was outdoors his hands were getting cold after it got dark. He played selections off of his new CD plus some old material. It was a very special night, but I am always dismayed how many people become louder with the addition of too much alcohol. I got there early and had no problem securing a spot in the third row, almost dead center. Thanks to Dennis for his post production skills. For those of you who still use CDs this will just barely fit on one disc.

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

John Lee Hooker – Paso Robles, CA (07/30/99)



John Lee Hooker
July 30th 1999
Mid State Fair Frontier Stage
Paso Robles, California

Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >Sony TCD-D7 (16bit/48khz)
Master DAT Transferred: Tascam DA-30 >S/PDIF >HHb CDR 800 PRO
CD Master >WAV Via xACT 2.37 >iZotope RX4 Advanced & Har-Bal 3.0 Post Production* >
WAV >Audacity (Track Splits) >FLAC (Level 8) Via xACT 2.37

(Recorded, Transferred, Audacity, FLAC, Tags, And Front-Cover Artwork By OldNeumanntapr)

*/Post Production Clean Up and Preparation By Flying -M-

  1. Introduction
  2. Come On Baby
  3. Black Night
  4. Boom Boom
  5. Serves Me Right To Suffer
  6. Baby Lee
  7. High Heeled Sneakers
  8. Crawling King Snake
  9. The Boogie (instrumental)
  10. encore break
  11. The Boogie (reprise)
  12. Outro / Taper Talk
    [43:06]

OldNeumanntapr Notes-
Sadly, this recording represents the very last time that I was to see and record ‘Mr. Lucky’ in concert. I have been enthralled by John Lee Hooker’s music since I was in college in the mid 1980s and working part time for Warren Balfour in the Cuesta College Music Department. (I ran the board for the vocal jazz band and the ‘No Deadwood’ Big Band. I also copied some of Warren’s blues records to cassette while I was working in the studio with the bands. Warren Balfour was the head of the music department at Cuesta, and I first heard John Lee Hooker from an album of his that I copied called ‘The Great Bluesmen’. This was an album that had one track each from several blues artists, and the Hooker track was titled ‘Hobo Blues’ and appeared to be culled from an Ed Sullivan TV broadcast. All the tracks on this out-of-print double LP were live.) I was mesmerized with Hooker’s iconic ‘slasher’ guitar style, and his haunting lyrics. I was lucky enough to see and record Hooker playing ‘Hobo Blues’ at the Bridge School Benefit in 1991, and also at the Native American Indian Benefits with Ry Cooder in 1992. I never expected to see him do that song, but I got to see, and record, it twice! I think all together I’ve recorded John Lee Hooker about six or seven times.

Hooker’s performance at the Mid-State Fair was on the Frontier Stage, one of the free stages, and not the main grandstands. This made the crowds a lot worse because people were packed in cheek to jowl and they had a policy of once the show started, if you left you could not return. So, bathroom breaks were out of the question!

I selected a spot behind the board in the center of the bleachers, maybe 50 to 70 feet from stage. It was LOUD! To make matters worse, I didn’t realize the the -10db mic pads on my Neumann KM100 amplifier bodies were turned off until I got to the the fairgrounds, and because they are recessed you need a paper clip or such to engage them. Even a sharp pencil would have worked, but I had nothing except my keys and they were too big for the little recessed sliders. So, I had no choice but to try and keep the levels low on my DAT, but I knew that I was going to drive the input stage on my Beyer MV-100 preamp into clipping. (The Beyer has a ’stepped gain’ of 20, 40, or 60 db. 40 and 60 are WAY too high, unless you’re recording bug noises in the Amazon, so to say it’s not very adjustable is an understatement.) This recording has never seen the light of day until now, when Flying M was able to fix the problems caused by the clipping. There is a little bit of phase shifting and some slight anomalies here and there, but the processed result is a HECK of a lot better than it was before! I went to this show with my folks as well as my sister, and you can hear their voices at the end of the recording. You can hear me tell my mom when the show finished, ‘That was your first John Lee Hooker show. He’s only 82’. ‘Is he really? No way!’ she says. Actually, he was about 86 at the time of this show, so I was a little off. (Wikipedia lists his age at ’Around 88’ at the time of his death in June of 2001.)

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

Flying M Notes-
Great stuff!
Done with the John Lee Hooker shows.
Even though I am in the middle of other projects this looked good so started on it right away.

Did 2 “clip repair” passes to the audience recording with iZotope.
Regenerating the tips to the chopped off peaks.
Then a vinyl pop removal pass was done (to remove the clicks caused by clipping).
Har-Bal (compression) brought the music up in relation to the crowd.
Lots of rustling noises like wind or shuffling mics were then fixed.
The random loud distorted scratchy noises were also fixed.
Clapping was reduced and a LOT of screaming and whistling was muffled.
You should notice quite a difference on this.
Without the loud screaming and whistling this becomes much easier to listen to.

