Tag: san luis obispo

Elvin Bishop – San Luis Obispo, CA (03/12/99)



Elvin Bishop
03/12/99
Cuesta College Auditorium
San Luis Obispo, CA

Recorded 2nd Row, Mid Center

Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >SBM-1 >Sony TCD-D7

DAT Master Transferred: Tascam DA-30 Via S/PDIF Coax >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) + Tags Via xACT 2.53

Recorded, Transferred, FLAC, Tags, + Front-Cover Artwork By OldNeumanntapr

Disc I:

  1. Stealin’ Watermelons
  2. Blues Instrumental
  3. Holler And Shout
  4. Hey, Hey, Hey, Hey
  5. Middle Aged Man
  6. The Skin They’re In
  7. Rock My Soul (Hallelujah)
  8. Country Blues

Disc II:

  1. Slow Down
  2. Mellow-D >
    Fooled Around And Fell In Love >
  3. Goin’ Fishin’
  4. I’m Gone
  5. Travelin’ Shoes
  6. Instrumental
  7. Instrumental (with Band Intros)

Encore:

  1. Instrumental

Elvin Bishop – Guitar And Vocals
Ian Lamson – Guitar
Ed Early – Trombone
Joel Rudinow – Keyboards
Evan Palmerston – Bass
Bobby Thompson – Drums

OldNeumanntapr Notes:
I loved the old Cuesta College theater. It was a shoebox-style theater with the stage at the narrow end, and was built back during World War Two in the 40s. It had a leaky roof, peeling paint, and looked like hell (Leo Kottke remarked when he played there that it looked like the place where Hank Williams died!) But…it had amazing acoustics and a lot of charm. Sadly, it was not deemed suitable for earthquake retrofitting and was abandoned in the late 2000s. I’m thankful that I got to see so many concerts there when I did, and I actually recorded there back in the 1980s when I had a part-time student job working for the Cuesta College Music Department when I was in school. I thought this recording came out especially well. I ran the Neumann AK 40 capsules on an x/y bar on my collar (stealth) and had all the recording gear in a pack. I have seen Elvin a bunch of times and he always puts on a good show.

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

Corb Lund – San Luis Obispo, CA (12/02/15)

Corb Lund & The Hurtin Albertans
12/02/15 (Wednesday)
SLO Brewing Company
San Luis Obispo, CA

Neumann KM-140s (ORTF) >35 ft XLRs >Beyer MV-100 >Tascam DR-100mkII (24/48)
WAV >Audacity (Track Splits, Amplify, Down Sample & Dither To 16 Bit / 44.1k) >FLAC + Tags (Level 8) Via xACT 2.37

Microphones Mounted To Front Center Ceiling Post, 10ft High And 9-10 ft From Stage Center.

Recorded, Transferred, FLAC’d & Tagged By OldNeumanntapr

  1. Intro
  2. Goodbye Colorado
  3. Run This Town
  4. Weight Of The Gun
  5. One Left In The Chamber
  6. Bible On The Dash
  7. Mein Deutsches Mottorad
  8. Cows Around >
  9. Buckin’ Horse Rider
  10. Hurtin’ Albertan >
  11. Good Copenhagen
  12. Little Rock*
  13. Gonna Shine Up My Boots
  14. Dig Grave Digger Dig
  15. Roughest Neck Around
  16. Big Butch Bass Bull Fiddle
  17. This Is My Prairie
  18. Family Reunion
  19. I Wanna Be In The Cavalry
  20. Sadr City
  21. Gettin’ Down On The Mountain
  22. Rye Whiskey
  23. Time To Switch To Whiskey
  24. Encore Break
  25. S Lazy H**
  26. Washed-Up Rock Star Factory Blues
  27. Five Dollar Bill

Corb Lund – Electric Guitar, Vocals
Kurt Ciesla – Electric Bass, Stand Up Bass Fiddle, Vocals
Grant Siemens – Electric Guitar, Mandolin
Brady Valgardson – Drums

*Hayes Carll cover
**Corb Solo

OldNeumanntapr Notes:
I almost didn’t get to record that night. My friend Kip, the SLO Brew house soundman, is on tour running sound for his band so he wasn’t there to help me. I got to SLO Brew at 5:30 pm, at soundcheck, and walked in the side door. I asked Corb’s soundman about audio taping and he was unaware that Corb allowed it, and didn’t seem like he was going to be helpful. (He later apologized and I said, ‘No worries. It’s OK’.)

