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Pink Floyd
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http://www.pinkfloyd.com
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| |
Date |
Venue - City, State |
Sound Quality | Source | Notes | Media |
|
| 1. |
??/??/39 |
Saarlandehalle - Saarbrucken,
West Germany |
A | BBC FM Broadcast | Trade CD >FLAC (Level 8) Via xACT 2.28 |
2 FLAC
|
|
| 2. |
??/??/39 |
A Tree Full Of Secrets Volume 1 - Compilation,
Compilation |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 3. |
??/??/39 |
A Tree Full Of Secrets Volume 2 - Compilation,
Unknown |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 4. |
??/??/39 |
A Tree Full Of Secrets Volume 3 - Compilation,
Unknown |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC
| The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 5. |
??/??/39 |
A Tree Full Of Secrets Volume 4 - Compilation,
Unknown |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 6. |
??/??/39 |
A Tree Full Of Secrets Volume 5 - Compilation,
Unknown |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 7. |
??/??/39 |
A Tree Full Of Secrets Volume 6 - Compilation,
Unknown |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 8. |
??/??/39 |
A Tree Full Of Secrets Volume 7 - Compilation,
Unknown |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 9. |
??/??/39 |
A Tree Full Of Secrets Volume 8 - Compilation,
Unknown |
A | Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 10. |
??/??/39 |
A Tree Full Of Secrets Volume 9 - Compilation,
Unknown |
| Studio Soundboard; Outtakes, Rarities, Foreign Singles, ETC | The Definitive Pink Floyd Rarities Compilation
***********************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 11. |
??/??/65 |
Their First Recordings - London,
UK |
A- | Studio; 7" Mono Vinyl EP >WAV >FLAC | |
0 FLAC
|
|
| 12. |
??/??/65 |
'Dawn Of The Piper' 1965-1967 - Compilation,
Compilation |
A- | Various Soundboard Sources, Studio Sessions, Studio Outtakes, Alternate Takes, Live Tracks | Trade SHNs >FLAC (Level 8) Via xACT 2.47 By OldNeumanntapr |
0 FLAC
|
|
| 13. |
??/??/66 |
Psychedelic Games For May - 1966-1967,
Compilation |
A- | Studio And FM Reel, Acetates | Original Sources used to make LP:
66/67 EMI Acetates (1,2,3,4)
27 Feb 67 Sound Techniques Studios, Chelsea, London (6,7)
67 BBC 'Look of the Week' Broadcast (7,8,9)
July 67 Broadcast from Carlisle, Scotland (10,11)
Oct 67 de Lane Lea Studios, London (12)
Aug 67 de Lane Lea Studios, London (13) |
0 FLAC
|
|
| 14. |
??/??/66 |
'The Unmissable Tracks, Volume 1' - 1966-1982,
Compilation |
A | Studio Reel, Live, Rare Singles | Trade SHNs >FLAC (Level 8) Via xACT 2.47 By Oldneumanntapr |
0 FLAC
|
|
| 15. |
01/11/67 |
Sound Techniques Studios - London,
England |
A+ | Studio Soundboard Reel | ('Interstellar Overdrive' & 'Nick's Boogie' Only)
Promotional trailer for the Peter Whitehead film "Tonight Let's All Make Love In London" (Dedicated to Syd Barrett) Filmed in the mid Sixties at the first recording session of The Pink Floyd, UFO Nightclub, 14 Hour Technicolor Dream at Alexandra Palace |
0 FLAC
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|
| 16. |
01/13/67 |
UFO - London,
UK |
A- | Audience, 18 minutes (Interstellar Overdrive) | "Tonight, Let's All Make Love In London" |
0
|
|
| 17. |
09/10/67 |
Gyllene Cirkeln - Stockholm,
Sweden |
A | Sonic Studio DSM 6 (w/ Pre-Amp & Bass Roll Off) > Tascam DR-07 (44khz/24bit) Adobe Audition 3.0 > FLAC Level 8 >Next To Soundboard, Approx. 6 Meters Off The Speakers, Center) | (2011 Audience Recording.)
This recording is a very good quality audience tape, recorded with the permission of the band
(in 1967)... played back decades later, in the same venue, over their modern PA system,
and recorded from the audience during that playback session. |
1 FLAC
|
|
| 18. |
09/13/67 |
The Star Club - Copenhagen,
Denmark |
B | Audience 'Stoned Alone' Bootleg | Includes Two Interviews. |
0 FLAC
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|
| 19. |
09/13/67 |
The Star Club - Copenhagen,
Denmark |
B | Audience; 3rd Gen Cassette (Maxell XLII90)(Dolby On) > *Technics RS-B965-M (Dolby Off) > Focusrite Saffire Pro 14 > Audacity 1.3 > Wav (24bit/96kHz) ======>> DAW (32bit float/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC (16bit/44kHz) | (Vocals Practically Non Existant! Instruments are Clear. Microphone Possibly On-Stage And Not Aimed At PA?)
***Neonknight's Notes***
Grolsch kindly assisted us with the background to this recording. Copenhagen '67 was taped by a local musician called Carsten V. Michael K borrowed his master and made a copy. Marbal's cassette is likely in turn to have been copied from a 7.5 ips open reel transfer of Michael K's reel. There are no digital clones from the master or first gen Michael K reel but both still exist and remain in the hands of the owners. Perhaps we can look forward to one or both of them surfacing one day.
A 3rd gen reel from the collection of the late Bernard White is often considered to be the best source for this concert. A friend has Bernard's reel and a 2001 transfer was sent to Eskimospy for use by Harvested in August 2005 for their 'What Syd Wants' release. The lineage for Bernard's reel went something like Carsten V > Michael K > UK collector > Bernard in the mid 1970s.
Marbal's 3rd gen cassette has been transferred before by other collectors and they were not able to bring out the best in the recording. Marbal's copy, like his Rotterdam tape, is much cleaner with a tighter top end, and a fuller, more natural sound when compared to Bernard's.
Listen carefully to Littlepieces' re-master and you you can distinguish each instrument and follow it if you care to. You will also hear subtle details such as the clink of a glass at 11.39 and Reaction in G being counted in, that you probably will have not noticed before. I believe it's also possible to appreciate the ambience of the venue.
There is no getting away from the fact that the quality of this recording varies. However, Littlepieces has done an excellent job smoothing the imperfections out on the LPP version, particularly the many distortions that often contribute to burying the sound.
This is a strong, loud performance by the band which was sometimes too much for Carsten V's recorder to cope with. Listen out for Matilda Mother, which reminds me of the Underground Scene Special UFO version, and a lively Scream Thy Last Scream. Thank you Marbal for entrusting me with your tape!
***Littlepieces' Mastering Notes for - Marbal's Copenhagen '67 Tape - Speed Corrected Only version***
All torrented unprocessed sources for this recording seem to share the same SQ and level fluctuations. The fact that the two lowest gen torrented sources, BWs 3rd gen reel and Marbal's 3rd gen cassette, have these as well, seems to indicate they are also on the 2nd gen sources they were copied from.
The SQ is dark and the levels change for over a minute and slowly improves til about 1:20m when it becomes fairly stable until shortly after 12 minutes. From here a subtle increase in the hiss begins with a slowly decreasing upper half. This continues with some periods of improvement until eventually it becomes pronounced and by the time it reaches AD, the recording has become much weaker. The level changes also become more frequent beginning near the end of 'One in A Million'. There are many segments containing distortions and the frequency and intensity of these increase as the recording progresses. These give the impression that the recorder had his levels too high at times or his microphone was overwhelmed. As I said, all the mentioned artifacts are in all torrented unprocessed sources.
This recording was marked as Dolby encoded but we transferred it without Dolby. Transferring a Dolby encoded recording without decoding the Dolby on playback is done often when playing the tape back on a different deck than that which it was encoded. The differences in decks often results in the decoding profile varying from the original encoding creating a poor result. Though this recording did not have its Dolby decoded, the expected boost in the higher frequencies are not near as apparent as usual.
Marbal's cassette is a mono recording that was dubbed with a stereo deck into a two channel recording. Due to the previous transfers with less than perfect head alignment, it has a minor phase shift that is generally from 2-5 samples. The output level of each channel is similar most of the time and after about 12m I could a hear a bit more high end in the left channel.
The speed was slow and was adjusted from 3.8% to 4.5%.
*Other than adjusting the speed, no other changes were made to the 'Speed Corrected Only' version.*
***Littlepieces' Mastering Notes for - Marbal's Copenhagen '67 Tape - LPP version***
To accompany the 'Speed Corrected Only' version I have produced a LPP version in an attempt to provide a copy with less interference from artifacts, more detail, and more overall SQ continuity.
After testing each channel by itself and with the channels manually aligned, I decided to use only the left channel for approximately the 1st minute and then retain both channels and manually align through Arnold Layne, and use only the left channel from that point until the end of the recording. Using only the left channel should provide a bit more detail as the recording quality lessens after AL by including more high end and improved phasing.
The most time consuming part of this project was definitely the manual spectral cleaning. I removed many many of the usual tics, pops, bumps, etc, but more importantly I was able to remove most of the distortions that interfered with the recording.
I utilized and varied moderate noise reduction settings working mostly above 8kHz - 10khZ and only slightly lower on some audience sections while being diligent not to encroach on the harmonics. I could have worked the entire spectrum and squeezed most of the hiss out, but I generally don't like what this does to the nature of the sound. As with Marbal's Rotterdam recording, I think more aggressive NR, among other things, would have eliminated a sense of the acoustics of the small venue they are playing in.
As with Rotterdam, the EQ increases I used were applied to only the upper half which as the recording progresses and weakens is even more buried than Rotterdam. The quality of this source and transfer allowed me to use an increasingly aggressive EQ profile and lessen the degree of difference between the best and worst parts of the recording. The EQ curve was adjusted at times throughout the recording but mostly did not exceed ~8kHz. In addition I used a multiband enhancer to increase the bass output by reducing the base width (mono) in the lower portion of the low end and increasing the gain when it was left channel only.
There were many micro drop outs/downs, mostly ~20ms, and I either removed a short piece of damage or was able to use the other channel to repair the damaged segment. A few minor ones still remain as does some very short pieces of tape damage.
I selectively reduced some low frequency hums during the audience/tuning segments and near the end of AD. These seem to be present and prominent in all unprocessed sources.
Hopefully these changes allow a listener to progress through the recording without becoming so distracted by the artifacts and SQ and level changes. I think this rendition of Reaction In G is the best I've heard........it really cooks after a few minutes. And I love the way One in A Million hits so hard..........I have a new appreciation for this track.
Marbal Tape / Neonknight Transfer / Little Pieces Production (LPP) October 2012
************************************************** |
0 FLAC
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|
| 20. |
09/14/67 |
Star Club - Copenhagen,
Denmark |
A- | Audience Reel Master >WAV >FLAC | Bernard's Reels (A Little Muffled, But Not Bad For A 1967 Audience Recording.) |
1 FLAC
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|
| 21. |
09/25/67 |
Maida Vale Studios - London,
UK |
A- | BBC FM 'Top Gear' (John Peel) | (Audacity Shows Clipping)
1. Flaming
2. Scarecrow
3. The Gnome
4. Matilda Mother
5. Reaction in G
6. Set The Controls For The Heart Of The Sun
Taken from bootleg collection of Syd Barrett's works named "Have You Got It Yet?"
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0 FLAC
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|
| 22. |
09/25/67 |
Maida Vale Studios - London,
UK |
A | BBC FM 'Top Gear' (John Peel) Playhouse Theater, London (Carlisle Radio Broadcast) | (No Clipping And Slightly Better Sound, But Only Three Songs)
1. Set the Controls for the Heart of the Sun
2. Reaction In G
3. Flaming
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0 FLAC
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|
| 23. |
11/13/67 |
Ahoy Hallen - Rotterdam,
Netherlands |
B | Audience; Bernard's reels (Master) > WAVE > FLAC | Dedicated in loving memory to Roger Barrett and Bernard White.
Liner notes:
"Bernard White died in 2005 and he is dearly missed by Pink Floyd fans from across the globe. Before the sad events that lead to his death, he was a true groundbreaker in terms of Pink Floyd collecting and knowledge. A contributor to various early books and articles about the band, with a happy knack of being in the company of the right people at the right moment, Bernard always had time to talk to fans who visited the various shops and market stalls that he worked in and owned in London. People would track Bernard down from all over the world and stand around for hours asking questions and seeking a chance to borrow his precious reels, tapes and memorabilia. Most requests were politely declined but there were a lucky few whom he assisted.
