March 31, 1994
1. Intro (Richard Milne of WXRT) >
2. Little Kin (some level adjustments)
3. Travelin’ Light (tape chewed @ 1:50, lasts about 50 seconds)
4. Pickin’ Up The Pieces
6. Space Wrangler >
7. Henry Parsons Died
8. Papa’s…Home (tape flip @ 9:01)
11. Driving Song >
12. Disco >
13. Driving Song
14. Blackout Blues
15. Wondering (tape change at end)
17. Hatfield >
19. Chilly Water
Encore: (deck paused during break)
20. Porch Song
21. Proving Ground
Source: Audio Technica AT825 (X/Y stereo mic) > Marantz PMD430 / Maxell XLII-S
Lineage (full explanation below): Master XLII-S cassettes > DAT > Mackie mixer (flip phase one channel) > XLII-S cassettes (in Marantz PMD510, speed adjusted) > Sound Devices 722 (24/96) > Audiogate (+6 dB, fades, tracking, dither/re-sample to 16/44.1) > xACT (flac 8 w/ SBA & tags)
Recorded & transferred (2/2013) by taperjoe.
Full explanation of lineage:
The recording rig used was checked out from Columbia College in Chicago where I was a student taking a location recording class at the time. This is to say I was a somewhat inexperienced taper. :)
The master cassettes had one channel that was out-of-phase with the other. The cause was believed to be a mis-wired connector on the mic; someone at Columbia had modified the cable taking off the XLRs & replacing them with 1/4″ (to be compatible with the cassette deck), wiring one backwards from the other. The problem on the tapes was discovered a couple years later so an effort was undertaken to correct it…
Cassettes were transferred to DAT, then the DAT was played back through a small Mackie mixer (1202 or 1402) & the phase was reversed on one channel. The output of the Mackie went BACK TO THE MASTER CASSETTE, recording over the original analog master. I know, pretty stupid move. At the time I still LISTENED to cassettes & figured, “Well, this is fucked, why would I want to keep it in its current state?”. No eq or anything else was used, it was simply an effort to fix the phase problem. BUT, now the recording has been “fixed” at 16-bit resolution.
The result: a recording that is now A>D>A>D. I did this transfer at 24/96 so I wouldn’t feel the need to do it again. They’re archived (as untracked tape sides), but I wouldn’t consider them worthy of circulation, the 16-bit versions should be fine.
I think this is why I haven’t been in a big hurry to circulate these, but they sound better then I remembered, so why not!