2006.09.21 - Columbus, OH, USA @ Nationwide Arena
Source A: DAT --- Danish Pro Audio 4061 > MPS6030 > Sony PCM-M1 (Oade Mod II) @ 48 kHz
Source A1: DAT / m
Transfer: DAT-M > Tascam DA-20 > UXL24/96 > Goldwave
Location: Main Floor, Row S, In front of Left Stack
Taper: Galen
Gen: collectiveunconscious.org Master Recording
Notes 2024: This recording was released many years ago albeit with minimal or no EQ with higher than preferred bass levels what can you say it’s DPA 4061 used with a MPS6030 battery box that is not as versatile as the MMA6000 which you could change SPL levels -but I digress- this new transfer and EQ is a bit more pleasant to the ear.
And here is the original content from 2006: With the addition of Wings for Marie > 10,000 Days in early September, Tool had a solid setlist for this leg of the tour. Sporting a setlist that highlights their hits & heavy reliance on the recent release & two cancelled shows (the show prior to this was called-off in WI) there was a small amount of speculation in regards to if Tool would perform. Some speculated that perhaps Maynard was not sick and that maybe too little tickets were sold. One thing was clear, MJK had his voice back. The performance was as inspired as plausible for playing, of all places, Columbus, OH. Standard performance but there seemed to be evidence that the band was, at least, enjoying themselves - I think that comes through in the performance. And also evident in the recording itself. To be honest, I am quite pleased with this as I did absolutely nothing to the recording & it is, I think, an above average to 'really good' AUD recording. Is hard to mess up a decent DPA 4061 > M1 though. I do not really want to speak too much about it, you can check out a bit in the MP3 sample link if you want. There were not too many people hooting + hollering around us but there are the occasional comments from the less-than insightful. Met up with a couple of folks at this show; Geordy & Ryan A. I think we all drove at least 4 hours from 3 different States to meet up after the performance. Big, big thanks (again) to Geordy for finding a guitar center & the $12 DAT tape as I brought everything *but* a DAT tape...
DAT
<Bass Drone>
"Round on the ends and high in the middle. Pay attention stoners."
Stinkfist
"What the fuck happened here that last election? Come on people. Sorry."
The Pot
<Maynard's Dick>
(guitar tease)
Forty Six & 2
Jambi
Schism
Lost Keys
Rosetta Stoned
"This song goes out to Jan."
Wings For Marie
10,000 Days
"Thank you, good night. I double dog dare you to leave."
Lateralus
Vicarious
"See you in Cleveland. Peace...Out."
Ænema
Source B: Hi-Mini Disc --- SP-CMC-1 (AT829) Cards > SP-8 > Sony MZ-M100 (PCM)
Transfer: Hi-MD-M > Sony RCDW500C CD Recorder
Location: Sec. 209, Row B
Taper: Nameloc01
Gen: 1st Gen
Notes: Very nice recording. The overall level of the crowd is not too noticeable throughout many parts of this recording. The vocals are relatively able to stand out of the mix a bit, perhaps this is a deficit of the microphones or my own tastes, but the low end seems to sound more of a non-smooth bass-hit & more of a crunchy sound. That may not be all that bad. However, that is not the way I remember this performance to sound nor how my recording sounds. I admit being biased. Overall though, very nice recording that is definitely worth an extended listen. Prior to hearing this source I've heard 4 other sources so I compare this to those. If someone has more to add, please be my guest.
CD 1
Time: 73:37
CD 2
Time: 31:54
Source C: Olympus digital voice recorder w/ built in mic @ .wma > track splits > 0 gen
Taper: ecnick21
Notes: Um. Yeah. Well, this is definitely a recording of Tool live in Columbus, OH @ Nationwide Arena. Other than that, not really sure what to say other than a recording is always better than a-recording-not-being-there at all -- even though this is MP3 sourced (recorded in native format that is). This source, though, is blasted. At a high SPL, the sound distorts & is almost painful to listen to especially when you consider some of the high quality sources out there in the first place. Definitely, without a doubt, left for obsessive-compulsive collector's only.
Time: 1:50:17
Source D: Solid State Recorder --- Core Sound Binaurals/120 > Microtracker 24/96 (@24bit/48kHz)
Transfer: USB > WAV > CEP2.0 > CD Wave > FLAC [8]
Location: Recorded from Main Floor, Row S, In front of Left Stack.
