1992-03-06: The Music Hall, Portsmouth, NH, USA

Phish
3/6/1992
Portsmouth Music Hall - Portsmouth, NH

Source: Purported SBD > Cass/1 > DAT
Transfer: CTD8000H-S > DAT2WAV > SHN > SF4.5c (48>44.1kHz*) > CD Wave > shntool > FLAC

Primary transfer by Robert Brown
Resampling, tracking and fixes by Ben Mohr (benjamin.mohr@ce.gatech.edu)

Pitched-corrected on 7/16/2004 by Mike Wren (mw@mikewren.com)

FLAC metadata and replaygain added on 7/16/2004 by mw@mikewren.com

Disc 1

-Set 1-
01. Intro
02. Rift *
03. Cavern
04. Sparkle
05. It's Ice
06. Oh Kee Pah Ceremony
07. Divided Sky
08. Guelah Papyrus
09. Maze *
10. Reba
11. All Things Reconsidered

Disc 2

-Set 1 cont.-
01. David Bowie
-Set 2-
02. My Friend, My Friend *
03. Poor Heart
04. Secret language Instructions **
05. Stash
06. Mound *
07. Llama
08. Bouncing Around the Room
09. In an Intensive Care Unit *
10. Possum
-Encore-
11. Sleeping Monkey *

* First time played
** First ever secret language instructions

Originally seeded as:
http://bt.etree.org/details.php?id=5186

Notes:
-Tape flips: d1t07 12:07 (39:40)

d2t01 13:52 (40:58)
d2t07 04:24 (49:49)/d2t08 03:11 (53:00)

-Two areas of tape warble at beginning of d2t09

Fixes:
- Removed DC offset from entire show
- Smoothed skip d1t02 0:58.009
- Replaced L channel static d1t06 1:55.013-1:55.325 with R channel
- Smoothed diginoise d2t01 11:00.905-11:00.946
- Remove whine d2t02-d2t11 in Samplitude v6 using FFT Filter/Spectrum Analyzer centered at 16020Hz by 33dB (range=15515-16520Hz) and modified slightly for each track
- with anti-alias filtering and interpolation accuracy of 4

Pitch Correction:
- Entire show was 75 cents sharp, so I adjusted accordingly in Sound Forge 6 (pitch shife quality level 3) --- This added about 3 minutes to the length of each set
- Knocked down the annoying 130Hz rumble by 4dB
- Added friendly fades at the start and end of sets
- Retracked in CD Wave

From: Shelly Culbertson
Subject: sing any note
Date: Sat, 7 Mar 92 12:26:18 PST

One thing I was really excited to read about was the audience participation
aspect of the show. This particularly intrigued me because I had suggested
to Trey on the phone that they might try this! That conversation came about
as a result of something he said during the post-Somerville interview, that
they'd like to tour with a choir, who could (for example) sing a dissonant
chord during the jam in Tweezer. I suggested having the audience do it,
in response to some sort of signal from the band, and sent him a copy of
an interview with Brian Eno where he talks about trying something like
this:
"I noticed this when I worked on this Cornelius Cardew piece a long time
ago called `The Great Learning'. The first instruction is `Sing any note'.
You choose randomly. And you do it with a big group of people. And the
first chord they hit is very dense and beautiful because people really are
singing every note. But they very quickly slide into a few families of notes.
And I always liked that first note when you have this beautiful, dense,
breathy sound."