The mobile recording space keeps rolling along. Alesis is the latest company to try to turn the iPod into a usable digital recorder. With up to 160 GB of storage, the fact that the iPod is a mobile hard drive you may already own certainly has some appeal. But what about quality?

The Alesis ProTrack attempts to bridge that input divide with internal mics and XLR inputs:

• XY pattern stereo condenser mics (they look a lot like the mics on the Zoom H4)
• XLR and 1/4″ inputs (line/mic) with 48V phantom power
• 1/4″ stereo output, making this interesting as a playback device, too
• LEDs onboard (nice!), limiter
• Tripod mount, universal iPod dock

Recording is limited to 16-bit, 44.1kHz; the lack of 48kHz means a big downside for anyone doing video production. Our friend and roving podcaster / NPR reporter Brad Linder has the full story on his blog:
Alesis ProTrack turns your iPod into a pro audio recorder [Brad Linder's blog]

This does look quite like the Belkin Podcast Studio. I’m not totally sold on Alesis’ quality control of late, but I’m more sold on them than on Belkin, so we’ll see.

Edirol R-09 with more storage

If there’s one mobile recorder to rule them all, it may be Edirol’s trusty R-09. The big news there: support for bigger storage, in the form of firmware updates for the R-09 and new, higher-quality R-09HR. The updates add support for Secure Digital High Capacity (SDHC) cards, for up to 32GB in storage. The 32GB drives are still mighty pricey, but 16GB isn’t a bad sweet spot.

I hadn’t actually paid attention to the HR model, but it has some nice extras: dedicated analog input control, low-cut filter, limiter/AGC (Auto Gain Control), gain boost, and even a remote.

R-09 HR Product Page [Roland/Edirol]

The Edirol has only an 1/8″ mic jack, but I know people who’ve been very happy with it. It may not work as a primary recorder — for that you may be willing to sacrifice something bigger and pricier. But for quick and dirty jobs and internal mic use, it does look quite nice. I sometimes think I should’ve gotten it instead of the Zoom H4 I bought, but I’ll just save up for a real mic pre for the Zoom and go home happy.

Review: Tascam DR-1

The last bit of news from Brad: a quick review of Tascam’s entry to the increasingly-overcrowded handheld recorder market. Brad writes us:

Seems like a decent, but not great device for recording music and interviews. A friend of mine took one for a spin for a little while and ultimately decided to return it and get an Marantz PMD660. I’ve heard good things about the Olympus LS-10 though, and I might pick one up myself eventually as a backup for my trusty Sony PCM-D50.

Got all those models straight, kids?

The DR-1 does have a 1/4″ jack, though no XLR. Downsides: preamps sound a little disappointing (weak levels), there’s no real mono recording, and, well, a lot of competition. Here’s Brad’s review with sound samples:

A short review of the Tascam DR-1 [Brad Linder's blog]

For field recording, sampling, recording practices and performances, video production, and a lot of other purposes, just about everyone wants an ideal digital mobile recorder. If you haven’t been following comments, we’ve had an extended discussion by readers on the Zoom H4 mobile recorder, its upcoming smaller sibling the H2, and competitive devices like Edirol’s R09.

Now, the excellent new blog bleeps has had some hands-on time with the H4 in movie production:
10 reasons a Zoom H4 is handy on a movie set!

Interestingly, the main issue other readers have had with the H4 — difficulty accessing mic level controls — wasn’t really a problem in this application. The basic internal stereo mics did just fine for stereo imaging. And there’s no shortage of uses:

• Recording primary on-location sound in stereo (even with the built-in mics, though the H4 also has XLRs)
• On-the-fly foley / sound effects
• Ambient audio, room tone, etc.
• On-location audio playback
• Lots of storage for interviews, extra tracks
• It’s not a camera.

Be sure to check out the full writeup for more details.

“It’s not a camera” may seem an obvious point, but you might be surprised by how big an issue this is, even on larger productions. Video production staff have a nasty habit of trying to record everything to cameras. That means pricey cameras dedicated to nothing but recording audio, with non-standard batteries (the H4 does AA’s) and extremely limited storage on arcane storage formats. That and, of course, most cameras are lousy audio recorders.

