Posts Tagged ‘ schoeps mk4v ’

Sunburned Hand of the Man: October 3, 2019 Nublu

November 8, 2019
By

Sunburned Hand of the Man are the type of act that people might call “hard to pin down.” Over their sprawling catalog (their sprawling bandcamp page has only a fraction of their 100+ titles) these guys’ music runs the gamut from the bizarre (“Clowns In Jail”) to the improvisationally psychedelic (the “Blizzard of Zozz” show we recorded in 2017) to bordering-on-conventional songs (recently-released “microdose” Intentions).

This night at Nublu fell somewhat in between the two, as a relatively stripped-down version of the band performed this long-form improv with a running spoken word narrative, with a current of the occult running throughout. It felt appropriate to the season, and was a hell of a lot of fun to listen to. Dig in.

I recorded this set with Schoeps MK4V microphones up front in the venue on the right side. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC/ALAC]

Sunburned Hand of the Man
2019-10-03
Nublu
New York, NY USA

Recorded and produced by acidjack

Schoeps MK4V (FOB, ROC)>KCY>Z-PFA>Sound Devices MixPre6>24/48 WAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 New Blue Sounds

GO BUY THE DIGITAL DISCOGRAPHY. TRUST US.

Ryley Walker feat. Garcia Peoples: June 20, 2019 Rocks Off Concert Cruise

June 21, 2019
By

When you’re already committed to playing a show on a low-ceilinged boat with stripper(?) poles and questionable stabilizers, you might as well take some risks musically, too. Last Saturday’s Rocks Off Concert Cruise with Garcia Peoples (recorded live by yours truly, natch) was a choppy-watered success, but I didn’t expect to be back on that boat quite so soon.

But the return of Ryley Walker to a New York stage (even if a floating one), coupled with the fact that his backing band would in fact be Garcia Peoples, was more than enough justification. If the weather outdoors was a bit more inconsistent this go round, the water presented fewer challenges and the vibes onstage were good as ever.

What we got here were two extended solo versions of “Summer Dress” (firmly back in the rotation, it seems) and “The Roundabout,” including an expanded take on Ryley’s hilarious Nick Drake imitation (practically daring him to turn this thing into an actual song). Walker looked strong and in command up there after a little time off, and in excellent spirits even when some rough water stumbled him away from the mic once or twice. After that set, the boat-tested crew from GP came and joined Walker for a thirty-five minute collab of psychedelia, drone, and other genres that Ryley’s Twitter will surely make jokes about this morning. The jam made an already-unusual show completely one of a kind, and yet another example of how with Ryley on center stage, you really don’t ever know quite what you’re gonna get.

Given the challenging acoustics of the boat, I recorded this set up close with Schoeps MK4V microphones in a mobile setup. That turned out to be a good decision — the sound quality is excellent. Hope you dig it!

Download the complete show from its page on the Live Music Archive

Ryley Walker feat. Garcia Peoples
2019-06-20
Rocks Off Concert Cruise
The Lucille
New York, NY USA

Recorded and produced by acidjack for nyctaper.com

Schoeps MK4V (FOB, DFC, DIN)>KCY>Z-PFA>Sound Devices MixPre6>24/48 WAV>Adobe Audition CC>Izotope Ozone 5>Audacity>FLAC ( level 8 )

Tracks [Total Time 57:40]
01 [intro]
02 Summer Dress
03 [banter-pirate band]
04 The Roundabout
05 Rocks Off Jam

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Wet Tuna: December 22, 2018 Union Pool & September 8, 2018 Three Lobed / WXDU Annual Ritual of Summoning

January 3, 2019
By

Straight from the ever-expanding Tunaverse, here’s a double header of shows from last year. The first finds the duo traveling down to Raleigh, North Carolina for the “Three Lobed / WXDU Annual Ritual of Sommoning,” the yearly Hopscotch day party that’s become one of the festival’s biggest draws. Next is another duo set from last month at Jeff Conklin’s birthday party. Fun was had by all and here’s the documentation to prove it.

