Some good quality bootlegs?

[Blue Room]

Marty, all you need to do to prove it is email an mp3 clip (20 seconds) that shows its the show and you know that if you have the kind of stuff you claim to have. Somehow I doubdt you could provide that though. If you really have them email me to discuss, do a search on posts that discuss rarities, you will find out what my position is on it. mjblue@tm.net
I dont expect you to care if I believe you either. But then why even post this information if you really have this?? Why even respond to the posts?? Seems odd for someone that doesnt care about this????

I also believe I know who you are if what you say is correct, which makes me believe even more that you dont have either of these recordings. I dont know what you are trying to prove with these posts other than to stir things up, but audience recordings arent going to do it IMO.

I also know what item you are referring to and I agree that what happened with it is BS. Dont purchase stuff though, that is when you open yourself up. Trading is the best way because both parties have something to lose if the other doesnt abide by their end of the deal.

Dirty Day, I dont think Brisbane has anything to do with hoarders. I think it just got missed as far as taping or was taped by someone that isnt or wasnt in the U2 trading community. Shows get missed every once and while, especially back in the day.

 

[Into The Light]

.

 

[Marty McFly]

1) Marty, all you need to do to prove it is email an mp3 clip (20 seconds) that shows its the show and you know that if you have the kind of stuff you claim to have. I dont expect you to care if I believe you either.

2) But then why even post this information if you really have this??

1) I don't have my equipment hooked up to capture an MP3 for you at the moment, assuming I even wanted to bother.

2) Someone stated they'd never been recorded, I merely set the record straight.

 

[Axver]

That seems to be a rather convenient excuse you've got there, Marty ...

And dirtyday, it's a shame that the full Christchurch boot is unlistenable, but I'd still love to have it. Being a Kiwi, having it would mean a bit more than having some other boot, even if it is of the most atrocious quality.

Honestly, I don't understand why anyone would want to keep a show rare or just to themselves. It defies my logic. Isn't it better to spread around the U2 goodness than to hoard it all for yourself? I thought sharing was a good idea ...

 

[*Wolverine*]

How interesting... Considering I taped both of these myself.

What a f**king load!! Man, this screams of so much BS I'am going deaf!

Folks these shows were not recorded in complete form by anyone else other than Joe O'Herlihy and even if they by some astronomical chance were done by a taper, this joker certainly doesnt have them and certainly didnt record them. Its pretty simple to figure out. Those with the goods dont discuss specifics especially not on a public board. They also claim to have done other recordings prior to that?? Hmm, VERY interesting, care to indicate a single show you did before? The Dublin 89 FM broadcast!!! LOL

LOL, some people are so comical. Things must really be boring right now with this stuff to have to resort to making this crap up. Also, as pointed out by some before, this is audience stuff we are talking about (not soundboards) so even if they do exist they are probebly horrendous quality. Keep your fantasy piece of crap audience recordings, I will stick to boards.

 

[Marty McFly]

What a f**king load!! Man, this screams of so much BS I'am going deaf!

Oh my GOD! Thank you SO much for pointing out the error of my ways! Please, PLEASE come over to my house, I offer up my entire collection to you.

Maybe you don't know me from Adam, but I have been releasing shows online since 1996. Yes, since 1996 I have created CDR boots, long before any of you probably knew about the Internet, and long before CD burners were affordable to anyone you know. I honestly don't give a shit what you think of my recordings, you will not hear them again. All I am saying is those shows exist, they exist in STEREO and the sound is about as good as an audience recorded show could get in 1992. Believe me or call me bullshit, I could care less. In fact, I could care even less now.

As for the statement "Those with the goods dont discuss specifics especially not on a public board." is about the stupidest thing you could say. Maybe you never had the goods, but those who do discuss them on public boards. I've been taping/trading since 1977, I have quite a few Masters that have never seen the light of day and I don't feel the need to share my entire life or my entire collection with anyone. I don't know how wide your taste is but I have a Steve Vai show I recorded in Fort Lauderdale, FL the day after Zappa died. His entire second set consisted of nothing but Zappa covers, the only time he's ever done that. I have the only known recording of Iron Maiden in CT on 8/8/00 (and it's actually a video). I also have the only known Master of the Dixie Dregs playing on Don Kirshner's Rock Concert. I was apparently the only one to spread Yes playing Madison Square Garden on 6/15/79. I could go on, but it's all bullshit, right?