Those of you doing on-location video production, what do you use? Some readers here are using higher-end recorders for audio from Marantz and others. What readers are not doing is fancy SMPTE sync to the cameras, because virtually no productions have the time or interest in fiddling with something like that.

In other news, I bought the bullet and bit an H4 — wait a minute. Reverse that. Anyway, I’ll let you know how it goes; I’ll be using it on location for a couple of things later this week I think you’ll enjoy. More soon.

Now Korg are supplementing their existing multi-track digital recorders with the 20GB, pocketable MR-1 (US$899 MSRP), and the 40GB, tabletop MR-1000 (US$1499 MSRP).

Shipping right now, these are “1-Bit” recorders, recording “DSDIFF, DSF, and WSD 1-bit formats, as well as multi-bit PCM format (BWF) with resolutions up to 24-bit/192 kHz”. If you’re like me and thought that more bits was better, Korg have helpfully provided a PDF entitled “Future Proof Recording Explained”, to clear up any misconceptions you had about the usefulness of more bits. The executive summary: When you’re sampling really really fast, the only numbers you need are 1 and 0, to indicate whether the sample is up from last time, or down. That’s my only insight on the science part for now, people who understand more feel free to debate the 1-bit revolution in comments.

Hardware Features

MR-1

• 20GB internal drive (6 hours @ highest quality 1-bit, 20 hours @ CD quality, MP3 support apparently available mid-2007)
• Ability to plug in external FAT32 USB hard drive for expanded recording space
• USB 2 transfers
• Rechargeable lithium polymer battery (no word on battery life) or AC power
• Dual balanced mini phone plug inputs
• 2 track simultaneous recording and playback
• Includes stereo electret condenser mic
• Backlit LCD
• Dimensions: 64 (W) x 120 (D) x 24 (H) mm / 2.52″ (W) x 4.72″ (D) x 0.94″ (H)
• Weight 200g (7oz) with batteries
• More specs (including plenty with dB and Hz for the audio nerds)

MR-1000

• 40GB internal drive (6 hours @ highest quality 1-bit, 40 hours @ CD quality, MP3 support apparently available mid-2007)
• Ability to plug in external FAT32 USB hard drive for expanded recording space
• USB 2 transfers
• Power by 8 AA batteries or AC power
• Dual XLR/ 1/4″ inputs with mic pres, phantom power
• XLR and RCA outs
• 2 track simultaneous recording and playback
• Backlit LCD
• Dimensions: 192(W) x 170(D) x 56(H) mm/7.56″(W) x 6.69″(D) x 2.20″(H)
• 1.0 kg (2.20 lbs) without batteries
• More specs

So. Fun times ahead for the field recordists! Now someone should take all of the available options and review them somewhere exotic. Peter is in Hawaii right now. Can we get a couple of these and some decent mics shipped to him so he has something to fill those empty internetless hours before he returns?

One of the most sought-after devices this year is the R-09 portable recorder from Edirol. It’s got what everyone’s been looking for in an audio recording device: integrated mics, a gorgeous silver case with iPod-like, pocketable dimensions, SD cards for recording, rechargeable batteries you can actually replace when you need to, and some nice extras. The key question: will it fit people’s needs? You don’t want just one review; you want a whole bunch of reviews. And we’ve got them, from readers and authors all around the world who have been testing these recorders on sources ranging from acoustic music to barking dogs to interviews to ambient sound:

Full Reviews

OReilly.com: Acoustic musician and author Mark Nelson is back doing field recordings in Hawaii for his O’Reilly Digital Media review, this time with the R-09. (Last time he used the R-09’s main rival, M-Audio’s MicroTrack 24/96; the similarity between the two suggest it’s worth your time to read both reviews. See our previous mention of the Hawaii MicroTrack test for further comments.)

Mark really sums up the device as what it is — a great, portable bargain, with some slight trade-offs in audio fidelity and pro features:

Review: Edirol R-09 Pocket Digital Recorder (Thanks, David!)

The Edirol R-09 is a handy field recorder with some surprisingly sophisticated file-maintenance features. It is profoundly easy to use (once you suss out the buttons), it records to inexpensive media, and the onboard mics do a decent job. Battery life is outstanding. It looks cool, too … It’s not for everyone. Professionals will want higher sample rates, enhanced metering, and more robust mics. But they’ll have to pay a lot more.