While you’re enjoying these live Wet Tuna dispatches, head over to their blog to order Mountain Busted, a 7-CD set of multitracked live shows. I’ve been lost in these recordings for a couple weeks now and the sound is absolutely phenomenal—more than enough reason to dive in head first. The set gets a little sweeter thanks to a trio of Root Cellar gigs with special guest spots from J Mascis, John Moloney, Jim Bliss, and more, that hail from another plane of existence.

I recorded the Union Pool gig from our usual spot at the soundboard, combined with a feed courtesy of Jase Hottenroth. Acidjack recorded the Raleigh show with his usual six track rig at King’s. Both sound excellent. Enjoy!

Union Pool Download: [FLAC/MP3]
Three Lobed / WXDU Annual Ritual of Summoning Download: [FLAC/MP3]

Wet Tuna
2018-12-22
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineer: Jase Hottenroth) + MBHO KA200N/603A (DIN) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks: [40:56]
01. I’d Rather Be Hayin’ > Hay Space
02. Roomtone
03. I Know You Rider
04. Roomtone
05. New York Street

MV/PG Six/Coot Moon



Wet Tuna
2018-09-07
Three Lobed / WXDU Annual Ritual of Summoning
King’s
Raleigh, NC USA

Recorded and produced by acidjack

Soundboard + Schoeps MK4V (onstage, DFC)>KC5>CMC6 + Behringer C2>>Zoom F8>24/48 WAVs>Adobe Audition CC (align, mix down, limiter)>Izotope Ozone 5 (effects, EQ)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

Tracks
01 I Know You Rider
02 Water Train
03 New York Street

Bandcamp

Dirty Projectors: November 18, 2018 Elsewhere (Early Show)

November 20, 2018
By

If you ever doubt the reason to see live music, I’d refer you to the experience of watching Dave Longstreth on stage for eighty minutes with Dirty Projectors. There’s a particular joy to watching such complex, intellectual “rock” music brought to life by players of such immense talent, up close enough to see Longstreth’s fingers work the fretboard. If it’s at Elsewhere — a phenomenal-sounding club — and on a rather convenient late Sunday afternoon, all the better.

Among the waves of NYC/Brooklyn rock music in the first decade of this century, the Dirty Projectors always existed at some remove from even their mid-latter-decade contemporaries. Dirty Projectors is an unapologetically smart band, the work of a highly educated musician’s musician. It’s fitting that I last saw this band at Carnegie Hall in early 2013; if any “indie rock” band belongs there, it’s this one.

This set, the first of two the band performed at Elsewhere on Sunday, spanned the band’s five most recent albums (with Rise Above represented by the particularly affecting “Police Story” that led off the show), as well as two nuggets from the band’s Mount Wittenberg Orca collaboration with Björk. Likewise, this set represented a reasonable facsimile of Longstreth’s emotional states during the recent past, with songs like the joyous “I Found It In U” and “I Feel Energy” offset by the political rumination “It’s A Lifestyle” and the wistful “Little Bubble.” Longstreth has described Lamp Lit Prose and Dirty Projectors as a yin and yang album cycle, and that was evident here. But, while Lamp Lit is stylistically closer to the rest of the band’s recent material, there’s been a darkness in many of Longstreth’s songs before Dirty Projectors, and those, like “Gun Has No Trigger,” were well-represented here also.