Tell me, what have YOU taped?

 

[*Wolverine*]

LOL, to answer your last two questions, yes and yes. But I dont discuss specifics, (IE, see my prior post). Most of what I deal with and have are soundboards also, so audience stuff is low my priority pole. Also those with U2 goods don't discuss them and when I say goods I mean rarities and mainly soundboards. So you are either stupid or incredibly naive.

Steve Vai????

What I find interesting is that you say you dont care what I or others think but feel the need to defend yourself and reply. Its interesting that you only say you taped one show in your response and that was a recent show 2000. You said previously that you recorded U2, what U2 did you do besides the aforementioned? LOL Hmm, also you say you have been releasing shows online since 1996 and knew about all of this before all of us, yet cant make an mp3 sample???? LOL

OK, what recording equipment did you use in 1992? I will bite LOL

 

[Marty McFly]

You don't discuss specifics? Now THAT is a load of shit. My guess is that your sig says it all. But being the elitist hoarder you are, certainly you want to make the public aware of what they're missing, no? I've given several examples of recordings I've made, you've given none. Hmmm...

I taped U2 in Hartford, May 7 and 8, 1987, that are in wide circulation. Neither of them I'm proud of, they're prolly the 2 worst sounding shows I've ever recorded, but they were from my Masters. I also did September 23, 1987 in New Haven, CT. The first time I recorded them was December 3, 1984 in NYC. The last time was the Chicago '92 show, I haven't seen them since then. In between I recorded about 15 shows.

I'm sorry I'm not currently set up to capture shit-ass MP3s for numbnuts like yourself, sue me for it.

And I don't care what others think. I just enjoy replying to your retorts and proving what a moron you are.

 

[dirtyday]

I can understand why you would want to hold onto something like a rare boot you made; for sentimental value. But then again if I bootlegged a show and then released it I would be chuffed to hear my bootleg being traded and talked about. Some bootleggers brand their shows simply for that, which I respect because at the end of the day they put effort into that show and it should be rewarded just as a cameraman gets credits at the end of a film.

The thing that bugs me about bootleg collecting is there are 2 types of collector.

There is the one like me who's first VCD was something like DC 1992 or Slane Broadcast, who then trades in circles where there are only widespread shows available (your popmart south american broadcasts, adelaide 1993 etcs).

Then you get the traders who have the interesting shows, but are too inclusive.

The problem myself and others have is getting into that circle, there is little new material available to make a veterain collector go wow

 

[*Wolverine*]

LOL, this is funny.

Marty,

Yes, you have discovered my reasons for posting. I think its hilarious that people lose their minds over this stuff. But you are in the same boat so I find it funny that you chastise me for it. You say you posted that you had the 1992 U2 recordings just to tell everyone they existed but yet had no intention on trading them or providing any detail? What do you call that? LOL

You are quite the traveler with your "master" recordings there. Again, what equipment did you use for your U2 recordings in the 80's? Why the sudden interest in U2 now, since you havent recorded them since 92?

Hey, I have no problem with thinking you may be a taper. I have no problem with thinking you have some masters others dont (not U2 though). But to come here and then suddenly have two shows in areas you didnt "supposedly" record before that just happen to be two shows that have never surfaced or even been heard of is just a bit ridiculous and extremely suspicious. I know most of the tapers from the 80's with U2. You obviously traded with them at that time as New Haven has been out there forever. Please name one trader/taper from the 80's that you knew in the U2 taping community then.

 

[Marty McFly]

Well, let's see. Back when you were getting boots from the back of Goldmine magazine, long before the Internet was popular and it was just a collection of college geek message boards, there were no "taper communities". You collected a bunch fo shit, and if you happened to stockpile a certain band then that's great for you. Hell, I remember when it was damn near impossible to find anyone with Rush shows from the 70's. But if you answered enough ads and got enough lists, eventually you picked up one from here and one from there and the next thing you know you had the biggest Rush list around.

I don't remember who I traded with. I don't remember who I gave the first U2 tapes to, though I remember my college roommate got both of those Hartford shows from me the day after I taped them. I ran ads in the back of Goldmine, I traded and sold alot and I have no idea who got them from me. I had my first website in '95, and since then I've traded, bought and sold countless recordings to countless people. I guess that makes me a bullshitter because I can't remember who I traded tapes to almost 20 years ago.

