Steve Kimock and Friends
Sullivan Hall
New York, NY
4/6/2011

Neumann TLM-170 (FOB 10 feet from stage, latched to left column; left mic: subcardoid; right mic: hypercardoid) -> Sound Devices 722 (@24/96); FLAC File processing in SoundForge 10.0c (L/R channel time sync; volume normalization; resample to 44.1 with iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter; 24->16 bit dither using iZotope MBIT+ Dither with Ultra noise shaping, High dither settings); Tracked in CDWav.

Set 1
1.  You're The One
2.  Nana's Chalk Pipe
3.  Many Rivers to Cross ->
4.  Jam
5.  Baby Baby
6.  setbreak announce

Set 2
1.  Tangled Hangers
2.  tuning
3.  Tongue and Groove
4.  tuning
5.  Golden Road
6.  tuning/thanks
7.  Slow Down
8.  thanks

Andy Hess - bass
John Molo - drums
Pete Sears - keys

Note:
Every time I post something I've run in this configuration (with different mic patterns for each mic) at Sullivan Hall, someone invariably comments "What is up with the different mic patterns?"  Well, in this room it's impossible to set up in the center of the room unless you set up in the very back, next to the soundboard (or hang your mics from the ceiling).  So I generally opt for getting really really close, and taping my stand to a column about 10 feet from the stage.  The column is unforunately just inside of the left PA speaker, far off center.  So what I do is point the left mic straight at the stage in subcard setting (appropriate when you're 10 feet from the source) to get mostly what's coming out of the PA and some stage bleedthrough and then point the right mic wide to the right (in hypercard to give me a bit more reach) and the ratio of stage volume to PA volume flips -- in the right mic I get slightly more stage volume and slightly less PA.  In most cases it works out pretty well, and it definitely did on this recording.  The upshot is that you get a bit more keys in the left and a bit less vocals (for the last song in the show) in the right channel.  Ultimately I think this is the best I can do given the siuation and I think it sounds pretty stellar regardless (if it wasn't NYE and I wasn't coming from a Phish show before I'd probably have run a SBD+onstage mic matrix).  I have expeimented with different configurations and locations in the venue, but I think this tends to yield the most pleasing results.

Recorded, mastered, and tracked by Scott Bernstein