The Copenhagen, Rotterdam, CBC and Irene Winsby recordings on these discs are from Bernard's reels. The two 1967 concerts were copied from a visitor to the UK capital in around 1975. Bernard knew Irene Winsby and CBC was from Capital Radio when they made the six-part Pink Floyd Story. For this Harvested release, the reels were transferred using the best equipment under recording studio-type conditions, then enhanced and edited. A little more Rotterdam was found separately and added in to give a longer recording than most will have.
Much of Bernard's archive was disposed of hurriedly after his death, with very little regard to how it would be kept. Indeed, rumor has it that a lot of it was simply thrown away. The cream of the collection survived; however, and it's just possible that other items will reach the light of day."
IP
This is a release that the Harvested Team has been working on for a while and big kudos to MOB and Ed for all their great hard work. This release will appeal mostly to hardcore fans that want a glimpse into the only known concert recordings of The Pink Floyd with Syd Barrett circa 1967. Even though the source for this was the master reels, the sound quailty is still pretty bad most of the time, yet shines through during others. Syd's vocals are absent (or barely audible) most likely due to a bad microphone or mix, but luckily a good part of the performance is instrumental (Matilda Mother at the Copenhagen gig rocks!!!). We felt that since we had the original source for these important historic recordings (that have been widely available for years) that they deserved a tedious remastering process in an attempt to create a definitive version of these shows.
NOTE: These tracks come from Disc Two of HRV's "What Syd Wants". All studio bonus tracks have been removed.
Enjoy!
RonToon, Ed and MOB
This torrent has been brought to you by the color RED |
0 FLAC
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| 24. |
11/13/67 |
Ahoy Hallen - Rotterdam,
Netherlands |
B+ | Audience; Marbal's Rotterdam '67 Tape (16bit/44kHz)
3rd Gen Cassette (Maxell XLII90)(Dolby On) > *Technics RS-B965-M (Dolby Off) > Focusrite Saffire Pro 14 > Audacity 1.3 > Wav (24bit/96kHz) ----> Adjustments (32bit float/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC (16bit/44kHz) | (A little Clearer And A Little Less Distortion Than Bernard's Reels. Minor Hiss)
***Neonknight's Notes***
Given the late 1967 date for this gig anybody unfamiliar with it might expect to find a poor performance from an exhausted Syd. Some commentators describe the gig as weak but I believe the opposite is the case. Richard Wright provides typically accomplished keyboard playing and holds the arrangements together. He is backed ably by pounding rhythms from Roger and Nick. Syd drifts in and out and when he is in full flight his playing is both radical and mesmerising. The high point is Interstellar Overdrive, which sounds nothing like earlier versions or those that the band played after Syd left. It is arguably amongst the Floyd's best recorded work.
Grolsch told us the tale of this recording. It was made by Gerrit M, who also did Utrecht '68. He was a very early taper and Bob Dylan collector, who traded with other early collectors such as Michael K from Copenhagen. Michael and at least one other collector from the US, Dave W from San Jose, obtained copies off the master. Gerrit moved from the Netherlands to the US in 1973. Fast forward to the early 1990s and Grolsch tracked him down in New Jersey. It turned out that he left most of his belongings in Holland, thinking that he'd get them shipped later on, but never did. When Gerrit asked 10 years later most of the stuff including his reels had disappeared.
At least two sources for first gen copies of Rotterdam are therefore possible through the US or Danish route and may one day surface. Grolsch tells us that the uncirculated second gen copies from these reels are both very similar. Marbal is not sure of the source of his 3rd gen cassette he acquired in 1986 but it seems likely that it was copied from one of the second gen reels.
Reels from the collection of the late Bernard White are often described as the best source for this concert. The reels have been commonly described as masters or 1st gens when in fact they are 3rd gen at best. A friend has Bernard's copy and we have transferred it on many occasions using different and steadily better equipment over the years. The results have consistently been marginally better each time since the first proper transfer to CDR in November 2001. This 2001 transfer was sent to Eskimospy for use by Harvested in August 2005 for the 'What Syd Wants' release. The lineage for Bernard's reel went something like Gerrit M > Michael K > UK collector > Bernard in the mid 1970s, making it a 3rd gen. The sources from this BW branch seem to be missing more than a minute of the beginning of the recording and the second reel of the two BW reels, which contains the second half of STC and IO, is of lessor SQ than the first reel.
Marbal's 3rd gen cassette has been transferred before by other collectors and it seems from our experience that due to the limitations of the equipment used, they were not able to bring out the best in the recording. I find Marbal's tape more dynamic and notably less worn than Bernard's and this is evident in the raw version. Unlike the BW branch, it is also complete, containing 73s more audience/tuning at the beginning and no SQ degradation on STC and IO. Marbal's tape is a welcome improvement to a very important audience recording (it's easy to overlook that this is the last known live recording of Syd's Floyd). In my view the only way in which Marbal's tape will be improved upon is if one of the second gen reel sources were to surface.
I recommend headphones to help bring out the acoustics of the hall, which amazingly, can be heard on this version. As a friend who used to regularly go to UFO told me, listen to this concert loud and you'll get an accurate impression of how the band sounded live at their peak.
***Littlepieces' Mastering Notes for - Marbal's Rotterdam '67 Tape - Raw version***
Marbal's cassette is a mono recording that was dubbed as two channel stereo. Due to the previous transfers with less than perfect head alignment, it has a phase shift that varies from ~6-15 samples. The output of each channel was similar until the last track, Interstellar Overdrive, when the right channel dropped ~1.2dB. Through some of the recording it seemed that the left channel had a bit more high end. After testing each channel by itself and with the channels manually aligned, I decided to retain both channels and manually align them through to just prior to IO and retained only the left channel from that point until the end of the recording.
This recording was marked as Dolby encoded but we transferred it without Dolby. Transferring a Dolby encoded recording without decoding the Dolby on playback is done often when playing the tape back on a different deck than that which it was encoded. The differences in decks often results in the decoding profile varying from the original encoding creating a poor result. Though this recording did not have its Dolby decoded, the expected boost in the higher frequencies are not near as apparent as usual.
Thankfully, the speed of the recording was close enough, so I decided to not subject it to a resample.
Since the recording was not subjected to a resample and manually aligning the channels and using only one channel on a portion are the equivalent of an edit, no DSP-digital signal processing was used in this 'Raw' version.
***Littlepieces' Mastering Notes for - Marbal's Rotterdam '67 Tape - LPP version***
To accompany the 'Raw' version I have produced a LPP version in an attempt to provide a copy with less interference from artifacts and more detail which should make for a clearer recording.
No EQ increase was applied to the low end. The EQ increases I used were applied to only the upper half which as we all know is rather subdued and distant in this recording. Fortunately the quality of this source and transfer allowed me to use what I consider an aggressive increase in the upper half ending at ~8kHz. The EQ curve was adjusted at times throughout the recording.
Sprinkled throughout all sources for this recording are over-driven low frequencies mostly around 170Hz. I selectively moderated the segments where they were more substained. This helped the remaining content be more apparent in the mix.
I utilized and varied moderate noise reduction settings working entirely above 8kHz and only slightly lower on audience and a few quieter sections while being diligent not to encroach on the harmonics. I suppose I could have worked the entire spectrum and squeezed most of this hiss out, but I generally don't like what this does to the nature of the sound. In this recording for example, I can really sense the accoustics of the small hall they are playing in and if a more aggressive NR approach is taken, then this characteristic disappears.
There were many micro drop outs, mostly ~20ms, that I either removed a short piece of damage or was able to use the other channel to repair the damaged segment. There are one or two segments that I chose to leave alone where the volume slowly fades down and back up for a couple seconds.
I selectively reduced some low frequency hums during the audience/tuning segments. These seem to be present and prominent in all unprocessed sources. Also removed several tics and pops using the spectral tool.
After working on this for many hours, there is no question that this show is in my top 10 Floyd live recordings. I love the version of 'Pow R Toc H' and the early version of STC has a different vibe than later versions and of course the unique version of IO is great as well. One of the things I appreciate about this source is the stronger lower half.
Marbal Tape / Neonknight Transfer / Little Pieces Production (LPP) September 2012
******************************************************************************************
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0 FLAC
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| 25. |
??/??/67 |
The Complete Top Gear Sessions 1967-1969 - London,
UK |
A- | BBC FM Reel | |
0 FLAC
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| 26. |
??/??/67 |
The Complete Top Gear Sessions 1967-1969 - London,
UK |
A- | BBC FM | [SHN >FLAC (Level 8) Via xACT 2.47 By OldNeumanntapr. ST5 Checksums Included]
(BBC Archives Rev A)
Text File Notes:
Back when this title was orginally released, Marc-Olivier did an exhaustive
comparison between it and the RoIO known as "At Dawn v4.00". He found
neither entity to be superior to the other. Each one had its strong points
in different areas and he suggested an amalgamation of the two.
A little later, we also learned that the speed used for Scream Thy Last
Scream and Vegetable Man were incorrect.
Another flaw existed with the 1967 sessions. These were originally mono
broadcasts. But due to "old age" of the tapes, the original BBC6769
Harvested release had some channel balance problems.
All this, and more, has been fixed on the 'rev A' release. Here's a
track-by-track breakdown...
Track 01 - Flaming
Our original release was a little hissy. The "At Dawn" version had been
equalized to eliminate the hiss, but this was overdone and resulted in a
"bassy" track. I've reequalized our original track. The rev A version is
not hissy and not bassy either. The balance has been recentered to mono
too.
Track 02 - Scarecrow
The balance has been recentered to mono.
Track 03 - Matilda Mother
The "At Dawn" version was slightly clearer than our original. This rev A
release uses the "At Dawn" version with the balance recentered to mono.
Ron also reFrankentooned the first note. In addition, the tray artwork has
been updated to give the correct spelling of 'Matilda'.
Track 04 - The Gnome
Again, the "At Dawn" version is used here as it had slightly better SQ. We
used our version to restore the start of the song that was missing on "At
Dawn". The balance was recentered to mono.
Track 05 - Pow R Toc H
The balance was recentered to mono.
Track 06 - Vegetable Man
The "At Dawn" version is used here. And the balance was recentered. But
that's not all...This is the biggest change on this release. The speed has
been significantly slowed down.
The recent Omnibus special on Syd Barrett and the Pink Floyd included some
snippets of Vegetable Man. The RoIO used for this BBC show came direct
from the BBC Archives. As such, we feel we may have found a valid speed
reference. The speed of Vegetable Man on our rev A release matches that
used in the Omnibus special. This is a lot slower than you're probably
used to hearing for this song. But, it is very nice and natural. Enjoy!
Track 07 - Scream Thy Last Scream
A balance recentered, speed corrected version sourced from "At Dawn" is
used here.
Track 08 - Jugband Blues
A balance recentered "At Dawn" version is used here.
Track 09 - Let There Be More Light
Our original unchanged.
Track 10 - Murderistic Women
Our original unchanged.
Track 11 - Julia Dream
"At Dawn" version used. Pop at 1:09 fixed.
Track 12 - Massed Gadgets of Hercules
"At Dawn" version used. Pop at 0:24 fixed.
Track 13 - Point Me at the Sky
Our original version with the original patch job at the beginning
rebalanced to have a more natural transition. Glitch at 2:36 fixed.
Track 14 - Embryo
Our original unchanged.
Track 15 - Baby Blue Shuffle in D Major
Our original unchanged.
Track 16 - Interstellar Overdrive
Our original unchanged.
Track 17 - Daybreak
Our original unchanged.
Track 18 - Nightmare
To conform with the Man and the Journey theme of this performace. The
title 'Cymbaline' has been changed to 'Nightmare' in the revised artwork.
The song is our original unchanged.
Tracks 19/20 The Beginning / Beset By Creature of the Deep
Our originals unchanged.
Track 21 - The Narrow Way
Our original unchanged.
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0 FLAC
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| 27. |
05/06/68 |
Palazzo Dello Sport - Rome,
Italy |
A+ | FM Re Broadcast >DAT >CDR >FLAC | 1st International Pop Festival. Povey & Russell List This As 5/5/68 Rome Italy. |
1 FLAC
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|
| 28. |
05/06/68 |
Palazzo Dello Sport - Rome,
Italy |
A+ | FM Re-Broadcast 'Old Symphonies' Bootleg CD | 1st International Pop Festival. Povey & Russell List This As 5/5/68 Rome Italy.
