The Mars Volta - Live in Ann Arbor, Michigan
January 23rd, 2008 @ Michigan Theater
Setlist
Omar Rodríguez-López
Cedric Bixler-Zavala
Isiah (Ikey) Owens
Juan Alderete
Marcel Rodríguez-López
Adrián Terrazas-González
Paul Hinojos
Thomas Pridgen-
Show Recording(s)
Recording Information:
Source 1
Taper: Adam Wehrmeister
Source: Sp-cmc-2 (AT831) > Sp-spsb-1(@95 Hz) > Edirol R-09 > Cd Wave
Location: Balcony Center Row CNotes:
* Recorder shut off at the end of Goliath and it wasn’t noticed until the end of the jam on Conjugal Burns.
* Patch was made from another source (DPA-4061 > MPS6030 > Sony PCM-m1 (Oade Mod. II) to fill where the shut off happened.
* Level adjustments were made at the beginning of Roulette.
* There are a few mic pops throughout.Re-tracked 2021-07-30
Recording Information:
Source 2
Taper: MITAPER78
Source: IEM: Sennheiser G2 B @ 627.700 > Sony PCM-M1
Transfer: DAT-M @ 48kHz > Tascam DA-20 > UX 24/96 > Goldwave (edit, resample to 44.1kHz)
Position: Dead Center, Floor
Re-tracked w/ Audacity by The Marble Shrine with no changes in quality
FLAC > 320kbps MP3 w/ xACTNotes:
Although not the first time being able to catch the force of nature that was/is The Mars Volta but this was the first successful IEM pull for me. Was able to catch the tail-end of TMV’s soundcheck and secured a good parking spot. Taping position was dead center and I thought the entire performance was quite lively with minimal RF drops. Of the frequencies available from what I could hear during SNDCHK I chose this one as it was the most balanced, if you can believe it. Cedric’s voice is high in the mix but there is way less of persistent cowbell clicking in this mix than the others (but it is still there). Generally I do not list specifics for RF but this was many moons ago so there it is. Complete performance. Did my best tracking but it was a while ago so it is what it is. Until December 2024, this source as well as the other two I pulled (Aiwa CM-30, DPA 4061) had never been releasedRecording Information:
Source 3
Taper: MITAPER78
Source: Aiwa CM-30 > Edirol R-09
Position: Dead Center, Floor
Re-tracked w/ Audacity by The Marble Shrine with no changes in quality
FLAC > 320kbps MP3 w/ xACTNotes:
I really like how this source came out. I ran it just for fun as a comparison with my DPA 4061 mics. If I remember correctly, I used some tissues in my left breast pocket to basically position the Aiwa mic to stick the top out, fully exposed for the sound. I did not have a lot of faith one way or the other but this source is one of the reasons I kept using this mic, somewhat randomly for years and years. This source picks up a lot of the high frequencies which kind of offsets the DPA 4061 which caught low end (I think at one point I did a mix with the two but cannot find it). Until December 2024, this source as well as the other two I pulled (IEM, DPA 4061) had never been releasedRecording Information:
Source 4
Taper: MITAPER78
Source: DPA 4061 > DPA MPS 6030 > Sony PCM-M1
Transfer: DAT-M @ 48kHz > Tascam DA-20 > UX 24/96 > Goldwave (edit, resample to 44.1kHz)
Position: Dead Center, Floor
Re-tracked w/ Audacity by The Marble Shrine with no changes in quality
FLAC > 320kbps MP3 w/ xACTNotes:
Although not the first time being able to catch the force of nature that was/is The Mars Volta but it was in the city I worked and lived in and was about a mile from my house. Literally left my office at 3:45PM and was able to catch the tail-end of TMV’s soundcheck and secured a good parking spot. Taping position was dead center and I thought the entire performance was quite lively. The DPA 4061 was slighltly bass heavy as per the microphones but, whatever, they do the trick. Editing, I did the best I could when I did it in regards to tracking but this done a long, long time ago. Up until December 2024, this source as well as the other two I pulled (Aiwa CM-30, IEM) had never been releasedHow to Help:
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Tour Era
Early 2007’s conclusion of the Amputechture supporting tour already provided a sneak peek into what would be coming when the band would reunite in support of their unequivocally most brutal album, The Bedlam in Goliath. The band had been testing the waters of some of the new songs that would appear on that album, specifically Goliath and Wax Simulacra which were billed as Rapid Fire Tollbooth and Idle... read more