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Source Summary
DPA 4011 Cardioid > Luminous Audio Technology Synchestra 4/9's Silver XLR Interconnect > Rupert Neve Designs Portico 5012 Microphone Preamplifier > Luminous Audio Technology Synchestra Signature 6/9's Copper XLR Interconnect > Mytek Digital Stereo192 Analog-to-Digital Converter (@ 24-bit / 96 kHz) > Luminous Audio Technology Allegro Signature 4/9's Silver AES / EBU Digital Interconnect > Sound Devices 722 Hard Disk Recorder (locked to Stereo192 clock @ 96 kHz; 24-bit / 96 kHz)
DPA 4011 Cardioid > Luminous Audio Technology Synchestra 4/9's Silver XLR Interconnect > Rupert Neve Designs Portico 5012 Microphone Preamplifier > Luminous Audio Technology Synchestra Signature 6/9's Copper XLR Interconnect > Mytek Digital Stereo192 Analog-to-Digital Converter (@ 24-bit / 96 kHz) > Luminous Audio Technology Allegro Signature 4/9's Silver AES / EBU Digital Interconnect > Sound Devices 722 Hard Disk Recorder (locked to Stereo192 clock @ 96 kHz; 24-bit / 96 kHz)
Howie Day
1 October 2005
Vincent Lombardi Memorial Fieldhouse
Fordham University
Bronx, New York
Taper: Christopher Jones
Source: DPA 4011 Cardioid > Luminous Audio Technology Synchestra 4/9's Silver XLR Interconnect > Rupert Neve Designs Portico 5012 Microphone Preamplifier > Luminous Audio Technology Synchestra Signature 6/9's Copper XLR Interconnect > Mytek Digital Stereo192 Analog-to-Digital Converter (@ 24-bit / 96 kHz) > Luminous Audio Technology Allegro Signature 4/9's Silver AES / EBU Digital Interconnect > Sound Devices 722 Hard Disk Recorder (locked to Stereo192 clock @ 96 kHz; 24-bit / 96 kHz)
Location: Behind barrier stageleft, directly in front of PA, ~ 8' from house mains. Mics ORTF; stand at 8'.
HD > .flac: Sound Devices 722 Hard Disk Recorder > Apple Power Mac G4 MP800 / 512MB > T.C. Works' Spark XL 2.8 > xACT 1.4b28
Resampled and dithered using T.C. Works' respective highest quality resampling and Ultra-Noiseshaping functions. A 24-bit / 96 kHz version of this recording exists in .flac24.
d1t01 Introduction 01:24.67
d1t02 Sorry, So Sorry 07:26.43
d1t03 The Perfect Time of Day 05:22.25
d1t04 Brace Yourself 04:15.10
d1t05 Ghost 12:13.41
d1t06 Sunday Morning Song 05:44.66
d1t07 Don't Dream It's Over * 05:16.11
41:43.38
d2t01 Be There 05:21.67
d2t02 She Says > 03:53.01
d2t03 (One) # 01:15.13
d2t04 Been There 06:33.72
d2t05 "90's Medley" > 02:00.54
d2t06 (My Heart Will Go On) % 01:42.43
d2t07 #41 ^ 05:56.29
d2t08 Collide 07:10.16
---
d2t09 Madrigals 08:31.12
42:25.07
* Crowded House cover
> Indicates a segue into the next song
# U2 cover
% Celine Dion cover
() Indicates a tease or partial song
^ Dave Matthews Band cover
Notes:
Howie's vocal mic was silent for the first second of "Sorry, So Sorry." The pop at the beginning of the song is the mic punching in. Any odd anomolies in the audio originate onstage and / or at the console, not in the recording chain.
Howie had applied to his voice a chorus-like effect at various parts of the show, most noticeably during "Been There."
Howie's guitar was coming only through the stage monitors during "Madrigals" for the first few seconds, but then was put through the PA shortly thereafter.
This is _not_ a soundboard recording.
Compiled by Christopher Jones 2 October 2005.
1 October 2005
Vincent Lombardi Memorial Fieldhouse
Fordham University
Bronx, New York
Taper: Christopher Jones
Source: DPA 4011 Cardioid > Luminous Audio Technology Synchestra 4/9's Silver XLR Interconnect > Rupert Neve Designs Portico 5012 Microphone Preamplifier > Luminous Audio Technology Synchestra Signature 6/9's Copper XLR Interconnect > Mytek Digital Stereo192 Analog-to-Digital Converter (@ 24-bit / 96 kHz) > Luminous Audio Technology Allegro Signature 4/9's Silver AES / EBU Digital Interconnect > Sound Devices 722 Hard Disk Recorder (locked to Stereo192 clock @ 96 kHz; 24-bit / 96 kHz)
Location: Behind barrier stageleft, directly in front of PA, ~ 8' from house mains. Mics ORTF; stand at 8'.
HD > .flac: Sound Devices 722 Hard Disk Recorder > Apple Power Mac G4 MP800 / 512MB > T.C. Works' Spark XL 2.8 > xACT 1.4b28
Resampled and dithered using T.C. Works' respective highest quality resampling and Ultra-Noiseshaping functions. A 24-bit / 96 kHz version of this recording exists in .flac24.
d1t01 Introduction 01:24.67
d1t02 Sorry, So Sorry 07:26.43
d1t03 The Perfect Time of Day 05:22.25
d1t04 Brace Yourself 04:15.10
d1t05 Ghost 12:13.41
d1t06 Sunday Morning Song 05:44.66
d1t07 Don't Dream It's Over * 05:16.11
41:43.38
d2t01 Be There 05:21.67
d2t02 She Says > 03:53.01
d2t03 (One) # 01:15.13
d2t04 Been There 06:33.72
d2t05 "90's Medley" > 02:00.54
d2t06 (My Heart Will Go On) % 01:42.43
d2t07 #41 ^ 05:56.29
d2t08 Collide 07:10.16
---
d2t09 Madrigals 08:31.12
42:25.07
* Crowded House cover
> Indicates a segue into the next song
# U2 cover
% Celine Dion cover
() Indicates a tease or partial song
^ Dave Matthews Band cover
Notes:
Howie's vocal mic was silent for the first second of "Sorry, So Sorry." The pop at the beginning of the song is the mic punching in. Any odd anomolies in the audio originate onstage and / or at the console, not in the recording chain.
Howie had applied to his voice a chorus-like effect at various parts of the show, most noticeably during "Been There."
Howie's guitar was coming only through the stage monitors during "Madrigals" for the first few seconds, but then was put through the PA shortly thereafter.
This is _not_ a soundboard recording.
Compiled by Christopher Jones
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