He said, ‘I have no idea. I’d have to ask Corb.’ I said fine, and that I could wait. They were just starting the sound check and appeared to have some kind of problem with the PA. He told me a minute or two later, ‘It doesn’t look like it’s going to happen. Sorry.’

I said, ‘Ah, does that mean no soundboard or nothing at all?’ He said nothing at all, so I said, ‘Oh well. I guess I’ll go home.’

I was literally walking out the door when someone tapped me on the shoulder and I turned around. A voice said, ‘Hi, I’m Corb. What can I do for you?’

I described what I do and what I would like. I told him that I would like a soundboard, but would settle for an audience recording. It was his call, since he was the artist. Corb said that it would be easier on him if I did an audience, as I wouldn’t have to bother his sound guy, and he also said that he didn’t like the sound of the board mix in the small clubs. I agreed, and said that sometimes all you get is drums and vocals with little to no instruments. (I always had Kip boost the instruments in my mix, for bands like The Mother Hips.)

You have to be both persistent and gracious at the same time, but often times everything works out. 🙂

It took me almost an hour to hang the microphones, run the cables, tape them down, and set up the preamp, recorder and headphone amp. I use long XLRs to be able to set up the Tascam recorder and Beyer mic preamp near the board, out the way of the Mongol Hordes and near the AC power supply. I can also sit on a stool next to the board and not have to stand through the show.

When I started to set up the mics, the SLO Brew manager (who I didn’t recognize) came over to me and demanded to know what I was doing. I started to say that Kipp always let me hang mics from the front ceiling post, but just then Todd, a former owner and presently only the concert promoter, came over and said, ‘It’s OK. Jeff has been coming here for years.’ That was nice, because we’d never actually met, though he obviously knew who I was. I’d seen him there for years but never spoke to him. Thanks again Todd!

The recording sounded great through the headphones, though the board has dust in the sliders and when the soundman would adjust them it sounded like there were insects inside! My new Fiio e12 headphone amp is awesome and lets me monitor the sound even in a really loud environment. (The Sennheiser 770 closed headphones also help a lot too.) The Neumanns were run ORTF at least 10 feet high on the front center ceiling post, on an Atlas mic bar mounted to my little custom-made wooden shelf and bungee corded to the post.

The files have all been tagged, so no need to decode to WAV to burn discs, as that would strip the metadata. I’m not sure where the break between discs should be. As my friend taper Roy says, ‘Salt & Pepper To Taste.’

Thanks so much to Corb for allowing me to record and share the music on the Live Music Archive. Please go and see his shows and buy his merchandise!

Tapers: Get to the show early and ask for Corb. He gave me Carte Blanche to set up where ever I wanted to.

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

Eric Burdon & Robbie Krieger – San Luis Obispo, CA (02/02/91)

Eric Burdon, Robbie Krieger, & Brian Auger
02/02/91
DK’s West Indies Bar
San Luis Obispo, CA

Aiwa CM-30 Stereo Cardioid >Sony WM-D6C Cassette Master >CDR >FLAC

FOB; Audience Master:
Transferred Via: Sony TC-D5M >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) Via xACT 2.25
FLAC Tags Via xACT 2.53

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

Late Show:

  1. I Just Want To Make Love To You
  2. Back Door Man
  3. We Got To Get Out Of This Place
  4. 16 Tons
  5. Elmore’s Blues

Disc II:

  1. Tobacco Road

Encore:

  1. Roadhouse Blues >
  2. The House Of The Rising Sun

OldNeumanntapr Notes:
This was the second year that Eric Burdon and Robbie Krieger played DK’s in SLO, but this time they brought along Brian Auger on keyboards. Burdon was so drunk that night he was screaming about the Gulf War, “They Were Bombing My Home Town When I was Born!”, and he was complaining about how much he hated the song ‘The House Of The Rising Sun’. I recorded the late set, but I had friends who went to both sets. This was the last time that I have seen either Eric or Robbie.

