Jeff Tweedy
2005-05-23
Evanston, IL - Northwestern U - Pick-Staiger Concert Hall
* w/ Glenn Kotche

Taper:      Brian Skalinder / bskalinder@yahoo.com
Location:   Center, Row 6, ~5' stand (seated crowd)
Mic Config: NOS (30cm, 90º)
Source:     Schoeps MK21/KC5/CMC6 > Lunatec V3 > Nomad JB3
Conversion: Nomad JB3 > Adaptec FireConnect 4300 > Notmad Explorer > PC
Format:     16-bit, 44.1 kHz
Editing:    CD-Wave (tracking), Cool Edit Pro 2.1 (fades)

DISC ONE

01. [ intro ]
02. Remember The Mountain Bed
03. Airline To Heaven
04. Sunken Treasure
05. Muzzle Of Bees
06. I Am Trying To Break Your Heart
07. Forget The Flowers
08. Far, Far Away
09. Bob Dylan's 49th Beard
10. John Wesley Harding
11. Blasting Fonda
12. How To Fight Loneliness
13. Nothing'severgonnastandinmyway(again)
14. Summerteeth
15. Hesitating Beauty
16. ELT
17. Gun
18 [ fade out ]

DISC TWO

01. [ fade in ]
02. I'm The Man Who Loves You
03. [ applause ]

ENCORE

04. Not For The Season (aka Laminated Cat) *
05. Chinese Apple *
06. The Late Greats *
07. CandyFloss *
08. Passenger Side *

NOTES:

To seamlessly join the two discs, simply remove D1T18 and D2T01.

Pick-Staiger, a classical performance space at ~1,000 person capacity, provided a pleasantly intimate performance space without feeling jam-packed uncomfortable.  Instead of opting for raw, powerful amplification, Stan provided solid sound reinforcement in this acoustically pleasing venue - makes sense for a solo acoustic performance, after all.  The result:  a clean ambient recording conveying how it actually sounded 6th row, dead center.

Of course, an ambient recording of a solo acoustic show not only captures the sound of the performance and space, but also preserves the hollers from audience members nearby.  Fortunately, the courteous audience really only applauded and hooted between songs.  But boy, did they ever belt it out at times.  Rather than set my levels for the howling crowd and ending up with low levels and therefore poor resolution for the music, I set my levels for the music.  As a result, some of the especially loud hoots and hollers don't sound all that nice since fans essentially yelled straight into the mics.  At any rate, I compressed the applause between songs to minimize the shock of quiet playing followed by THUNDEROUS crowd.

But enough focus on the crowd.  If you can get past the crowd between songs (seems a small price to pay), the real treat here:  a fine audience recording of an incredibly talented musician in a beautiful sounding acoustic space.