To call the current band “new” is a bit of a stretch at this point; they’ve been touring this album as a unit for a while now, and it showed in their formidably well-rehearsed state. Give a quick listen to the soaring harmonies on “Cannibal Resource”, Kristin Slipp’s lead vocal on “The Socialites” or the incredible vocal precision on “When the World Comes To An End” (incidentally, the Mount Wittenberg songs strike me as particularly difficult musically) and you’ll be relieved of any concern that this band isn’t every bit the equal of the one that came before it. It wasn’t just because of Longstreth’s talent that I spent a good bit of these 80 minutes on a Sunday afternoon mouthing the word “wow.” It was hard to tell how serious Longstreth was about engaging a call-and-response situation during the final encore (“Right Now” from Lamp Lit Prose) but it soon became clear that even figuring out how to chant “right now” back at a Dirty Projectors song is a little tougher than usual singalong fare (“it loops unevenly…. that’s as well as I’ve figured out how to do it” a sheepish Longstreth said). “Right Now” proved a fitting end, encapsulating the yin and yang of the show in a single, dark but ultimately uplifting song (which Longstreth also identified as the most difficult to play in the set). The only part that wasn’t perfectly dialed in was the crowd singing “right now” — but that was kind of perfect, too.

I recorded this set with a feed of the house mix together with Schoeps MK4V microphones inside the soundboard cage. All credit for the sound of this belongs to the production team, both Dirty Projectors’ touring engineer, Teresa Murray, and the house team at Elsewhere. I hope you’re as impressed with it as I am — enjoy!

Thanks to Domino Records and Dirty Projectors for giving us permission to record the performance, along with the outstanding Elsewhere production crew.

Download the complete show: [MP3/FLAC/Apple Lossless]

Dirty Projectors
2018-11-18 (early show)
Elsewhere
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Soundboard (engineer: Teresa Murray + Tyler (house)) + Schoeps MK4V (FOB, DFC)>KC5>CMC6>>Sound Devices
MixPre6>24/48 polyWAV>Adobe Audition CC (align, mix down, fades, compression)>Izotope Ozone 5 (effects)>Audacity 2.1.0 (track, amplify,
balance)>FLAC ( level 8 )

Tracks [Total Time: 1:20:15]
01 Police Story
02 I Found It In U
03 Break-Thru
04 What Is the Time
05 Cannibal Resource
06 Temecula Sunrise
07 That’s a Lifestyle
08 The Socialites
09 Gun Has No Trigger
10 When the World Comes to an End
11 I Feel Energy
12 Cool Your Heart
13 Useful Chamber
14 [encore break]
15 Beautiful Mother
16 Little Bubble
17 [explanatory banter]
18 Right Now

Band:
Dave Longstreth
Matt Baldwin – bass, bass synth
Mike Johnson – drums
Felicia Douglass – vocals, keyboard, electronic percussion
Kristin Slipp – vocals, Wurlitzer, additional keys
Maia Friedman – guitar, vocals

PLEASE SUPPORT Dirty Projectors: web | facebook | buy Lamp Lit Prose

Parlor Walls: October 18, 2018 Saint Vitus Bar

October 25, 2018
By

If you haven’t checked out Parlor Walls since their excellent 2017 album, Opposites, then put your headphones in and turn your ears on. This set at Saint Vitus should be a must-listen for those of us who’ve followed Alyse Lamb’s career since the early ’10s, and those new to the party. Three of the newer songs – “Neuromancer”, “Love Complex” and “Low Vulture” are represented on the band’s May 2018 EXO cassette, and are among the band’s best work yet, pushing further into No Wave territory and somewhat away from some of the free jazz flourishes that appeared on Opposites. Parlor Walls’ songs are noisy, astringent documents of our time, complicated, unsettled and at-times brutal. Lamb has always been that special type of performer who doesn’t seem to need an audience; her unflagging intensity comes from within rather than without. (If you don’t believe me, see how she and drummer/keyboardist Chris Mulligan bring it alone in a Paste Magazine sound studio). It’s incredible that she and Mulligan can pack this much into their songs performing as a duo (their albums have additional bandmembers, in the most recent case, multi-instrumentalist Jason Shelton); like the full-time Brooklyn duo Yvette, they fill the stage without the extra bodies. If unrest is the overarching theme of these jittery pre-election days, Parlor Walls is the right soundtrack.

I recorded this set with Schoeps MK4V microphones at the soundboard combined with house FOH Jeff’s excellent mix. The sound quality is outstanding. Enjoy!

