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Set I
Casey Jones, Me & My Uncle, Hard To Handle, Bertha, Playin' In The Band, Bird Song, Big Boss Man, Cryptical Envelopement-> Drums-> The Other One-> Wharf Rat, Sugar Magnolia
Set II
Truckin', Loser, Next Time You See Me, Greatest Story Ever Told-> Johnny B. Goode, Ripple, Not Fade Away-> Goin' Down The Road Feelin' Bad-> Not Fade Away-> Turn On Your Love Light
Set III
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E.S.P. show - Other artist(s): NRPS
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(111) View Source
View Archive
7" 2-track Betty Reel WBOTB w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz, PCM501ES analog out > dolby A decoder > analog in Fostex D5 @ 48KHz > DATx3 > ZA2 > notch filter > CD-R; via Leigh Orf; see info file for dewhining details; tracked for 3 discs
(6188) View Source
View Archive
likely seekable reshn of previous shn set by Bob Clevenger (txt datestamp 3/19/00, md5 datestamp 10/14/01)
(85912) View Source
View Archive
flac16; Source: 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz x 2 > WBOTB Master DAT. Transfer and mastering: Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply. Transfer and mastering by Chris L.
(116617) View Source
View Archive
flac16; Recording Info: SBD -> Master Reel -> CD; Transfer Info: CD -> Samplitude Professional v10.02 -> Adobe Audition v1.5 -> FLAC; All Transfers and Mastering By Charlie Miller
(111) View Source
View Archive 7" 2-track Betty Reel WBOTB w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz, PCM501ES analog out > dolby A decoder > analog in Fostex D5 @ 48KHz > DATx3 > ZA2 > notch filter > CD-R; via Leigh Orf; see info file for dewhining details; tracked for 3 discs
(6188) View Source
View Archive likely seekable reshn of previous shn set by Bob Clevenger (txt datestamp 3/19/00, md5 datestamp 10/14/01)
(85912) View Source
View Archive flac16; Source: 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz x 2 > WBOTB Master DAT. Transfer and mastering: Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply. Transfer and mastering by Chris L.
(116617) View Source
View Archive flac16; Recording Info: SBD -> Master Reel -> CD; Transfer Info: CD -> Samplitude Professional v10.02 -> Adobe Audition v1.5 -> FLAC; All Transfers and Mastering By Charlie Miller
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Collectors With This Show
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| User (active/rating) | Media / # | Show | Sound | Details | DB Source | User Source |
|---|---|---|---|---|---|---|
| Randolph Cooper (2/5) | shn / 2 | View | 111 | |||
| Greg Cromwell (2/0) | / 0 | View | etree ftp | |||
| Mike Bock (2/0) | CD / 3 | View | ||||
| Kyle (2/0) | CDR / 3 | A | A | View | SBD>DOLBY A REEL>DOLBY A DECODE>DAT>SOUND FORGE NR>CDR | |
| Joe Kennebeck (2/0) | SHN / 0 | View | ||||
| Jay (2/0) | CD-R / 3 | View | SBD | |||
| Ben Pittard (2/0) | CD-R / 2 | View | ||||
| Notes: | shn | |||||
| Adam Rogers (2/0) | SHN / 2 | View | 111 | |||
| Tim Deibert (2/5) | CDR / 2 | View | Betty Board Reel | |||
| Notes: | Betty Board - Details | |||||
| Adam Aronson (2/5) | DAT / 0 | A | View | SBD | ||
| Scott (2/0) | / 0 | View | ||||
| bobbyandjerry (2/0) | SHN / 2 | View | 111 | SBD | ||
| Chuck Rothofsky (2/0) | S / 2 | A | View | WBOTB:7" 2-track Betty Reel w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz PCM501ES analog out... | ||
| Notes: | From Source: This is What Became Of The Bettys Source. I cleaned up the interference in the form of an annoying whine in the same manner as I did other Port Chester shows (2/18,2/21,2/23,2/24). However, I used two different programs to do so. For disks 1 and 2, I used Diamond Cut Audio Restorations Tools Notch Filter, with a filter width of 0.03 to 0.04 octaves, centered on ~8000 Hz, or wherever the whine happened to be. I used Sound Forge Noise Reduction Plugin, centering on the whine, for disc 3. Why two different programs? I began work on this show about a month ago. I recently purchased the DCART program after hearing it being widely regarded as one of the best (affordable) programs out there for cleaning up audio. Let your ears judge which is best if you can tell the difference. I found the DCART notch filter to be the better tool for the job, while the SFNR plugin is flexible enough to be used as a notch filter. I also realized long after I was into cleaning this show up that others have done so before me on this particular show. I'd be interested in any feedback as to how my show compares to other efforts! I used the narrowest filters I could without going bonkers. In some sections of the show the whine wandered quickly, forcing me to use lots of different filters over a small portion of the show. Leigh Orf [email protected] For furthur info on my processing & related noise issues see http://orf.cx | |||||
| Tripp Wojohn (2/0) | SHN / 2 | View | 111 | |||
| Carter (1/5) | CDR / 2 | A | A | View | ||
| Charlie Yohe (1/5) | CDR / 2 | View | 85912 | |||
| Rick Childs (1/4.9) | CDR / 2 | A | A | View | 111 | |
| Hal (1/0) | cdr / 2 | View | ||||
| KerouacAW (1/0) | Vorbis / 0 | View | ||||
| Gary Field (1/5) | 111 / 2 | View | 111 | SBD | ||
| Notes: | 7" 2-track Betty Reel w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz PCM501ES analog out > dolby A decoder > analog in Fostex D5 @ 48KHz > DATx3 > ZA2 > notch filter > CD-R | |||||
| Gary Field (1/5) | 85912 / 2 | View | 85912 | SBD | ||
| Notes: | Source: 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz x 2 > WBOTB Master DAT. Transfer and mastering: Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply [070620.1] | |||||
| Gary Field (1/5) | 116617 / 0 | View | 116617 | SBD | ||
| Notes: | Recording Info: SBD -> Master Reel -> CD; Transfer Info: CD -> Samplitude Professional v10.02 -> Adobe Audition v1.5 -> FLAC[081231.1] | |||||
| Gary Field (1/5) | 6188 / 2 | View | 6188 | SBD | ||
| Notes: | Seekable re-shn of source ID 111: 7" 2-track Betty Reel w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz, PCM501ES analog out > dolby A decoder > analog in Fostex D5 @ 48KHz > DATx3 > ZA2 > notch filter > CD-R [090317.1] | |||||
| cldydmzunrl (1/0) | / 0 | View | 116617 | |||
| Marc Deardorff (1/5) | shn / 2 | View | 111 | |||
| Notes: | WBOTB 7" 2-track Betty Reel w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz, PCM501ES analog out > dolby A decoder > analog in Fostex D5 @ 48KHz > DATx3 > ZA2 > notch filter > CD-R | |||||
| Marc Deardorff (1/5) | shn / 2 | View | 6188 | |||
| Notes: | likely seekable reshn of previous shn set by Bob Clevenger (txt datestamp 3/19/00, md5 datestamp 10/14/01) | |||||
| Marc Deardorff (1/5) | shn / 2 | View | 6188 | |||
| Marc Deardorff (1/5) | flac / 2 | View | 85912 | |||
| Notes: | 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz x 2 > WBOTB Master DAT. Transfer and mastering: Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC | |||||
| phil (1/5) | flac / 0 | a | View | 85912 | sbd>cd (see notes) | |
| Ed Izsak (1/5) | CDR / 2 | A | View | SDBD | ||