Updates

Published as one 21-song show from two Audacity projects. Every track lands within 1.5 dB of the −20 LUFS archive target: five normalize linearly with no compromise, eight through the sparse-transient cap, four by limiting only the end-of-song applause that out-peaked the music, and three at a slightly reduced linear target. “Never Know Love” needed 6.3 dB of capping — more than the 6 dB ceiling allows — and was opted into partial capping, landing at −20.9 LUFS instead of −26.3, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · Inn at Occidental · 2026-08-30 AUD · view data

Added Jerry Hannan · Inn at Occidental · 2026-08-30 — 21 split tracks AUD

Reprocessed “Far Away Eyes,” previously stuck at −23.0 LUFS on an older workflow version — the fresh Drive export measures louder than the prior source, so plain linear normalization reached the full −20 target directly, no transient cap needed. — Mad Hannans · Sweetwater · 2001-01-06 AUD · view data

Force-capped “Rocky Road to Dublin / Star of County Down,” which landed between −21 and −25 LUFS, into the v8 sparse-transient-cap mode with the standard 6 dB attenuation ceiling raised to 8 dB after a reviewed, recorded override — now reaching −20.22. Restored the title to its established “/” form after the fresh export drifted to an underscore. — Mad Hannans · Cafe Java · 1999-09-09 AUD · view data

Force-capped five shortfall tracks into the v8 sparse-transient-cap mode with the standard 6 dB attenuation ceiling raised per track after a reviewed, recorded override: “Highway Patrolman” (−20.39), “Anna May” (−20.28), and “Dope World” (−20.29) now land close to the full −20 target. “Loser” needed only a linear-reduced target (−21.0) to stay safely under the true-peak ceiling. “Xmas Song” was left at −21.24 — raising its ceiling further triggered the engine's own dynamics-safety check (cap engaging beyond isolated transients), so it was left short of full target rather than risk flattening the track's dynamics. Restored track 1's title to the archive's established spelling, “Highway Patrolman,” after the fresh export drifted to “State Trooper” (a different, real Springsteen song — verified this isn't the correct title for this track). Accepted a uniform ~6.5–7 dB L/R balance finding across all 31 tracks as a characteristic of this SBD source's channel mix, not a defect. — Jerry Hannan · 19 Broadway · 2001-01-15 SBD · view data

Force-capped “Butter,” which landed between −21 and −25 LUFS, into the v8 sparse-transient-cap mode — now reaching the full −20 target. — Mad Hannans · Sweetwater · 2000-02-17 SBD · view data

Force-capped two tracks landing between −21 and −25 LUFS into the v8 sparse-transient-cap mode: “Black is the Color” now reaches the full −20 target, and “Hollywood (early version)” recovers to −20.60. Both exceeded the automatic review band and needed an explicit override. — Jerry Hannan · 19 Broadway · 1999-10-25 AUD · view data

Force-capped three tracks landing between −21 and −25 LUFS into the v8 sparse-transient-cap mode, all now reaching the full −20 target: “Galway Shawl,” “The German Clockwinder,” and “Plastic Lemons.” — Sean Hannan · 19 Broadway · 2000-02-21 SBD · view data

Force-capped three tracks landing between −21 and −25 LUFS into the v8 sparse-transient-cap mode, all now reaching the full −20 target: “Woman,” “Elephant Shoes,” and “Angel from Montgomery.” Restored track 14's title to the archive's established spelling, “Angel from Montgomery,” after the fresh export drifted to “Angel of Montgomery.” A mild L/R level imbalance on track 1 (“Woman”) was reviewed and accepted as typical audience-tape mic placement, not a defect. — Sean Hannan · 19 Broadway · AUD · view data

Force-capped four tracks landing between −21 and −25 LUFS into the v8 sparse-transient-cap mode, all now reaching (or landing just short of) the full −20 target: “Everything Reminds Me of You,” “Hear Me,” “Still I Love Him,” and “You're Pulling Me Leg / The Ted Kennedy Song.” “Hear Me” exceeded the automatic review band and needed an explicit override, landing at −20.29. Restored track 13's title to the archive's established spelling, “Hear Me,” and track 16's to its established “/” form, after the fresh export drifted to “Lover” and an underscore respectively. — Jerry Hannan · 19 Broadway · 1999-06-21 AUD · view data

Force-capped eight tracks landing between −21 and −25 LUFS into the v8 sparse-transient-cap mode, all now reaching the full −20 target: “I Thought I Was You,” “Getaway Blues,” “Sam Hall,” “The Oldest Baby in the World,” “Illegal Smile,” “Ted Kennedy Song,” “Butter,” and “The Parting Glass.” Two (“Sam Hall,” “Ted Kennedy Song”) exceeded the automatic review band and needed an explicit override. Restored track 17's title to the archive's established spelling, “Hear Me,” after the fresh export drifted back to “I Need a Lover.” — Jerry Hannan · 19 Broadway · 1999-05-10 AUD · view data

Opted the nine tracks landing between −21 and −25 LUFS into the v8 sparse-transient-cap mode. Eight now reach the full −20 target: “A Pirate Looks at Forty,” “I Thought I Was You” (a review-tier flag, listened to and approved), “Butter,” “Anna May,” “Black is the Color,” “The Blarney Stone Blues,” “My Father's House,” and “Slave Woman.” “Kilkelly Ireland” already used the applause-only limiter for a boundary clap and stays at −21.9, since the music itself needed more headroom than the limiter alone recovers. Three titles restored to the archive's established spelling after the fresh export drifted: “My Dear (Ride On)” back to “Ride On,” “Angel of Montgomery” to “Angel from Montgomery,” and “She is The Girlfriend of The Boyfriend of Herself” to “The Girlfriend of the Boyfriend of Herself.” Track 22's fresh export read “Leprechaun” against the catalog's “The Blarney Stone Blues” — confirmed with Rene directly (an existing, previously-unresolved ambiguity, not a typo) that “The Blarney Stone Blues” is correct. — Jerry Hannan · 19 Broadway · 1999-07-19 AUD · view data

Force-capped “Maids When You’re Young Never Wed an Old Man” after it initially declined the v8 sparse-transient-cap mode automatically for exceeding the calibrated review band (a single continuous engagement at 3:27.3 ran longer than the original listening evidence covered). After listening, given the explicit override — now reaches −20.5 LUFS instead of −22.6. — Sean Hannan · 19 Broadway · 2000-01-24 AUD · view data