To answer how I made it to the midwest; I had a friend living in Chicago at the time. I went out to visit her, and we caught Detroit, Chicago and Minneapolis, but I got nailed bringing my deck into the Minneapolis show. I was using an AIWA deck with a pair of external Sennheiser's. Don't ask for model numbers, I was never good with that shit. I went DAT in '94.

So, you're saying you know every single person across the globe who taped U2? Man, your phone bill must be astronomical.

DirtDay - The key is to TAPE YOUR OWN SHOWS. If all you have are the Nth generation recordings everyone else has, how can you expect a serious taper to get excited about it? Tape a few shows, even if it means taping King Biscuit or one of those syndicated radio broadcasts. Eventually you'll find someone who wants a copy of it off your Master, then you'll get a low-gen show to circulate in return. Now you have 2 low-gen shows to trade. It's really tough to get a decent collection without taping, unless you hook up with some people willing to do B&Ps.

Do NOT download MP3s and trade them!! MP3s and VCDs are the scourage of the bootlegging community. There are so many people out there who now have MP3-sourced boots and don't even realize it, which is one of the reasons I rarely trade anymore. All my stuff is pure-sourced, I know this for a fact because either I transferred it myself, someone that I personally know transferred it, or the trader I dealt with was of high standing in the various communities.

 

[*Wolverine*]

Interesting, hmm, lets see, you visited a friend in Chicago and caught the Detroit, Chicago and Minneapolis shows??? Interesting considering U2 didnt play Minneapolis on the Outside Broadcast tour!!! LOL

Are you sure you dont mean the 1st leg of Zoo TV which would have been 3-27-92 Detroit, 3-30-92 Minneapolis and 3-31-92 Chicago? Those recordings ARE readily available, maybe this was all confusion on the dates. LOL

And I never said I knew all the tapers from the 80's. I knew most of them or knew who most were though. Also, there was a taper community in the 80's with U2. Things took longer obviously as everything was done through the mail (letters and tape trading). But there was definately a community or group.

Also the New Haven 87 recording that is ALL OVER the net as you put it was not done with an Aiwa deck. I'am not saying you didnt record this show, I'am saying version you claim is circulating is not yours.

I agree with your philosophy from what I can tell your posts, but I dont think you recorded 9-9-92 Detroit or 9-15-92 Chicago.

 

[Marty McFly]

You are correct, it was St Louis. My bad. We were going to go to Minneapolis, I couldn't make it because I couldn't get the time off from work, and we saw them later that tour instead. Forgive me, my 38 year old brain doesn't always work perfectly.

I would LOVE to know how you can decipher what brand deck recorded certain shows. Just when I thought you couldn't make a more ludicrous remark, you prove me wrong. Tell me, what brand deck were the Hartford shows recorded on? I didn't use my AIWA for those, I was away at college and had to borrow a deadhead's deck. If you get this right, I'll GIVE you my Masters for those 2 '92 shows.

 

[*Wolverine*]

You are correct, it was St Louis. My bad. We were going to go to Minneapolis, I couldn't make it because I couldn't get the time off from work, and we saw them later that tour instead. Forgive me, my 38 year old brain doesn't always work perfectly.

I would LOVE to know how you can decipher what brand deck recorded certain shows. Just when I thought you couldn't make a more ludicrous remark, you prove me wrong. Tell me, what brand deck were the Hartford shows recorded on? I didn't use my AIWA for those, I was away at college and had to borrow a deadhead's deck. If you get this right, I'll GIVE you my Masters for those 2 '92 shows.

LOL, whatever, whose more ridiculous. Claiming to attend shows that dont exist or questioning you on recording that do not exist LOL.

Anyway, to answer your question as to how I know which New Haven recording is circulating is because I know where the version that is circulating came from. It is from a D6 Sony master and it is very high quality. Like I said, I dont doubdt that you recorded New Haven, I'am just saying the very good version that is common now is not yours. I actually think I may have a tape of your Aiwa recording as it is not bad, but nothing like the quality from the D6.

Regarding Hartford, from the versions I have heard (if they are yours) you used some type of cheap Sony mono recorder and/or you used some cheap mono mics (and yes, I know mono mics were the standard at that time). Possibly a D3, although typically they got a little better capture. Your mic would have been the most important part as far as quality at that time anyway unless you were using top of the line at that time which was a D6. I also know 5-8-87 was done with a D6 as well which is a great recording. So you were obviously not the only person doing the Hartford 87 shows.

