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Gear / Technical Help => Microphones & Setup => Topic started by: HealthCov Chris on December 25, 2023, 02:52:13 AM
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I notice folks don't seem to be jumping on these mics. Is there any particular reason? I am curious as I am considering a small form factor solid body mic. I have had the Neumann 184, and would like to find something else in that style. Considering the Microtech Gefell 300/310; DPA 2012/2015. I was hoping to hear more examples of the DPA's, but there just aren't many out there. At that price, what am I missing?
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I would also like to hear more examples of the 2012 and 2015, but I haven't heard any samples with them used as a main pair for acoustic music.
Maybe repost this in Team DPA for more responses?
Gefell is coming out with a new 400 series as well:
https://www.sound-link.co.uk/gefell/small-diaphragm-condenser-microphones/m-400-series/
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Mark Terry has been running a stereo pair of the DPA 2012 mics! If you check the DPA thread I believe he posted links to some Phish shows he recorded. Here is a Goose show.
https://archive.org/details/goose2023-09-23
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I would also like to hear more examples of the 2012 and 2015, but I haven't heard any samples with them used as a main pair for acoustic music.
Maybe repost this in Team DPA for more responses?
Gefell is coming out with a new 400 series as well:
https://www.sound-link.co.uk/gefell/small-diaphragm-condenser-microphones/m-400-series/
Wow, I had no idea. I really like the MG M200 series so these are up my alley. Just hope they aren’t priced like the Shoeps.
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I would also like to hear more examples of the 2012 and 2015, but I haven't heard any samples with them used as a main pair for acoustic music.
Maybe repost this in Team DPA for more responses?
Gefell is coming out with a new 400 series as well:
https://www.sound-link.co.uk/gefell/small-diaphragm-condenser-microphones/m-400-series/
Wow, I had no idea. I really like the MG M200 series so these are up my alley. Just hope they aren’t priced like the Shoeps.
There's been some discussion about them on Team Microtech Gefell, but no word yet on pricing. They clearly look like a response to the Schoeps CMC 1.
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Which clearly look like a response to the MMP-C...
Honestly, I think these mics are still new enough that you can't expect too many samples as of yet. A lot of people are hesitant to be an early adopter. The reviews will start trickling in as more people give them a shot (and as DPA loans out a bunch to good customers to try); that's pretty much what happened when they first introduced the modular line-up.
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Which clearly look like a response to the MMP-C...
Honestly, I think these mics are still new enough that you can't expect too many samples as of yet. A lot of people are hesitant to be an early adopter. The reviews will start trickling in as more people give them a shot (and as DPA loans out a bunch to good customers to try); that's pretty much what happened when they first introduced the modular line-up.
Right, and the people who record the stuff I do aren't likely to try these mics as mains because they already own the 4000 series, Schoeps, Senn MKH, etc. and assume (perhaps correctly) that these new "stage" DPAs won't be quite as good so they won't bother trying them. Although many of these same people own Line Audio mics which are WAY cheaper...
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Last year I have been searching for a complementary pair to my DPA 4090 mics and I had both a set of DPA 2012 and a set DPA 2015 home for a few weeks to try. Kindly arranged with the Belgium/Dutch DPA importer (Amptec).
I did some pipe organ recordings with 2x2012 + 2x2015 + 2x4090 all into my F6.
The sound signature of the 2012 and 2015 was very similar, also similar to the 4090. Both 2012 and 2015 are clearly designed for close recording; they work best at a distance where my 4090 still does a good job so for me they were not complementary, rather alternative options.
Compared with some other microphones I tried (KM184, KM140, KM143) they have notable more bass. I found that remarkable for directional microphones.
The DPA 4090 is however still more neutral than both the 2012 and 2015.
Compared with the DPA2015 the KM143 is much brighter and needs to be used quite far from the organ to sound balanced. It has also less bass. For a standalone microphone I would have selected the DPA2015. However, for use together with my DPA4090 (4 mics on one bar), the KM143 is a better addition (for application in huge acoustics or when the organ is too high for my stand).
I had a chance to exchange a pair brand-new pair of KM184 against a pair of KM143. That was what I finally did. I hope this was a good deal.
The KM143's were just used for voice amplification purposes, so they have got a better life now :D.
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Last year I have been searching for a complementary pair to my DPA 4090 mics and I had both a set of DPA 2012 and a set DPA 2015 home for a few weeks to try. Kindly arranged with the Belgium/Dutch DPA importer (Amptec).
