Well, as Microsoft superblogger Raymond Chen pointed out last week, this very song was apparently implicated in an astonishing system crash vulnerability in the early 2000s.Īccording to Chen, a major laptop maker of the day (he didn’t say which one) complained that Windows was prone to crashing when certain music was played through the laptop speaker. This was the era of shoulder pads, MTV, big-budget dance videos, and the sort of in-your-ears-and-in-your-face lyrical musicality that even YouTube’s contemporary auto-transcription system renders at times simply as: …as upbeat, in fact, as the catchy Janet Jackson dance number Rhythm Nation, released in 1989 (yes, it really was that long ago)? So, wouldn’t it be nice if the public service could be upbeat once in a while… Something cannot universally be true if it is ever false, even for a single moment. Overall, neither source is perfect, however the distractions of the crowd noise in the binaurals give the nod to the MK4 source.You’ve probably heard the old joke: “Humour in the public service? It’s no laughing matter!”īut the thing with downbeat, blanket judgements of this sort is that it only takes a single counter-example to disprove them. The notes are distinct, just not as thumping as on the binaural source. Once the full band comes on, the main complaint is that the bass is just a bit low in the mix. The acoustic guitar is not as up front on this source, but neither are there any conversations going on. The MK4 source doesn't have as nice levels as the binaural source, however there is noticeably less crowd noise. The crowd noise also carries over into the electric set. The bass is boomy, but lacks clear notes, in other words, lots of muddiness down low. I have a set of binaurals myself that I have used for stealth taping and I know this is common if you move your head (I usually mount mine to the brim of a ballcap). At a couple of places there is a weird stereo effect (see early in the vocals of My Friend) which I can only assume comes from somebody actually bumping into the mics. There isn't a ton of "shimmer" on the acoustic, which I generally like, but that could have been the result of the soundman's tastes or Trey's preamp rather than the mics. Trey's acoustic sounds quite nice, with good response up and down the frequency spectrum, picking up the squeak of his fingers as he moves to different frets. When I say a lot, I mean that you can hear entire conversations going on, not just the low rumble of the crowd. The taper apparently made great effort to minimize this with software, but alas, there is still a lot there. The binaural source, as the taper makes note of in his comments, has a ton of crowd noise. Transfer: CF>Soundforge-editing/tracking>Wavelab-SRC44-16>Flac Frontend>flac Source: Schoeps mk4>kc5>cmc6>fostex fr-2le w/Oade HD Concert FOB Right of Center Transfer: SD Card -> Computer -> Mastered in Reaper (圆4) EQ -> Dynamics -> Tracking -> 16/44.1 ->Trader's Little Helper to fix SBEs and encode to flac (level 8) -> foobar2000 to tag metadata Location: (FOB) center of lower orchestra section, at the rail
Source: Sound Professionals SP-BMC-12 (Croakie mount) -> custom battery box with -10db pad -> Zoom h4n line-in (to 24bit/48kHz wav) As always, a big thanks to the tapers who go to the effort to record these shows and get them out into our hands. Not surprisingly, there are fewer sources for this show than for your typical Phish show, but where there are two or more sources available, I will be here to tell you which one I think sounds the best. After a 6 week hiatus following the Holiday Run, Trey Anastasio is back on the road for an interesting acoustic/electric combo that has offered some interesting surprises and some great music taboot.
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