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

Emmylou Harris & Linda Ronstadt – San Luis Obispo, CA (09/08/99)

Emmylou Harris & Linda Ronstadt
September 8, 1999
Christopher Cohan Center
California Polytechnic State University
San Luis Obispo, California

Neumann AK-40s (x/y) >LC3 >KM-100s >Beyer MV-100 >SBM-1 >Sony TCD-D7 (16bit/44.1khz)
Transfer: DAT Master >Sony PCM-R500 >S/PDIF >Tascam HD-P2 >CDWave >FLAC (16bit/44.1khz)

WAV >iZotope RX4 Advanced & Har-Bal 3.0 >Audacity (Track Splits) >FLAC (Level 8) + Tags Vis xACT 2.37

Recorded, Audacity, FLAC, Tags, & Front-Cover Artwork By OldNeumanntapr
(2nd Row, Right; Missing Both Encores)
DAT Transfer By Terry Watts
iZotope RX4 Advanced & Har-Bal 3.0 Post Production By Flying M

Disc I:

  1. Loving The Highway Man
  2. For A Dancer
  3. Raise The Dead
  4. Icy Blue Heart
  5. The Blue Train
  6. Valerie
  7. It Doesn’t Matter Anymore
  8. Western Wall
  9. 1917
  10. Green Pastures
  11. Orphan Girl
  12. Telling Me Lies
  13. All I Left Behind
  14. Get Up John
    [62:01]

intermission

Disc II:

  1. Sisters Of Mercy
  2. Sweet Spot
  3. He Was Mine
  4. Hello Stranger
  5. band introductions
  6. This Is To Mother You
  7. Falling Down
  8. Going Back To Harlan
  9. Talk To Me Of Mendocino
  10. Heart Like A Wheel
  11. Wheels
  12. Born To Run
  13. Across The Border
  14. Feels Like Home
  15. Rose Of Cimarron (cuts off/tape runs out)
    [60:06]

OldNeumanntapr Notes-
This was the only time that I have been able to see and record either Emmylou Harris or Linda Ronstadt, and to have them on the same stage was really special. I only had a 60 meter (2hr) DAT blank and I ended up running out of tape so unfortunately I lost both encores. I got a ticket from my friend Dave for this one and the seats for his group were all in the second row. I would have preferred to be about 8th-to-10th row center for recording, but I couldn’t turn down a free ticket so I recorded from up front and took most of the sound from the right speaker cabinet that was sitting on the edge of the stage facing the audience. (We were so close to the stage that we were actually under the main PA.) The Cal Poly performing arts center is a really small intimate place to see a show. The acoustics are really good, and it wasn’t very old at the time because it opened only two years previously. The theater holds 1,300 people and the interior walls are curved to eliminate standing waves. I really liked the opener ‘Loving The Highway Man’, and ‘The Western Wall’ and loved the blend of both of their voices on all the songs that they sang together but especially those two. I remember buying a T-shirt from this show, mostly because I thought it was funny that they misspelled San Luis Obispo on the back. It was spelled ‘San Luis Obsipo’. I wore that shirt for years before it disintegrated from too many washings. I’ve never sent this recording out before because it needed a lot of work taming the loud applause between songs, as well as cleaning up the extraneous hoots and hollers, and also needed a proper set list. Thanks to Terry for the fresh digital transfer and thanks, as always, to Flying M for his Superb job in post production!!!! I really have to give Flying M a HUGE thanks for both his thoroughly painstaking post technique skills plus his help with figuring out the set list. My hat is truly off to his hard work and dedication, and this recording in its finished form would not have been possible without him. Thanks also for his track timings, which made the track splits so much easier!