(Also Contains Paris Cinema 7/16/70 John Peel BBC FM) |
0 FLAC
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|
| 29. |
05/23/68 |
Paradiso (Early Show) - Amsterdam,
Netherlands |
B- | Audience 1st Gen >DAT (3) >CDR >EAC >FLAC | (Early Show)
Listenable, But Vocals Warbled |
0 FLAC
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|
| 30. |
05/23/68 |
Paradiso (Late Show) - Amsterdam,
Netherlands |
B- | Audience 1st Gen >DAT (3) >CDR >EAC >FLAC | (Late Show)
Listenable, But Vocals Warbled |
0 FLAC
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|
| 31. |
05/31/68 |
Paradiso - Amsterdam,
The Netherlands |
B | Audience | Early Show Only. Vocals Can Be Heard Clearly |
0 FLAC
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|
| 32. |
06/25/68 |
BBC 201 Piccadilly Studios - London,
UK |
A- | FM Broadcast >Bootleg LP; 'Rhapsody In Pink, The Psychedelic Years, The Incredible BBC Sessions' | 25 min; (Bootleg LP >CDR) Via HHb CDR 800.
CD Master >FLAC (Level 8) Via xACT 2.27 |
1 FLAC
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|
| 33. |
06/25/68 |
BBC 201 Piccadilly Studios - London,
UK |
A+ | Soundboard Reel / Pre FM?->?->Bootleg CD 'Celestial Voices'->Silvers > EAC > SHN> WAV (CEP2.1 deglitching) > TLH (SBEs fixed) > SHN (MKW)> FLAC->CDR >FLAC | Part Of 'Celestial Voices' Bootleg CD |
0 FLAC
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|
| 34. |
07/27/68 |
Shrine Expo Hall - Los Angeles,
CA |
B+ | Audience | Two Songs:
Interstellar Overdive
A Saucerful Of Secrets
Jeff Beck Group Supporting Pink Floyd |
0 FLAC
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|
| 35. |
12/02/68 |
Maida Vale Studios - London,
UK |
A- | FM Broadcast->Bootleg LP; 'Rhapsody In Pink, The Psychedelic Years, The Incredible BBC Sessions' | 20 min; (Bootleg LP >CDR Via HHb CDR 800. CD Master >FLAC (Level 8) Via xACT 2.27) |
1 FLAC
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|
| 36. |
12/28/68 |
Jaarbeurs-Margriethal - Utrecht,
Netherlands |
B | Audience | Listenable But Narrow Frequency Response. No Distortion, But Vocals Faint. |
0 FLAC
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|
| 37. |
04/14/69 |
Royal Festival Hall - London,
UK |
B | Unknown Audience | This contains the premiere of the Pink Floyd project "The Man and The Journey". |
0 FLAC
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|
| 38. |
05/09/69 |
University Of Southampton - Hempshire,
England |
A- | Audience; Master Reel >Reel 1 >DAT (48khz) >WAV >SHN (48khz) | De-Clicked / Channel Balanced
Wave Corrector >Indexed And Down Sampled Nero Wave Editor (16bit/44.1khz) >FLAC (Level 6) TLH |
0 FLAC
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|
| 39. |
05/12/69 |
Paris Cinema - London,
England |
A+ | Soundboard Reel / Pre FM?->?->Bootleg CD 'Celestial Voices'->Silvers > EAC > SHN> WAV (CEP2.1 deglitching) > TLH (SBEs fixed) > SHN (MKW)> FLAC->CDR >FLAC | Part Of 'Celestial Voices' Bootleg CD |
0 FLAC
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|
| 40. |
05/12/69 |
Paris Cinema - London,
England |
A+ | BBC FM Reel | 'London High Time' Bootleg CD |
0 FLAC
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|
| 41. |
08/08/69 |
Plumpton Race Track - East Sussex,
UK |
B+ | Bootleg LP 'Lost In The Corridors' (The Journey) | 24 min; (Bootleg LP >CDR Via HHb CDR 800 >CD Master >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
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|
| 42. |
08/08/69 |
Plumpton Race Track - East Sussex,
UK |
A- | 4th Gen Analog Cassette >CDR >EAC >WAV >TLH >FLAC | |
0 FLAC
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|
| 43. |
08/08/69 |
Plumpton Race Track - East Sussex,
UK |
A- | Audience | This is the complete show, reconstituted from the three best available sources:
- Tracks 01-07: low gen of recorder 1 shared by NeonKnight and LittlePieces; mono tracks converted to stereo.
- Tracks 08-11: "Race Track", 3rd gen of an unknown recorder shared by FloydWeeds.
- Track 12: "Plumpton Racecourse", a frankenshow shared by Goldenband; this track is from an unknown gen of recorder 2.
There is also a few seconds bridge from "Reeling in Pink Floyd CD sources" (recorder 2) between Tracks 07 and 08,
in order to have a clean transition between the two sources. Nothing else was changed from the original files. |
0 FLAC
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|
| 44. |
08/09/69 |
Paradiso - Amsterdam,
Netherlands |
A+ | Soundboard Reel / Pre FM?->?->Bootleg CD 'Celestial Voices'->Silvers > EAC > SHN> WAV (CEP2.1 deglitching) > TLH (SBEs fixed) > SHN (MKW)> FLAC->CDR >FLAC | [Trade CD >FLAC (Level 8) Via xACT 2.37]
Part Of 'Celestial Voices' Bootleg CD
"Hilversum 3 Radio were recording this show for a future broadcast, but after a microphone failure early in the show the band were forced to perform an instrumental set and as a result the show was never broadcast.'*
*Pink Floyd: In the flesh, the complete performance history, by Povey & Russell
(Disc includes 5/12/69 BBC Paris Cinema & 6/25/68 BBC Piccadilly Studios, London) |
1 FLAC
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|
| 45. |
09/17/69 |
Concertgebouw - Amsterdam,
Netherlands |
A+ | (Soundboard Pre-FM Broadcast Reel) >Bootleg CD >CDR Recorded by Hilversoum 3 Radio
| ("The Man And The Journey")
'The End Of The Beginning' 2001 Swedish Bootleg CD
[Boot CD >FLAC (Level 8) Via xACT 2.37
|
1 FLAC
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|
| 46. |
09/17/69 |
Concertgebouw - Amsterdam,
Netherlands |
A+ | Soundboard Reel/Pre FM; Hilversum 3 Radio | Liberated Bootleg 'The Complete Concertgebouw', (Free Range Pigs) |
0 FLAC
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|
| 47. |
12/06/69 |
AFAN Lido Indoor Sports Centre - Port Talbot,
Wales |
B+ | Audience; Cassette Master >Maxell UD-XLII (Unk Gen) >Nakamichi 700 > Cakewalk UA-1G > Audacity 1.3 > Wav (24bit/96kHz) > Samplitude10 (32bit float/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC | ***Lord Snooty's Notes***
This tape originates from NJ whose name I had seen in old copies of 'Terrapin' so I asked the late Bernard White for his address. I contacted him in the early 90's and he sent me this tape which was the only part of his master remaining. I subsequently made a DAT copy of a cassette that was 'doing the rounds' labelled Aberavon. This additionally included STC and was from the same source, this was of unknown gen, but was given to me to transfer as a 2nd gen copy, although I have no evidence of this. I seem to recall that yyz a member of this forum was involved in lending this 2nd gen tape to a mutual friend so he may have some additional info. There is a 3rd tape of lesser quality which appeared briefly some years ago with a bit more content and also a small snippet of ASOS on 8mm film.
***Littlepieces' Mastering Notes***
This is a mono recording that was processed as two channel stereo. The left channels output is generally 1.6db higher than the right and the recording has a small phase shift of about 4 samples most of the time. The level of the first 70s is lower than the rest of the recording and the entire recording is running a bit fast.
I manually aligned the channels to correct the phase shift, increased the gain of the right channel 1.6db, adjusted the speed, and removed a few noises. Other than the 1.6db gain increase in the right channel, the gain of the first 70s was not increased in order to match the level of the rest of the recording. The magnitude of the increase would have required the reduction of a significant hiss increase in order for it to be mostly transparent and that sort of process is not appropriate for a release of this nature. It's interesting to note that on the first 50s of the common 2nd gen, the left channel is almost completely dropped out.
Of course, like all versions of this recording, it has some overmodulation/distortion during the higher output segments, but it is a definite improvement on the common 2nd gen, clearer and with less hiss. Unfortunately, as noted, this transfer is missing STC.
The correct order for the concert is: Astronomy Domine, Green Is The Colour, Careful With That Axe, Eugene, Interstellar Overdrive, Set The Controls For The Heart Of The Sun, A Saucerful Of Secrets.
01. [03:06] Green Is The Colour
02. [09:16] Careful With That Axe, Eugene
03. [12:33] Interstellar Overdrive
** [24:56] Total
Lord Snooty Tape Transfer/ Little Pieces Production (LPP) / Arrangements by Neonknight (April 2010)
**************** |
0 FLAC
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| 48. |
12/06/69 |
AFAN Lido Indoor Sports Centre - Port Talbot,
Wales |
B++ | Audience; Cass (2) >DAT (3) >CDR (1) | A Little Less Distortion And A Little Clearer Than The Other Circulationg Source. Plus, One Extra Song.
01. Interstellar Overdrive [12:34] - cut
02. Green Is The Colour [3:03]
03. Careful With That Axe Eugene [9:18]
04. Set The Controls [12:18] |
0 FLAC
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|
| 49. |
12/??/69 |
The Complete Zabriskie Point Sessions - Rome,
Italy |
A+ | Studio Reel (Outtakes) | Missing Two Songs, Track 12 And Track 15 |
0 FLAC
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|
| 50. |
??/??/69 |
BBC Sessions 1967-1969 - London,
England |
A | Soundboard Reel | BBC Archives 1967-1969 (HRV CDR 008) RevB
40th Anniversary Edition |
2 CDR
|
|
| 51. |
??/??/69 |
'A Total Zabriskie Point Of View' - Unknown,
Compilation |
A | Studio Reel Outtakes; (The Godfatherecords - G.R. 885/886)
"A Total Zabriskie Point Of View" > EAC > FLAC | *****************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*****************************************************************
Comments:
Godfathers latest Pink Floyd release documents the band's work in late 1969 on Filmmaker Michelangelo Antonioni's film Zabriskie Point, He was of course best know for his cult hit Blow
Up and serious music fans know of this for one main reason, it has footage of the Yardbirds with both Jeff Beck and Jimmy Page.
He hired the band based upon their latest record, Ummagumma and its live version of 'Careful With That Axe, Eugene'.
While they recorded enough music for the movie, Antonioni decided to use just three songs from the Floyd on the soundtrack and flushed it out with other artist such as Jerry Garcia and The Kaleidoscope among others.
Slowly the unused material started leaking out and there are numerous releases containing this material, earliest on vinyl as Omayyad (TMOQ 71040 PF 515 ñ 1830) and compact disc as The Complete Zabriskie Point Sessions (East Records), A Journey Through Time And Space (HC-012-1/2) and most recently as A Total Zabriskie Point Of View (Last Scream Zabriskie ñ 69A/B) released in 2011.
The latter release was considered to be the most complete document of this material, this new release from Godfather is most similar to that release and while there is nothing new to be found on this new release, the track listing is consistent for both titles save for Disc 1 has the two 'Country Song Theme's' before 'Take Off' and disc times vary only a few seconds and after repeated listenings I did find the sound quality on both to be similar throughout.
What Godfather does however, is what should have been done with that release in the first place; give collectors a plethora of liner notes documenting the sources used to make up this collection.
I for one am a collector who likes this information when it comes to studio material, the more the better.
The material is quite interesting, the many takes of 'Country Song' are great, I love Dave's vocals, the full mix version on CD2 is my favorite.
The Blues takes of 'The Love Theme' on the same disc shows the band stretching out on the blues, something that was common place for the band in their live performance.
'The Love Theme' on disc 2 titled 'Oenone' Full mix sounds similar to 'Set The Controls' and has a sex interlude mimed by Dave And Roger with hilarious results, perhaps the most interesting outtake of them all.