I did some pipe organ recordings with 2x2012 + 2x2015 + 2x4090 all into my F6.
The sound signature of the 2012 and 2015 was very similar, also similar to the 4090. Both 2012 and 2015 are clearly designed for close recording; they work best at a distance where my 4090 still does a good job so for me they were not complementary, rather alternative options.
Compared with some other microphones I tried (KM184, KM140, KM143) they have notable more bass. I found that remarkable for directional microphones.
The DPA 4090 is however still more neutral than both the 2012 and 2015.
Compared with the DPA2015 the KM143 is much brighter and needs to be used quite far from the organ to sound balanced. It has also less bass. For a standalone microphone I would have selected the DPA2015. However, for use together with my DPA4090 (4 mics on one bar), the KM143 is a better addition (for application in huge acoustics or when the organ is too high for my stand).
I had a chance to exchange a pair brand-new pair of KM184 against a pair of KM143. That was what I finally did. I hope this was a good deal.
The KM143's were just used for voice amplification purposes, so they have got a better life now :D.
So, sounds like you feel they may not be ideal for our purposes of field recording at a distance from the stage?
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Hello Chris, in the pipe organ recording world close distance is ~5 meters while far is ~11 meters. I do not know how that translate to tapering of amplified shows.
If you send me a PM I may send you the complete 6 channel F6 recording file (32 bit, 44,1 kHz) via WeTransfer.
The DPA4090 stereo track can be used as reference to judge and compare the DPA2012 and DPA2015 tracks.
I used several stops when playing the pipe organ; certain stops like Cornet and Trumpet reveal the differences between the mikes more than the round sounding flutes.
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At that price, what am I missing?
I run them. What do you want to know.
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Last year I have been searching for a complementary pair to my DPA 4090 mics and I had both a set of DPA 2012 and a set DPA 2015 home for a few weeks to try. Kindly arranged with the Belgium/Dutch DPA importer (Amptec).
I did some pipe organ recordings with 2x2012 + 2x2015 + 2x4090 all into my F6.
The sound signature of the 2012 and 2015 was very similar, also similar to the 4090. Both 2012 and 2015 are clearly designed for close recording; they work best at a distance where my 4090 still does a good job so for me they were not complementary, rather alternative options.
Compared with some other microphones I tried (KM184, KM140, KM143) they have notable more bass. I found that remarkable for directional microphones.
The DPA 4090 is however still more neutral than both the 2012 and 2015.
Compared with the DPA2015 the KM143 is much brighter and needs to be used quite far from the organ to sound balanced. It has also less bass. For a standalone microphone I would have selected the DPA2015. However, for use together with my DPA4090 (4 mics on one bar), the KM143 is a better addition (for application in huge acoustics or when the organ is too high for my stand).
I had a chance to exchange a pair brand-new pair of KM184 against a pair of KM143. That was what I finally did. I hope this was a good deal.
The KM143's were just used for voice amplification purposes, so they have got a better life now :D.
So, sounds like you feel they may not be ideal for our purposes of field recording at a distance from the stage?
https://archive.org/details/sci2023-07-30/sci2023-07-30_set1t06.flac
This was 160' back from the stage (where they had me set up at soundbaord). ORTF @ 7'
I'd say they handled just peachy at a distance.
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So, sounds like you feel they may not be ideal for our purposes of field recording at a distance from the stage?
https://archive.org/details/sci2023-07-30/sci2023-07-30_set1t06.flac
This was 160' back from the stage (where they had me set up at soundbaord). ORTF @ 7'
I'd say they handled just peachy at a distance.
The review of the show is interesting and germaine to this discussion
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So, sounds like you feel they may not be ideal for our purposes of field recording at a distance from the stage?
https://archive.org/details/sci2023-07-30/sci2023-07-30_set1t06.flac
This was 160' back from the stage (where they had me set up at soundbaord). ORTF @ 7'
I'd say they handled just peachy at a distance.
The review of the show is interesting and germaine to this discussion
HA!!!! Just saw it was the thread starter. Well how 'bout them apples. :banging head: :banging head: :banging head: :banging head:
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So, sounds like you feel they may not be ideal for our purposes of field recording at a distance from the stage?
https://archive.org/details/sci2023-07-30/sci2023-07-30_set1t06.flac
This was 160' back from the stage (where they had me set up at soundbaord). ORTF @ 7'
I'd say they handled just peachy at a distance.