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

Flying M Notes-
Wow, what a sweet sounding recording, although it has some very enthusiastic applause.

First thing to address was how loud the crowd response was in relation to the music.
A variety of tools were used to reduce the loud explosive clapping and screaming.

This recording had a pretty strong hum.
Was most noticeable between songs but it was a constant noise.
Got rid of this by removing the 60, 120, 180, 300, 420 & 540 Hz tones that created it.
At the same time a 15.37KHz tone that I couldn’t hear but could see was removed.
Used the hum removal tool in iZotope RX4 to do these repairs.

Har-Bal was then used to bring out additional detail and highlights.

After these steps I just reviewed the recording repairing odd noises and removing more loud clapping as I went over it (3 times).
Most disruptions are gone now but since these were spot repairs and not filters across the entire show some may remain.

In addition the second set had an awful noise in the first moments and that noise has been removed.
patched in 1/2 second of ambient sound to create a less abrupt start.

The right channel dropped out for a while and that can be found during “Wheels” with both channels returning during “Born To Run”.
Made the damaged part dual left channel mono.

Well these were the things I did to help you enjoy this wonderful performance even more.

-M-

Dick Dale – San Luis Obispo, CA (11/20/12)

Dick Dale
SLO Brewing Company,
San Luis Obispo, CA
11/20/12

Source: Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >SBM-1 >TCD-D8
Transfer: Tascam DA-P1 >S/PDIF coax >HHb CDR 800 PRO >CDR >EAC >Audacity (fades) >TLH (FLAC) level 8)
Taper: OldNeumanntapr
Mastering: KlingKlang
Location: 10′ from stage, center right

  1. The Eliminator
  2. Ring Of Fire >
  3. Nitro >
  4. Peter Gunn >
  5. Taco Wagon >
  6. Baby Left Me* >
  7. They Call My Baby Patty But Her Real Name Is Linda Lou > House Of The Rising Sun >
  8. Let’s Go Trippin’** >
  9. Mr. Peppermint Man > Shake And Stomp >
  10. Pipeline >
  11. Ghost Riders In The Sky >
  12. Rumble >
  13. Esperanza >
  14. What’d I Say > Summertime Blues > California Sun >
  15. Hey Bo Diddley > Surfing Drums***
  16. Amazing Grace >
  17. Misirlou
  • Dick on harmonica
    ** 1st few notes of ‘Fever’ were played before ‘Let’s Go Trippin’
    *** Dick also plays drums and bass

OldNeumanntapr Notes:
This, I believe, was the last time that I got to record Dick Dale. He played SLO Brew a lot, and once I wanted to go but I was sick and thought that I would cough all over the recording so I didn’t go. I think this was the show that he was bitching about the photos on the wall (large framed prints) and asked, ‘Well where is Mine?” and then someone pointed to his photo and he said, ‘Oh, OK then.” or something like that. I liked the old SLO Brew. You could usually walk in ‘wired up’, because there was no search, and just wait for the show to begin and hit record!

This was a recording that I had KlingKlang convert to FLAC for me, before I met Dennis Orr.
Below are her notes.

Notes:

First night of the west coast November-December 2012 tour.

A huge thank you to OldNeumanntapr for sharing his amazing recording. All I did was EAC the cdr I received, created fades at the beginning and end, then FLAC’d and tagged.

Just to mention, “The Eliminator” fades in and there is a brief tape dropout in “House Of The Rising Sun.”

Please support the artist by buying his official releases and merch.