It was well documented that the band spent a considerable amount of time drinking prior to these sessions and this is a wonderful example of it! Thankfully we have an excellent review on this sight from Gerard Sparaco, one that I read many times while listening to the Last Scream title.
The sound quality is excellent throughout and the 12 page booklet gives an explanation of each track and its source as well as a collage of pictures from the movie itself.
The tri-gatefold sleeve has accurate liner notes giving detailed synopses of the events surrounding The Floyd's involvement with the picture.
All in all a very nice set from The Don that is certainly recommended for collectors who do not have this material in their collection, or ones who relish in the attention to detail that a Godfather release is know for.
Studio 1969-1970
|
FLAC
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|
| 52. |
01/18/70 |
Fairfield Hall - Croydon,
UK |
A- | Audience; 'Leaders Of The Underground' (Eat A Peach) | Review:
After the arrival of David Gilmour and the departure of Syd Barrett, the Pink Floyd were forced to begin a musical transformation. Barrett was their chief song writer and front man, much of these duties would to Roger Waters and Richard Wright, subsequent singles from this time period shows a lack of direction from earlier songs that topped the British music charts. The band moved away from singles and towards more LP oriented themes, they also were much in demand as a live act, gone was the psychedelic freak outs and the band moved into college circuits where like minded students would intently listen to this new music. 1969 and 1970 were pivotal years for the band, they found that concept based themes could be personally rewarding and quite popular, The Man and The Journey concept concerts were well received. Their work on film soundtracks like Zabriskie Point and More would also provide a sort of testing ground to venture into other areas outside an official record and coupled with such albums as A Saucerful Of Secrets and Ummagumma, made for a very prolific period.
Not wanting to stick with concept performances the band were beginning to experiment with their live set and in early 1970 the band would play some of the most adventurous sets of songs, taking existing crowd favorites and expanding with newer music. This was short lived as the band would soon focus on a collection of songs that would form the basis for their sets for the next two years, it was this set of songs and consistent touring where themes and ideas would evolve into some of the greatest music the band would record. There are three very important recordings in circulation, Feb 11 Birmingham (Atomic Heartbeat In The Hall ñ Godfatherecords 786/787), Paris Jan 23 (Household Objects In Paris ñ Godfatherecords GR 897/868, The Man In Paris ñ Sigma 89) and Croydon Jan 18, the subject of this new release. The recording from Croydon is good, it has circulated for years in trading circles, the master tape has never circulated and the best that does are a couple generations from that tape. Apparently the taper would set up a stall at a record fair and sell copies of his recordings on cheap media, so the sound is not as good as it could be. As stated the sound is good, there is tape hiss present as well as some distortion in loud parts and while the instruments and vocals can be heard the recording lacks clarity. It is also sadly incomplete as to conserve tape the taper would pause the machine to save tape. For years the sequence was the subject of much debate with only news paper reviews to give some clues, finally a person who attended the concert wrote down the set lists at that time and confirmed the sequence of songs on this release are correct, only thing missing is the encore of Interstellar Overdrive!
The first disc begins with Careful With That Axe, Eugene, for a first song it is clear and well defined, clocking in at about 11 minutes it is a focused and excellent version of the song, not as intense as latter versions but certainly an important song in the bands repertoire. Embyro is still in its infancy, it is similar to the recording from the BBC December 1968, you can hear the band incorporating the more bluesy feel into it, something that would be fully in place less than a month later in Birmingham, Dave plays quite a bit of slide guitar during the song. The middle section features the band playing around with different melodies and themes as if simply seeing what works or is interesting. Main Theme From More is great live, it just kind of bobs along, the middle section features some interesting growls or grunts from Roger and you can hear some almost Embryo type jamming in the middle. What is apparent is how well played the song is giving it was very short lived in the band live set. Biding My Time aka Afternoon was part of the suite known as The Man from 1969's concept concerts and is always an interesting song live. It sounds as if it could be played anywhere from London to New Orleans, Richard Wright would play trombone giving a jazzy feel but soon afterwards Gilmour plays a wonderful blues inspired solo as the song starts to really cook. More than likely A Saucerful Of Secrets is the final song from the first set, clocking in at 17 minutes it is a typically wonderful and mysterious version, the Celestial Voices ending seems to be too much for the recording device as it gets a bit distorted yet adds to the corrosive nature of the song.
The second disc and set begins with The Violent Sequence, it starts with a sort of Heartbeat Pigmeat meets Sysyphus which morphs into a sort of avant garde jazz variation of the percussive beat of the song before moving into the Richard Wright piano which would become Us And Them two years later. This is a very adventurous and at times meandering piece of music, given the rarity of the piece and the fact that the band would ultimately reject it for the stage make for a unique listening experience. A nice long Set The Controls For The Heart Of The Sun and Astronomy Domine follows, both typical for the era and its obvious that both are audience favorites with the former really starting to reach for the cosmos, gentle yet deliberate. The last thing that makes this tape absolutely essential for Floyd enthusiasts is the last song, the first known recording of what would later be titled as Atom Heart Mother. It is believed that the previous night's concert in Hull, England was its live debut, yet there is no recording from that performance. The framework of the song is here, it lacks a more focused structure and lacks some of the dynamics that would continue to evolve over the next couple months, one of the more interesting things is Nick Mason's drum solo section. The recording cuts at its conclusion and the last three minutes is a repeat from the beginning section done as part of a Yeeshkull project restoration of this concert, done so well if you did not know it was there, you never would've known.
The packaging is typical Eat A Peach, mini LP sleeve with a collage of live shots from the period. The inner CD sleeves have live and posed shots, the one of Waters seated at a table with a couple of cats glancing out a window in nice, and have the song titles for each cd listed. There is an insert with liner notes from The Lazy Goalkeeper that is well written, simply another well sought out release. As with their The Man And The Journey set, it is obvious Eat A Peach is committed to releasing well thought out and relevant Pink Floyd material, material that deserves such lovingly assembled sets such as this. Oh yeah, the title of this comes from Roy Shipston's review of this concert in Disc magazine, 'Pink Floyd Leaders of the underground'. |
FLAC
|
|
| 53. |
01/23/70 |
Theatre des Champs-Elysees - Paris,
France |
B+ | Audience; Philips EL-3302 w/Extermal Microphone (Master Cassette) | (Some Hiss Due To Low Levels But No Distortion. Minor Mic Handling Noise, Noticeable On Track One. Very Listenable Considering The Recorder Used Was One Of The First Of The Phillips Cassette Recorders.)
->Nakamichi DR-1 (azimuth adj.)->Thomson/Hama Scenium KD4112 cable->Roland Edirol R-09HR
->WAV 96000Hz 24bits->Adobe Audition:
* Right Channel: +4dB
* Manual clicks removal
* Hiss Reduction (different on left and right channels)
* Volume (left: +9dB, right: +10dB)
* Conversion to 44100Hz 16bits
->split to CD WAV->FLAC->MP3Tag |
0 FLAC
|
|
| 54. |
01/23/70 |
Theatre des Champs-Elysees - Paris,
France |
B | Mixture Of Audience And Radio Broadcast | CD (portable master): 16bit/44.1kHz stereo* FLAC (24/96 master > 24/44.1 > 16/44.1)
* The mono program is presented as dual mono in the stereo format. This is to avoid it playing only through the center channel of a 5.1 home theater system or a single channel of a stereo system. This does not increase the file size with FLAC compression.
********** Sources **********
*** Lineage ***
Audience > Philips EL-3302 > Master Cassette > Nakamichi DR-1 (azimuth adj.) > Thomson/Hama Scenium KD4112 cable (unbalanced) > Roland Edirol R-09HR > 24/96 WAV
Used in all tracks. 100% of content presented.
Broadcast mix:
FM radio broadcast 'source 1'
Low Gen Cassette (TDK SA90) > Nakamichi 581 > Edirol UA-1EX > Audacity 1.3 > Wav (24bit/96kHz) ----> Samplitude10 (32bit/96kHz) > Wav (24bit/96kHz) > CDWave (1.98) > FLAC
Used in tracks 1,2,4,11,12,14,16 for mostly vocal reinforcement (plus trombone, vibes, and a few drum hits and other nuance).
AM radio broadcast 'source 2'
R2R > mic in front of R2R speakers > cass[?] > CDR(?) > FLAC
Used in tracks 8 & 15 for mostly vocal reenforcement.
Re-broadcast on Tout Peut Arriver, Europe 1 Radio on 1 May 1982
1st gen cassette (BASF Ferro Extra normal position) > Technics RS-B965-M > Focusrite Saffire Pro 14 > 24bit/96kHz WAV (Audacity 1.3) > FLAC
Used in track 2 to reinforce a few kick drum and tom hits.
Re-broadcast by French radio station Europa 1 on FM 30 April 1995
Cass(1) > CDR(low) > 16/44.1 WAV(EAC) > FLAC
Used in tracks 13,16
Mastering with ProToolsHD v9 at 24 bit 96kHz
*** Broadcast mix ***
Paris radio recorded a mono broadcast mix. This was broadcast in edited form at least twice and then just a song or two and with interviews at least twice. The different broadcasts are each uniquely incomplete and the remaining copies of the 1st 3 are extreme low fidelity.
This mix was heavily compressed (as is common with radio broadcasts). This had a serendipitous effect of preserving a surprising level of nuance during some of the quietest sections. There is fairly heavy delay effect during some parts. This may have been added in post production but it's possible that they had an fx feed that they simply mixed too heavy in the broadcast mix and which was further exaggerated by the compression. This element of the mix is very crudely executed and does not follow the live mix. Hard to tell if it's an echo applied to the entire mix or just the drum/instrument bleed in the vocal mics. You do hear drum bleed getting treated with vocal echo at times during this or any Pink Floyd show but this goes far beyond that to the point that it significantly alters the music.
Broadcast mixes of this era were often made by a radio station engineer mixing the individual inputs from the stage on their own console. Often from a 2nd set of mics (which you can see in many videos from the era) as equipment of that era was not easy to interconnect and make multiple mixes with. Since the mix made for the room can often omit sounds that were plenty loud in the room just coming off the stage, the broadcasters new this and made their own mix in order to better capture the event. The down side is that for bands like the Pink Floyd who had very accomplished mix engineers, the broadcast mix does not reflect the house engineer's work. Further, bands who had high standards for sound employed musicians as mix engineers where most radio engineers were not as accomplished and as such made very crude mixes. One of these explanations would be the reason for the unmusically awkward delay fx that are hot in the broadcast mix.
*** Audience ***
Recorded by Gerard on a portable mono recorder. He was able to successfully capture all the music except the first notes of GITC, AD, & MTFM and two roughly 30 second breaks for tape changes in ASOS and TAP. He paused between songs whenever possible to conserve tape.
This recording sounds like it comes from more or less the center of the room. The stage sound is distant but still fairly well defined. You do not hear any evidence of close proximity to any of the surround speakers which further suggests a centralized location.
This recording suffers from the difficulty of recording a very dynamic performance with very loud and very quiet sections with portable equipment nowhere near up to the task. As such, a great deal of the sound is weak and buried in the noise floor of the recording. This hiss is further exaggerated after the record level was turned down on the master during BMT (no doubt because the loudest peaks were hitting the red). There are also noises from the microphone being bumped and the chair creaking throughout the show but especially during the quiet opening number. Some of these are so severe as to sound like your house crashing down around you when you bring the music level into balance.
*** etc ***
If you study the audience recording you can tell in spots where mix elements were sent to the surrounds vs. the mains either from proximity cues and/or altered room echo. But just barely as the taper really appears centered in the venue. For all intents and purposes, all the surround mixing from this show is lost.
The audience recording is far superior to the remaining original broadcast captures in both fidelity and balance. The 1995 re-broadcast contains elements that are captured in much higher fidelity than the audience recording but the audience recording is much better balanced due to the gross alterations of the broadcast mix.
********** Mastering notes **********
The goal was to restore this show as completely as possible from what remains and leave no reason to listen to the raw recordings for any missing content (which was always a difficult exercise with these sources in raw form). We have the complete show (minus a few missing moments) from the audience with a substantial level of dynamics and detail preserved but clearly distant. We have the 1995 re-broadcast of two songs that tease you with surprising sound quality and nuance but which are also wildly altered dynamically, contain no ambience, and are littered with echo effect artifacts at times. The original broadcast, between the original broadcast quality and the subsequent recording and copying of it is all but destroyed. The high frequencies have been truncated to the point where there are almost no cymbals left in the mix. However, even with this level of destruction, some elements of the sound were so strong in the signal (like vocals, due to them coming from the stage microphones and running directly down the wire) that they still remain. There are elements of the sound preserved this way that were too distant and weak to capture by the audience recorder. With the quietest parts preserved by the broadcast mix I was able to bring some of the poorest preserved moments of the audience recording of the show up to the quality level of some of the better preserved moments.