Taper: Geordy
Gen: 0 from Master
Notes - Taper:
First of two nights seeing Tool. Got lucky with the awesome floor seats as it seemed to sell out almost instantly. Everything about the night was better than the night to follow, amazing how much seat location can affect things. I'm not the only one disappointed with seats on the floor, am I? Well, tonight, I was sitting exactly where I would have liked to stand had it been GA. You win some, you lose some. Had the pleasure of meeting up with Galen before the show and Ryan A. after the show, we'll have to do it again sometime!
Notes - Galen:
Hell yeah, nice recording. Of the sources for this floating around this has a very alternative feel to it. That said, it definitely does not sound like a CSB, that is for sure. It does sound like a hyper-cardioid recording. I mean that in a good way, actually. I know it sounds weird but that's my take on it. The bass is minimal & the frequencies are rolled off quite bit, giving this an almost soundboard-ish feel to it. With the massive layers of compression, EQ or whatever mixed with the native CSB source the end result is something striking. It should be noted that you would be hard-pressed to get the same results; seems the taper got lucky. Now, my DPA4061>M1 source sounds dramatically different than this source; and we stood right next to each other; the power of EQ can go a very long way to create something interesting. Nice job to those involved.
Notes - Galen:
Apparently, there is something Interestingly Entertainingly Musical that is associated with this particular source. A little research could determine if this accurate or not.
Time: 1:57:50
Source E: Solid State Recorder --- Danish Pro Audio 4061 > MPS6030 battery box > Edirol R-09 (line in, 24bit/48kHz wav)
Location: Section 114, Row B (in line with left stacks)
Transfer: Edirol R-09 > USB > wav @ 24bit/48kHz > Hard drive > Mastering > CD Wave 1.95 (tracking) > Flac Frontend 1.7.1 (Level 6 Flac Compression) > Flac
Mastering: Done in Wavelab 5.0 / - Fades and normalizing - EQ via Waves LinEQ Lowband plugin (hi pass filter at 64Hz) and Waves LinMB Broadband plugin [slight, bell-shaped increase (+2db gain) in mids from 265Hz - 1.7kHz peaking at about 750Hz] - Light compression via Waves C1 Comp-Gate plugin (ratio 1.75:1, threshold -9, makeup gain 2.3) - Resample and dither (using Apogee UV22HR) down to 16bit/44.1kHz
Taper: Ryan A
Gen: 1st Gen
Notes - Taper:
A tall, large man was in the seat directly to the left of me, which means he was in front of me in relation to the stage. So during Stinkfist, he partially blocked my sightline to the stacks resulting in some muffling of the sound during the song. After that song, I asked him to step back which gave me a clearer view. Though I still spent the entire night leaning right & balancing on one foot trying to get the clearest sightline to the stacks. It was worth it though, it came out pretty good!
Notes - Galen:
I clearly recall the first time I heard a sample of this recording; maybe 2 hours post-show. I think now what I thought then - that this is a very, very clear, sharp & concise recording that has a very ambient feel to it while capturing the intricacies of the performance. It does not have a very 'loud' feeling to it & you can detect a hint of reverberation in the venue but this does not detract from the recording itself. It is surprising how location & other subtleties such as recording formats can be drastically different when using the same microphones... my DPA4061>M1(oade) source has a lot of bass but then again the position was different. The CSB>MT 24/96 source also has a different sound as well. Out of the sources, I suppose this would be considered the most ambient. At least that I have heard. There are occasional instances of a little phasing (attributed to the person in front of the taper) but you would only know it if you were looking for it. Definitely a nice recording.
Time: 1:50:11
Source F: Hi-Mini Disc --- sp-bmc-3 mics>bass rolloff 195hrzsp-bm6 batt box>sony mzrh-10minidiscHIMD
Location: ?
Transfer: Master MD>goldwave fade ins/outs mastering>cdwave>flac
Taper: garrett
Gen: 0
Notes: Ah this is a recording that is basically, "fine". Meaning, that there are no real issues other than the common complaints one would have like standard set list, some crowd buzz/noise & a bit of movement of the microphones whilst recording. This source, however, sounds (to me) like it was recorded from quite a distance away. The cymbals are crisp & the levels of all 4 instruments (what, vox not an instrument all of a sudden?) are balanced good. However, there is a definitive sense of 'distance' in so far as it sounds like the taper had some space between the stacks + location. That is not an issue per se but a valid observation. Is this a definitive source for 2006 or for this performance, no. Is this a fine recording, though - yes. So, how in the hell did this little show in Ohio garner so many damn tapers? Maybe it has something to do with this performance being on a Friday night? Oh something interesting, how faux pas though, during the first soundscapes before 46&2 you can hear the obligatory fucked-up guy get help from his friends (i.e.: breath! breathe!).
Time:
CD 1: 56:21
CD 2: 52:03