Gizmodo: Instapundit’s Glenn Reynolds got to take on the R-09 for the gadget mega-blog. You can make NPR-quality recordings, but can you master the soft-spoken, deep intonations? (The time is now thirteen minutes past the hour.)

Edirol R-09 Audio Recorder: Hands On By Instapundit’s Glenn Reynolds

Still, if you’re willing to spend in the neighborhood of four hundred bucks, you can make NPR-quality recordings for podcasts or radio shows, or quality concert bootlegs. Not bad for a gadget that fits in a shirt pocket.

F7sound: Michael Oster has an extensive R-09 review, with both internal mic and external “stealth” mic tests (go, bootleggers!), at F7 sound and vision. (Thanks, Sascha!) He’s mostly happy with it, and Edirol quickly replaced a faulty unit when it failed:

It’s tiny (smaller than a microcassette – see below) and records 24 bit digital audio with a sound quality that surprised me in a good way. It’s light even with batteries and should easily fit in a shirt or pants pocket. The only gripe I have so far, and it’s been mentioned on the net via group lists and the like, is the battery cover. The cover, located at the bottom of the device is very hard to deal with and seems like it’s going to break long before anything on the rest of the unit.

Sonic Studios: This manufacturer of surround mics, portable mics, and portable preamps (among other accessories), has written its own extensive review. If you like lots of charts and graphs in your purchasing decision, this is the review for you:

Sonic Studios R-09 Review

Additional good news is both mic/line R-09 inputs have tested adequately quiet and of sufficient bandwidth for at least 16bit depth recording requirements. However, audible improvement for 24 bit depth recording is likely with the addition of high quality external mic preamplifier for lowest noise/distortion requirements.

DAT-Heads Edirol/Marantz/M-Audio comparison: The one tricky bit to sort out is the age-old “which recorder should I buy” question, particularly with M-Audio’s competing MicroTrack posessing such a similar feature set. Stephen Bezruchka, one of the portable recording gurus on the DAT-Heads mailing list, takes his R-09 head-to-head with the MicroTrack and Marantz PMD-660. His major beef with the MicroTrack is poor reliability (in his experience) and the inability to replace the battery yourself; the latter issue sounds like a deal-killer for many, especially since the MicroTrack’s higher digital recording sample rates aren’t really critical in this kind of device.

Edirol R-09 review with comparisons to Microtrack and Marantz

The Roland R-09 is compact, featured, easy to use and may become the one I use the most. It is becoming accessorized to get with the iPod mania, so there is a carrying case with a tripod on the way as well as a microphone stand adaptor to put the unit in its case on a stand to use it as a complete microphone-recorder combo. We are blessed with good recorders to choose from.

Reader Reviews

Our first reader impressions have received a number of responses from other R-09 early-adopters, with sound samples linked from comments. (More impressions and sounds from the impromptu mini-blog r09.ocbka.org.)

Here are some typical responses:

I’ve used mine for 3 days, recording nature sounds, interviews, â€Å“testâ€Â? soundbytes of traffic, aircraft, sirens, and a live concert in the park. I am AMAZED at the quality, and the sensitivity of the internal mics. -Jim Flannery

I’ve been trying it out for a couple of days, and it’s really nice sounding. The display is also very bright and easy to read. Too bad it lacks phantom powered tele ins though. The M-Audio Microtrack 2496 offers that. -Matt

For more reader reviews, ranging from the informal three-line response to an extensive list of pros and cons, see the 55 comments on the original R-09 story.

Lessons Learned

Reliability is an issue on all of these devices, presumably because of the size and some readers being early-adopters. Edirol seems to have the best track record, though, both in terms of reliability and speedy replacements, and has the added advantage of being able to replace the battery yourself if there’s a problem (something you can’t do, notably, on Apple’s iPod line).

One important note: be very careful when buying memory cards. My current preferred brand is SanDisk; their cards have been extremely reliable and are available at some still-fantastic bargain prices.

Some readers have complained about a slight hiss when recording low levels. This seems to be related to the internal mic, so your best bet is to plug in a better external mic.