Opted 16 tracks on this show into the v8 sparse-transient-cap mode, all of which had landed short of −20 LUFS under the older workflow. Eight now reach the full target through capping alone: “Smoke in Heaven,” “Angel from Montgomery,” “You Don’t Know How It Feels,” “The Black Velvet Band,” “Me and Eddie Vedder,” “Gold’s Gym Guy,” “Learn About Love,” and “Some Get Married for Love.” Three landed a little short instead of over-shaved (true linear normalization preserved): “Woman” (−20.2), “The Good Life” (−20.7), and “Galway Shawl” (−20.9). “Maids When You’re Young Never Wed an Old Man” didn’t qualify for capping and stays at −22.6. Three more — “Beverley,” “Did You Ever See,” and “The Patriot Game” — already used the archive’s applause-only limiter for a loud clap at the track boundary and land close to or (for “The Patriot Game”) still short of target, since the music itself, not just the clap, needed more headroom than the limiter alone recovers. — Sean Hannan · 19 Broadway · 2000-01-24 AUD · view data

Opted two more tracks on this show into the v8 sparse-transient-cap mode, both landing well short of −20 LUFS: "Hello in There" and "Hollywood (alt verse)." Both exceeded the automatic review band (a single continuous engagement over 0.5s) and needed Rene's explicit after-listening override to cap. "Hello in There" now reaches −20.14 LUFS (was −23.7). "Hollywood (alt verse)" reaches −20.81 LUFS (was −25.8) — the 6 dB attenuation cap kept it from reaching the full target, but it's much closer. — Jerry Hannan · 19 Broadway · 1999-06-07 AUD · view data

Reprocessed all 27 tracks on Jerry Hannan's solo show at Cafe Java from June 17, 1999 (v5→v8), following a full fade-edit re-do — the earlier edit pass was lost to a prepare mishap and has now been redone from scratch, clearing every one of the 14 tracks that previously had clipping verdicts. Opted into the v8 sparse-transient-cap mode from the start; none of the three PRED_TP tracks ("Black Is the Color," "Anna May," "Learn About Love") needed more than a fraction of a dB of recovery, under the threshold where capping is worth attempting, so all three land at their honest linear-reduced targets instead. Three titles restored to the archive's established spelling after the fresh export drifted: "I Need a Lover" to "Hear Me," "I Want to Lean About Love" to "Learn About Love," and the recurring slash/hyphen filename convention on "The Kiss / Da Da Da (Slave to an Angel)." A typo in track 27's filename ("Barney" for "Blarney") was also corrected. — Jerry Hannan · Cafe Java · 1999-06-17 AUD · view data

Reprocessed all 21 tracks on Jerry Hannan's solo set at Cafe Java from March 25, 1999 (v5→v8) — affected by a since-fixed bug in the older workflow that could silently flatten tracks' natural dynamics instead of applying true linear gain. Opted into the v8 sparse-transient-cap mode from the start; six tracks reach the full −20 LUFS target that way with no listening flags. “Daddy” and “Black is the Color” qualified for the applause-only limiter instead (a loud clap at the track boundary, not the music, was setting the ceiling). A track-6 L/R balance difference (4.7 dB RMS, peaks close) was reviewed and accepted — reads as normal audience-tape mic positioning, not a defect. Two titles restored to the archive's established spelling after the fresh export drifted: “Good Life” to “The Good Life,” and “Angel of Montgomery” to “Angel from Montgomery.” — Jerry Hannan · Cafe Java · 1999-03-25 AUD · view data

Reprocessed all 20 tracks on Jerry Hannan's solo show at Cafe Java from May 27, 1999 (v5→v8) — affected by a since-fixed bug in the older workflow that could silently flatten tracks' natural dynamics instead of applying true linear gain. Five tracks land a little short of the full target rather than over-shaved: "Illegal Smile" (−20.3), "Seven Drunken Nights" (−21.0), "Plastic Lemons" (−22.2), "Anna May" (−21.6), and "Open Door" (−21.3). The remaining fifteen tracks reach the full target under true linear gain. — Jerry Hannan · Cafe Java · 1999-05-27 AUD · view data

Reprocessed all 29 tracks on Jerry Hannan's solo set at 19 Broadway from June 7, 1999 (v5→v8) — affected by a since-fixed bug in the older workflow that could silently flatten tracks' natural dynamics instead of applying true linear gain. Opted into the v8 sparse-transient-cap mode from the start; five tracks had review-tier flags (isolated transients on “Kilkelly Ireland,” “Butter,” “Everything Reminds Me of You,” “Happy Birthday Marco,” and “Ted Kennedy Song”) that were listened to and approved before capping; all now reach the full −20 LUFS target. “A Bunch of Thyme” qualified for the applause-only limiter instead (a loud clap at the track boundary, not the music, was setting the ceiling). Two titles restored to the archive's established spelling after the fresh export drifted: “The Barney Stone Blues” to “The Blarney Stone Blues,” and “Come On All You Young Maidens” (the traditional song's opening lyric line) back to “A Bunch of Thyme.” — Jerry Hannan · 19 Broadway · 1999-06-07 AUD · view data

Opted this show into the v8 sparse-transient-cap mode for the three tracks that landed short of −20 LUFS in tonight's earlier reprocess. "Recycle" and "Getaway Blues" now reach the full target this way, both cleared automatically, no listen required. "Clear Headed" didn't qualify for capping and stays at −20.6. Also re-trimmed a stray trailing space that crept back into "Recycle"'s title when this track was re-drafted. — Mad Hannans · Marin Brewing Co. · 1999-04-01 AUD · view data

Opted this show into the v8 sparse-transient-cap mode for the five tracks that landed short of −20 LUFS in tonight's earlier reprocess. Four now reach the full target this way: "Clear Headed," "Space Cowboy," "Butter," and "Far Away Eyes" — all cleared automatically, no listen required. "Plastic Lemons" didn't qualify for capping and stays at −20.2, a negligible 0.2 dB short. — Mad Hannans · Marin Brewing Co. · 1998-04-01 AUD · view data

Reprocessed all 15 tracks on the Mad Hannans' return to Marin Brewing Co. on April 1, 1999 (v5→v8) — affected by a since-fixed bug in the older workflow that could silently flatten tracks' natural dynamics instead of applying true linear gain. Three tracks land a little short of the full target rather than over-shaved: "Recycle" (−21.0), "Clear Headed" (−20.6), and "Getaway Blues" (−21.2). The remaining twelve tracks reach the full target under true linear gain. Also restored "The Kiss - Da Da Da (Slave to an Angel)" to the archive's established spelling, "The Kiss / Da Da Da (Slave to an Angel)," and trimmed a stray trailing space from "Recycle." — Mad Hannans · Marin Brewing Co. · 1999-04-01 AUD · view data