The mono audience recording was transferred with a stereo cassette deck. The left channel capture is superior to the right. Only the left channel was used as the right adds nothing but increased noise and causes phase issues.
All speed correction work was done with the Serato Pitch 'n Time plugin.
I removed a substantial amount of tape hiss with the iZotope RX2 denoiser plugin. For historical recordings such as this, my goal with noise reduction is to do no harm to the remaining content as opposed to achieving commercial standards for noise reduction. As such, a lot of tape hiss remains in this recording. The level of noise reduction varies with the content with what I could get away with.
Well over 100 mic noises and chair creaks were removed with the iZotope spectral repair plugin. There are a number of tape dropouts (and dropout like artifacts from transfer issues with the old tape - the tape would snag and drift across the play head) that were repaired as well as possible with a combination of using content from the right channel, using nearby content to reconstruct (a couple milliseconds for this kind of thing or less), or severe level boost along with severe noise reduction to balance it with the surrounding content. Where seamless repair was not possible, flaws were kept as opposed to replacing original content with large edits with only fidelity in mind. No alterations to the original performance were made for any reason.
The high frequency attenuation due to the recording quality was corrected as much as possible without increasing the overall level of hiss in the recording. I avoided EQ artifacts with parallel processing by cutting all but the range I wanted to boost with the Waves linear phase EQ and folding this copy back into the original. The recording was extremely saturated at 175Hz and weak at 4.5kHz. I used the UA Precision Multiband to dynamically correct this.
The poorer original broadcast material mostly only offered vocal help. The two songs included in the 1995 re-broadcast were only used sparingly in The Main Feature to strengthen the weak moments of the audience capture without eclipsing the rest of the show with superior fidelity. The awkward delay artifacts (especially in the drum transients) were removed with the iZotope spectral repair plugin as well as possible. The radio whistle artifacts in source 2 were removed with iZotope as well. I synced the remains of the broadcast mix to the audience recording using the Serato Pitch 'n Time plugin. Sync points ranged from 5 to 15 second sections as needed for the variations between analog sources. Useful elements of the broadcast mix were isolated to support the audience recording without adding any noise or artifacts. Restoration and isolation with volume automation and UA Precision Mastering EQ. Noise reduction was used to remove some tape hiss. All 3 sources of the broadcast mix were transferred to a stereo cassette deck in their lineage. The left channel capture is superior to the right for all 3. Only the left channel was used as the right adds nothing but increased noise and causes phase issues. The source 2 broadcast mix transfer was upsampled to 96k.
The missing section in the audience recording of ASOS was complete in the broadcast mix. Elements of the sound that are not present in the broadcast mix were reconstructed under it from nearby parts of the audience recording to restore a more consistent fidelity. The missing section in the audience recording of TAP and the missing opening notes from GITC and MTFM are absent from the broadcast mix (they were in a parts that were edited out of all broadcasts). The arrangements were restored by recycling nearby parts. While not technically authentic, it is far less distracting and closer to authentic sounding than the sound cutting in and out arbitrarily. I recycled less than a second of the keyboard opening of AD for the same reason. The last 5 seconds of TAP are only the 1995 re-broadcast.
********** Welcome to the VIP section **********
The two songs included in the 1995 re-broadcast allowed for a higher level of restoration. These two songs are duplicated, mastered to the highest quality possible, so you get "VIP seating" for these two tracks and a taste of what could be if someone were to discover the master of the broadcast mix.
********** VIP mastering notes **********
The high hat during the choir section of TAP (almost inaudible in the audience recording) has been recreated from nearby content for the choir section missing from the broadcast mix. The missing main theme section from the 1995 re-broadcast mix before the drum solo has been reinforced by the slight amount possible from the original broadcast as well as reconstructed under that from nearby parts of the 1995 re-broadcast to restore a more consistent fidelity. This to preserve the original performance as opposed to repeating the entire section from a different part of the arrangement. The drum solo was edited shorter in the original broadcast and edited out entirely in the re-broadcast. There was just a little low mid content in a few of the tom hits in the part of the drum solo broadcast on AM that was useful. This helped ever so slightly but the drum solo is still noticeably further away.
********** Philippe's original notes **********
This recording comes from a 40 years old master tape and has never been circulated before. It must have a few glitches from times to times, but it's a miracle that it was not completely gone after all this time. In particular the song Cymbaline has some gaps, but luckily I've been able to play it completely after many attempts since the deck was often stopping the tape during that part. Sadly the very end of The Amazing Pudding is cut because of another concert that was overtaped.
Big thanks to Gerard for digging out his tapes collection, and coming home with some of them, and of course for taping this show at the time!
A soundboard recording also exists, as the show was recorded for French radio Europe 1's Musicorama program. Many recordings based on various FM broadcasts are in circulation, however this is the first time a complete audience tape surfaces and gives us the complete and correct running order of all the songs.
Pink Floyd also played the same venue the day after, 24 January, but no recording of this second performance is to be known. The taper did not attend the second show since he attended (and recorded) The Nice at L'Olympia, Paris, that night. Sadly the very beginning of The Nice recording was taped over the very end of 'The Amazing Pudding'. Some parts between the songs may also be missing, since the recorder was stopped to save the tape.
This audience recording was initially shared in March 2013 only in portable format quality (reduced to 16 bit 44.1k).
Jimfisheye, August 2013 |
0 FLAC
|
|
| 55. |
02/11/70 |
Town Hall - Birmingham,
UK |
B | Audience | (A Little Rough, But Listenable. Rare Songs Played.)
DISC ONE
1. The Embryo
2. Main Theme from More
3. Careful With That Axe, Eugene
4. Sysyphus
DISC TWO
1. Project Birmingham, feat. variations of:
Heart Beat, Pig Meat
Quicksilver
Moonhead
The Violent Sequence (aka Us And Them)
2. Set The Controls For The Heart Of The Sun
3. The Amazing Pudding (aka Atom Heart Mother)
|
0 FLAC
|
|
| 56. |
02/11/70 |
Town Hall - Birmingham,
UK |
B+ | Audience 'Atomic Hearbeat In The Hall' bootleg | 'Atomic Heart Beat In The Hall' documents Pink Floyd's February 11th, 1970 show in Birmingham, England. The sound quality of the tape starts off quite rough and unpleasant, but quickly improves to be quite listenable and enjoyable. The entire show was pressed before on The Amazing Pudding (Highland HL 208/209) and the latter half of the show can be found as bonus tracks on Monopoly (1996 DYNAMO GULAG SUBOTNIK, MOSCOW).
There are several reasons why this show is important. It contains very early performances of both 'Atom Heart Mother' still called 'The Amazing Pudding' at this point and with a drum break, and 'The Embryo.' Second, there are several very rare live performances of 'Sysyphus' and 'The Main Theme (from More).'
The most interesting part is the twenty-five minute long piece that starts off the second disc. It starts off with 'Heart Beat Pig Meat' from the soundtrack to the film Zabriskie Point and leads into 'The Violent Sequence,' the precursor to 'Us & Them' on Dark Side Of The Moon. It's the longest performance of the piece and most interesting given the incorporated musical themes. Godfather utilize their gorgeous tri-fold cardboard gatefold sleeve with copious liner notes written by their Pink Floyd expert Alex The Gnome.
http://www.freewebstore.org/scooby-doo/2CD_PINK_FLOYD_ATOMIC_HEART_BEAT_IN_THE_HALL/p1351921_7758014.aspx
Rare songs performed live on a decent sounding audience tape. Once you get past the first few unlistenable minutes of the Embryo, it's pretty good from there on. Recommended for the freak only.
|
0 FLAC
|
|
| 57. |
02/28/70 |
Leeds University Union - Leeds, Yorkshire,
UK |
A | Audience Reel | (Audacity Shows Minor Clipping)
Trade CDs >FLAC (Level 8) Via xACT 2.37
('Six Of One' Bootleg) Quite Good Sound Quality For A 1970 AUD Recording. Very Minor Hiss, No Distortion Or Other Problems. |
2 FLAC
|
|
| 58. |
02/28/70 |
Leeds University Union - Leeds, Yorkshire,
UK |
A | Audience Reel Master >DAT >CDR >EAC >FLAC | No Clipping |
0 FLAC
|
|
| 59. |
03/12/70 |
Auditorium Maximum - Hamburg,
West Germany |
A- | Audience; Bootleg LP Tails In Pink [Rockwell and Good] (RG 5011) | Embryo / Interstellar Overdrive / The Amazing Pudding (Atom Heart Mother)
Vinyl LP (condition - Mint) > Technics SL-1200MK5 > SF10 > WAV > FLAC > 24bit/192khz
FLAC >WAV >Audacity (Down Sample To 16 Bit / 44.1khz, Track Split) >FLAC (Level 8) + Tags Via xACT 2.47 By OldNeumanntapr
01. Embryo
02. Interstellar Overdrive
03. Amazing Pudding*
* Early Working Title For Atom Heart Mother |
0 FLAC
|
|
| 60. |
03/13/70 |
Audimax der Technische U - W. Berlin,
West Germany |
A- | Audience; Master Cassette > CDR(x) > EAC > WAV > FLAC | |
0 FLAC
|
|
| 61. |
03/14/70 |
Meistersinger Halle - Nürnberg,
West Germany |
A- | Unknown Audience | CD Bootleg "The Massed Gadgets Of Hercules"
Some Tape Speed Fluctuations And Some Minor Distortion, But Clear Sound With Little Crowd Noise. Better Levels Than "Masters Of The Mystic Art" Though It Appears To Be Taken From The Same Source Recording. |
0 FLAC
|
|
| 62. |
03/15/70 |
Niedersachsenhalle - Hannover,
West Germany |
B+ | Audience Cassette | |
0 FLAC
|
|
| 63. |
03/20/70 |
Akademiska Foreningens, Stora Sal - Lund,
Sweden |
A | Audience | Clear Recording With Little Crowd And No Distortion Present. |
0 FLAC
|
|
| 64. |
04/11/70 |
Gymnasium, SUNY - Stony Brook,
NY |
A- | Unknown Audience | (Trade SHNs >FLAC (Level 8) Via xACT 2.37)
'Trademark Moo' Bootleg CD
Some minor talking at the beginning of Astronomy Dominé. I've had this recording on cassette for 25 years (apparently from the same master) but this source seems to be from a lower gen recording. |
1 FLAC
|
|
| 65. |
04/22/70 |
Capitol Theater - Port Chester,
NY |
A- | Audience, Sony TC-110 | Clear Sound |
0 FLAC
|
|
| 66. |
04/29/70 |
Fillmore West - San Francisco,
CA |
B+ | Bootleg LP 'Ohm Sweet Ohm'->CDR | |
1 CDR
|
|
| 67. |
04/29/70 |
Fillmore West - San Francisco,
CA |
A | KSAN Pre-FM Reel | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 68. |
04/29/70 |
KQED TV Studios - San Francisco,
CA |
A- | Bootleg LP 'Ohm Suite Ohm' >CDR Master | A Bit Of Surface Noise But Really Clear Sound. KQED TV Source, Morning Of 4/29/70 |
1 CDR
|
|
| 69. |
04/29/70 |
KQED TV Studios - San Francisco,
CA |
A | Studio Soundboard Reel >1st Gen VHS >DAT | Notes:
This was a live concert performance recorded before the evening show with no audience. It was filmed for future broadcast on the US PBS network.
Sounds better than other versions, IMO (no NR here). |
0 FLAC
|
|
| 70. |
04/30/70 |
KQED TV Studios - San Francisco,
CA |
A | Studio Soundboard Reel | Notes-
We decided to create a CD from the audio of our KQED DVD release because we felt that, after much research, an audio upgrade was warranted. We only recently revisited our original source after several FM (or VPro) recordings surfaced on Yeeshkul.