Allman Brothers Band – Paso Robles, CA (08/05/96)

Allman Brothers Band
8/5/96
Grandstands
California Mid-State Fair
Paso Robles, CA

SEC. 5, Row B, Seat #4 (2nd Row, Left)
Nakamichi CM-300 CP-2 Omnis >Sony TCD-D7 (Stealth)
DAT Master Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o,
CD Masters >FLAC (Level 8) Via xACT 2.35 >FLAC Tags Via xACT 2.53

(Recorded, Transferred, FLAC’d, Tagged, & Front-Cover Artwork By OldNeumanntapr)

Disc I

  1. Statesboro Blues (fades in)
  2. Midnight Rider
  3. Blue Sky
  4. You Don’t Love Me (fades in)
  5. What’s Done Is Done
  6. Worried Down With The Blues
  7. True Gravity >

Disc II

  1. Drums >
  2. Bass Solo >True Gravity
  3. The Same Thing
  4. Dreams
  5. End Of The Line
  6. One Way Out

OldNeumanntapr Notes:
This was a stealth recording because the fairgrounds would NOT allow a recording to be made, even though the band allowed it. I purchased tickets that were directly under the left PA stack, as the crowds at the fair shows are usually drunk and unruly. This was the night that Dickey went to the hospital midway through the set so the band had to improvise with lots of long drawn out jams. You got the feeling the band was really flying by the seat of their pants after Dickey was taken away. It was like, ‘OK guys, NOW what do we do?’ The show must go on! I believe that my recording was the only one made that night. I’ve never seen another source for this show, and most of the tapers were still in Colorado for the ABB Red Rocks shows that had just taken place the previous weekend. As usual, the Mid State Fair crowds were drunk and obnoxious. (I wanted to be as close to the PA stacks as possible!) I used the omni capsules because I had the microphones hidden in a Levi jacket with just the capsules protruding from the front pockets, and they were pointing straight up. (There was really no way to ‘aim’ them’ so proximity to the PA was key.) This was my standard stealth set up at the time. The jacket had holes sewn into the bottom of the front pockets and I used hollowed out 35mm film can lids that went around the microphone bodies to keep the weight of the microphones from falling through the pockets. Custom shortened XLR >RCA cables were used to link with a standard RCA >Mini Y cable that ran into the mic input on my D7.

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

Cafe R&B – Paso Robles, CA (07/22/00)

Cafe R&B
7/22/00
Blues Round Up
Paso Robles Hot Springs
Paso Robles, CA

Digital Soundboard; Yamaha 16 Channel board >XLR >Tascam DA-P1 (16bit/44.1khz)

DAT Master Transferred: Tascam DA-P1 >S/PDIF >HHb CDR 800 PRO
CD Master >FLAC (Level 8) Via xACT 2.39

Recorded, Transferred, FLAC’d, Tagged, & Front-Cover Artwork Photo By OldNeumanntapr

  1. Intro
  2. John The Revelator
  3. Sittin’ On Top Of The World
  4. Black Cat Blues
  5. How Many More Years*
  6. Steppin’
  7. Don’t Wake Me
  8. Snatch It Back And Hold It
  9. I Just Wanna Make Love To You
  10. Killing Floor
  11. Shine
  12. There Was A Time**
  13. Smokestack Lightning*

*Howlin Wolf cover
**James Brown cover

Roach – Vocals
Byl Carruthers – Guitars
Harry Cohen – Piano & Organ
Ken Dooley – Bass
Stephen Klong – Drums

OldNeumanntapr Notes-
This was an incredible set! Cafe R&B is a smoking hot blues band from Los Angeles who headlined the 2000 SLO Blues Society Blues Roundup. (The San Luis Obispo Blues Society usually held their shows at the San Luis Obispo Vets’ Hall, but every summer they would put on a big multi-band ‘Blues Round Up’.) I was a volunteer on the sound crew from 1992 until 2001, but still would go back at times when little Jack, the dwarf who was my friend the sound man, retired from doing sound. For the 2000 Blues Round Up, Cafe R&B put on a great show with so much energy. This was the first time that I had seen them, and I patched my Tascam DA-P1 out of the board. Roach has an incredible bluesy voice, and her husband, Bly Carruthers, is a hot guitarist. Unfortunately, because it was a board mix, the guitar was not prominent in the mix because it was so loud onstage. I also photographed the sets that day for the Paso Robles newspaper, where I worked as a photographer. I couldn’t find my original photos and had to use a tear sheet from the newsprint for the artwork. I just love the look in Roach’s eyes in that shot!