Dick Dale – guitar, vocals, harmonica
Sam Bolle – bass
Dusty Watson – drums

David Lindley – San Luis Obispo, CA (12/06/98)

David Lindley & Wally Ingram
12/06/98
Cuesta College Auditorium
San Luis Obispo, CA

[Feb 2016 REMASTER]

2nd Row Center:
Neumann KM-184’s (ORTF On T-Bar)>Custom XLRs >PSC Phantom Supplies >TCD-D7

Master DAT Transferred: Sony PCM-R500 >S/PDIF >Tascam HD-P2 (16 Bit/48khz) >
WAV >Audacity (Track Splits, Downsample To 16 Bit 44.1k, Minor Edits, Normalize) >FLAC (Level 8) + Tags Via xACT 2.53

Recorded, Audacity, FLAC’d, Tagged, & Front Cover Artwork By OldNeumanntapr
Master DAT Transferred By Terry Watts

  1. Old Coot From Tennessee
  2. Cat Food Sandwiches
  3. The Meatman
  4. Do You Want My Job?
  5. Tijuana
  6. Well Well Well
  7. I Am A Patriot
  8. New Minglewood Blues >.45 Pistol Blues
  9. Pay Bo Diddley
  10. Bon Temps Rouler

Encore:

  1. Quarter Of A Man

OldNeumanntapr Notes-
My second attempt at stealth with the Neumann KM-184’s, the first being two nights previously at the Lobero Theatre in Santa Barbara. I loved the acoustics of the old Cuesta Auditorium. I was the first person to but tickets for this show, and I wanted 2nd row center, so that the first row of people would help hide the microphones from view. Mr. Dave and Wally both talked a lot about the previous night’s show in Santa Cruz when they had to suffer through a power failure and play by candle light without the benefit of a PA. As usual, this show has lots of good music and good stories. (The old Cuesta Auditorium, on the old campus of the CA National Guard army base, has been shut down since the mid 2000s because it was not deemed worthy to retro fit to California earthquake standards. It had peeling paint, a leaky roof, looked like hell but had awesome acoustics.)

Feb. 2016 ONT Notes- This is a complete remaster, starting with a fresh digital transfer of the master DAT by Terry Watts. Dennis Orr initially did some post processing on this one, but there was some kind of anomaly in the processing that we couldn’t iron out, which sounded like a channel imbalance going on, so I chose to work on the transfer that I got from Terry. Thanks for your efforts Dennis. I think this remaster still sounds better than the previous version. This version has no CD generation, so split into discs as you see fit.)

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

Dick Dale – San Luis Obispo, CA (07/31/98)

Dick Dale
The Forum On Marsh
San Luis Obispo, CA
July 31, 1998

FOB, 15 Feet In Front Of Right PA Stack:
Nyquist Omnis >Sony TCD-D7

DAT Master Transferred Via:
Tascam DA-P1 >S/PDIF >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) Via xACT 2.41

FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 4.65db, EQ [Roll Off Frequencies below 250 hertz] Re-Track On Original Index Points) >FLAC (Level 8) + Tags Via xACT 2.53

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

Some Minor Distortion (Made Better By Post Production) In Places And Loud Obnoxious Crowd Toward End Of Show.

Disc I

  1. Announcement
  2. Tuning
  3. Shredded Heat
  4. Nitrus
  5. Trail Of Tears >
  6. Smoke On The Water >
    Peter Gunn Theme >
    Smoke On The Water
  7. Take It Or Leave It
  8. Taco Wagon
  9. Ghost Riders In The Sky >
  10. Hot Links: Caterpillar Crawl / Rumble
  11. Fever
  12. Misirlou
  13. Belo Horizonte*
  14. Front Porch Blues*

Disc II

  1. Mexico / Esperanza*
  2. The Wedge Paradiso**
  3. Mr. Peppermint Man
  4. Cherry Pie >
  5. Haji
  6. The New Victor
  7. My Baby
  8. House Of The Rising Sun
  9. Summertime Blues >
    Band Intro >
    Jam >
  10. The Wedge
  11. Shake And Stomp
  12. Third Stone From The Sun
  13. Scalped
  14. Walk Out