Some notes from MOB:
We had 2 sources to choose from: one source from a U-Matic TV station master, the other source from a mysterious FM broadcast. The FM source was said to be in stereo, but a quick analysis clearly shows there is absolutely no stereo separation on the instruments. Further analysis of the FM source reveals that the fake stereo effect is mainly due to multiple analog generations and fluctuations in the tape channels stretching. The fact is that the original recording was done in mono, and that there's no evidence of any true stereo mix of that performance. The FM source has also the typical alterations from FM processing (levelling and limiting), and is riddled with pops and crackles, not even mentioning a 1.7% deviation from the real speed.
On the other hand, the U-Matic source has the original mono recording with a very stable and correct speed, along with excellent spectral characteristics (as you could expect from a station master). A close comparison between the 2 sources shows some evidence of the "pureness" (in terms of sound fidelity) of the U-Matic tape compared with the multiple analog gens of the other source. It is not easy to describe it with words, let's just say that if you listen to the cymbals sound during some quiet parts, you hear "dziing" on the U-Matic source, while it's "tching" on the FM sourceÖ ;-)
Therefore, the remastering work was performed on the U-Matic source. It consisted in the following main activities: adjust the levels and EQ in order to bring clarity to the raw recording, get rid of the annoying low frequency hum that is present most of the time, and manually clean all the little imperfections of the raw transfer (mainly pops and drop-outs).
It has to be noted that, while Atom Heart Mother, Cymbaline, Green Is The Colour and Careful With That Axe Eugene were rather well recorded by the KQED sound engineers, it was much more difficult to get a good sound for Grantchester Meadows and Set The Controls For The Heart Of The Sun. These two tracks seem to have been captured differently by the KQED engineers and there were some bad sounding sections difficult to correct or improve (on every source we heard, these two songs are always with inferior sound quality than the four others). A possible explanation could be the specific instruments settings: acoustic guitars and vocals for Grantchester Meadows, and a lot of middle frequencies (gong, toms, lack of bass) for Set The Controls. Too bad KQED staff was not able to do a better job when recording and mixing these two tracks. (Ed: Perhaps these to tracks were recorded 1st and then adjustments/corrections were made?).
Discussions on the topic can be found on the following Yeeshkul threads:
http://www.yeeshkul.com/forum/showthread.php?p=68359
http://www.yeeshkul.com/forum/showthread.php?p=68978
The raw, unprocessed 48kHz / 24 Bit file can be found here"
http://www.yeeshkul.com/forum/showthread.php?p=68978
Until I hear something of better quality, I'll consider this to be the definitive version of this broadcast.
Thanks to Diego for the new 48kHz/24 Bit transfer, MOB for remastering the audio, and Big Ed for quality control.
Produced by Harvested Records
Enjoy!
RonToon (October 2008) |
0 FLAC
|
|
| 71. |
05/01/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
B+ | Bootleg LP 'Omay yad' >CDR >FLAC | Trade CD >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
|
|
| 72. |
05/01/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
A+ | Nagra Reel >5" Reel Master >Tandberg Reel >Revox B-77 >M.M.'s 1st Generation Reels Reel[1] >Sony DAT >DAT(0) >Audigy 4 Pro >Nero Wav Editor >CDWav >CDR(0) >CDR(1) >EAC >FLAC >CD | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 73. |
05/01/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
A+ | Sennheiser 805 Shotgun Microphone >Uher 4000 1/2 Track 5" Reel To Reel @ 7.5 ips On Scotch Tapes | First Generation Tape Copy (1980's):
1/2 track 5" diameter Masters played back on Tandberg 9000X > Teac An-180 (Dolby) > Revox B-77
Transfer to DAT (1996):
Revox B-77 > Teac AN-60 (Dolby) > Sony DTC-690 @ LP (reduced Bandwidth of 16KHz or 32/2)
Transfer to Hard Drive (2006):
Sony DTC-690 (16-32) > Audigy 4 Pro (resampled to 16-48 on the fly)
Mastering (2014)
Adobe Audition 3.0 > AudioGate Aqua (16-44) > CD Wav > Flac (Level 8) > Stamp ID3 tag editor
Note that there are some drastic volume changes as the recording levels are adjusted.
The two affected songs are marked *
Recording starts with GRANTCHESTER MEADOWS already in progress.
First Set (45:48m)
1. GRANTCHESTER MEADOWS > ASTRONOMY DOMINE * (11:16m)
2. CYMBALINE * (12:51m) (tape flip)
3. ATOM HEART MOTHER (21:41m) (tape flip inside song)
Second Set (78:19m)
1. tuning (1:09m)
2. THE EMBRYO (12:35m)
3. GREEN IS THE COLOUR > CAREFUL WITH THAT AXE, EUGENE (13:21m) (tape flip inside song)
4. SET THE CONTROLS FOR THE HEART OF THE SUN (15:21m) (tape flip)
5. INTERSTELLAR OVERDRIVE (14:04m) (tape stopped-encore call not recorded)
encore
6. A SAUCERFUL OF SECRETS (21:49m) (tape flip inside song)
Total Running Time 2 hours, 4 minutes and 7 seconds
I have tried to borrow these masters again to do a hi-res transfer.
Even offered a tempting "borrowers fee".
Was informed that these tapes were discarded by the collector that got them after me.
Hope that's not true but this could be as close to the original tape as we may ever get.
As a result I spent a little extra time on this project.
Very nice sounding recording and it is the first time that this complete tape has been shared.
Some technical issues
Drastic volume changes are found in ASTRONOMY DOMINE and CYMBALINE.
This was a result of the microphone output overdriving the recorders input.
The adjustment knob becomes all or nothing at the near zero position in this condition.
Ahh, for an inexpensive 20 dB attenuator this would have been avoided.
Nothing can be done to fix this now.
There is a tape flip immediately after CYMBALINE ends.
A few seconds of applause was inserted to smooth out the abrupt transition.
Next tape flip is inside ATOM HEART MOTHER and an unknown amount is missing.
CAREFUL WITH THAT AXE, EUGENE has a tape flip a few bars before the scream.
SET THE CONTROLS FOR THE HEART OF THE SUN has a tape flip during the applause after the song.
INTERSTELLAR OVERDRIVE has a tape flip during the applause and just prior to the introduction of the next song
Some applause was inserted to smooth out the abrupt transition.
A SAUCERFUL OF SECRETS has a tape flip towards the end of the song.
These cuts are on the master reels.
Five inch tapes at 7 1/2 ips need flipping and re-threading every 22 1/2 minutes.
Thirty seconds (minimum) would be lost for each reel flip.
Even as much as 60 seconds to do this in the dark and on the floor.
Not as easy as turning a cassette over.
These old recordings were also plagued by "mini dropouts" found on the tapes or created in the transfer.
Opposite channel patches were used to repair single channel dropouts.
In the case that the gap was in both channels a small edit was made to align the waveforms and remove the defect.
Typically a few thousands (0.002 to 0.003) of a second is sufficient.
There were quite a few of these repairs required throughout this concert.
Performed a meticulous end to end review to try and catch all of these and fix them.
Some may have slipped past my ears but I repaired most of the obvious ones.
The result is this nice clean copy of a classic Pink Floyd concert recording by the TMoQ crew (thanks Ken and Dub).
For Historical reference only and not for resale or any commercial uses.
Enjoy
-M- (October 2014)
FLYING M PRODUCTIONS
|
0 FLAC
|
|
| 74. |
05/01/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
A+ | 5" Nagra Master Reel | 'Since We Were Teenagers' Bootleg
Recorded By Dub Taylor
Playback: Tandberg R2R > Revox B-77 > M.M.'s 1st Generation Reels
Transfer: Reel[1] > Sony DAT > DAT(0) > Audigy 4 Pro > Nero Wav Editor > CDWav >CDR (0) > CDR (1) > EAC > FLAC
Magna Qualitas Records is proud to present "Since We Were Teenagers", this fully restored and remastered recording from Santa Monica as our fourth release. Due to our continuing work on everything related to Zabriskie Point, which led to the new revision of the Omayyad album, we've decided to complete the restoration of this excellent recording. GBC torrented this recording (provided by Rudy and M.M.) originally a while back, and his notes reflect the many instances of dropouts, damages and cuts in the tape. All this has been restored here using pieces of other shows or relocating pieces from this show.
Originally Grantchester Meadows only ran about 30 seconds. Apparently that is where the taper started recording. We have patched the majority of the song in from the previous show in San Francisco on April 29, but since the very beginning of that fades in we decided to restore that as well from the KQED tape. We wanted the birds before the song to be there. The 30 seconds of the song that existed on the tape for this show are all there, but now the whole song exists in a form that is nearly impossible to tell its from more than one show. from 0 to 0:34 April 30 - KQED. From 0:34 to 7:13 April 29 - Fillmore East. From 7:13 to 7:37 (end) May 1 - Santa Monica
Astronomy Domine had a small part missing due to a damaged portion of the tape. This was patched with a piece from slightly earlier in the song. The buildup was a bit oversaturated and was all at one continuous loud volume, so this was readjusted to better reflect the gradually increasing intensity of the song.
The original little patch from Santa Monica 1970-10-23 is still in place in Cymbaline. It was done so well I can't even tell where it is, so why mess with perfection?
A dull spot in the tape at about 14 minutes into The Amazing Pudding was repaired.
The missing part of Careful was spliced in from Port Talbot 1969-12-06, curiously this concert was during the Sessions for Zabriskie Point. We searched long and hard through dozens of shows to find a tape where the performance was similar enough to the one at Santa Monica (and with similar sound quality) to fill the missing section. Quite a lot was missing, so it had to be done. The patch exists from 2:33 to 3:48.
Drop-outs and other anomalies were cleaned up or otherwise repaired. The volume of the whole thing was adjusted in various places to make the dynamics more pleasant, and because the tape sounds like the taper was adjusting the gain on the fly as the show went on in order to compensate for very quiet passages. A lot of the between song banter and tuneups and the tape effects during Cymbaline were very quiet, so they were brought up a bit. The distorted sections of the show were carefully restored to avoid a lot of the oversaturation they originally contained. Several spots where the high end dulled down a bit, likely from deterioration of the master, were EQd separately and patched in in order to compensate for the tonal changes. Noise Reduction was carefully applied in three stages, and the whole thing now appears for the first time in stereo due to the usage of a very sophisticated and well sounding (although freely available) stereo processing plugin. The tape flips were all patched by relocating audience from different parts of the show so the whole thing is now a continuous piece for each set.
This release is certainly not perfect. Many wrinkles and crumples were present in the master tape, and although we did our best, there's not a lot that can be done to fix them. It is, however, probably the best it has ever sounded since we were teenagers, maybe even as it ever will...
July 2011
|
0 FLAC
|
|
| 75. |
07/16/70 |
Paris Cinema - London,
England |
B+ | FM Broadcast >Bootleg LP; 'Rhapsody In Pink, The Psychedelic Years, The Incredible BBC Sessions' | 30 min; (Bootleg LP >CDR Via HHb CDR 800 PRO )
CD Master >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
|
|
| 76. |
07/16/70 |
Paris Cinema - London,
England |
A+ | BBC Soundboard Reel | (HRV CDR 005 "Mooed Music" / BBC Broadcast)
Trade CD >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
|
|
| 77. |
07/18/70 |
Hyde Park - London,
UK |
B+ | Mono Phillips Cassette Recorder w/Microphone Mounted On A Six-Foot Pole >CDR >FLAC | (Includes 'Atom Heart Mother')
Direct Digital Transfer From Audience Master) Minor Wind Noise. Recorded 100 Meters From Stage, Slightly Left Of Center. Clear Sound, But Not As Rich As From Reel Recordings With Good Mics.)
Trade CD >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
|
|
| 78. |
07/18/70 |
Hyde Park - London,
UK |
A- | Mono Phillips Cassette Recoder With Microphone Mounted On A Six-Foot Pole | Transfer made as follows: -
Nakamichi ZX-7 cassette deck.
Manual adjustment to height and azimuth of playback head to match that of the original tape recorder and to optimise the sound.
Direct connection to analogue input of Audiophile 2496 soundcard via high quality Clicktronic interconnects with 24K gold plugs.
Recording made to Wav file at 44.1kHz
I fixed a few pop's so that I could normalise the recording but apart from that this is an unaltered version of this show
The sound quality ranges from good to very good, there are some microphone "nudge" noises and some wind noise.
The show was recorded using a mono Phillips cassette recorder with a microphone mounted on a 6 foot pole.
The taper, David, was sat about 100 meters from the stage to the left of centre.