Download the complete show: [FLAC/ALAC/MP3]

Parlor Walls
2018-10-18
Saint Vitus Bar
Brooklyn, NY USA

Recorded and produced by acidjack

Soundboard (engineer: Jeff) + Schoeps MK4V>KC5>CMC6>>Sound Devices MixPre 6>24/48 WAV>Adobe Audition CC (align, mix, compression, fades)
>Audacity 2.1.0 (track, amplify)>FLAC ( level 8 )

Tracks [Total Time 30:09]
01 Neuromancer
02 Love Complex
03 Pinafore
04 Spinning Gold
05 Ignite
06 Low Vulture
07 Cover Me
08 Birthday

PLEASE SUPPORT Parlor Walls: bandcamp | website

Long Hots: September 7, 2018 Three Lobed / WXDU Annual Ritual of Summoning (Raleigh, NC)

October 17, 2018
By


[Courtesy of Dave Schwentker]

I should possibly apologize to Rosali Middleman, one of the three Long Hots, for referring to her guitar playing as “feral” in last year’s review of this band’s Three Lobed / WXDU show, their third ever. If you’ve heard her other work, particularly her outstanding latest record Trouble Anyway, you wouldn’t necessarily know it was the same person as the one shredding on these scuzz-rock numbers. It was more a statement the style of her guitar playing for this band than the, you know, quality. But I digress. A year later, Long Hots continue to be one of Philadelphia’s best up and coming exports. The band’s gritty, garage-style approach recalls Philly brethren Spacin’ and Purling Hiss, and like those bands, the Long Hots can make it feel like a 3 a.m. rager in some hopped-up dirtball’s basement even if they’re actually playing a day show in a much-nicer-than-average local club. This five-song set almost doubled last year’s set in length and at least matched it in intensity, showing us new songs that (one day?) could fill out a full LP. As for now, Long Hots remain “Philadelphia’s most anticipated band” in that respect, as they continue to hone their live chops. You can catch another flavor of that on the band’s sole release, the Monday Night Raw cassette, which is exactly what it sounds like.

I recorded this set with a blend of onstage Schoeps microphones, a pair of mics in the audience, and a soundboard feed. It’s a fun recording. Enjoy!

Download the complete set: [MP3/FLAC/ALAC]

Long Hots
2018-09-07
Three Lobed / WXDU Annual Rite of Summoning
King’s
Hopscotch Music Festival
Raleigh, NC USA

Recorded and produced by acidjack for nyctaper.com

Schoeps MK4V (onstage, DFC, PAS)>KC5>CMC6 + Soundboard + Behringer C2 (FOB, DFC)>>Zoom F8>Adobe Audition CC (align, mix down, fades, normalize)>Izotope Ozone 5 (EQ, effects)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

01 Nickel and Dime
02 Boogie Trance
03 Mama
04 Die Die Die
05 One Chip

Support Long Hots: bandcamp

Daniel Bachman Quartet: September 7, 2018 Three Lobed / WXDU Annual Rite of Summoning (Raleigh, NC)

September 18, 2018
By

The consistently positive reception for Daniel Bachman‘s latest record, The Morning Star, is an uplifting reminder that some people still listen with an open mind. The double LP, released this summer by Three Lobed Recordings, takes Bachman’s previous drone experiments — most recently suggested by the beginning of “Brightleaf Blues” on Bachman’s self-titled 2016 album, and extends it to the entire first side of the new record. The 18-minute ambient drone “Invocation” – that a casual fan might wonder if this is Daniel Bachman at all. “Invocation” is a vast and complex new work, blending field recordings, snippets of spoken word, a shruti box, and more. It’s a bold way to begin a record, and to capture the feeling of it full, read what Tiny Mix Tapes had to say.