70 minutes

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

Bob Dylan – Paso Robles, CA (08/06/86)

Bob Dylan w/Tom Petty & the Heartbreakers
8/6/86
Paso Robles, CA
Mid-State Fairground

Soundcheck:

Brownsville Girl (instrumental)
Brownsville Girl
I Want You (instrumental)/Maggie’s Farm
Shake (instrumental)
Shake (instrumental)
unidentified blues instrumental

Show:
Shake A Hand
All Along The Watchtower
Clean Cut Kid
I’ll Remember You
Shot Of Love
We Had It All
Brownsville Girl
Masters Of War
Straight Into Darkness (Petty),
Think About Me (Petty),
The Waiting (Petty),
Breakdown (Petty)
It Ain’t Me, Babe
One Too Many Mornings
Mr. Tambourine Man
I Forgot More Than You’ll Ever Know
Band Of The Hand
When The Night Comes Falling From The Sky (cut)
Lonesome Town
Ballad Of A Thin Man
Even The Losers (Petty)
Spike (Petty)
Heartbreak Hotel (Petty)
Tonight Might Be The Night (Petty)
Refugee (Petty),
Rainy Day Women Nos. 12 & 35
Gotta Serve Somebody
Seeing The Real You At Last
Across The Borderline –
I And I
Like A Rolling Stone
In The Garden
Blowin’ In The Wind
Rock ‘Em Dead
Knockin’ On Heaven’s Door (incomplete)

Source 1:

LB-3195, (79min+69min+22min), Off Master – Possibly New Source

This is one of the shows recorded by Russ Cansler that I received strictly for the purpose of digitizing and posting at dime THANK YOU RUSS!, Equipment Used Realistic Pzm’s and a Sony wmD6-C Right Side Of Stage, There is some audience noise in the tape, listen to a sample to find out if you want to grab it. I know my old copy didn’t have the Petty set so this source was a new addition for me. I did not use any EQ or fancy editing. This is an exact replica of the master tape for the purists out there., Notes:, Last show of the 1986 tour and I believe it’s the only live version of Brownsville Girl, Tape Flip at End Of Think About Me, When The Night Comes Falling has the end CUT because of tape ending, Rainy Day Women has the end CUT because of tape flip, Knockin’ On Heaven’s Door is just the beginning before the vocals INCOMPLETE track, Tonight Might Be The Night may be the incorrect title.. I dunno; bittorrent download 09/05; good to very good sound [B-]; very close to mono; cdr tracking numbers were not specified in the info file so ones were chosen that did not break up a song since placing cdr breaks logically by petty sets ending resulted in splitting songs since they are not always tracked right at the beginning of a song; background talking d2t12

Source 2:

Soundcheck Only

LB-5123

Complete circulating soundcheck. Track numbering preserved from the original fileset, which included other material, just in case anybody’s ready to join in seeding. The track IDs have been improved from the originals (I hope), but the flacs are unchanged.

This might be the best-sounding soundcheck in my ongoing series of Dylan arcana, nearly as good as quite a few of the 1986 audience concert tapes, and is one of the most interesting (even though “Brownsville Girl” never delivers the goods, or much audible Dylan). No, there may not be much in terms of lead Dylan vocals, but the material is interesting and the performances solid. “Brownsville Girl” is pretty much the same arrangement (repeated chorus only!) used for the song’s one-and-only live “performance,” at this show. “Maggie’s Farm,” which Dylan launches into after the band riffs on “I Want You,” never turned up in any of the 1986 Dylan/Petty concerts, but it turns up, remarkably enough, as the opening song in their next appearance together, in September 1987 in Tel Aviv. “Shake”, like “Maggie’s Farm” part of the Dylan/Petty 1985 Farm Aid set, is a little known set of Dylan lyrics that never reached a final form, set to a tune very much like Roy Head’s “Treat Her Right”; it had disappeared from the Dylan/Petty playlist after a few airings in Australia earlier in the year. These two songs offer an unexpected preview of the 1987 “Temple In Flames” concerts, looser than most of the “True Confessions” tour and probably more fun as well. If you remember the Rolling Stone article about the early 1986 Dylan/Petty rehearsals and studio sessions that held out so much promise that was never delivered — this is a little window into what probably was going on then, that we’ve never had a chance to hear. Nothing revelatory, but Dylan relaxing and just making music is usually more interesting than Dylan forcing himself to deliver. If, as he said in an interview (or was it Chronicles), he’d lost the ability to perform naturally onstage by the mid-1980s, he could still do it when the audience wasn’t there.