The review of the show is interesting and germaine to this discussion
HA!!!! Just saw it was the thread starter. Well how 'bout them apples. :banging head: :banging head: :banging head: :banging head:
Yes, I really like that SCI show. Just hoping for more variety before making a commitment. Plus, you had them running through a MiniMe, which likely adds some flavor. Just like the 2015's, only used in the same small venues in Nebraska. I guess they have not caught on in our community much yet. Coming from nbob active setups, I really like the small form factor of these DPA mics, along with their price (vs. the top line mics).
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So, sounds like you feel they may not be ideal for our purposes of field recording at a distance from the stage?
https://archive.org/details/sci2023-07-30/sci2023-07-30_set1t06.flac
This was 160' back from the stage (where they had me set up at soundbaord). ORTF @ 7'
I'd say they handled just peachy at a distance.
The review of the show is interesting and germaine to this discussion
HA!!!! Just saw it was the thread starter. Well how 'bout them apples. :banging head: :banging head: :banging head: :banging head:
Yes, I really like that SCI show. Just hoping for more variety before making a commitment. Plus, you had them running through a MiniMe, which likely adds some flavor. Just like the 2015's, only used in the same small venues in Nebraska. I guess they have not caught on in our community much yet. Coming from nbob active setups, I really like the small form factor of these DPA mics, along with their price (vs. the top line mics).
I’ll work on doing some stuff into the dr100, sans mini-me!
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a better preamp won’t make a microphone better in a situation that isn’t right for it. I think you’re just over thinking things. Most people haven’t adopted the 201xs because most people don’t want to invest $2000 in microphones they haven’t heard used, just like you. You lose out on the ability to run active cables and different caps, but get a good reliable microphone for situations you can run on a stand.
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You lose out on the ability to run active cables and different caps, but get a good reliable microphone for situations you can run on a stand.
This is about it. I didn’t want to track down actives at the same price (because that’s just a weird price range), I love the DPA sound, and to get the mics for $1700 out the door brand new seemed like a great option (and interest free with sweet water). I can run them FOB just fine, and they are very small. durable. and to me, work great with my
mini me.
ill never stealth anything, so that ruled out a lot. took a risk on them. but its not like DPA would put out some hot garbage.
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marking thread for that minime prelove
use 24/48 and the soft knee and never look back, man :coolguy: :headphones:
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Just picked up a set of 2015's for when I need a more low profile rig and don't want to run my AKG LD's and the ability to run an 8-ch rig with my MP10 as well, very excited! I find i love the bass & room reproduction of wide cardioid's and run them at every show I go to whether its indoors or outdoors.
I'll have a chance to run these this weekend for a number of bands at a local Atlanta jam band festival. I'll make sure to report back to this thread on what I think of these compared to the AKG C414's.
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Just picked up a set of 2015's for when I need a more low profile rig and don't want to run my AKG LD's and the ability to run an 8-ch rig with my MP10 as well, very excited! I find i love the bass & room reproduction of wide cardioid's and run them at every show I go to whether its indoors or outdoors.
I'll have a chance to run these this weekend for a number of bands at a local Atlanta jam band festival. I'll make sure to report back to this thread on what I think of these compared to the AKG C414's.
Good score!
I had some DPA 2012 mounts made on shapeways, so you should have the pick of ORTF/DIN/DINa/NOS....stoked to hear some more tapes (so it's not just me!)
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I was able to pick up some rycote shockmounts that just barely fit the 2015's, but I'll check out the shapeways as well. I've had the chance to record 3 Biscuits shows so far with them and have been blown away by how great they sound. I'm considering replacing my KM184's with the 2012's. Need some more time under my belt with the 2015's thought to really solidify that though in some different venue environments that I regularly tape at.
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DPA makes killer mics! I've been really happy with my 4011 and 4018 caps.
I was able to pick up some rycote shockmounts that just barely fit the 2015's, but I'll check out the shapeways as well. I've had the chance to record 3 Biscuits shows so far with them and have been blown away by how great they sound. I'm considering replacing my KM184's with the 2012's. Need some more time under my belt with the 2015's thought to really solidify that though in some different venue environments that I regularly tape at.
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I was able to pick up some rycote shockmounts that just barely fit the 2015's, but I'll check out the shapeways as well.
this has been working for me. Just need to add a lil sticky inside the shock mount holder portion so the mount doesn't slip.