One fact of a piece like “Invocation” is that it’s virtually impossible to create live in the settings where Bachman usually finds himself — that is, as a solo guitarist. So leave it to one of his favorite venues for experimentation – King’s in Raleigh, at a Three Lobed / WXDU event – for Bachman to find a path toward the album version, even if the result was entirely new. Joined by Forrest Marquise, Jim Becker and Jaime Fennelly, not to mention one of Marquise’s custom instruments and a mic’d, upside-down peanut jar with marbles on it, Bachman and his fellow players created a unique “Invocation” for what is always one of the year’s most exciting days of experimental music (christened this year as the “Annual Rite of Summoning.” This 38-minute organism of a song created a new place inside Kings’ four walls, a space to breathe, to reflect, to listen. A rite of summoning, indeed.

Please put on your headphones, and enjoy.

Download the complete show: [MP3/FLAC/ALAC]

Daniel Bachman Quartet
2018-09-07
Three Lobed / WXDU Annual Rite of Summoning
King’s
Hopscotch Music Festival
Raleigh, NC USA

Recorded and produced by acidjack for nyctaper.com

Soundboard + Schoeps MK4V (onstage, DFC, PAS)>KC5>CMC6>>Zoom F8>Adobe Audition CC (align, mix down, fades, normalize)>Izotope Ozone 5 (EQ, effects)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

01 Invocation

Players:
Daniel Bachman
Forrest Marquise
Jaime Fennelly
Jim Becker

Support Daniel Bachman: Website | Facebook | Buy The Morning Star from Three Lobed [HERE]

Gunn-Truscinski Duo: July 19, 2018 Elsewhere

July 24, 2018
By

Watching the interplay of Steve Gunn and John Truscinski onstage, you get the sense that these two are hand-in-glove players, to the point you almost can’t imagine them playing with anyone else (though they do). That interplay is part of what makes all of their Three Lobed releases so special. Each of them, including their latest and most adventurous to date, Bay Head, feels like it sprung forth fully-formed, a jam session whose synchrony had to be made permanent. On this night at Elsewhere, after kicking off with their new drone track “Road Bells,” the duo launched into straight into a version of “Banh Mi Ringtones” that felt like just that, with the action peaking in a furious Gunn solo. The Ocean Parkway love continued with that title track, followed by the gorgeous “Seagull for Chuck Berry.” Things came to a close in a similar vein to the show we saw at Union Pool in January, the sprawler “Gunter,” featuring a new drone-based intro. Even that relatively new track felt re-imagined in the moment, and that’s the glory of Gunn-Truscinski duo. Fortunately, this is one of those jam sessions whose synchrony was documented.

I recorded this set from the soundboard cage with a board feed from house engineer Chris, together with Schoeps MK4V microphones. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC/ALAC]

Gunn-Truscinski Duo
2018-07-19
Elsewhere
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Soundboard (engineer: Chris) + Schoeps MK4V (FOB, DFC, PAS)>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC (align, mix down, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

Tracks
01 Road Bells
02 Banh Mi Ringtones
03 Ocean Parkway
04 Seagull For Chuck Berry
05 Gunter

• Buy Bay HeadOcean Parkway, and Sand City via Three Lobed

Widowspeak: October 13, 2017 Rough Trade NYC

October 17, 2017
By


Widowspeak just released their fourth album, Expect the Best. It gave me a little jolt of nostalgia to see what’s now by any definition a veteran band taking the stage in Brooklyn again, six years after I caught one of their earliest shows at Glasslands. It also gave me hope: Here’s a band that has thrived from day one on the very simple proposition of writing good songs and performing them well, and continues to be well-received.

