David Lindley
3/23/16
Maverick Saloon
Santa Ynez, CA
‘Tales From The Tavern’ series

5th row, slightly ROC:
Neumann AK-40s (ORTF In Hat) >LC3 >KM-100s >Beyer MV-100 >Sony PCM-M10 (16bit/48khz)
.WAV >iZotope RX3 Advanced v3.00.695 (declick) >Sound Forge Pro 11.0 Build 299 (Minor Edits & Normalize) >
.WAV >Audacity (Track Splits, DownSample To 16 Bit/44.1k) >FLAC (Level 8) + Tags Via xACT 2.37

Recorded, Audacity, FLAC, & Tags By OldNeumanntapr
Declicked, Minor Edits & Normalized By Dennis Orr


Set I:
01. Announcements / Intro
02. Way Out West In Kansas
03. This Barstool’s Reserved For My Heart
04. Ain’t No Way
05. Mercury Blues
06. Her Mind Is Gone

Set II:
01. Bon Temps Rouler
02. Young Man Who Wouldn’t Hoe Corn
03. Brothers Under The Bridge
04. Pretty Polly
05. When A Guy Gets Boobs
06. Rag Bag

Encore:
07. Meat Grinder Blues

David Lindley - vocals, Weissenborn lap steel guitars, bouzouki, solid body electric oud

OldNeumanntapr Notes-
This was my first time seeing/recording a show at the Maverick Saloon. It’s a very small room. I counted ten rows of folding chairs, with 12 chairs per row. There was a center aisle up the middle. I think there were some additional folding chairs in the back, but it was still a small crowd. I’ve heard this venue compared in size to McCabe’s Guitar Shop in Santa Monica, CA.

Lindley put on a great show, and the crowd for the most part was really quiet and polite. I had my doubts, seeing how it was going to be at a saloon and all. The venue records and videotapes all the performers and offers the DVDs for sale at a later date. I noticed that they were selling past shows when I left, though Lindley didn’t seem to have anything of his at the merch table.

I got there early when doors opened and snagged a chair in the 5th row, just right of center. This was also my first time using a Sony PCM-M10 (Thanks Randy). It was a LOT smaller than my Tascam DR100mkII that recently broke down. However, when I was examining the various menus on the recorder before the show I must have accidentally changed the recording menu because the recording came out at 16 bit 48 khz. I THOUGHT I was setting it to 24 bit, but it must have gotten changed because of my clumsy thumbs. I preset the levels before I went in and left the KM-100 -10db pads turned off. (I have to use the -10db pads with the Beyer for loud electric shows because it will distort when it’s loud.) The PA tonight was very soft and I didn’t even need my ear plugs. I couldn't check levels hardly at all. The Saloon staff gave a small announcement at the beginning of future shows, etc. I was getting levels but didn't know if they would be too high, too low, etc. I guess I should have set the light so that it was always on. I didn't know how to turn the light on once it went off and didn't want to press a wrong button and screw up the recording. As it was, the applause was louder than the music. I thought that is sounded good but the PA was a bit quieter than I would have expected.

Lindley played two sets, and had to work on the electronics of one of his guitar’s because he thought it was misbehaving. As it was it turned out to be his IEMs that were having intermittent spastic electronic hiccups.

I always enjoy hearing Frizz Fuller tunes like ‘Rag Bag’ and ‘Ain’t No Way. I was happy to hear him do both ‘Mercury Blues’ and Bon Temps Rouler’, as well as his reworked version of ‘Pretty Polly’ and ‘Meat Grinder Blues’. He told a lot of his usual witty and crazy stories, but also told one I’d never heard before of the time he had a chance accidental meeting of Charles Manson in Haight Ashbury in the attic of the Straight Theater in the late 60s when he was traveling with Kaleidoscope. He said one of his friends informed him years later to the identity of the person he met that night and he said it really creeped him out.

Mr. Dave played a sanitized version of ‘Meat Grinder Blues’ with no reference to the giant meat grinder that looks like a cement mixer, and no story to go along with the song. He focused instead on food monopolies like Monsanto and included a reference to ‘pee pee colored golden rice’. Lindley always incorporates a double redundancy in amplifying his instruments, with both a cable-fed direct box and also a close-miked Shure SM 57 microphone. For the ‘Meat Grinder Blues’ encore he repositioned the SM 57 about an inch away from the strings of one of the Weissenborn guitars and in the process of his frantic playing he banged the guitar stings into the microphone a couple of times. So, there are some ‘mike bumps’ on the recording but I was not responsible, because they were not on my microphones.

Thanks as always to Dennis Orr for the awesome job he does in post production. It makes my job a lot easier. He was able to raise the level of the music and reign in the crowd noise. I think it sounds splendid!

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. ;)


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