48v phantom power is not available on this unit. I was erroneously told it would be on the show floor at NAMM by someone from Roland (can’t remember if it was a product specialist or PR, so I won’t cast blame), before the unit began shipping. But if you’re really serious about plugging in external mics, a preamp seems like the way to go anyway. While I can’t vouch for quality, Sonic Studios has a fascinating portable pre that looks like it’d be perfect for the R-09 and other small recorders:

Sonic Studios portable mic amps

Thanks to everyone who sent in that barrage of tips, questions, and comments. Keep them coming, on this and other products you care about!

Edirol R-09 product page

Ever since I first spotted the Edirol R-09 SD-based flash recorder at the NAMM show, it’s been an absurdly hot item. There are some 50 comments going on that item, largely from people wanting to know how it is. Only problem: I don’t have one. While I talk to Edirol about that, here’s an early reader report.

Via the CDM forums, our friend masterslave (guessing that’s not his real name), sends a detailed first impressions report, complete with sound samples. It’s not a full review, but the sound samples are impressive; the built-in mics sound great. (Never knock lowly electret-condensers; they’re cheap, reliable, rugged, and have a nice, warm sound.)

Edirol R-09 First Impressions [r09.ocbka.org]

Anyone else who’s gotten a hold of this or other gear and wants to share the results, don’t be shy!

Now it’s Edirol’s turn again with the R-09. It’s got a small, curvy form factor like the MicroTrack, costs $450 list, and includes an excellent built-in mic. How do these units compare (on paper, anyway)?

Storage medium: The R-09 uses SD cards instead of CF. I happen to have lots of high-volume SD cards around, so I like that; they’re also smaller than CF. When I last checked, 1 GB SD cards were going for as little as $75 — very cool. (Though if you’re doing a lot of field recordings and don’t want to have to keep unloading to your computer, MiniDisc remains a much cheaper way to go.)

File format: Like a numebr of new recorders, the R-09 lets you choose between uncompressed linear WAV and MP3, with MP3 bitrates up to 320 kbps. For the record, the R-09, R-1 and MicroTrack support up to 24-bit, though only the MicroTrack can record up to 96 kHz. I seriously doubt anyone would want a sampling rate that high on this recorder, though, so that’s unlikely to be a deal-breaker.

Form factor: I believe the R-09 is actually slightly smaller than the MicroTrack. It’s certainly much prettier, and the silver case is a delight to hold. I also like the extremely friendly controls on the R-09; one button gives you recording on both, but the Edirol more nearly apes the controls on an MP3 player.

Display: Here’s the best thing about the R-09: the reverse-colored LCD screen is simply gorgeous. It’s easier to read, and it’s easier on battery life (you’re only backlighting characters, not the whole screen).

Mic: Both units come with a stereo electret mic. On the MicroTrack, it’s an add-on you plug into the top. On the R-09, the mic is integrated with the device. The latter is slightly more convenient, and because this is a solid-state device, noise from the device isn’t much of an issue. Roland reps I talked to at the show said they thought this might actually be a slightly better mic than what was on the R-01, which already had impressive recording fidelity. (Stereo electret mics, while very cheap, are often underrated — while they’re not going to give you a flat recording, they can do a decent job.) The R-09 also has some nice recording options: dedicated input control, mono/stereo selector, low-cut filter, and gain boost.

Phantom power: A controversial element of the MicroTrack was its inability to put out a full 48V phantom power for mics. Not a huge issue given the target market, but Edirol said they have true 48V phantom power on the R-09. That spec isn’t on the Roland website, though, so the jury’s still out.

I/O: M-Audio retains the slight edge here, because it has balanced TRS inputs and optical inputs. The R-09 has mic and line ins (minijack), and USB. The headphone jack doubles as optical out. That’s too bad: I think there’s more of a market for optical in recording than optical out, because most of us are going to use the USB to off-load audio. Then again, if you’re not planning to do digital-in recording, the R-09 is fine.

Battery: The MicroTrack uses a rechargable Lithium-Ion battery. The R-1 and R-09 both use AA batteries (rechargeable AA’s work, too). I much prefer the latter setup, and battery life should be roughly comparable — a few hours of record time mean you’ll probably run out of storage space before you run out of juice.