Overall the recording quality is mostly very good. Some wind noise is picked up by the microphones and also the
quality of the sound changes due to wind "blowing the sound around". Occasionally there is a little distortion
but really nothing to complain about considering how this show was taped. |
0 FLAC
|
|
| 79. |
09/16/70 |
Paris Cinema - London,
UK |
A | BBC FM Broadcast >Reel >Bootleg LP Acetate >DAT >CDR >FLAC | Trade DAT Transferred: Tascam DA-30 >HHB CDR 800 Via Analog i/o
CD Master >FLAC Via xACT 2.28 By OldNeumanntapr |
1 FLAC
|
|
| 80. |
09/26/70 |
Electric Factory - Philadelphia,
PA |
A+ | Reel Master >DAT >HHB CDR 850 >CD >Nero >WAV >FLAC >CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 81. |
09/26/70 |
Electric Factory - Philadelphia,
PA |
A | Audience Reel (REV A HRV-CDR-021) | Remaster. Levels a Bit Stronger Than My Previous Copy. Excellent Sound. |
0 FLAC
|
|
| 82. |
09/27/70 |
Fillmore East (Early Show) - New York,
NY |
B | Unknown Audience | Missing A Saucerful Of Secrets And Atom Heart Mother |
0 FLAC
|
|
| 83. |
09/27/70 |
Fillmore East - New York,
NY |
A- | Audience; Cass[Low]>CDR(?)>FLAC > WAV > Adobe Audition 1.5
(Minor Editing) > Cdwav (Track Spliting > TLH > FLAC | *********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************************
01. Astronomy Domine [10:51]
02. Green Is The Colour [3:32]
03. Careful With That Axe, Eugene [9:55]
04. Set The Controls For The Heart Of The Sun [11:42]
05. Fat Old Sun [11:46]
Total Length: 47:47 |
FLAC
|
|
| 84. |
10/09/70 |
Sales Pavilion Annex - Edmonton,
AB |
A | Unknown Audience | FLAC Tags Via xACT 2.50 By OldNeumanntapr |
0 FLAC
|
|
| 85. |
10/16/70 |
Pepperland Auditorium - San Rafael,
CA |
A | Audience >? >Cassette (gen?) >CDR >FLAC
| Trade Cassette Transferred: Sony TC-D5M >HHb CDR 800 PRO >CD Master >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr.
Complete Recording, Including Power Failures During 'Astronomy Domine'. Original Tape Flip After 'Cymbaline' & Again After 'Careful With That Axe Eugene'. Missing Roger's Introduction To 'Atom Heart Mother'. Former Tape Crunch At The End Of 'The Embryo' With Some Music Missing. Two Power Failures Toward The End Of 'A Saucerful Of Secrets'. Very Clear Recording With Hardly Any Hiss Or Crowd Noise. Received Via A Cassette Tape Trade In The Early 90's. Mis-dated as 10/17/70 |
0 FLAC
|
|
| 86. |
10/16/70 |
Pepperland Auditorium - San Rafael,
CA |
| One-Point Stereo Microphone >Sony TC-126 Cassette, 10-12 Rows Back, Left Of Center. | ('Rolf's Pepperland Bomb' Bootleg)
Lineage:
Oct. 1970. Recording equipment > Sony TC-252 7" Reel to Reel Recorder >1/4ì Scotch 140 RtR Tape (Jay D. copy).
Jun. 2011. 1st gen 1/4ì Scotch 140 RtR Tape > Baking process > Revox A77 RtR Deck > Tascam US-200 > Adobe Audition 24/96. 2013. 50 Hz dehumming in iZotope RX 2 Advanced > EQ > NR1 in RX > 1st Manual cleaning and restoring iZ RX2 A> NR2 in RX > 2nd Manual cleaning iZ RX2 A > EQ and MB compression > Balancing > Adobe Audition 1.5 for some manual dynamic adjustments.
a) 24/96 version - TLH for SBE fix and FLAC Level 8.
b) 16/44.1 version - Conversion and manual dynamic adjustments done with Adobe Audition 1.5 > TLH for SBE fix and FLAC level 8.
Remaster and Artwork made throughout the whole 2013 by MQR - creamcheese, WRomanus and }{eywood
Released on 17 December 2013 |
0 FLAC
|
|
| 87. |
10/16/70 |
Pepperland Auditorium - San Rafael,
CA |
A | Audience Master >DAT (4) (Speed Corrected) | Though the source recording has some minor problems (minor sonic
bumps and some hiss - more so on Disc 2), this is a superb, clear
sounding recording and is a definite upgrade to 'Best Of The
Pepperland Tapes'.
Lineage:
A0 > D3/4 > CDR >
EAC(secure) > WAV (put each Disc in a single track) >
Speed Corrected (Audacity 1.2.3) at -3.8 >
Indexed via CD Wave Audio Editor (1.93.3) >
FLAC (Level 7)
Remastered by Scott Eden (2005-April)
Remastering notes:
In determining the best speed change to make, I used the
Pepperland Tapes as a guide. I found that while a speed change
of -4.0 brought me in line with the Pepperland Tapes, it seemed
a bit sluggish. I found -3.8 to be the best sounding.
I re-indexed things a bit. I broke the Astronomy Domine power
problems into their own track. While interesting to hear once
or twice, they are not something you want to repeatedly listen
to. I also moved Embryo to the end of Disc 1. Since it segues
smoothly from AHM and has an abrupt cut at the end, it seemed
more natural to place it at the end of a disc. I also indexed
the tracks so that the song begins with the track, except for
Saucerful.
(Apparantely Mis-Dated As 10/17/70. True Date Is 10/16/70) |
0 FLAC
|
|
| 88. |
10/21/70 |
Fillmore West - San Francisco,
CA |
A- | 5th Gen Soundboard | (Slightly Muddy Sound)
5th Gen SBD Cass Transferred: Sony TC-D5M >HHb CDR 800 >CD Master >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr.
Set I: Grantchester Meadows, Astronomy Dominé, Cymbaline, Atom Heat Mother
Set II: The Embryo, Green Is The Colour, Careful With That Axe Eugene, Set The Controls For The Heart Of The Sun, A Saucerful Of Secrets.
[My Set List Differs From The One Listed By Povey & Rusell, 'Pink Floyd: In The Flesh', But Others At Etree Have The Songs In The Same Order As My Recording. My Tape Was Marked Winterland, But That Is Incorrect.] |
0 FLAC
|
|
| 89. |
10/23/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
B | Bootleg LP 'Pink Floyd'->CDR | |
1 CDR
|
|
| 90. |
10/23/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
A+ | 5" Master Reel @ 7.5 ips >Revox B77 7" Reel @ 3.34 ips (1st Gen) >Maxell XLII Cassette (2nd Gen) | 24 Bit / 96k files |
2 FLAC
|
|
| 91. |
10/23/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
A+ | Sennheiser 805 Shotgun Microphone >Uher 4000 1/2 Track Reel @ 7.5 ips (5" Diameter 3M Scotch Tapes, Recorded By Dub Taylor) | R2R copy 1st generation
Tandberg 9000X (playback) > Teac AN-180 Dolby > Revox B77 7" reel @ 3.75 ips (copied by Mike Martin)
Cassette copy 2nd generation
Playback Teac A-2300 no Dolby > Maxell XLII in unknown cassette deck no Dolby (copied by Rick Sheehy)
Transfer:
Nakamichi MR-1 (balanced) no Dolby -> Apogee PSX-100SE at 24 bit 96KHz Mastering in ProTools HD2 (by JFE)
********
Additional lineage:(all repairs by -M-)
2013
Audacity and Adobe Audition 3.0 (clean up & 16-44)
2015
iZotope RX4 Advanced (minimize tape squeaks and microphone bumps) & Adobe Audition 3.0 (combine all tracks) > CD Wav > TLC (Flac Level 8)
song information embedded with Stamp ID3 tag editor
clean up notes:
These edits attempt to clean up the many technical blemishes found on this tape.
I've made 4 different transfers of this recording over the years but I like JFE's transfer of Rick's cassette the best so far.
The un-decoded Dolby sure makes for some clear sounding cymbals and in this case without a big hiss problem.
This blemish clean-up was performed on each of my previous transfers.
Finally became motivated to spend the time to do it again to this version.
The tape flip patch in AHM was done this time by JFE and it is transparent (great job).
The patch was created from earlier passages combined to fill the missing piece.
Even though hundreds of small glitches were repaired there are still numerous audio disturbances remaining on this tape.
In addition to the clean up the low frequencies have been increased to make this sound more like the R2R.
There was some tape squeal in a few places that has been minimized using Izotope RX 4 advanced spectral repair tools (August 2015).
Got some practice using the iZotope software.
Crank up the volume and take this for a spin.
It's a much smoother ride now.
For historical reference only and not intended for resale or any commercial purposes.
Hope you enjoy the results.
-M- (October 2013 with additional repairs performed in August 2015)
FLYING M PRODUCTIONS
FAN RECORDINGS FOR COLLECTORS
TRADE FREELY BUT PLEASE DO NOT SELL
My thanks go out to Rick for making a copy of my reel.
To JFE for the high quality digital transfer.
The artist that I lifted the Raven art from.
Sad but my first generation R2R was lost many years ago.
Attempts to get the master reels were met with - no, and don't bother us again.
Someday....
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0 FLAC
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| 92. |
11/11/70 |
Konserthuset - Göteborg,
Sweden |
A | Bootleg LP >Cassette 1 >CDR >FLAC | Trade Cassette Transferred: Sony TC-D5M >HHb CDR 800 >CD Master >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr
[Comments: This seems to be the accepted date for this fabulous concert. Often listed as 2/6/70 (or 1971), it seems that November 11th 1970 was the real date. There is a long version of Embryo, similar to the one in Hamburg 3 days later ... and it's one of my favorites! I think it is also farily well known by now that Embryo was never really introduced as The Libest Spacement Monitor but it's rather Roger saying "Ladies and Gentlemen, Mr. Nicholas Mason!". I really like this one since the performance is great. This RoIO is often referred to as Royal Albert Hall, London, February 6th, 1971, [which is an incorrect date because the Floyd did NOT play a show on 2/6/71], (and is how I've known it for nearly 20 years). Atom Heart Mother (reprise) & Blues, included with this show, are from 2/26/71. (My copy has little to no surface noise and is unreal. Very minor hiss, clear vocals and strong instruments with no crowd noise save appropriate applause between tracks.) Set list as taken from bootleg LP: The Embryo, Fat Old Sun, Green Is The Colour, A Saucerful Of Secrets, Atom Heart Mother, Blues]
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1 FLAC
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| 93. |
11/11/70 |
Konserthuset - Göteborg,
Sweden |
A+ | Audience Bootleg LP 'Pictures Of Pink Floyd' | This is IMO the most special Pink Floyd concert experience ever recorded. The quality and rarity of "The Libest Spacement Monitor" justifies all the hype, and at last you can hear it in the best possible manner.
First of all, something for you to consider:
This was a cooperative effort, requiring the talents and input of several people of different nationalities. The material presented is of sufficient rarity to warrant the following statements:
Don't even THINK of auctioning or selling this material for your own monetary gain. Internet auctions will be monitored both in Europe and in the United States. We'll know what to do about that if it happens, the rest is up to you. The message is clear and simple: It's free, keep it that way, we mean what we say. And... don't shoot the messenger.
It is strongly recommended that you keep all the files intact when trading this material to other groups. Feel free to add your own comments.
Please do not encode to lossy sources when trading this material.
Lastly, a great thank you to Mr. (Herr) Peter D., who brought the albums across the Atlantic and back, made it both ways with both his sanity and his records intact, and who has granted me permission to post this material on his behalf. Also thanks to K.F. and E.D. for tea and sympathy.
Technical Data:
Records were played on a Technics Sl-1200MK2 turntable, using a Layla 3G console directly into a Dell computer. There was no sound card used during the recording process (the Layla generates a virtual card). Music recording was directly processed by Sound Forge 6.0. Too much high-quality percussion existed within the recordings to use a vinyl restoration suite. A digital spot remover was used manually to remove the larger clicks and crackles, then an automatic remover was used afterwards. Results were real-time compared with the raw wav file, both by monitoring from the computer, and by auditioning a test-pressing on a home-theatre system. Unfortunately, there was a major flaw found in the vinyl on side one at around the 5:15 mark. That was 'jiggled' as much as possible after rerecording the entire side and starting over.
