Download Includes 20-page PDF with Full Color Photos by Peter Buranzon (backstage, onstage), Notes, Lyrics
In November 2005 Jane Siberry invited David Elias & XING (pronounced ‘crossing’) to open her show at the San Francisco Great American Music Hall on O’Farrell St. downtown SF. The trio with David Elias (acoustic guitar, vocals, harmonica), Charlie Natzke (acoustic guitar, vocals), and Chris Kee (upright bass, vocals) had recently published what, in 2005 and still nouveau, was simply called a “Webcast”. They partnered through the recently established Apple Music iTunes online downloads. A very innovative interactive graphic music player with mouse-click controls was created using the webcast studio tracks and hosted online. Those studio tracks were released in 2005 on a Sketti Sandwich Productions DIY CD as “David Elias & XING”. The full 14 song studio master of that single morning session, engineered by Charlie Natzke directly to 8 tracks as DSD64 on Sonoma, was later mixed for stereo as DSD Wide by David Elias and mastered by Gus Skinas, then released in June, 2016 as “Acoustic Trio: DSD Sessions”. The DSD studio master is online to download at davideliasmusic.com. The PCM Remaster is available to hear or download on Bandcamp.
The all acoustic 3-part harmony trio had been appearing all over the SF Bay Area, from SF and East Bay down the San Mateo Coastal Hwy 1 coast as far as Santa Cruz. Regular shows were played at nefariously infamous places like The San Gregorio General Store, a roots home to many original Bay Area musicians and host of the annual Greenpeace Festival for several decades.
Performing from the GAMH stage in San Francisco was a welcomed opportunity to celebrate XING’s dedicated work at delivering pure acoustic sounds to live audiences. This trio would evolve to become David Elias & The CasualTees, a larger acoustic and electric band who captured audiences with their energetic soulful and always spontaneous renditions of Elias’s singer-songwriter styles, grafted from his roots in folk, bluegrass, country, rock/pop, R&B, celtic and other layers in between. They had the magnetic quality of simply having dangerously infectious fun onstage as they delivered spontaneous band inspired renditions of every song at every show. The first CasualTees were Charlie Natzke, Chris Kee, Peter Tucker, John Havard, Gary McArthur and Reid Dennis.
This is the second album release using the technique and tools developed by David Elias called Spectral Matching Mastering. Songs were mastered directly from the source DAT (16/44.1k) recordings captured off the GAMH soundboard during the show. The technique uses no 3rd party software/hardware/DAW/tools of any kind. It relies strictly on direct interaction with the open source ffmpeg and ffprobe bedrock tools for mastering.
The technique reverses the recording industry's stubborn habit of imposing steep brickwall filters on PCM masters as well as compression and other unnatural artifacts as far as the human ear and brain are concerned. The culprit behind the time distortions (smearing) and sound location confusion (pre-ringing echo) resuling in edgy D-i-G-iT-a-l sounding ear fatiguing results is the favortism given to the frequency domain at the expense of time distortion. Spectral Matching disowns rigid frequency perfection instead for the time domain using minimum phase linear filters and adhering much closer to the ambient nature of sound that reaches the human ear and brain.
As a result the original master/source is restored to the ambient air that existed when the recording was made, but typically gets masked, squashed, compressed with impulse echoes arriving before the pulse itself throughout.
All in all it makes for much more easy, natural, believeable listening. credits released July 12, 2026
All Songs by David Elias, ℗©2026, David Elias Music
David Elias: acoustic, vocal, harmonica
Charlie Natzke: acoustic, vocal
Chris Kee: upright bass, vocal

Read the story behind this one as well as all lyrics and other words. Click Here…
This was recorded 25 years ago in a couple of days. I guess I had to wait until my ears grew up to hear it just right. No mixer, effects, compression or anything else was used to influence the sound. It is just straight Audio Vérité.
I don’t remember who was singing through the studio walls during those days recording at Different Fur. But I’m grateful to the band rehearsing in Studio A for adding to the live Audio Vérité ambient nature of this album.
I keep having collisions with my past. This one is from 2001 recorded live studio at Different Fur in the Mission on Valencia. I was there recording for a few hours over 2 days by the gracious goodness of Winston Ma, who passed away on May 24, 2016.
https://positive-feedback.com/audio-discourse/higher-end-passing-winston-ma/
Winston had reserved the studio for several days and invited me with Gus's agreement to stop by and record to Sony's early DSD setup in the downtime between their sessions. So I was in the heart of the Mission recording in a legendary studio that opened in 1968 at that same address. All by happy circumstance. Thank you Winston. Thank you Gus. Thank you Happy Circumstance.
From 2001 this is the very first recording of most of the songs here. Many went on to be recorded on other albums with other musicians like XING, The CasualTees and The Great Unknown. But for this recording session I had pretty much just written many of them and tried them out in the studio.
These tracks have never been mastered or released. I began working on the SBM export from DSD that I had since Gus recorded it in 2001 late last year and now have a final release ready. So off to the press late but in earnest :)
========= SPECTRAL MATCHING MASTERING ===========
[This entire album was recorded over 2 days in 2001 by Gus Skinas to an early release of Sony's Sonoma DSD Workstation. Gus used the Sony Super Bit Mapped (SBM) export to WAV of the DSD source. I've had those WAV files for 25 years and never mastered or released them before now - July, 2026.
This master uses my new technique I call Spectral Matching Mastering (aka DFUUSM). It uses no commercial 3rd party software, DAW, hardware or other gizmos of any kind. I interact directly with the open source ffmpeg and ffprobe. The goal was to abandon the frequency driven way of mastering PCM which as everyone who suffered ear fatigue knows has undesirable by-products of time smearing which includes pre-ringing echoes of pulses (the echo arrives before the sound, totally confusing your ear-brain every millisecond of every song, especially at CD 16/44.1k resolution). Instead I chased and used the very ambient analog approach to sound waves for listening which is based on the time domain. Everything is located spatially in the right place on reproduction, and every pulse arrives on time with a natural attack, sustain and decay. The way Nature intended.]