Effects and Extra Features: Here’s the one remaining reason to get an R-1 over the R-09 or MicroTrack: the R-1 has 13 built-in effects (microphone simulator, noise suppressor, hum-cut, EQ, reverb, center canceller), a metronome, and a tuner. The R-09 has a reverb only. The MicroTrack has none of the above.

Conclusions: So there you have it. What we really need now is a recording run-off between the R-09 and MicroTrack, because their features and form factor are otherwise nearly identical. The MicroTrack is your choice if you want optical in, and the R-09 if you prefer a truly integrated mic and real phantom power, but the other features are so close I’d want to see extended hands-on reports with each before buying. I expect we’ll see some reviews of each soon — CDM will have to battle with every other reviewer on the planet, but if I don’t get one, I’ll point you to someone reputable who has.

What about the R-1? Edirol says they’re continuing to sell the R-1, and with good reason: the effects, metronome, and tuner remain unique. I have to admit, I like the idea of having a do-all musician’s tool, even if the R-1 is chunkier looking. I do have one of these on test, and will offer my review soon, complete with sound samples.

R-09
Pricing: $450 list, $400 street
Availability: Spring 2006

Related:

Which Portable Recorder to Buy?

iPod Nano Still Not a Recorder; Portable Recording Alternatives

O’Reilly Reviews MicroTrack USB Recorder, In Depth, In Maui

The other side of NAMM: For a different take on the latest in new music products from last week’s NAMM show, we welcome James Grahame of Retro Thing. James runs Reflex Audio Systems, so he’s able to bring us the perspective of an independent music maker on what goes on behind the scenes at music manufacturers. -PK

Winter NAMM is home to more music product introductions than any
other trade show on Earth. Manufacturers typically plan product
releases anywhere from 6 to 24 months in advance, which means the
stuff being shown today was probably hatched in R&D labs sometime
during 2004. Each manufacturer works in (relative) secrecy in an
attempt to come up with the next Clever Idea. And — occasionally –
they arrive at the show with their shiny new toys only to discover
that everyone else had the same Clever Idea.

This year’s Clever Idea was the 5 octave USB/MIDI keyboard
controller, as companies rushed to fill the “high” end of the home
recording market. The result was a flood of me-too keyboards from
Korg (K61), E-mu (Xboard 61), Behringer (UMX61), M-Audio (Axiom 61),
and Novation’s bizarrely capitalized ReMOTE 61 SL . This is great
news for consumers, since manufacturers will be forced to slash
prices and one-up each other’s software bundles to compete. Ed: I agree, but in fairness: M-Audio and Novation both previously had 61-key keyboards. Looks like these are cheap to manufacture and most have already been selling well; CDM has regularly railed about the lack of more keyboards with a 5 or more octaves. So maybe they’re following our lead. -PK

The computer buzz phrases this year were Universal Binaries (Mac
software that runs natively on the new MacIntel machines) and Dual
Core Support, referring to software that can take full advantage of
multi-core chips from AMD and Intel. Ableton impressed the daylights
out of me by rolling out a Universal Binary version of Live 5.2 in
time for NAMM. They’re promising dual-core support “by the fall.” Ed: In other words, Ableton will have multi-threaded operations in that upcoming release; some audio applications like Logic already contain multithreaded code and thus can take advantage of the new machines once they ship universal binaries, which in Apple’s case will be February. -PK

Other software manufacturers are scrambling to roll out universal and
dual core updates as quickly as possible. Several programmers
mentioned that Apple’s early delivery of Intel-based computers is
painful, because they’re forced to juggle the development of
universal binary versions with work on future releases.

NAMM is first and foremost a wholesale tradeshow. A simple 10×10 foot
booth costs US$2500 to rent, not including signage, brochures, goodies,
transportation and hotel expenses. Major players drop ten times that.
In exchange, manufacturers get a chance to meet one-on-one with music
store owners, purchasers, and international distributors. The
interest shown in new product lines at this show (along with press
coverage) often dictates a product’s success or failure. This is one
reason you’ll often see announcements stating that gear will be
available “In the second quarter” or “In May.” It gives manufacturers
the opportunity to gauge market acceptance before ramping up
production. If it turns out that a dozen other manufacturers
announced competitive products, there’s a good chance that a few will
transform their suddenly uncompetitive toys into vaporware that never
sees the light of day. Of course, the more common reason that
products are available “real soon now” is that programmers and
engineers are feverishly debugging and tweaking products that can’t
wait until next year for release.