Here is a question, on your 3-27-92 Detroit show, did you miss the intro getting set up, or does your master have it?

 

[U2Lynne]

Sorry to just cut in here (you guys are getting pretty nasty, ya know?), but I could care less really that some of these shows exist but are never going to see the light of day from either of you.

I just have one simple question, WHY? I mean, if you have the show recorded, why won't you spread it? I'm just curious.

 

[Marty McFly]

I didn't do 3/27, I did 9/9. I just told you I couldn't get the time off to do the March shows.

Pretty close on the Hartford shows, it was a mono General Electric deck with built-in mic. I remember cringing when the dude handed it to me, I thought all deadheads had nice decks.

 

[Marty McFly]

I just have one simple question, WHY? I mean, if you have the show recorded, why won't you spread it? I'm just curious.

Lynne -
While I don't take anything Wolverine is saying to heart, there are some pretty nasty people out there who believe that when I buy a ticket to a concert, sit quietly for however long the show is, avoid detection by constantly scanning for security, (multiply the paranoia factor by 20 when videotaping...) etc, etc, that somehow they feel ENTITLED to a copy of it. Like I said, I did the whole trading scene for many years, and some people have been downright NASTY about shows I specifically had labeled "Not For Trade". I'm at the point now where I don't feel a need to share what I tape, but I'm always happy to leech. Call me what you like for it, but I paid my dues for 20-odd years and now I just tape for myself. I've been TAPING shows for 25 years, that's longer than many of you have been alive. It's the next generation's turn to put out some quality recordings for us old-timers to enjoy.

 

[U2Lynne]

OK, I can accept that.

But yeah, about that paranoia thing.... I think it would be more like x40 in my case! I have someone who has asked me to tape and much as I'd love to be in on getting stuff some people will never see, or at least getting it earlier than others, I just can't get past the paranoia factor.

My Mom always told me I could never lie and I would always get caught, and I now am convinced of it!

Thanks for your answer.

 

[*Wolverine*]

I didn't do 3/27, I did 9/9. I just told you I couldn't get the time off to do the March shows.

Pretty close on the Hartford shows, it was a mono General Electric deck with built-in mic. I remember cringing when the dude handed it to me, I thought all deadheads had nice decks.

LOL, still sticking to the 9-9 story. How on earth can you not remember what city you were in?? You just "imagined" you were in Minneapolis and it was actually St. Louis??? LOL WOW, that is a bad memory! I'am 35 and I can remember what cities I have been to!!

Its clear we both think the other is full of crap. I guess thats fine! It has actually been fun. It doesnt matter either way, if you actually have 9-9 or 9-15 you are not trading them and I wouldnt trade a soundboard for either anyway.

Also, I think U2Lynne was referring as much about you as me in her post. But I do agree 100 % with your response as tough as that is to believe. The only difference being for me I have gone the rare soundboard route and I dont really even deal with audience stuff much anymore. But there is a definate sense of entitlement by some that dont record or do anything to get the recordings which is BS.

 

[dirtyday]

Marty McFly you really do have a point there about taping and filming shows. You pay money to see a show and you spend half the time worrying whether you will get caught!

These days people can make decent recordings on mobile phones, mini discs whatever. Hence the fact there is a complete roster for the elevation tour, with many gigs having more than one boot. This is why it hard to have something original and fresh.

I have no problem being the 'lower class trader', as I can see numberous U2 shows. Just when I hear about these Auckland 1993's, Stockholm 1992 pro shots and all that it would be nice to have a look in for once.

 

[Marty McFly]

Lynne -
NP. Glad I could shed some light on "hoarder mentallity".

Wolverine -
Looks like we agree to disagree. But we're not that much different, you and me. The only difference that matters is that I have 9/9 and 9/15 and you don't.