Dick Dale – Guitar, Vocals, Trumpet**
Ron Eglit – Bass
Dusty Watson – Drums

*Acoustic

OldNeumanntapr Notes:
This was one of two concerts that I saw / recorded at The Forum On Marsh in San Luis Obispo. The other one was Joe Ely, also in 1998. I’m not sure how long this club was in business, but it was formally a bank. I don’t think it was around for more than a year or so, maybe less. The crowd at this show was mostly drunk college kids, and a few of them were really unruly, as you can hear by the story on the way out of the club at the end of the show. I went to this one, as usual, with my friends Dave and Brian. It was standing room only and fairly packed. I had to keep the recording levels low because the Nyquist Omni hat had a tendency to distort if the levels were too high. I had to work on this one a bit in Audacity but I think it sounds much better now, with the bass rolled off. This was a little before I had the Neumann microphones so I had to make do with the Nyquist Omnis, which were custom made by an out-of-work electrical engineer in Denver. The microphones used a battery box, powered by a nine-volt battery, that would step up the signal to line level.

I loved seeing Dick Dale because he was such a legend. My dad told stories about going to see Dick Dale and The Del-Tones at the Rendezvous Ballroom in Balboa, CA, in 1961 and ’62. The Rendezvous was an old ballroom from the 1930s in the big band era, and it was right at the beach. He said that at high tide the surf would come all the way up to the front steps and get your feet wet upon entry. My dad was a young blonde surfer and loved Dale’s surf guitar sounds. Apparently there was an ordinance in Balboa that forbade concert goers from attending a performance without wearing a tie, so the staff would loan you one at the door and and you had to take it off when you exited.

This was taken from Wikipedia:
Dale was one of the most influential guitarists of all time and especially of the early 1960s. Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashmen, were influenced by Dale’s music, and often included recordings of Dale’s songs in their albums. His style and music influenced guitarists such as Jimi Hendrix, Pete Townshend, Eddie Van Halen and Brian May.

He has been credited with popularizing tremolo picking on electric guitar, a technique that is now widely used in many musical genres (such as extreme metal, jazz fusion, etc.). His speedy single-note staccato picking technique was unrivaled until guitarists like Eddie Van Halen entered the music scene.

He is cited as one of the fathers of heavy metal for pushing the limits of amplification. Working together with Leo Fender, Dale also pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier. Dale also pioneered the use of portable reverb effects.

The use of his recording of “Misirlou” by Quentin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. He was also nominated for a Grammy in the Best Rock Instrumental Performance category for the song “Pipeline” with Stevie Ray Vaughan.[10] In “Rolling Stone’s 100 Greatest Guitarists of All Time”, Dale was ranked 31st in 2003 and 74th in the 2011 revision.

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

David Lindley – San Luis Obispo, CA (01/29/12)

David Lindley
1/29/12
SLO Brewing Company
San Luis Obispo, CA

Neumann AK-40’s (x/y) >LC3 >KM-100’s >Beyer MV-100 >Sony TCD-D8
Master DAT Transferred: Tascam DA-P1 >S/PDIF >HHb CDR 800 PRO,
CD Masters >Audacity (Minor Edits, Some Tracks) >FLAC (Level 8) Via xACT 2.37
FLAC Tags Via xACT 2.48

(Recorded (Third Row Center), Transferred, FLAC, Tags, & Front-Cover Artwork By OldNeumanntapr)

Disc I:

  1. Revenge Will Come
  2. Way Out West In Kansas
  3. Ain’t No Way
  4. The Poor Old Dirt Farmer
  5. In The State Of Arkansas

Disc II:

  1. Little Sadie
  2. Well Well Well
  3. Little Green Bottle

Encore.

  1. Pretty Girl Rules The World
  2. Mercury Blues*

*New Version

OldNeumanntapr Notes-
This was the second to last time that Mr. Dave played SLO Brew. He was back in November of 2012 but hasn’t played since, and the club is scheduled to close soon so I don’t know if he will be return. Sadly, Lindley’s show’s at SLO Brew haven’t sold well. The crowd at last one, in Nov. ’12, was less than half capacity. I have always loved the Middle Eastern sound of his music, his slide playing, and of course his very witty and imaginative stories.

