1 April 2017
Recorded by: Christopher Jones <firstname.lastname@example.org>
Source: DPA 4015-TL Handmatched Wide Cardioid > Mogami Gold Neglex Studio Quad XLR > Rupert Neve Designs Portico 5012-H Microphone Preamplifier (�Silk� circuit engaged) > Mogami XLR Interconnect > Mytek Digital Stereo192 Analog-to-Digital Converter (@ 24-bit / 96 kHz) > Mogami AES / EBU Digital Interconnect > Sound Devices 722 Hard Disk Recorder (slaved to Stereo192 @ 96 kHz; @ 24-bit / 96 kHz)
Location: Behind FOH, DFC. Microphones elevated 4.5 meters, A-B.
HD > .flac: Sound Devices 722 Hard Disk Recorder > Apple Macbook Pro (2.53 GHz Intel Core 2 Duo / 4GB 1067 MHz DDR3) > Audiofile Engineering Wave Editor v1.5.8 > xACT v2.39
Resampled with iZotope Resampler at highest quality setting and a filter steepness of "150"; dithered using iZotope MBIT+ with a "Normal" amount of "Ultra" noise shaping applied. 24-bit / 96 kHz version of this recording available in .flac24.
t01 Introduction 01:40.58
t02 Helpless 06:35.22
t03 Vultures 07:11.11
t04 Love On The Weekend 04:46.17
t05 Who Says 04:08.43
t06 Still Feel Like Your Man 08:19.07
t07 Free Fallin� % 04:50.42
t08 Whiskey, Whiskey, Whiskey 06:29.72
t09 Your Body Is A Wonderland 04:21.63
t10 Emoji Of A Wave ^ 03:51.11
t11 Intro To... 02:40.47
t12 Crossroads + 05:02.24
t13 Bold As Love ~ 06:13.55
t14 Who Did You Think I Was 08:50.59
t15 Intro To... 01:10.53
t16 Waiting On The World To Change > War # > 04:42.27
t17 Paper Doll 08:16.29
t18 Moving On And Getting Over 08:13.05
t19 Slow Dancing In A Burning Room 07:37.08
t20 �Thank You Guys..." 02:32.16
t21 Gravity 10:52.04
t22 Something Like Olivia 03:39.33
t23 I�m Gonna Find Another You 06:28.56
t24 You�re Gonna Live Forever In Me 05:54.63
% Tom Petty cover
^ First time played
+ Robert Johnson cover
~ Jimi Hendrix Experience cover
> Indicates a segue into the next song
# Bob Marley And The Wailers cover
Security and venue production initially prohibited audio recording of the show. After some discussion, they decided to observe John�s recording policy and allow the entry of equipment. Venue production staff required that the microphone stand not be near patrons, however, so I agreed to record from FOH instead of seats FOB. Thanks to all involved in permitting the recording of this performance.
Some intermittent feedback audible through the PA in the 5 kHz to 6 kHz range.
Compiled by Christopher Jones <email@example.com> 14 April 2017.