Reprocessed all 17 tracks on the earliest Mad Hannans show in the archive, at Marin Brewing Co. on April 1, 1998 (v5→v8) — affected by a since-fixed bug in the older workflow that could silently flatten tracks' natural dynamics instead of applying true linear gain. "ABC - Sesame Street" is handled by the applause-only limiter, landing at −20.7. Five tracks land a little short of the full target rather than over-shaved: "Clear Headed" (−21.2), "Space Cowboy" (−21.4), "Butter" (−21.8), "Plastic Lemons" (−20.2), and "Far Away Eyes" (−22.0). The remaining eleven tracks reach the full target under true linear gain. — Mad Hannans · Marin Brewing Co. · 1998-04-01 AUD · view data

Opted this show into the v8 sparse-transient-cap mode for the five tracks that landed short of −20 LUFS in the earlier reprocess. "Plastic Lemons," "Anna May," and "Open Door" all reach the full target now — the first two had review-tier flags (isolated transients near 0.4–0.45s) that were listened to and approved before capping; "Open Door" cleared automatically, no listen required. "Illegal Smile" and "Seven Drunken Nights" didn't qualify for capping and stay at their honest linear-reduced targets (−20.3 and −21.0). — Jerry Hannan · Cafe Java · 1999-05-27 AUD · view data

Reprocessed all 21 tracks on Jerry Hannan's solo show at 19 Broadway from August 23, 1999 (v5→v8), covering both reels — the clean 14-song main set and the 7-song distorted-reel batch — since both were affected by a since-fixed bug in the older workflow that could silently flatten tracks' natural dynamics instead of applying true linear gain. Two tracks now qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target: "Highway Patrolman" and "Elephant Shoes." "Single Life" is handled by the applause-only limiter (−21.1). Four tracks land a little short of the full target rather than over-shaved: "Dysfunctional Guy" (−20.9), "I Thought I Was You" (−20.7), "Long Black Veil" (−20.3), and "Model Family Man" (−20.2). The remaining 14 tracks reach the full target under true linear gain. The distorted-reel tracks carry known tape-damage artifacts already documented in the show's description — nothing new introduced by reprocessing. — Jerry Hannan · 19 Broadway · 1999-08-23 AUD · view data

Reprocessed all 21 tracks on Jerry Hannan's solo show at Cafe Java from April 29, 1999 (v5→v8) — the whole show was affected by a since-fixed bug in the older workflow that could silently flatten tracks' natural dynamics instead of applying true linear gain. Six tracks now qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target: "Illegal Smile," "Father and Son," "Open Door," "Plastic Lemons," "Woman," and "The Blarney Stone Blues." Six more land a little short of the full target rather than over-shaved: "I Thought I Was You" (−20.3), "Drift Away" (−20.8), "ABC" (−20.1), "Black is the Color" (−20.5), "Nicolai" (−20.1), and "The Parting Glass" (−20.2). The remaining nine tracks reach the full target under true linear gain. Also corrected a title left over from an earlier fix: track 13's filename read "Good Life" instead of the archive's established "The Good Life." — Jerry Hannan · Cafe Java · 1999-04-29 AUD · view data

Reprocessed 10 of the 21 tracks on Jerry Hannan's solo show at Cafe Java from March 25, 1999 (v5→v8) — the tracks affected by a since-fixed bug in the older workflow that could silently flatten a track's natural dynamics instead of applying true linear gain. Seven tracks now qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target: "Truck," "ABC," "The Good Life," "Blind Man," "Luxury of Murder," "Model Family Man," and "The Parting Glass." Three more — "Illegal Smile," "Butter," and "Anna May" — are handled by the applause-only limiter and land a little short of the full target rather than over-shaved (−21.4, −21.6, and −24.5 respectively). The remaining 11 tracks were already correct under the older workflow and were left untouched. Also corrected a title left over from an earlier fix: track 7's filename read "Good Life" instead of the archive's established "The Good Life." — Jerry Hannan · Cafe Java · 1999-03-25 AUD · view data

Reprocessed Jerry Hannan's solo show at 19 Broadway from October 25, 1999 under the new workflow (v8), replacing the show's v5 pass — the whole-show noise reduction from that earlier pass (6dB, sensitivity 5) carries over unchanged. Seven of the twenty-six tracks qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target instead of landing quieter: “The Blarney Stone Blues,” “Learn About Love,” “Peaceful Easy Feeling,” “I Thought I Was You” (the set's second play of the song), “Model Family Man,” “El Paso,” and “Okie from Muskogee.” Two more, “Johnny McEldoo” and “Frosty Weather,” are handled by the applause-only limiter. Five tracks landed a little short of the full target rather than over-shaved: “My Father's House” (−20.3), “Black is the Color” (−21.2), “Anna May” (−20.4), “Angel from Montgomery” (−21.0), and “Hollywood (early version)” (−23.3). — Jerry Hannan · 19 Broadway · 1999-10-25 AUD · view data

Reprocessed 12 of the 29 tracks on Jerry Hannan's solo show at 19 Broadway from June 7, 1999 to the sparse-transient-cap mode (v5→v8) — the archive's first scoped reprocess, touching only the tracks that actually needed it rather than the whole show. The other 17 tracks were already at their loudness target under the older workflow and gained nothing from a fresh render, so they were left untouched. Five capped tracks needed a listen before shipping and all checked out as legitimate music, not defects: “Kilkelly Ireland” (0:20.45), “Butter” (0:39.45), “Everything Reminds Me of You” (3:53.90 and 4:34.50), “Happy Birthday Marco” (0:38.05, overlapping a suspected click already confirmed as music), and “Ted Kennedy Song” (0:02.20). Two more — “Hello in There” and “Hollywood (alt verse)” — initially declined the cap automatically for exceeding the calibrated review band (longer or denser engagement than the original listening evidence covered); after listening, both were given an explicit per-track override (“Hello in There” now reaches the full −20 target instead of −23.7; “Hollywood” recovers to −20.3, just short of full target since it hit the 6 dB attenuation ceiling). One title was corrected: the fresh export's filename read “Come On All You Young Maidens” for track 27, a completely different phrase from the archive's established title “A Bunch of Thyme” (also used on another show, and already named in this show's own description) — kept the established spelling. That track's audio was already at its target from the original v5 pass, so only the local filename needed correcting, not a reprocess. — Jerry Hannan · 19 Broadway · 1999-06-07 AUD · view data