This show at Rough Trade marked the end of the band’s recent tour in support of Expect the Best, and it had that triumphal homecoming feel about it, from the crowd of friends and showgoing regulars to the career-spanning setlist. After all, it’s not like Widowspeak need to hunt around Brooklyn for converts. Expect the Best feels like a darker, slightly less pop-driven record than 2015’s All Yours, as befits the times and singer Molly Hamilton’s recent decamping to her home in the Pacific Northwest. Likewise, the new record also has more of a “live” sound to it, a bit looser than the band’s recent efforts, and that also works to the advantage of these songs like, particularly the set opener, “Right On,” which reminded us that despite the association of this band with more of a hazy, laid-back sound, they are more than capable of rocking out. As noted, the set also reached back to the band’s first album for three of their best-loved numbers, the unforgettable “In the Pines,” “Gun Shy” and Hamilton’s Pacific Northwest in-joke “Harsh Realm.” Hearing those songs played by a tightly-knit four-piece — a much fuller sound than the trio had back in 2011 — only reminded me again that some things do improve with time. Widowspeak are one of those bands that has not only stayed consistent, but keeps putting out great new music. That album title they chose this time says it all.

I recorded this set with a soundboard feed from house engineer Jeremy combined with Schoeps MK5 microphones. The sound quality is excellent. Enjoy!

Download the complete set: [MP3/FLAC/ALAC]

Widowspeak
2017-10-13
Rough Trade NYC
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com

Recorded and produced by acidjack

Soundboard (engineer: Jeremy) + Schoeps MK5 (DFC, at SBD, PAS)>KC5>CMC6>>Sound Devices MixPre6 (24/48)>polyWAV file>Adobe
Audition CC (align, mix down, compression, limiter)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify,
dither, downsample)>FLAC ( level 8 )

Tracks [Total Time 1:13:35]
01 Right On
02 Perennials
03 Warmer
04 In the Pines
05 Narrows
06 All Yours
07 [banter1]
08 Ballad of the Golden Hour
09 The Dream
10 Expect the Best
11 Gun Shy
12 [banter2]
13 Dog
14 The Swamps
15 Harsh Realm
16 Fly On the Wall
17 [banter3]
18 Coke Bottle Green

PLEASE SUPPORT Widowspeak: Facebook | Captured Tracks | Bandcamp

 

Nathan Bowles Trio: September 8, 2017 Three Lobed / WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

October 16, 2017
By

It’s an article of faith that artists who are friends of Three Lobed Recordings always bring their best for the label’s annual Hopscotch day show showcase, co-sponsored with Durham’s WXDU. Nathan Bowles, a multi-year veteran of the event, outdid himself this year, choosing to use this platform to debut his new trio with Casey Toll on double bass and Rex McMurry on drums. Although this was the trio’s very first show, you wouldn’t necessarily have known it, as Bowles and the new band added new heft to what were originally his solo songs (“Blank Range”) as well as coming out strong with new ones (one untitled, one known as “Freshfaced”). Bowles’ current music has already redefined and expanded the notion of modern banjo music, but the trio promises to push things even further, offering the opportunity to head in directions he hasn’t yet contemplated in other groups in which he participates, such as the Black Twig Pickers. For one, these songs feel a bit more like rock songs, with McMurry’s drumming pushing a faster tempo and an overall heavier direction, particularly on the new song. “Freshfaced.” Seeing Nathan Bowles is always a treat — and it’s something we do as often as we can — and this trio only adds to the anticipation of what he’s up to next. Bowles has a few shows around the southern U.S. this month, so go have a listen if you can.

I recorded this set with Evan Lamb’s house mix, plus an additional soundboard feed of the banjo, together wtih Schoeps MK4V microphones onstage, and AKG 460 cardiod mics hung over the audience. The sound quality is excellent. Enjoy!

Nathan Bowles Trio
2017-09-08
Three Lobed / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Recorded and produced by acidjack
Hosted at nyctaper.com

Soundboard (engineer: Evan Lamb)+Schoeps MK4V (onstage)>KCY>Z-PFA>AKG 460/CK61 (FOB, DFC)>(24bit/48kHz WAV files)>Adobe Audition CC (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 Blank Range
02 [untitled for now]
03 Freshfaced

SUPPORT NATHAN BOWLES: Pay to download this recording | Website | Bandcamp | Paradise of Bachelors

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