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Disco Biscuits 10/31/97
University Of Pennsylvania, Philadelphia, PA
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Source # 84184 Other Sources
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Disc Counts 2 / 3
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Date Added

Source Summary AKG460/ck61>D5>?>CDR>EAC%>WAV*>FLAC(8)>MediaTagger 
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The Disco Biscuits
October 31, 1997
Phi Sigma Kappa Frat House
University of Pennsylvania
Philadelphia, PA

Source: AKG 460/ck61>D5
Transfer: ?>CDR>EAC%>WAV*>FLAC(8)>MediaTagger

% - EAC logs are given as a separate file, thanks to Jordan Nadler
* - All WAV source info is given at the bottom of this text file

Disc One:
  Set One:
    1. Jam -> 16:02
    2. Jam -> 11:16
    3. Jam -> 16:45
    4. Jam -> 07:35
    5. Run Like Hell -> 10:50
    6. Jam Fade-Out & 00:30

Disc Two:
  Set One (cont.):
    1. Jam Fade-In & -> 00:08
    2. Jam -> 10:48
    3. Jam -> 10:13
    4. Jam -> 08:59
    5. Jam -> 12:23
    4. Morning Dew -> 10:42
    5. Aquatic Ape -> 06:29
    6. Frog Legs 06:45

Disc Three:
  Set Two:
    1. Space $ -> 02:50
    2. Jam -> 12:20
    3. Jam -> 13:37
    4. Jam 05:29
    5. End of Party 00:59

& - The last track on disc one and first track on disc two are for
    listenability only.  Removing both these tracks will result in
    a continuous set of music.
$ - With Marc on drums, Aron on bass, and Sam on keyboards

* The original source for this show was was an analog source from a frat
* house, so it makes sense.  There was a crapload of tape hiss from the analog and a
* lot of saturation in the levels.  On top of that, the original transfer was done
* at the wrong bitrate.  And unfortunately, you can't turn hamburger into filet
* mignon.  I've done the best that I could with this show, but it still leaves a bit
* to be desired.  Given the historical impact, however, it's important to get this
* show out there.
* I used SoundForge 6 for all the editing and CDWave to break up the tracks. While I
* can't delineate my entire process, I used the Sony Noise Reduction plug-in to help
* remove tape hiss.  I used the Wavehammer plug-in to boost various individual
* aspects of the sound, trying to push the noise floor down and bring out some of
* the crispness lost on the analog source.  I also used the Equalizer to bring out
* Marc a bit and remove some of the artifacts of the tape hiss.  Removing tape hiss
* is tricky, so I tried to be careful to not add artifacts, but it's always a give
* and take, so a few remain. And obviously, to be so sensitive to generating
* problems in things like the cymbals, I had to leave some of the tape hiss intact,
* so it's merely drastically reduced, not entirely eliminated. I used the re-sampling
* feature to correctly sample this down to the 42kHz it was recorded at.  This number
* stems from a FFT on sections of Frog Legs and RLH and, thus, a needed pitch shift.
* It seems like an odd bitrate, but 5% seems too agregious for tape stretch, and 42kHz
* exactly seemed to work out so well that it seems it must've been recorded at this.
* Lastly, there were a number of drop-outs, most likely due to tape flips (though
* they seem at odd points for this). All these occur in the first set, and while
* there is a noticeable change in audio quality on the original source, I tried to
* equalize this out as best I could.  The DO times are roughly 43:30, 43:50 and 87:00.
* The tracking, for the most part, was done when I thought a theme changed.  I
* didn't label any tracks, but there are some obvious themes throughout that give
* a jam a certain feel.  D3T3, for example, reminds me a lot of Shimmy or Bazaar and
* has a middle eastern element.  D1T3 is probably the earliest trancefusion sound,
* given that this is the first show with the JP8000.  And for some songs, I included
* the intro jams, 'cause I thought it was obvious...if you don't like it, too bad. ;-)
* Any questions or comments?  Direct 'em to me at [email protected]
* Dave Cooke - May 29, 2005
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