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Just picked up a set of 2015's for when I need a more low profile rig and don't want to run my AKG LD's and the ability to run an 8-ch rig with my MP10 as well, very excited! I find i love the bass & room reproduction of wide cardioid's and run them at every show I go to whether its indoors or outdoors.
I'll have a chance to run these this weekend for a number of bands at a local Atlanta jam band festival. I'll make sure to report back to this thread on what I think of these compared to the AKG C414's.
How did it go? Looking forward to hearing your recordings with the 2015's.
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Just picked up a set of 2015's for when I need a more low profile rig and don't want to run my AKG LD's and the ability to run an 8-ch rig with my MP10 as well, very excited! I find i love the bass & room reproduction of wide cardioid's and run them at every show I go to whether its indoors or outdoors.
I'll have a chance to run these this weekend for a number of bands at a local Atlanta jam band festival. I'll make sure to report back to this thread on what I think of these compared to the AKG C414's.
How did it go? Looking forward to hearing your recordings with the 2015's.
I've been getting back into some PC gaming lately so my Biscuits recordings have suffered, lol, but I should have at least the Asheville show up by Sunday night and the rest end of next week. I'm honestly very impressed with the 2015's so far, very balanced mic with some really nice detail on the bottom end. They've got me jonesing a little bit to try out the 2012's.
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I’d be down to swap my 2012s and run the 2015s for FOB for phish in St. Louis.
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I’d be down to swap my 2012s and run the 2015s for FOB for phish in St. Louis.
Remind me at the beginning of July, I'll need to see what I have scheduled for late July / early August to see when I could actually run the 2012's, but I'd be down to trade for a bit (if i haven't already bought the 2012's ;-) ).
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Just picked up a set of 2015's for when I need a more low profile rig and don't want to run my AKG LD's and the ability to run an 8-ch rig with my MP10 as well, very excited! I find i love the bass & room reproduction of wide cardioid's and run them at every show I go to whether its indoors or outdoors.
I'll have a chance to run these this weekend for a number of bands at a local Atlanta jam band festival. I'll make sure to report back to this thread on what I think of these compared to the AKG C414's.
How did it go? Looking forward to hearing your recordings with the 2015's.
I've been getting back into some PC gaming lately so my Biscuits recordings have suffered, lol, but I should have at least the Asheville show up by Sunday night and the rest end of next week. I'm honestly very impressed with the 2015's so far, very balanced mic with some really nice detail on the bottom end. They've got me jonesing a little bit to try out the 2012's.
Any chance you can post that Eggy show and the Biscuit shows with just the DPA 2015? Hard to know what they bring when mixed with 3 other sources. I'm find doing it if you want to send me the files.
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I was able to pick up some rycote shockmounts that just barely fit the 2015's, but I'll check out the shapeways as well. I've had the chance to record 3 Biscuits shows so far with them and have been blown away by how great they sound. I'm considering replacing my KM184's with the 2012's. Need some more time under my belt with the 2015's thought to really solidify that though in some different venue environments that I regularly tape at.
Will you please post a picture of the dpa 2015 next to the neumann 184? Would like to see the size comparison.
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Will you please post a picture of the dpa 2015 next to the neumann 184? Would like to see the size comparison.
here you go...
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In case someone missed it, ran my 2012's for 2 nights in Montana for SCI. Although I did run a V2 > Mini-me....it's still more field time for them.
2012 > V2 > MME seems really dynamic. Like the results a LOT. First night was way up front. Second night was about 12 rows behind, still DFC. Ran DIN both evenings. Enjoy:
Night 1
https://archive.org/details/sci2024-06-29.dpa2012 (https://archive.org/details/sci2024-06-29.dpa2012)
Night 2
https://archive.org/details/sci2024-06-30.dpa2012 (https://archive.org/details/sci2024-06-30.dpa2012)
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What a venue! Beautiful.
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I picked up a pair of 2012's for general use (from Thomann, $1300 shipped to the US, no issues with customs). Ran them for the first time outside last weekend. The mics performed spectacularly, but I was surprised how sensitive they are to light wind, even with the DPA windscreens. Next outing I'll try a pair of Movo WST50 windscreens. MTerry - what are you using? Any issues or advice? Thanks!