Reprocessed Jerry Hannan's solo show at 19 Broadway from February 1, 1999 under the new workflow (v8), replacing the show's v5 pass — the whole-show noise reduction from that earlier pass (6dB, sensitivity 5) carries over unchanged. Five of the twenty-one tracks qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target instead of landing quieter; a sixth, “The Grey Funnel Line,” stays on the existing applause-only limiter. “Perfect Autumn Day” needed a listen before shipping and checked out as legitimate music. “Hello in There” needed 6.2 dB of recovery, just over the archive's standard 6 dB ceiling; a loudness-matched review of the gap found no meaningful risk at that size, so it was given an explicit one-track exception and now reaches −20.9 instead of the −26.2 it would have landed at otherwise. Two other flagged moments were checked and aren't defects: “Daddy”'s mid-song high-crest window at 1:15 is mic handling noise, not applause or clipping, and is capped along with the rest of the track's transients; “Everything Reminds Me of You”'s suspected click at 2:50.6 is an audience clap, not a digital defect. “Blind Man” has a real gap in the tape around 3:10 that noise reduction and splitting can't repair — flagged on the show page and left for a future Audacity pass rather than papered over. Three track titles carry a guest performer's name in their filename only, matching the archive's existing convention for this show (title stays clean, credit goes in the artist field): “Long Black Veil,” “The Grey Funnel Line” (both with Sean Hannan), and “Drift Away” (with Demir). One title was corrected — the fresh export's filename read “Angel of Montgomery,” the same mechanical typo already caught on another show; kept the established spelling “Angel from Montgomery.” — Jerry Hannan · 19 Broadway · 1999-02-01 AUD · view data

Reprocessed Jerry Hannan's solo show at Cafe Java from April 8, 1999 under the new workflow (v8), replacing the show's v4 pass. Five of the twenty-three tracks qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target instead of landing quieter: “Father and Son,” “Anna May,” “Everything Reminds Me of You,” “Getaway Blues,” and “The Parting Glass.” Two capped tracks needed a listen before shipping and both checked out as legitimate louder musical passages, not defects: “Anna May” at 2:07.7 and “Everything Reminds Me of You” at 2:05.2. One title was corrected — the fresh export's filename read “Angel of Montgomery,” a mechanical typo not used anywhere else in the archive; kept the established spelling “Angel from Montgomery” (also fixed in the show's own description text, which had picked up the same typo). — Jerry Hannan · Cafe Java · 1999-04-08 AUD · view data

Reprocessed Sean Hannan's solo show at 19 Broadway from November 29, 1999 under the new workflow (v8), replacing the show's v6 pass. Eleven of the twenty-one tracks qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target instead of landing quieter. Two capped tracks needed a listen before shipping and both checked out as legitimate music, not defects: “Don't Think Twice It's All Right” and “Free Fallin'.” “The Kiss - Da Da Da (Slave to an Angel)” needed more recovery than the policy's 6 dB ceiling allows; opted into partial capping after confirming the loud moments are music, landing at −20.93 LUFS. One title was restored to the archive's established spelling — “The Kiss / Da Da Da (Slave to an Angel)” — and a stray trailing space trimmed from “Tied Up With a Black Velvet Band.” — Sean Hannan · 19 Broadway · 1999-11-29 AUD · view data

Gave “The Wind” an explicit, one-off exception to the archive's standard 6 dB transient-cap ceiling, reaching the full −20 LUFS target instead of the −22.65 it landed at yesterday. The track's loudest moment (1:37.50, a vocal peak) needs 8.65 dB of recovery — over the usual limit — but a loudness-matched listening test at 6/8/10 dB of cut depth on that exact moment, plus the real full-target render, found no audible difference from the standard treatment. This is a per-track decision, not a policy change: the engine now records the exact ceiling used for every capped track (`policy_max_gr_db`) and flags any track exceeding the standard 6 dB as an explicit `override`, so this exception — and any future one — stays auditable without relying on memory or free-text notes. No other track in the archive is affected; the archive-wide ceiling remains 6 dB. — Jerry Hannan · 19 Broadway · 2001-01-08 SBD · view data

Reprocessed Jerry Hannan's soundboard show at 19 Broadway from January 8, 2001 under the new workflow (v8), replacing the show's v7 pass. Sixteen of the thirty tracks qualify for the sparse-transient-cap mode and two more are handled by the applause-only limiter, together reaching the full −20 LUFS target instead of landing quieter. Nine capped tracks needed a listen before shipping and all checked out as legitimate music, not defects: “My Father's House” (5:20), “Open Door” (1:44.4), “Plastic Lemons” (1:24.9), “Hollywood” (3:07.55), “My Dog” (0:17.75), “El Paso” (3:26.6), “Model Family Man” (2:46.15), “That's The Way The World Goes 'Round” (3:53.2), and “The Parting Glass” (1:03.55). “The Wind” needed more recovery than the policy's 6 dB ceiling allows; opted into partial capping after confirming the loud moments are music, so it lands at −22.65 LUFS instead of −20 — inaudibly quieter, never over-shaved. One title was restored to the archive's established spelling: “Everything” to “Everything Reminds Me of You.” — Jerry Hannan · 19 Broadway · 2001-01-08 SBD · view data

Reprocessed this Mad Hannans set at Sweetwater under the new workflow (v8), replacing the show's v5 pass — the corrective EQ from that earlier restoration pass, brightening this tape's muddy room sound, carries over unchanged. Fifteen of the twenty-two tracks qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target instead of landing quieter. One, “Rocky Road to Dublin,” crossed the auto-clear threshold (1.4% engagement) and needed a listen before shipping — confirmed as audience handclaps, not defects, around 0:25 and 0:35. “Smoke in Heaven” had two similar handclap moments flagged during diagnose, at 0:20.8 and 0:32.5, plus more around 0:35.5 — also confirmed legitimate. Three titles were restored to the archive's established spelling after the fresh export drifted: “I Need a Lover” to “Hear Me,” “Good Life” to “The Good Life,” and “The Kiss - Da Da Da (Slave to an Angel)” to “The Kiss / Da Da Da (Slave to an Angel).” — Mad Hannans · Sweetwater · 1999-05-18 AUD · view data