DirtyDay -
Yes, people can record today on cell phones, minidisc and whatnot, but if you invest in a decent DAT setup (I suggest the Sony PCM-M1 and a set of Core Sonics Binaurals) I assure you that your recordings will come out far superior and yours will be the source people look to get a copy of, and not the cheesy Nextel walkie-talkie recorded version. Like I said, if there are any syndicated radio shows you can record, that can be your foot in the door. People go MAD for the old BBC recordings that I believe are now being re-broadcasted in England, and Westwood One and King Biscuit recordings are always sought after, if they even broadcast those anymore. Look into it, they could open the door to those rare shows. Hell, the 1974 Rush shows from Cleveland were just rebroadcast last year, and the people who got ahold of those were on easy street for a while, people from all over were trying to trade for them.

 

[Blue Room]

WOW, I will play this game.

Marty, I have thought of a way you can prove you did the shows you claim without even sending a sample. As a person that did attend both of these shows here are a few basic questions you should be able to answer if you were there and/or recorded them.

1. What section or area for Chicago did you record from? What did the stage set up at this show look like.

2. Was their any difference between the way they played So Cruel at Detroit versus Chicago? If so, what was the difference? This should be easy as all you have to do is go to your tapes and listen.

3. What event at the 9-15-92 show pissed Edge off beyond belief. If you were there, you would definately remember.

Some basic questions, I have to say though the Minneapolis thing has me wondering about your validity also. Looks like you cant keep your lie straight. But answer the above and I will give you the benefit of the doubdt.

I also agree with what both you and Wolverine say on this subject. Difference being is I would actually want to trade for them if you actually have them.

One other thing, in your prior posts you stated you began taping/trading in 1977?? and then indicated you are 38 years old??? So you started taping/trading when you were 12????

 

[Marty McFly]

I don't remember Edge acting miffed, but I honestly don't remember much. I was tripping for both of these shows, I used to do alot of hardcore drugs in the day. This was why I almost always recorded shows. The only thing I can tell you is that according to my tapes, So Cruel was played in its entirety in Detroit but not in Chicago. The stage had 3 big screens behind it (or maybe they were dozens of smaller ones, I can't remember), with a big "A" looking thing in the center of it, IIRC.

As for my age, you are correct. The first show I ever taped was Led Zeppelin in June of 1977 at Madison Square Garden, my cousin who is about 15 years older took me and strapped me up with this big old deck that I had to shove into an oversized leather jacket he had me wear. I remember sweating my balls off, but no one questioned me. I've taped Genesis, Stevie Ray Vaughan, Joe Satriani, Steve Vai, Metallica, Chicago, Rod Stewart, Rush, Yes, Megadeth, Judas Priest, Queensryche, Return To Forever, Pat Metheny, ELP, Deep Purple, Jethro Tull, Staind, Linkin Park and countless other bands since then.

BTW, my son's first ever concert was Dream Theater at the age of 8, and that Master DAT will never leave my collection because it's priceless to me. Some people start young.

 

[Blue Room]

Marty, where were you recording from at the Chicago show and was the stage setup different in any way from the Detroit show?

 

[Marty McFly]

IIRC, the Chicago show was in an Amphitheater, I remember the venue was alot smalled than the Detroit one. I was on the right side of the floor, about 15 rows back. I don't remember what was different about the stage, I just remember it was smaller.

 

[Blue Room]

Hmm, well you are correct on everything except about Edge. I'am still always skeptical unless I hear a sample that proves what show it is. Then again you could have done a search on these shows right here as I think I have discussed these questions before on here.

Oh well, I will concede it is "possible" you have these recordings. Enjoy them if you do, if you ever want to trade let me know, I know I have stuff that can make it worth your while by many artists and not just U2. You have to understand how unbelievable it is if you do. I have been around taping/trading as long as you and Wolverine and I have never even heard of it and it is awfully strange that the only 2 shows you taped on Zoo were these two. So I still think the skepticism is warranted and I think you can understand that. I think the hostility could have been avoided on both sides, but the climate around here has been bad with this kind of stuff since the LA 87 DVD leak.

 

[U2girl]

I still don't understand

Lynne -
While I don't take anything Wolverine is saying to heart, there are some pretty nasty people out there who believe that when I buy a ticket to a concert, sit quietly for however long the show is, avoid detection by constantly scanning for security, (multiply the paranoia factor by 20 when videotaping...) etc, etc, that somehow they feel ENTITLED to a copy of it. Like I said, I did the whole trading scene for many years, and some people have been downright NASTY about shows I specifically had labeled "Not For Trade". I'm at the point now where I don't feel a need to share what I tape, but I'm always happy to leech. Call me what you like for it, but I paid my dues for 20-odd years and now I just tape for myself. I've been TAPING shows for 25 years, that's longer than many of you have been alive. It's the next generation's turn to put out some quality recordings for us old-timers to enjoy.