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

David Lindley – San Luis Obispo, CA (01/18/11)

David Lindley
01/18/11
SLO Brewing CO
San Luis Obispo, CA

Third Row Center:
Neumann AK-40s (x/y) >LC3 >KM-100s >Beyer MV-100 >Sony TCD-D8 (16bit/44.1k)
Transferred: Tascam DA-30 >S/PDIF >HHb CDR 800 PRO
CD Masters >WAV Extracted Via xACT 2.37

WAV >iZotope RX4 Advanced & Adobe Audition 3.0 (Clean Up) >
WAV >Audacity (Track Splits) >FLAC (Level 8) + Tags Via xACT 2.37

Recorded, Audacity, FLAC, Tags, & Artwork Photos By OldNeumanntapr
Post Production, & Artwork Completion By Flying M Productions

  1. Way Out West In Kansas
  2. The Poor Old Dirt Farmer
  3. Little Green Bottle
  4. In The State Of Arkansas
  5. Well Well Well
  6. Brothers Under The Bridge
  7. Brass Monkey Medley
  8. Revenge Will Come
  9. When A Guy Gets Boobs

Encore:

  1. Mercury Blues
  2. Young Man Who Wouldn’t Hoe Corn

David Lindley – vocals, Saz, Weissenborn lap steel guitars, bouzouki, Turkish oud

OldNeumanntapr Notes-
I believe that this was the first time I’d recorded David Lindley since the Cuesta College show with Wally Ingram in 2001. I was having trouble finding new DAT blanks at the time, and I was forced to use a one-pass tape that looked to be in pretty good shape. Unfortunately, the recording had little digital errors sprinkled throughout and I was not happy and considered this show a total loss. However, My friend Mike was able to do some amazing things in post production to repair the damage. His full notes are listed below, but to put it simply; IT IS A HUGE IMPROVEMENT!!! My hat is definitely off to his monumental efforts. This was probably the last time that I saw Lindley play the Turkish Saz. I’m not sure why he hasn’t taken the Saz on the road recently, because he is such a brilliant player. My friends Dave, Brian and Lorna were with me at this show and I’m certain that they will also be happy with the improvements in sound on this new version. (It’s not really a remaster, because I’ve never sent this show out before because of the previous errors.) Lindley only played SLO Brew two additional times after this show before the building closed for demolition.

Mike Notes-
Did remove most all of the digi-noise one way or the other.
I used copy and paste on a lot of this
Similar to my clap removal method which is so simple.
Look for the brightest vertical lines and then copy something next to it and paste it over the bright spot.
Not necessarily do you copy the entire frequency band (stay away from the bottom/low frequencies). If a sound stutters then try copying less or from somewhere else. You might hear a little of that but I tried to be careful.

Have used a lot of different methods and this has now become one of my favorite. so easy to “see” noises in this frequency vs time format.
Included a screen shot for you to see what I am talking about.
Low frequencies are on the bottom and this goes up to 22 KHz at the top of the display. Most of the crackling digi-noise was in that upper frequency area (8-22KHz). Used the repair (replace or attenuate) tool on that sound.

Tried multiple tricks on most of these noises and used the one that came out best each time. Being able to select an area (a box around the noise) the area of noise was repaired leaving most of the rest of the signal alone.

So little overall degradation. About 250 repairs +/- in the first 45 minutes.
A couple places that were too bad to repair were just sniped out (shhh don’t tell the taper) Listen for the edits and you should not even be able to find them even comparing side by side. Makes it listenable and otherwise it was awful.

Started at about 7AM and it is now 3:30PM and it is time for a nap.
Will start work on the second half tomorrow. I have been digging this show all day. An American classic who only gets better with age (more eccentric?)

Mike

Additional Notes-

Laughed pretty hard during the “boobs” song as I am over weight and relate to everything Dave said.

Additional lineage would be: iZotope RX4 advanced & Adobe Audition 3.0 (clean up) Made 4 passes from beginning to end looking for noises to remove but it is quite possible I missed something.