Reprocessed Jerry Hannan's solo show at 19 Broadway from March 29, 1999 under the new workflow (v8), replacing the show's v2 pass — the last remaining show in the archive on the original engine. This was also the show whose Drive noise-reduction export had gone through two separate upload passes months apart, leaving 34 stale duplicate files from the first pass sitting alongside the final corrected export; those were identified by timestamp and cleared before this run. Twenty-nine of the thirty-four tracks needed help beyond plain linear gain: five are handled by the applause-only limiter and sixteen qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target instead of landing quieter. Three tracks' capped moments were confirmed by ear before shipping: “The Wind” (~1% of the track across several short events, e.g. 0:22.95 and 0:39.75), “The Bold Fenian Men” at 1:22.35, and “Hello in There” at 2:31.30 — all legitimate music, not defects. Two suspected digital defects were also checked by ear and confirmed as music, not clicks: “Blind Man” at 3:07.702 and “The Parting Glass” at 2:52.138. One title was restored to the archive's established spelling — “I Need a Lover” to “Hear Me” — and track 30, freshly retitled “Limerick Medley” from the prior catalog's “Some Get Married for Love,” was confirmed correct by ear rather than by cross-reference, since neither title matched anything else in the archive. — Jerry Hannan · 19 Broadway · 1999-03-29 AUD · view data

Reprocessed this Mad Hannans set at 4th Street Tavern under the new workflow (v8), replacing the show's v2 pass. Two songs, “Soundcheck” and “Rocky Road to Dublin,” qualify for the sparse-transient-cap mode and now reach the full −20 LUFS target this way — both cleared automatically, no listen required. Four track titles were restored to the archive's established spelling after the fresh export drifted: “I Need a Lover” to “Hear Me,” “The Kiss - Da Da Da (Slave to an Angel)” to “The Kiss / Da Da Da (Slave to an Angel),” “Shirt” to “Shirt - ABC,” and a dropped closing parenthesis fixed in “Soundcheck (Football Tonight).” — Mad Hannans · 4th Street Tavern · 1999-05-01 AUD · view data

Reprocessed this Jerry & Sean Hannan set at 19 Broadway under the new workflow (v8), replacing the show's v2 pass. Twenty-one of the thirty tracks needed help beyond plain linear gain: eight are handled by the applause-only limiter (crowd noise, not the music, sets the ceiling), and eleven qualify for the sparse-transient-cap mode, reaching the full −20 LUFS target instead of landing quieter. Four tracks' capped moments were confirmed by ear before shipping: “Soundcheck” at 1:50, “Black is the Color” at 1:30 and 2:15, “Good Life” at 2:57.6, and “I've Just Seen a Face” at 2:00 — all legitimate music, not defects. Four track titles were restored to the archive's established spelling after the fresh export drifted: “Never Knew a Woman” to “Woman,” “Seven Drunked Nights” to “Seven Drunken Nights,” “The Kiss - Da Da Da (Slave to an Angel)” to “The Kiss / Da Da Da (Slave to an Angel),” and a stray double space trimmed from “I've Just Seen a Face.” — Sean & Jerry Hannan · 19 Broadway · 1999-12 AUD · view data

Reprocessed this Mad Hannans set at New George's under the new workflow (v8), replacing the show's v2 pass. Six of the fourteen tracks qualified for the sparse-transient-cap mode and now reach the archive's full −20 LUFS target this way instead of landing several dB quieter, most notably “Anna May” (would have landed at −24.1) and “Butter” (would have landed at −22.4). The fresh export used a different track name than the archive's established title for one song — “I Need a Lover” — restored to “Hear Me” rather than overwritten. — Mad Hannans · New George's · 1999-10-13 AUD · view data

Reprocessed this Mad Hannans set at Sweetwater under the new workflow (v8), replacing the show's v2 corrective-EQ pass — the same restoration EQ, cutting low-mid mud and lifting presence and air on this muddled tape, carries over unchanged. Two songs, “Hear Me” and “Rocky Road to Dublin,” now reach the archive's full −20 LUFS target this way instead of landing several dB quieter; “Far Away Eyes” needed more recovery than the policy's 6 dB ceiling allows, so it lands at −23 LUFS instead of −20 — inaudibly quieter, never over-shaved. The fresh hand-edit export used different track names than the archive's established titles for two songs — “I Need a Lover” and “The Kiss - Da Da Da” — restored to “Hear Me” and “The Kiss / Da Da Da (Slave to an Angel)” rather than overwritten. — Mad Hannans · Sweetwater · 2001-01-06 AUD · view data

Reprocessed Jerry Hannan's solo show at 19 Broadway from January 15, 2001 under the new workflow (v8), replacing the show's v7 pass. Twenty-one of the set's thirty-one songs qualified for the sparse-transient-cap mode shipped last night — reaching the archive's full −20 LUFS target instead of landing several dB quieter — while “Woman” stayed on the existing applause-only limiter, where a burst of clapping rather than the music sets the ceiling. The fresh hand-edit export used different track names than the archive's established titles for four songs — “State Trooper,” “Everything,” “Four Leaf Clover Inn,” and “Never Knew a Woman” — restored to “Highway Patrolman,” “Everything Reminds Me of You,” “The Barney Stone Blues,” and “Woman” rather than overwritten. — Jerry Hannan · 19 Broadway · 2001-01-15 SBD · view data

Reprocessed this Mad Hannans set at Cafe Java again, this time under a new workflow (v8) built for tapes where the mic sat close to the drums: a millisecond-scale true-peak limiter now catches only the sharpest instant of an isolated musical transient — a snare hit, a strum — while the surrounding performance keeps its full, untouched gain, letting more tracks reach the archive's −20 LUFS standard instead of landing several dB quieter. Fifteen of the twenty-two tracks qualified and are now capped this way; “Rocky Road to Dublin / Star of County Down” needed more recovery than the policy's 6 dB ceiling allows, so it lands at −21.6 LUFS instead of −20 — inaudibly quieter, never over-shaved. “Truck” and “Anna May” are untouched by this change: both were already correctly handled by an earlier, unrelated fix that limits only audience applause at a track's edges, not the music. Two titles also picked up small spelling corrections back to the archive's established convention: “ABC (alt version)” and “The Kiss / Da Da Da (Slave to an Angel).” — Mad Hannans · Cafe Java · 1999-09-09 AUD · view data