Here’s a list of cool gear from the show that might not get the same
press coverage as popular gadgets like Dave Smith’s fantastic new
$1200-ish Evolver Keyboard and Roland’s immensely tweakable $600-ish
SH-201 synth:

Euphonix MC Media Application Controller: Wow. This control
surface could become my next best friend. It includes 56 LCD
definable smart switches, 4 faders, 9 rotary controllers, along with
a full-sized keyboard, trackball and jog wheel.

Edirol R-09: Edirol’s new
24-bit WAV/mp3 recorder includes built-in stereo mics in a sexy and
well thought-out package. Its best feature? An appealing $399 price
tag. Perfect for field recording, film work, or (dare I say it?) bootlegging. Ed: Think that’s $400 street (MAP), $450 list. -PK

Vestax Controller One turntable instrument:
This
thing is a DJ’s delight. It includes “Note Mode” that play musical
notes from the turntable and offers wicked MIDI speed control in
conjunction with Vestax’s “drone records.” We’ll be hearing this one
everywhere soon. The show unit was decked out in glistening red
paint, like a Ferrari. Ed: See the more boring black below, and CDM’s previous write-up on this odd but intriguing instrument.

Z.Vex Effects Pedals: Zack Vex’s
hand-painted effect units are earning a cult following among guitar
players. They make great hands-on toys for electronic musicians, too.
Besides, Zack is cool.

JoMox M-Resonator: Juergen Michaelis based this
“Analog Filtermachine” on his incredibly weird Resonator Neuronium
(which was also on display at the show). The front panel is slathered
with a random assortment of knobs and cryptic arrows, almost as if a
Learn-to-Dance book slipped into the front panel design.

Alesis DM5 electronic drum kit:
Alesis has done it again.
$699 gets you an affordable percussionist’s delight, perfect for
cramped apartments.

Korg padKONTROL: Korg
is fighting back against Native Instruments domination of the letter
K, and this looks to be a great piece of kit with sixteen backlit
touch-sensitive trigger pads and their famous assignable X-Y
touchpad. For some odd reason, the Korg website shows it with all of
the button backlights on, resulting in salmon pink trigger pads. The
production unit is much more respectable.

Bitstream 3X: The
Bitstream MIDI controller was developed by Wave Idea and is now
marketed by Chinese manufacturer CME. They’re planning to unleash it
for a mere $399.99, which is a fantastic deal for 35 knobs, 8
sliders, and 16 buttons. Includes a dual-axis analog joystick and
infrared controller, so you can wave your hand artistically in front
of your rig while performing.

Special mention goes to Propellerhead Software for their ultra-cool
booth with distinctive low-light bar/lounge ambience. It was the
perfect Ying to the guitar hall’s over-the-edge yang.

Too-Cool-Older-Guy awards go to Dave Smith — who’s sporting a very
distinguished grey beard — and music author/editor Jim Aikin, who
grooved like a teenager during his Live 5 demo.

More on NAMM:

For more of James coverage of NAMM, check out his site:

Roland SH-201 Synthesizer: Affordable Hands-On Synthesis (And yes, I’m with James that this is a cool, fun, cheap synth!)

NAMM SCHMAMM – Where are the Chord Organs? (a headline you probably won’t see on CDM)

Reflex Products:

For more on James’ company, see CDM’s coverage of some of his products:

Another Thing With Knobs: Sonia

Vintage Commodore 64 SID Synthesizers: Reborn on PCI (Mac/PC)

Associated Press had reported R&B legend Fats Domino was missing, but good news — he’s been rescued.

Harry Connick, Jr. calls New Orleans residents “freakishly strong”. Friday he’ll be part of a televised fundraiser with other musicians.

That fundraising concert is likely to be one of many, as musicians rally for the affected communities. Promoter John Vlautin has sent me information on a benefit in Denver; details on that event plus where to donate after the jump. (For more donation links, in case you’re not already inundated with them, see previous story.)