Came up with a fix for the few seconds during the vocal part in the second song. The same phrase was repeated elsewhere in the song.
Used one of those repeated lines for a 2 second patch to cover up the “noisy” one. Nothing quite matched up so I only used the signal from 5KHz up for the patch. Synced with the original low frequencies so it didn’t sound “off”.
Imagine laying a photo of a picket fence onto another photo of a picket fence and lining it up. Patch can be found between 3:52-3:54.
You can hear it if you listen closely but when you’re playing the concert it goes by quickly and it hides the bad noise pretty well. Creative editing.

No other way that I knew of to fix these long digi-noises.
The other 2 bad spots were instrumental and so just “snipped out” on the beat so they are invisible (I hope). Were you able to find the 2 splices, I can’t anymore and I made them.

You will be glad to know that I got rid of your enthusiastic neighbors clapping. In fact I modified some loud whistles and loud screams by spot attenuating them so they are not so disturbing. Some coughing and a lot of whispering from the neighbors was also reduced. Clunks and tics were removed to be sure they were not part of that digi noise. Was probably you bumping your microphones or the cables once in a while. Pretty much did the exact same thing I do with all of my recordings.

Spliced the 2 halves together and removed the overlap. So the concert is missing a couple seconds but it is so minimal as not worth mentioning.
Nice project for me as I had to stretch a little to figure out how to do some of the repairs.

Bet this was a big disappointment at the time.
Not now.

Enjoy,
Mike

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

Cafe R&B – San Luis Obispo, CA (12/06/14)

Cafe R&B
SLO Veteran’s Hall
San Luis Obispo, CA
December 6, 2014

** 16 BIT **

Source: Neumann AK-40’s (ORTF In Hat) >LC3 >KM-100’s >Beyer MV-100 >Tascam DR-100-MKII (24 bit/48 kHz)
Mastering: .WAV >Sound Forge Pro 10.0a (fades, minor edits, & normalize) >CDWav (tracking) >iZotope MBIT+ (dithered and downsampled to 16 bit/44.1 kHz) >Trader’s Little Helper (level 5) >FLAC
Location: FOB, 9 feet from stage, mid-left, in front of the guitar player
[Recorded by: Old Neumanntapr]
[Mastered by: Dennis Orr]
[Tags Via xACT 2.53, + Front-Cover Artwork By OldNeumanntapr]

Setlist:

  1. Intro
  2. Walkin’ Through The Park
  3. Born Under A Bad Sign
  4. I Get Higher
  5. Snatch It Back And Hold It
  6. Going Down
  7. Chat
  8. I Just Wanna Make Love To You
  9. Gypsy Woman
  10. Everything’s Gonna Be Alright >
  11. You Ain’t Nothin’ But A Hound Dog
  12. Born On The Bayou
  13. Chat
  14. There Was A Time
  15. Encore Break
  • Encore –
  1. Killing Floor
  2. Outro

Roach – vocals
Byl Carruthers – guitar
Bobby Pickett – bass
Harry Cohen – keyboards
Don Swanson – drums

Taper Notes:

  • SLO Blues Society show
  • I love this band, and have seen them many times in SLO County. Roach, who is married to guitarist Byl Carruthers, has such a stage presence that she has the audience, especially men, wrapped around her finger. This show the band encored with ‘Killing Floor’, and Roach gyrated onstage like a woman possessed, before culminating with a fall to the floor in a fetal position at the guitarist’s feet, with the microphone clutched in her hands. I stood up front, at the edge of the dance floor, directly in front of the guitarist’s amp. I think this audience recording has a really good mix of instruments and vocals, as only vocals and keyboards were being pushed through the PA. Byl commented onstage that San Luis Obispo has one of the two oldest Blues Societies in the country, the other being in Santa Barbara. He said on stage that the SLO Blues Society was 37 years old, but I believe it was started in 1980, which would make it 34 years old. In any case, I have been very fortunate to have been a part of so many blues shows at the SLO Vets’ Hall over the years, going back to 1992.