Re-normalized this Mad Hannans set at Cafe Java to −20 LUFS on the current audio engineering workflow (v7), replacing the show's original v1 pass — the last v1 show in the archive. The fresh hand-edit pass applied noise reduction across the show and corrected the song list: what was catalogued as a single 5:39 track, “Everything Reminds Me of You,” is in fact two songs, now split into separate tracks with the second restored as “Hear Me” — so the show runs 22 tracks rather than 21. “My Dear” has been identified as the song the archive lists elsewhere as “Ride On” and retitled to match, and “Plastic Melons” corrected to “Plastic Lemons.” Elsewhere in the archive, two tracks catalogued as “I Need a Lover” have been corrected to “Hear Me,” the song's real title. — Mad Hannans · Cafe Java · 1999-09-09 AUD · view data

Re-normalized all 21 tracks of this Mad Hannans set at the Sweetwater to −20 LUFS on the current audio engineering workflow (v7), replacing the show's original v2 pass; re-exported track 14 ("Butter") to restore the song's opening chords, missing from an earlier transfer; also corrected drifted titles "Hard Drinking," "I Need a Lover," and "The Kiss / Da Da Da (Slave to an Angel)" back to the archive's established convention, using the automated audio engineering workflow with ffmpeg. — Mad Hannans · Sweetwater · 2000-02-17 SBD · view data

Re-normalized all 24 tracks of Jerry's birthday show at the Sweetwater to −20 LUFS on the current audio engineering workflow (v7), replacing the show's original v1 pass; also fixed track titles "Model Family Man" and "Plastic Lemons" (stray trailing whitespace) and "The Kiss / Da Da Da (Slave to an Angel)" (drifted separator) back to the archive's established convention, using the automated audio engineering workflow with ffmpeg. — Mad Hannans · Sweetwater · 2000-10-17 SBD · view data

Re-normalized all 18 tracks to −20 LUFS on the current audio engineering workflow, replacing an older processing pass; also corrected track 3's title to "Don't Think Twice It's All Right" and track 14's to "Angel from Montgomery," using the automated audio engineering workflow with ffmpeg — Sean Hannan · 19 Broadway · AUD · view data

Brought four more pre-v4 shows up to the current processing engine (v7) — Jerry Hannan at 19 Broadway on 1999-05-10, 1999-06-21, 1999-07-19, and 2001-01-15 — replacing early loudnorm-based passes that had occasionally fallen back to dynamic-mode compression instead of true linear gain. All four re-split from fresh hand-edit exports and re-verified against R2.

Re-normalized all 21 tracks: the show's original v1 processing had silently hit exactly −20 LUFS and exactly −1 dBTP on several tracks — the same dynamic-mode fallback bug found in other pre-v4 shows — when tracks like "I Need a Lover" and "You're Pulling Me Leg / The Ted Kennedy Song" in fact needed a target as low as −24.7 LUFS to stay linear. Re-split from a fresh hand-edit pass using the current engine. — Jerry Hannan · 19 Broadway · 1999-06-21 AUD · view data

Re-normalized all 30 tracks: the show's original v1 processing used ffmpeg's naive loudnorm, which had silently hit exactly −20 LUFS and exactly −1 dBTP on nearly every track — the signature of the same dynamic-mode fallback bug that flattened Sean Hannan's 1999-11-29 show, since several of these tracks in fact needed a target as low as −28 LUFS to stay linear. Tracks where audience applause — not the music — set the ceiling (Anna May, Luxury of Murder) now get linear gain sized to the music itself, with only the applause gently limited. Also re-split from a corrected label export that fixed a garbled track title and stripped stray junk labels. — Jerry Hannan · 19 Broadway · 2001-01-08 SBD · view data

Re-normalized all 21 tracks: a bug in the loudness pipeline had silently switched several tracks into dynamic (compressor-like) processing instead of true linear gain, flattening hand-drawn fades and room dynamics. Tracks where audience applause — not the music — was the loudest thing on the tape now get linear gain sized to the music itself, with only the applause gently limited. Track 7, "The Rodeo Song," has some audible clipping baked into the source recording — normalization can't undo that, so it's flagged rather than papered over — using the automated audio engineering workflow with ffmpeg — Sean Hannan · 19 Broadway · 1999-11-29 AUD · view data

Re-normalized all 31 tracks to −20 LUFS on the current audio engineering workflow, replacing an older processing pass, using the automated audio engineering workflow with ffmpeg — Sean Hannan · 19 Broadway · 2000-01-24 AUD · view data

Re-normalized all 11 tracks to −20 LUFS on the current audio engineering workflow, replacing an older processing pass; also corrected track 5's title to "Ode to Biddy McGee," using the automated audio engineering workflow with ffmpeg — Sean Hannan · 19 Broadway · 2000-02-21 SBD · view data

Added Mad Hannans · Marin Brewing Co. · 1999-04-01 — 15 split tracks AUD

Added the Mad Hannans' return to Marin Brewing Co. in Larkspur, April 1, 1999 — the venue's 10th anniversary, one year to the day after their first show there — as 15 individual tracks normalized to −20 LUFS. "Da Da Da (Slave to an Angel)" now opens with its "The Kiss" intro, missing from the 1998 show. Two audience transfers of the tape survive; the tracks come from the cleaner one, with the other kept as an alternate full-show download. — Mad Hannans · Marin Brewing Co. · 1999-04-01 AUD · view data

Added Mad Hannans · Marin Brewing Co. · 1998-04-01 — 17 split tracks AUD

Added the earliest Mad Hannans show in the archive, April 1, 1998 at Marin Brewing Co. in Larkspur, as 17 individual tracks normalized to −20 LUFS. It's a rough audience recording left without EQ or noise reduction, and "Da Da Da (Slave to an Angel)" still lacks the "The Kiss" intro it later picked up. Includes a Steve Miller cover, "Space Cowboy." — Mad Hannans · Marin Brewing Co. · 1998-04-01 AUD · view data

Recovered 7 more songs from the rougher of the two August 23, 1999 19 Broadway reels and added them to the show page as a separate "Part 1 (Distorted)" batch — rough listening in places, but archived rather than lost. Includes an alternate "ABC," another early "Rugburns," and three songs new to the archive: "Troy," "The Kiss," and "Da Da Da (Slave to an Angel)." — Jerry Hannan · 19 Broadway · 1999-08-23 AUD · view data

Added Jerry Hannan · 19 Broadway · 1999-08-23 — 21 split tracks AUD

Added the August 23, 1999 solo show at 19 Broadway as 14 individual tracks, normalized to −20 LUFS. The two source reels are mislabeled, so this main set comes from the cleaner of the two. Includes an early version of "Rugburns" and a Steve Poltz cover, "Single Life." — Jerry Hannan · 19 Broadway · 1999-08-23 AUD · view data

