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Set I
2/11/70 Fillmore East w/Greg & Duane Allman & Peter Green
1. Dark Star (12:18) >
2. Alhambra (5:23) >
3. Turn On Your Lovelight (28:53)
2/2/70 Fox Theatre, St. Louis, Mo
4. (some of) Cumberland Blues (2:21)
5. Dark Star (21:30) >
1. Dark Star (12:18) >
2. Alhambra (5:23) >
3. Turn On Your Lovelight (28:53)
2/2/70 Fox Theatre, St. Louis, Mo
4. (some of) Cumberland Blues (2:21)
5. Dark Star (21:30) >
Set II
2/2/70 (cont')
1. > St. Stephen > Mason's Children (8:51)
2/1/70 The Warehouse, New Orleans w/Fleetwood Mac
2. ...The Other One (3:37) >
3. Turn On Your Lovelight (39:43)
1. > St. Stephen > Mason's Children (8:51)
2/1/70 The Warehouse, New Orleans w/Fleetwood Mac
2. ...The Other One (3:37) >
3. Turn On Your Lovelight (39:43)
Set III
Comment
Selections from 2/11/70, 2/2/70, and 2/1/70 featuring jams with
Fleetwood Mac and Greg & Duane Allman and Peter Green
From a bootleg CD entitiled "The Best Damn Music In The World"
Post Processing
===============
These shows are soundboards, and sound great. Originally, however,
2/11/70 suffered from a very low bass mix. I played around with a bunch
of EQ curves (using Sound Forge 4.5), burned selections with different
EQ curves to CD-RW, and listened on my good stereo to decide what curve
to use. 2/2/70 also was low in the bass, less so than 2/11, and I did
the same to determine what kind of EQ to use.
Secondly, for the 2/1 Lovelight, the right channel would completely
disappear for anywhere from seconds to handfuls of minutes, which
obviously sucks. So I mono-ized it where this occurred, pasting the left
channel to the right where it went away. Much less annoying.
As a side note, I must say that my philosophy is ONLY EQ IF THE
RECORDING REALLY NEEDS IT. I asked myself, would I enjoy the music as
it is? The answer was, sortof. My next question was do I enjoy the EQed
music more? The answer was a resounding YES. I hope you enjoy it too.
There is a bonus track included. You win absolutely nothing by
determining where it comes from. I will probably eventually seed the
entire show from whence it came.
Leigh Orf ("Orp")
Fleetwood Mac and Greg & Duane Allman and Peter Green
From a bootleg CD entitiled "The Best Damn Music In The World"
Post Processing
===============
These shows are soundboards, and sound great. Originally, however,
2/11/70 suffered from a very low bass mix. I played around with a bunch
of EQ curves (using Sound Forge 4.5), burned selections with different
EQ curves to CD-RW, and listened on my good stereo to decide what curve
to use. 2/2/70 also was low in the bass, less so than 2/11, and I did
the same to determine what kind of EQ to use.
Secondly, for the 2/1 Lovelight, the right channel would completely
disappear for anywhere from seconds to handfuls of minutes, which
obviously sucks. So I mono-ized it where this occurred, pasting the left
channel to the right where it went away. Much less annoying.
As a side note, I must say that my philosophy is ONLY EQ IF THE
RECORDING REALLY NEEDS IT. I asked myself, would I enjoy the music as
it is? The answer was, sortof. My next question was do I enjoy the EQed
music more? The answer was a resounding YES. I hope you enjoy it too.
There is a bonus track included. You win absolutely nothing by
determining where it comes from. I will probably eventually seed the
entire show from whence it came.
Leigh Orf ("Orp")
Last Changed By
FuzzyOne
Click 'Edit Show' or the 'Set I(II)(III)' or 'Comment' text to make corrections.
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If this is a duplicate or incorrect entry and should be merged, use the Request Merge page.