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I picked up a pair of 2012's for general use (from Thomann, $1300 shipped to the US, no issues with customs). Ran them for the first time outside last weekend. The mics performed spectacularly, but I was surprised how sensitive they are to light wind, even with the DPA windscreens. Next outing I'll try a pair of Movo WST50 windscreens. MTerry - what are you using? Any issues or advice? Thanks!
I run the huge ass shure windscreens, no issues at all. But i havent had a chance to get all up in some gusty gusts with them. I'd also look at getting the DPA UA0896 screens. I've run those in the past. They are a great option when (and if) you have the shure screens, but want something a tad less, they work great.
welcome to the team! I'd recommend getting a low profile mount for them if you haven't yet. I love 'em!
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Great pic ^. I already have AKG actives with the 63's and 61's, so I'm going to pick up the 2015's next month. Always wanted wide-cards. Should have it all covered soon. I guess I will have to get a NOS bar made for them.
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just posted a comp of the 2012 vs Nevaton MC49 Cards here..
https://taperssection.com/index.php?topic=206160.0
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Currently run AKG 451s + AT4022 (omni) on stage + SBD > F6 for local PA band (Mighty Manatees) usually in smaller venue settings. This thread caught my attention to consider upgrading to DPA 2015s. Thought about Neumann 184s or a 183 but have always really liked DPAs. DPA 2015s wide cards seem to be the right fit for what I tape and at a good price, but I can't find any 2015 recordings to give a listen. Reviews lean me this way but before I pull the trigger would like to hear them or get any other upgrade advice under $2K.
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So the 2012 & 2015 line are mics meant for congo drum kits as I understand it. So they are built to take some punishment!! Very few have jumped in and grabbed the wide cards yet but I’m considering grabbing a set of both! With the price being so inviting I’m thinking roll the dice. There are some 2012 pulls on archive that are stellar for sure. Search Mark Terry on archive and DPA 2012 and enjoy!
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I've got a pair of 2015's and have been using them in my mutli-mic mixes for about 6 months and have loved them so far. Highly recommended if anyone is looking for a mid-tier wide card. I just picked up the 2012's since i liked the 15's so much. Really excited to start getting these integrated into my mixes!
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I've got a pair of 2015's and have been using them in my mutli-mic mixes for about 6 months and have loved them so far. Highly recommended if anyone is looking for a mid-tier wide card. I just picked up the 2012's since i liked the 15's so much. Really excited to start getting these integrated into my mixes!
C. Clark!! Will you be open to sharing a few recordings? My email is blee421@hotmail.com. Anything that is recorded onstage with 2015 or 2012 and then concerts. Anything that’s your average concert doesn’t matter what band I just want to hear those. Not many people have jumped at those mics just yet which is a little surprising since they are only $850 per mic. You run the DPA cables with them? I love my 33’ pair because you can clamp up anywhere and the thin cable is really easy to run back somewhere. Hope you continue to enjoy them. You grab a SRS mount for both pairs?
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Found this outdoor Moe. show with the 2015's. Pretty nice!
https://archive.org/details/moe2023-09-16.dpa
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DPA 2015's (Onstage ORTF) + SBD of local PA live music
https://archive.org/details/TheMightyManatees2024-11-22.TMMMTX
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Hey all! Jumping into this thread since I got myself a set of the 2012s. With a bit of persuasion from Chris and after listening to some of Mr. Terry's tapes, I decided these would be the first mics I got in the world of taping. (Thanks Chris for the recommendation!)
Really enjoying these microphones so far. The build quality is superb - nice, compact form with a quality feel and weight. They feel substantial enough that I don't mind tossing them (gently) into a bag without a case. Price wise they are very competitive. These really do feel like good value. I'm no doubt a big DPA fan now.
To me they sound very neutral, extremely detailed. Bass response has been a good surprise - it's hefty bass that feels natural and weighted, but doesn't come across as muddy or bloated. It's the same story for treble - cymbals are natural and airy, with extremely smooth response. There's no sibilance or unfavorable twinge-inducing treble here. If I were to nitpick and ask for something more, occasionally I wish there was a more forward presentation with a bit more forward presence. I think that's mainly a characteristic of a small diaphragm rather than the microphone itself. Perhaps it can be worked out a bit in mixing and mastering (of which I'm no expert). I've definitely had my eye on a set of 2015s as well to use as a complement to these 2012s.