Added Jerry Hannan · 19 Broadway · 1999-06-07 — 29 split tracks AUD

Added the June 7, 1999 solo show at 19 Broadway as 29 individual tracks, treated with broadband noise reduction (10dB on the first three tracks, 6dB after, sensitivity 5) across the whole tape before splitting, then normalized to −20 LUFS. Includes the Irish traditional "A Bunch of Thyme" and a birthday singalong for an audience member named Marco. — Jerry Hannan · 19 Broadway · 1999-06-07 AUD · view data

Added Jerry Hannan · 19 Broadway · 1999-10-25 — 26 split tracks AUD

Added the October 25, 1999 solo show at 19 Broadway as 26 individual tracks, treated with broadband noise reduction (6dB, sensitivity 5) across the whole tape before splitting, then normalized to −20 LUFS. Kelly Peterson guests on "Angel of Montgomery" and "Peaceful Easy Feeling." — Jerry Hannan · 19 Broadway · 1999-10-25 AUD · view data

Added Jerry Hannan · 19 Broadway · 1999-11-15 — 14 split tracks AUD

Added the November 15, 1999 solo show at 19 Broadway as 14 individual tracks, normalized to −20 LUFS, including an early version of "Burning Man" and an alternate-verse take of "Hollywood." — Jerry Hannan · 19 Broadway · 1999-11-15 AUD · view data

Added Jerry Hannan · Cafe Java · 1999-06-17 — 27 split tracks AUD

Added the full show as 27 individual tracks, split from the audience DAT and normalized to −20 LUFS for an even, comfortable listening level, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · Cafe Java · 1999-06-17 AUD · view data

Added the full show as 20 individual tracks, split from the audience DAT and normalized to −20 LUFS for an even, comfortable listening level, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · Cafe Java · 1999-05-27 AUD · view data

Added Jerry Hannan · Cafe Java · 1999-05-27 — 20 split tracks AUD

Re-normalized all 22 tracks: a bug in the loudness pipeline had silently switched several tracks into dynamic (compressor-like) processing instead of true linear gain, flattening hand-drawn fades and room dynamics. Tracks where audience applause — not the music — was the loudest thing on the tape now get linear gain sized to the music itself, with only the applause gently limited, using the automated audio engineering workflow with ffmpeg — Mad Hannans · Sweetwater · 1999-05-18 AUD · view data

Re-normalized all 21 tracks: a bug in the loudness pipeline had silently switched several tracks into dynamic (compressor-like) processing instead of true linear gain, flattening hand-drawn fades and room dynamics. Tracks where audience applause — not the music — was the loudest thing on the tape now get linear gain sized to the music itself, with only the applause gently limited, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · Cafe Java · 1999-04-29 AUD · view data

Re-normalized all 21 tracks: a bug in the loudness pipeline had silently switched several tracks into dynamic (compressor-like) processing instead of true linear gain, flattening hand-drawn fades and room dynamics. Tracks where audience applause — not the music — was the loudest thing on the tape now get linear gain sized to the music itself, with only the applause gently limited, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · 19 Broadway · 1999-02-01 AUD · view data

Re-normalized all 21 tracks: a bug in the loudness pipeline had silently switched several tracks into dynamic (compressor-like) processing instead of true linear gain, flattening hand-drawn fades and room dynamics. Tracks where audience applause — not the music — was the loudest thing on the tape now get linear gain sized to the music itself, with only the applause gently limited, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · Cafe Java · 1999-03-25 AUD · view data

Added Jerry Hannan · Cafe Java · 1999-04-08 — 23 split tracks AUD

Added the April 8, 1999 solo show at Cafe Java as 23 individual tracks (split out from the March 25 tape), normalized to −20 LUFS. — Jerry Hannan · Cafe Java · 1999-04-08 AUD · view data

Added Jerry Hannan · Cafe Java · 1999-03-25 — 21 split tracks AUD

Added the March 25, 1999 solo show at Cafe Java as 21 individual tracks, treated with broadband noise reduction (8dB, sensitivity 5) across the whole tape before splitting, then normalized to −20 LUFS. — Jerry Hannan · Cafe Java · 1999-03-25 AUD · view data

Added Jerry Hannan · Cafe Java · 1999-04-29 — 21 split tracks AUD

Added the April 29, 1999 solo show at Cafe Java as 21 individual tracks, normalized to −20 LUFS. — Jerry Hannan · Cafe Java · 1999-04-29 AUD · view data

Added the May 18, 1999 Mad Hannans show at the Sweetwater as 22 individual tracks, EQ-brightened across the whole tape to tame a muddy room sound, then normalized to −20 LUFS. — Mad Hannans · Sweetwater · 1999-05-18 AUD · view data

Added Mad Hannans · Sweetwater · 1999-05-18 — 22 split tracks AUD

Added the February 1, 1999 solo show at 19 Broadway as 21 individual tracks, treated with light noise reduction across the whole tape before splitting, then normalized to −20 LUFS. — Jerry Hannan · 19 Broadway · 1999-02-01 AUD · view data

Added Jerry Hannan · 19 Broadway · 1999-02-01 — 21 split tracks AUD

Added the November 29, 1999 solo show at 19 Broadway as 21 individual tracks, split from the audience DAT and normalized to −20 LUFS for an even, comfortable listening level. — Sean Hannan · 19 Broadway · 1999-11-29 AUD · view data

Added Sean Hannan · 19 Broadway · 1999-11-29 — 21 split tracks AUD

MP3 downloads retired — every song and full show still streams in full; lossless FLAC/WAV downloads remain available, password protected

Added Jerry Hannan · 19 Broadway · 1999-03-29 — 34 split tracks AUD

Added the March 29, 1999 solo show at 19 Broadway as 34 individual tracks — the first show treated with noise reduction across the whole tape before splitting, then normalized to −20 LUFS — Jerry Hannan · 19 Broadway · 1999-03-29 AUD · view data

Added Sean & Jerry Hannan · 19 Broadway · 1999-12 — 30 split tracks AUD

Added the full December 1999 19 Broadway show (Jerry & Sean) as 30 individual tracks, split from the audience DAT and normalized to −20 LUFS for an even, comfortable listening level — using the automated audio engineering workflow with ffmpeg — Sean & Jerry Hannan · 19 Broadway · 1999-12 AUD · view data