[Press Release]

Dave Matthews Band, Denver Mayor Hickenlooper and Chuck Morris Presents Announce Special Show for
Hurricane Katrina Victims

(DENVER) Mayor John Hickenlooper and concert promoter Chuck Morris held a news conference Thursday to announce a Dave Matthews Band Hurricane Katrina benefit concert, which is receiving official support from the City. The show will be held at Red Rocks Amphitheatre, on Monday, September 12, 2005.

Dubbed by Billboard.com on Wednesday as “the first act to come forward with a benefit show for Hurricane Katrina victims,” Dave Matthews Band already has three sold-out concerts booked for Red Rocks September 9-11. The new fourth show on September 12 will raise money for selected charities supporting the victims of Katrina which will be announced shortly.

Tickets go on sale Wednesday September 7th @ 10 AM

at all Ticketmaster ticket centers including Foley’s, Christy Sports, The Official Visitors Center 1600 California St. Ste 6, Angelo’s CD’s & More, and Tower Records.

Ticket Center hours may vary. Contact retailer to confirm hours of operation.
To charge tickets by phone, call (303) 830-TIXS or (719) 520-9090 or log on
@ www.ticketmaster.com.

A limited number of VIP tickets will be available. The remaining seats will be $58.50. Ticketmaster and the Band’s own direct ticketing company, Musictoday, will be donating their applicable service charges per ticket.

“Our thoughts and prayers are with the communities that have been affected by Katrina,” said
Dave Matthews Band. “The devastation and human loss is heart breaking. We thank Mayor Hickenlooper and Chuck Morris for their efforts in making this benefit concert a reality in such a short period of time.”

“The hearts and prayers of the entire Denver metro area are with the residents and communities of the Gulf Coast,” said Mayor Hickenlooper. “Denver is grateful to Dave Matthews Band for giving our city an opportunity to demonstrate our support for the hurricane victims. We are fortunate to live in an incredibly generous community that will no doubt make this event a tremendous success.”

“The Band, Chuck Morris Presents, the Band’s supporting companies, as well as the promoter’s supporting companies, agreed to donate 100% of the profits from the show,” said Chuck Morris, President of Chuck Morris Presents. “It doesn’t surprise me that Dave Matthews Band has stepped up first to help this American tragedy.”

The City and County of Denver, which owns and operates Red Rocks Amphitheatre and Visitor Center, will donate any revenue it derives from parking, food, beverage and merchandise commissions to the hurricane relief effort. Additionally, the City has agreed to waive the rent for Dave Mathews Band benefit concert – a significant savings that will mean more money for the Katrina victims.

“We are working closely with Chuck Morris Presents to minimize all other expenses associated with this charitable performance at Red Rocks,” said Jack Finlaw, Director of Denver’s Theatres and Arenas Division. “Keeping the costs to a minimum will result in more money actually going to the victims of the disaster.”

Aramark Corporation, the food, beverage and merchandise concessionaire at Red Rocks, will donate to the hurricane relief efforts all of the net proceeds from the September 12 concession sales
and from the Chuck Morris Presents major donor pre-concert party in the Ship Rock Grille.
Its affiliate, Aramark Housekeeping Services, has also agreed to donate the maintenance services associated with the concert. Contemporary Services Corporation will donate the personnel services of its ushers, ticket takers, parking attendants and security.

Dave Matthews Band’s tour supporting companies that are contributing their help include Ultra Sound, TMS – lighting, Upstaging – trucking, Four Seasons – busses, Dega Catering and the DMB crew team.

The Conscious Alliance (www.ConsciousAlliance.org) will be hosting a food drive all 4 nights of DMB at Red Rocks to benefit the Houston Food Bank and its efforts to feed people affected by Hurricane Katrina (www.HoustonFoodbank.org). We know that in this time of need, the fans of DMB can donate enough goods to fill at 24 ft. truck, but our goal is to fill a semi.

Every patron that donates 5 non-perishable items will receive a raffle ticket for one of 5 posters signed by DMB each night. The raffle will take place at the Conscious Alliance booth, located in the upper-vending area of Red Rocks.

Most Need Items for Donation:
bottled water, hand-held snacks such as granola and energy bars, breakfast bars, beefy jerky, peanut butter, canned meals such as hearty soups, stews, chili, and/or pasta, plates, bowls, cups, and utensils, bleach, disinfecting household cleaning items, and diapers.