DAT --- Sony ECM-909a > D7 @ 48kHz (Last song recorded at LP 32kHz)
Transfer / FLAC: Tascam DA-20 > Audiophile 2496 > Audacity > CDWave > TLH
Taper/Lineage: Andymon/DAT-M
MP3 Sample:
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Notes by tapeworm(48): I acquired the master DAT in 2009 from the taper. The Flaming Lips were the opener for this gig. Taper switched to LP mode for the last song since he was running out of tape. I resampled both sections to 44kHz. The levels are low on the master, and I did not mess with raising them. Raw transfer with no fades or EQ. Archive: DAT master was transferred @ 48kHz and FLAC'd with cue sheet. Transferred by tapeworm(48) Txt file compiled on 11/30/2011
Notes by Galen 8/2012:
The following notes are listed as evidence of historical significance since the exact lineage of this particular recording has been so obfuscated for so long. Thus, the following information is not relevant other to demonstrate the progression to clarity. The main difference between the DAT-M transfer and the other, various, releases is volume/noise level of the recording. The DAT-M transfer is clear but quiet, the other releases are loud and somewhat abrasive. Good job to Tapeworm for clearing this mystery up.

Notes / 2006: Following this short note are notes from the seeder from the .txt file from FLAC that was torrented as an upgrade in early 2006. Before this source was released, the source information for this was referred to as "unknown audio recording". Take a note in regards to disc time for what source is what - updated source is, actually, a definite upgrade.
Notes / 2006 / Seeder: This is an excellent audience recording, however the venue itself sounds... like a hockey arena. Sourced from a cassette which was copied directly from the DAT(m). This transfer made 2006-03-20. The only circulating version I've found is from the same taper but with reversed channels, inverted phase, some delay & attenuation on the left channel and to top it all off suffers from audible lossy artifacts. This release is far superior. The DAT(m) is in the posession of a friend who has lost contact. If you are this person and happen to be reading this, please contact fffive@gmail.com to get back in touch. "There's certain people in the world called architects and when they build buildings - they make them for certain things. I don't think this thing was made for music; it was made for hockey. That's why they call those other places concert halls and theatres. But we will do the best we can. All right?"
http://www.collectiveunconscious.org/94toronto0518.html (Note: Seeder had this link on .txt information).

Notes - 2001: Really interesting recording. Although the bass seems to flood the recording, it seems to be that the venue itself was too blame. MJK mentions that fact during the performance. The band is sounding good but the way the sound sort of bounces back, it may make this recording for collectors. I am not implying that it is bad by any means but it does not sound good on virtually any system unless you do some serious bass reduction. Well, really, the dynamic range of the recording is not fantastic but it seems that the venue itself left something to be desired as far as concert-halls go. The taper of this performance was most likely a good distance away, perhaps behind the soundboard even. The setlist is interesting, performance is good but the recording quality leaves a bit to be desired. One thing that I really like about this recording is that the intro tape (as Tool walks on stage) was recorded, I find that interesting. Sounds like news-headlines from today... war, famine, death, economics...

"We were just here a while ago -- never mind"
"There's certain people in the world called architects & when they build buildings - they make them for certain things. I don't think this thing was made for music; it was made for hockey. That's why they call those other places concert halls & theatres. But we will do the best we can. All right?"

Cold & Ugly
Prison Sex
Swamp Song
4 degrees