Added Mad Hannans · 4th Street Tavern · 1999-05-01 — 24 split tracks AUD

Replaced track 14: it was listed as “There She Was,” but that’s the same song as “Butter” — and the original transfer was missing the opening chords. Swapped in a complete version, corrected the title, and re-normalized it to the archive’s −20 LUFS standard — Mad Hannans · Sweetwater · 2000-02-17 SBD · view data

Added Jerry Hannan · 19 Broadway · 1999-07-19 — 26 split tracks AUD

Added the full show as 26 individual tracks, split from the audience DAT and normalized to −20 LUFS for an even, comfortable listening level, with the applause gently faded at the end of each song for easier streaming — using the automated audio engineering workflow with ffmpeg — Jerry Hannan · 19 Broadway · 1999-07-19 AUD · view data

Added Jerry Hannan · 19 Broadway · 1999-05-10 — 21 split tracks AUD

Added the full show as 21 individual tracks, split from the audience DAT and normalized to −20 LUFS for an even, comfortable listening level, with the applause gently faded at the end of each song for easier streaming — using the automated audio engineering workflow with ffmpeg — Jerry Hannan · 19 Broadway · 1999-05-10 AUD · view data

New “Songs” section: a cross-referenced matrix of every song against every show — see each time a song was played across Jerry, the Mad Hannans, and Sean, browse it as a filterable list or a songs-by-shows grid, and search for any song by name. Every performance has its own player and a link to that show.

Added Mad Hannans · New George's · 1999-10-13 — 14 split tracks AUD

Added the full show as 14 individual tracks, split from the audience DAT and normalized to −20 LUFS for an even, comfortable listening level, with the applause gently faded at the end of each song for easier streaming — using the automated audio engineering workflow with ffmpeg — Mad Hannans · New George's · 1999-10-13 AUD · view data

Normalized all 18 tracks to −20 LUFS for an even, comfortable listening level consistent with the rest of the archive, replacing an earlier −16 LUFS Audacity pass — using the automated audio engineering workflow with ffmpeg — Sean Hannan · 19 Broadway · AUD · view data

Normalized all 31 tracks to −20 LUFS for an even, comfortable listening level consistent with the rest of the archive; nine tracks (7, 9, 14, 17, 19, 22, 23, 24 and 31) were hand-edited in Audacity first to repair clipped applause and tame loud audience peaks before normalizing, using the automated audio engineering workflow with ffmpeg — Sean Hannan · 19 Broadway · 2000-01-24 AUD · view data

Re-restored this muddy recording from the raw tape: corrective EQ (de-mud + presence + air to bring the vocals forward) and re-normalized all 24 tracks to −20 LUFS, replacing the earlier −16 pass — using the automated audio engineering workflow with ffmpeg — Mad Hannans · Sweetwater · 2001-01-06 AUD · view data

Re-normalized all 11 tracks to −20 LUFS from the raw masters (replacing the earlier −16 pass) for an even, comfortable listening level consistent with the rest of the archive, using the automated audio engineering workflow with ffmpeg — Sean Hannan · 19 Broadway · 2000-02-21 SBD · view data

Re-normalized all 21 tracks to −20 LUFS from the raw masters (replacing the earlier −16 Audacity pass) for an even, comfortable listening level consistent with the rest of the archive, using the automated audio engineering workflow with ffmpeg — Mad Hannans · Cafe Java · 1999-09-09 AUD · view data

Loudness-normalized all 24 tracks to −20 LUFS for an even, comfortable listening level consistent with the rest of the archive, using the automated audio engineering workflow with ffmpeg — Mad Hannans · Sweetwater · 2000-10-17 SBD · view data

Loudness-normalized all 21 tracks to −20 LUFS for an even, comfortable listening level consistent with the rest of the archive, using the automated audio engineering workflow with ffmpeg — Mad Hannans · Sweetwater · 2000-02-17 SBD · view data

Re-normalized all 31 tracks to −20 LUFS (replacing the earlier −16 pass) for a more even, comfortable listening level consistent with the rest of the archive, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · 19 Broadway · 2001-01-15 SBD · view data

Re-normalized all 30 tracks to −20 LUFS for a more even, comfortable listening level, and added lossless FLAC downloads, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · 19 Broadway · 2001-01-08 SBD · view data

Re-normalized all 21 tracks to −20 LUFS for a more even, comfortable listening level, using the automated audio engineering workflow with ffmpeg — Jerry Hannan · 19 Broadway · 1999-06-21 AUD · view data

Re-normalized all 31 tracks to −16 LUFS for a more even, comfortable listening level — Jerry Hannan · 19 Broadway · 2001-01-15 SBD

Loudness-normalized all tracks to −16 LUFS for a more even listening level — Sean Hannan · 19 Broadway · 2000-02-21 SBD

These very muddled tracks have been processed with EQ filtering and loudness normalization to −16 LUFS to make them sound a little better — Mad Hannans · Sweetwater · 2001-01-06 AUD

Added Mad Hannans · Sweetwater · 2001-01-06 — 24 split tracks AUD

Added a search engine — find any song or show by title, artist, venue, date, or tag

Added a sort toggle to the Archive — browse every show by date or by artist

Enabled wavesurfer.js waveform graphics on the audio player as an experiment — to be determined whether it stays

Added Mad Hannans · Cafe Java · 1999-09-09 — 22 split tracks AUD

Added Sean Hannan · 19 Broadway · — 18 split tracks AUD

Added Jerry Hannan · 19 Broadway · 1999-06-21 — 21 split tracks AUD

Added a lossless full-show FLAC download — Mad Hannans · Sweetwater · 2000-10-17 SBD

Added the full 24-track listing (MP3 stream + FLAC download) — Mad Hannans · Sweetwater · 2000-10-17 SBD

Added Mad Hannans · Sweetwater · 2000-10-17 — 24 split tracks SBD

Volume-normalized all 31 tracks — Jerry Hannan · 19 Broadway · 2001-01-15 SBD

Added Jerry Hannan · 19 Broadway · 2001-01-15 — 31 split tracks SBD

Added Sean Hannan · 19 Broadway · 2000-02-21 — 11 split tracks SBD

Added Sean Hannan · 19 Broadway · 2000-01-24 — 31 split tracks AUD

Added Mad Hannans · Sweetwater · 2000-02-17 — 21 split tracks SBD

Added Jerry Hannan · 19 Broadway · 2001-01-08 — 30 split tracks SBD