I also have a set of the DPA 4560 binaurals (which are a set of DPA 4060s in headset form). This past week I taped Nickel Creek with the 2012s in ORTF and the 4060 omnis in a spaced configuration. I think the mix came out great. The 2012s have so much detail - the transient response is so clear. The omnis provide a very nice presence to the whole recording.
I've also tested the 2012s out in more of their original intended use cases - miking up my acoustic guitar and mandolin. No doubt these microphones are superb for this use too. When I taped the Nickel Creek show, the sound guy was also running a set of 2012s as room mics. He said that he first used them to mike up Sierra Hull's mandolin at the Ryman and they sounded so good there, he had to buy himself a set.
Check out my Soundcloud - almost everything on there is recorded with the 2012s. https://soundcloud.com/umamibeat
Happy to be on team DPA for now!
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They feel substantial enough that I don't mind tossing them (gently) into a bag without a case.
If there is any chance that you might sell them at some point, I would recommend a case. Dings detract from the value a bit. Personally, I transport my DPAs in a Pelican box, which (to me) is well worth the price for the peace of mind.
I've definitely had my eye on a set of 2015s as well to use as a complement to these 2012s.
I am curious about the 2015s. I have been using 4015s for quite a while now and they are awesome. A great compromise between omnis and cardioids and they work really well for most of the situations in which I tape. If the 2015s are even in the same ballpark, they are well worth the money...
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So the 2012 & 2015 line are mics meant for congo drum kits as I understand it. So they are built to take some punishment!! Very few have jumped in and grabbed the wide cards yet but I’m considering grabbing a set of both! With the price being so inviting I’m thinking roll the dice. There are some 2012 pulls on archive that are stellar for sure. Search Mark Terry on archive and DPA 2012 and enjoy!
I've got a brand new pair of 2012s if you want them. I liked them so much decided to grab the 4011s. They were used 2x, basically mint
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As screwed up as things are in the world these days, it's a good sign when Focker is back to changing gear like underwear, lol. How long did those 2012s last, 2 months?
No worries with anything from Focker, it will always be like new. Really, like the smell from the factory is still on them.
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As screwed up as things are in the world these days, it's a good sign when Focker is back to changing gear like underwear, lol. How long did those 2012s last, 2 months?
No worries with anything from Focker, it will always be like new. Really, like the smell from the factory is still on them.
qft
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Those 2012s lasted all of 10 days before I made the call on the 4011s. Prior to that I was running the Nevatons for like 6 years. That may be a new record for me.
I have new car scent that come free with all gear purchases from me
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Just did Goosemas with the 2012's, it was my first real test of these mics and they sounded fantastic, very neutral with a great level of detail and texture. Highly recommended for anyone in the $1500 budget range for a stereo set of cardioids.
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Just did Goosemas with the 2012's, it was my first real test of these mics and they sounded fantastic, very neutral with a great level of detail and texture. Highly recommended for anyone in the $1500 budget range for a stereo set of cardioids.
Stoked to hear. Listening to Dennis's AK50s from 12/14. WHAT A SHOW. Stoked to hear the 2012's.
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Just did Goosemas with the 2012's, it was my first real test of these mics and they sounded fantastic, very neutral with a great level of detail and texture. Highly recommended for anyone in the $1500 budget range for a stereo set of cardioids.
You posted the recordings yet? Curious minds want to hear!
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🙇♂️
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Just ran the 2015s last night for DBT in Philly. Beautiful sounding mics, will post samples tomorrow after I finish tracking it out. But yeah, they are really something else. I ran the 4011s next to them, so will post both for the comps. Both going straight to the SX-R4
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Just did Goosemas with the 2012's, it was my first real test of these mics and they sounded fantastic, very neutral with a great level of detail and texture. Highly recommended for anyone in the $1500 budget range for a stereo set of cardioids.
You posted the recordings yet? Curious minds want to hear!
Actually should be up in the next few days, i held off on uploading to the archive until they restored the ability to edit show pages, check back in a few days and it'll be there
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Here's more 2015s - love them
Onstage (ORTF) + SBD
Support Local Live Music!
Tucked In (Opener)
https://archive.org/details/ti-1_20250102/TI+1.flac
Manatees
https://archive.org/details/TheMightyManatees2024-12-31.TMMMatrix
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Here's DBT with the 2015s
https://archive.org/details/dbt2025-02-03.dpa2015
Edit: track listing metadata is all messed up. Working on a fix w them.
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Yeah, the 2012/2015s smoke. facts.