Dave Matthews Band
3 June 2006
Verizon Wireless Music Center
Noblesville, Indiana

Taper: Christopher Jones <jones.chris@gmail.com>
Source: DPA 4015 Wide Cardioid > Luminous Audio Technology Synchestra 4/9's Ag XLR Interconnect > Rupert Neve Designs Portico 5012 Microphone Preamplifier > Luminous Audio Technology Synchestra Signature 6/9's Cu XLR Interconnect > Mytek Digital Stereo192 Analog-to-Digital Converter (@ 24-bit / 96 kHz) > Luminous Audio Technology Allegro Signature 4/9's Ag AES / EBU Digital Interconnect > Sound Devices 722 Hard Disk Recorder (locked to Stereo192 clock @ 96 kHz; 24-bit / 96 kHz)
Location: Section C, Row G, Seat 3. Mics A-B at 14', directly in front of stageleft stack.
HD > .flac: Sound Devices 722 Hard Disk Recorder > Apple Power Mac G4 MP800 mHz / 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 05:45.02
d1t02 One Sweet World * 07:25.47
d1t03 Grey Street * 06:46.59
d1t04 Everyday (#36) * 09:55.16
d1t05 The Idea of You * 04:57.22
d1t06 Dancing Nancies * > 09:58.31
d1t07 Warehouse * 11:20.39

56:08.66

d2t01 Intro To... 00:42.01
d2t02 Steady As We Go * 04:01.68
d2t03 So Much To Say * 05:03.02
d2t04 Jimi Thing (For What It's Worth) ^ * 19:16.53
d2t05 Crash Into Me (Dixie Chicken) 07:21.12
d2t06 JTR * 07:02.05
d2t07 Grace Is Gone 09:07.36

52:34.27

d3t01 "Eat, Drink, and Be Merry..." 00:38.14
d3t02 Tripping Billies * 06:47.32
d3t03 Digging A Ditch * 05:25.23
d3t04 Two Step * 27:01.31
---
d3t05 Sister + 04:11.35
d3t06 Always [#40] 01:39.71
d3t07 The Dreaming Tree * 13:37.29
d3t08 Louisiana Bayou * 09:55.66

69:17.01

Entire set featuring Butch Taylor on keys.

* Featuring Rashawn Ross on trumpet
() Indicates a tease or partial song if not part of a song with a
parenthetical subtitle
> Indicates a segue into the next song
^ Buffalo Springfield cover
+ Dave solo

Notes:

Thanks to Craig Willoughby for the tickets.

Heavy crosswinds for the much of the evening, and the pavilion of the venue is open-air to its sides. Given seats near the center aisle stageleft, mics were positioned to aim outward from the stage toward the cone of the stack. The axes of the microphones intersected the wind vector at approximately 45 degrees, and the gusts at times compressed the microphone diaphragms and caused a slightly compressed low end in passages. Though not immediately audible, understand no compression has been applied to this recording. I have confirmed the likelihood of this phenomenon with DPA mic techs. Slightly audible high end phasing can also be detected due to wind.

Compiled by Christopher Jones <jones.chris@gmail.com> 16 June 2006.

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