Well, isn't it technically so no one specifically is entitled to a U2 (or any other band) recording - be it the taper himself or other fans? (if the band themselves or their label owns the copyright to their music)

And isn't the point of such recordings - when they are made- that they circle around, for fans? Sure, keep a copy for yourself, but why holding it back - why should other fans "pay" the price for the risks you took?

 

[bono_man2002]

kinda off the topic...

I recently taped both Matchbox 20 shows in melbourne back in july...using my Sony MD MR-90 with Sony ECM Mics (hard to work with)
i was really nervous the first night, being the first show i ever taped! You're always really nervous when you do stuff like this, because your doing something you think is kinda bad, and when you do something bad you think your going to get caught (thats what i think anyway)
anyways i ended up with only half the show because i ejected the first tape to early....(thats where DATS come in handy, i should get one) but i still got half the show....and decent sound....
second night came, i was more relaxed, got the whole show, sound not as good more distorted...but i was happy enough with the results...

Marty, would it be possible for you to give me some tips on recording, like where to position the mic and what volume to have the recording level set too?

 

[Marty McFly]

Re: I still don't understand

And isn't the point of such recordings - when they are made- that they circle around, for fans? Sure, keep a copy for yourself, but why holding it back - why should other fans "pay" the price for the risks you took?

No. The point of a recording is to take home (FOR YOURSELF) a reminder of the performance you just paid in excess of $80 to see. Well, when I started going to shows they were only $7, but that's another story... Anyway, if I fork over that kind of bread for a concert ticket, blank DAT tapes, batteries for the mic AND DAT deck, parking, gas, food, etc.. and then have to keep quiet for the duration of the show, position myself so I get the optimal recording, and keep one eye on the stage and another on the nearest security guard, then bloody HELL do I owe anyone a copy of what I just recorded. Sure I can feel free to spread it, and I've done more than my share of B&P's or just flat-out handing out shows to people in my day, but I don't feel OBLIGATED to do it.

When it comes to videotaping, there's also the factor of zooming, covering the stage, keeping the camera steady and the inevitable arm cramp, coupled with the fact that you have a piece of shiny metal directly in front of your face which makes it even easier to spot than a DAT deck sitting in your pocket, so you have to keep BOTH eyes scanning for security and take occasional glances at the actual concert going on around you. People think this is child's play or something, and let me tell you it ain't. I taped for 23 years before I brought a video camera to a show. I had experience doing this, yet the first 4 shows I filmed I got busted at.

It's funny how people who don't record (and I'm not saying you are one of them, I have no idea if you record) feel like the taping community should just hand over these tapes.

Why should other fans have to pay the price for the risks I took? They don't have to do anything. I never put a gun to someone's head and forced them to buy, sell or trade with me. But if you know anything about economics it's referred to as a "Supply and Demand" curve. If I have something you want, you better cough up something I want in return. And whether what I want is money or another recording direct from a DAT Master then that will be the price.

 

[Marty McFly]

Marty, would it be possible for you to give me some tips on recording, like where to position the mic and what volume to have the recording level set too?

I'm not familiar with your gear so I can't give you mic level settings. With my DAT deck, I usually re-adjust right as the show starts, because it's tough to gauge the actual full-volume sound while the house music is going on. I typically start around 2 (my levels go 1-10) when the house music is on, and USUALLY once the band kicks in it will jump to about 7. That's a safe level. You can always jack it up when you do the digital transfer later.

For mic placement, most people make the mistake of pointing the mics directly at the stage. That's a no-no. Think about your ears. They run PARALLEL to the stage, not PERPENDICULAR. Next time you're at a show turn your head so your ear is pointing at the stage and you'll see what I mean. You tend to distort when you're pointing right at it. What I do is put them in my hat. My mics are small enough to fit into the little airholes that you find on the top of most hats, so I poke them through there. Then I position the hat so the mics are pointing upwards towards the ceiling in about a 45 degree angle towards the stage. Not only do you cut out alot of the crowd noise around you, but you're getting the ambient sound from the venue as well.

Try them and don't forget to send me free copies of everything you tape.