Side Four (Pictures Vol 2, Side Two) presented special problems. As is generally known, the recording of Atom Hear Mother starts out fine, but gradually gets faster and faster. A map was made by consensus, of the many pitch changes relative to the beginning of the piece. Unfortunately, it isn't just a linear speed change, where it would be easy to "just slow it down". The pitch of known musical interludes was manually compared and adjusted via the Sound Forge "pitch bend" and "pitch shift" functions. It quickly got confusing and very complicated to do all the changes relative to one another, and about 15 seconds could not be totally corrected. After a while, keeping any adherance to any form of zero crossing had to be discarded. This is because the pitch shift did not always occur during a zero crossing, and nothing could be done about it. Sometimes you will hear a zero-crossing noise during the speed corrections. The end product is not perfect, no one involved was totally happy with it. To do better would have required starting over again, and it might not be any better after finishing. It is listenable to, however and is a major improvement over the original recording. The very slight pitch change of the end relative to the beginning of Atom Heart Mother *may* be part of the original performance. This is a different version of this song than the version on Volume 1!
For you sticklers about original recordings, the original untouched fourth side is presented as track four
A small amount of noise reduction was used on all record sides. Fortunately, the lowest level of the sound recording is way above the lowest level of surface noise. A sample was made of "dead space", both before and after the recording. The lower volume level was used to remove noise. No EQ of any sort was used.
Finally, the end results were approved by consensus.
Now, on to the Music!
*Play this music as loud as possible!* To hell with the neighbors! During the "Embryo" portion, I want to see your cat explode!
:-D
At a minimum, the announcer's voice should be audible over any ambient room noise.
There has been some lively discussion about what the announcer is saying in the beginning of The Librest Spacement Monitor. He is actually introducing one "Nicholas Mason".
What IS "The Librest Spacement Monitor?" It's *not* a different version of "The Embryo", it is a seperate, unique piece all on its own. Whether that was planned, or improvised on the spot is not part of the equation. How is that possible? Artists often incorporate pieces of their existing songs into new projects. Pink Floyd is no exception. If you have ever heard "The Man" or "The Journey", you know that song titles have been changed and portions put into other pieces. Need an example? OK - "The Violent Sequence" became "Us and Them".
The other titles are also rather interesting. Everybody seems to be singing in tune, even Roger seems to be enjoying himself.
Setlist:
PICTURES 1
01. The Libest Spacement Monitor [21:16]
02. Fat Old Sun [13:29]
03. Blues [6:13]
04. Atom Heart Mother - excerpt [3:02]
PICTURES 2
01. Green Is The Colour [3:52]
02. A Saucerful Of Secrets [17:48]
03. Atom Heart Mother (altered) [19:03]
04. Atom Heart Mother (original) [15:16]
Please post comments, we would all like to hear them. By the request of Mr. (Herr) D., no artwork is available. Please check the many available Pink Floyd ROIO sites for artwork.
Lastly, we don't know any better than you do where some of this material was recorded. Where do you think? We would like to know. Marbal's Offenbach torrent solved some of the date questions, but not all.
Engineered by Doinker in his "studio" from the original vinyl, all subsequent actions done in a group meeting with other crazy people during the week of March 6, 2006.
Enjoy! Don't forget, selling has consequences you don't want to deal with!
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0 FLAC
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|
| 94. |
11/12/70 |
Falkoner Centret - Copenhagen,
Denmark |
A | Shure SM-57 > Phillips Cassette Recorder | Audience recorders 1 + 2: merge of two tape transfers
Lineage recorder 1: Shure SM57 > Philips recorder > Philips C90 Cass(M) > CDR(3) > wav > shn > wav > Adobe Audition 3.0.1
Lineage recorder 2: 3rd gen Cass > DAT@44.1kHz > shn > wav > Adobe Audition 3.0.1
- Copied left (stronger) channel to right on both (mono) recorders
- Deleted 12.7 secs of audience/tunings at the end of Disc 1, repeated at the start of Disc 2
- Spliced recorder 2 1:59 into ASoS
- Speed correction
Tracked with CD Wave, encoded to flac 8 with Flac Frontend, tagged and verified.
Recorder 1 has speed fluctuations during the first part of AHM due to tape damage which fluctuations I didn't even try to address. The master tapes seem not to have been preserved that well, but it has powerful, upfront mono (!) sound as well as a bit of tape hiss (that's right folks, the music breathes). SQ is VG+ almost pushing EX- and Nick's drums can be heard very well as well as the other instruments. In short, it's among the best of the 1970 tape sources.
Recorder 2 ASoS was speed corrected with a 104.3 stretch, The Embryo 105.9 (fluctuations from 7:15 till the end)
Recorder 2 here comes from an damaged tape, which damage gets worse towards the end, it suffers from background noise, tape bleed-through and speed fluctuations. SQ is VG at best.
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2 FLAC
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| 95. |
11/14/70 |
Ernst-Merck-Halle - Hamburg,
West Germany |
A- | Audience Reel, 3 & 3/4 ips | |
2 FLAC
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|
| 96. |
11/21/70 |
Altes Casino - Montreux,
Switzerland |
A+ | Sennheiser MD-421's >Uher 4200 Reel @19 ips (Victor's Reels) | Too Late For Mind Expanding (HRV CDR 036)
“Both Montreux shows were recorded, and EMI pressed white-label acetates which included interviews with Gilmour in French. However, it is likely that these would have been intended as promotional tools, not for commercial release.”*
*”In The Flesh, The Complete Performance History”, Povey & Russell
This new Harvested release provides the first of the two Montreux 1970 concerts in the most complete form and with the best possible quality. The main source was Victor's raw master transfer already shared last year. The ending part of Green Is The Colour and the following track Careful With That Axe Eugene, not present on Victor's master, were taken from "The Good" recorder that surfaced some years ago on "The Good... The Bad" RoIO ref. FA033.
Victor's raw transfer shared in November 2009 was first thought to be from the second concert, mainly because it matched "The Good... The Bad" RoIO that was labelled from 22Nov70. However, based on Victor's recollections of the two shows and some pictures from his reels, it now appears that the present show with the two "blues" encores is actually from 21Nov70 (this show ended late, forcing the band to finish with a quiet blues). The second concert was added at the last minute for the next afternoon at 2.30pm (Roger sarcastically said "good morning" to the audience) and at this second show the encore was Interstellar Overdrive. But that's for our next release... ;-)
Victor's master is a superb audience recording and a compilation cassette he did in the past from both concerts was copied by someone and ended up on the 1995 "Smoking Blues" bootleg ("Smoking Blues" is therefore at least 1st or 2nd gen, and even with that lineage some people thought it was from soundboard or from some EMI acetates that are most probably pure legend). Embryo, Just Another Twelve Bar and More Blues from "Smoking Blues" are from 21Nov70, but the versions presented here are upgrades, coming directly from the master and with an uncut More Blues (fading out on "Smoking Blues").
Despite its fantastic quality, Victor's master had some flaws that needed to be corrected. The speed was not consistent throughout the show: for some tracks, speed was absolutely perfect, while for others speed gradually slowed down (probably an "end of reel" effect during the play-back). Fat Old Sun, Atom Heart Mother and A Saucerful Of Secrets suffered from that slowing-down phenomenon and speed was corrected for these three songs. There were some channel loss and levels fluctuations, the most obvious being during the first verse of Fat Old Sun. These were repaired. There were also drop-outs here and there, especially during the first 2 minutes of Cymbaline (one drop-out every 862ms, thus 140 drop-outs were manually corrected one by one in order to fully restore these first minutes of Cymbaline). The right channel became slightly weaker during Set The Controls and A Saucerful Of Secrets, where more drop-outs were present on that channel. These flaws were attenuated as much as possible. Last but not least, there were several cuts on the master: the very first chord of Fat old Sun was missing and has been restored, a short cut during Mother Fore (AHM) was carefully patched, and the central part of Celestial Voices (ASOS) that was missing due to a tape flip, was restored from another show in order to save the continuity and progression to the climax of the song.
The end of Green Is The Colour, Careful With That Axe Eugene and the first 30 seconds of Set The Controls were taken from "The Good" source. A lot of work was needed in order to restore that part, because of abrupt speed fluctuations during Careful, and also because "The Good... The Bad" RoIO comes from a "tweaked" tape: the original audio capture is pure mono (there is absolutely no stereo separation between the instruments), but someone found funny to play with the faders during the analog transfer, introducing artificial panning in order to fake stereo effects (these tricks were clearly done during an analog mixing of the recording, not in the digital world). Speed was corrected segment by segment, and levels were carefully adjusted in order to restore the original music as it was on the master, i.e. in the centre of the stereo image, before the artificial panning ruining most parts of "The Good... The Bad".
So there you are. The 21Nov70 Montreux concert in all its glory !
This is a rare case where all the stars were aligned: we have the best audience recording from that era, and at the same time the Floyd performance was really magic that night. All five songs of CD1 were delivered with fire and passion (including the most powerful rendition of Funky Dung ever recorded). And on CD2, the first part of A Saucerful Of Secrets (Something Else) shows the Floyd sounding like King Crimson would sound three years later. Another highlight of CD2 is Just Another Twelve Bar: even if not too interesting from a musical point of view, this song is a true rarity in Pink Floyd live repertoire (even if it's mainly based on the bass riff from Biding My Time.
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2 FLAC
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| 97. |
11/21/70 |
Altes Casino - Montreux,
Switzerland |
A | Audience (Listed As An FM) | 'Before The Fire - The Fireman's Tapes Vol III' |
0 FLAC
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|
| 98. |
11/22/70 |
Altes Casino - Montreux,
Switzerland |
A+ | Audience Reel | Too Early For A Gig (HRV CDR 037)
Both Montreux shows were recorded, and EMI pressed white-label acetates which included interviews with Gilmour in French. However, it is likely that these would have been intended as promotional tools, not for commercial release.”*
*”In The Flesh, The Complete Performance History”, Povey & Russell |
2 FLAC
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|
| 99. |
11/25/70 |
Friedrich Ebert Halle - Ludwigshafen,
Germany |
A- | Audience Reel | ('Mounting Pressure' Bootleg.)
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
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|
| 100. |
11/25/70 |
Friedrich Ebert Halle - Ludwigshafen,
Germany |
A | Audience; Master Reels >DAT (3) >CDR (2) >SHN >WAV >(Speed Corrected) FLAC | 'Breaking The Darkness, Waking The Grapevine' Bootleg |
0 FLAC
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|
| 101. |
11/25/70 |
Friedrich Ebert Halle - Ludwigshafen,
Germany |
A | Audience; 1st gen cassettes (Maxell UDXLII 90 x 2) (Dolby On) > *Technics RS-B965-M (Dolby Off) > Focusrite Saffire Pro 14 > Audacity 1.3 > Wav (24bit/88.2kHz) ----> Adjustments (32bit float/88.2kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC (16bit/44kHz) | ***Neonknight's Notes***
Copies of this concert usually have a distracting hum and can seem a bit distant. They also appear to invariably run very slow. By contrast the music is closer, more dynamic and detailed on this version, and thanks to Littlepieces, the hum is no longer present and the set runs at the correct speed. The only disadvantage with Marbal's tapes is that they are a little less smooth than the copies that circulate with a master to DAT lineage. This is possibly partly due to tape ageing.
Marbal received the first gen cassettes used for this release in 1981. The master was recorded by Heribert B. from Ludwigshafen on a Grundig reel to reel. I consulted Grolsch who confirmed this, and added that most existing copies were done off HB's safety copy that he did on low grade Shamrock tape. I suspect very few digital clones have been made from the true master reels over the years and they have all been made to DAT. We have no way of knowing for certain whether Marbal's tapes are in fact master>Shamrock>Maxell but it seems unlikely.
I believe that HB's master still exists. However, Marbal confirmed to me that HB's usual practice after recording a master was to copy the smaller reels to a 18 cm-reel, which was cheaper in those days. He would then re-use the small reels for other masters. This approach was quite common amongst tapers, who would often do the same with cassette masters.
When I transferred Marbal's tapes it was necessary to make a very small analogue adjustment using the FSP14 to the recording levels on Side B after completing Side A, otherwise it clipped. Side C was recorded at a lower level than the other two. The songs are arranged on Marbal's tapes as follows:
A: AD / FOS / Cymbaline / AHM (pt1)
B: AHM (pt2) / Embryo / GITC / CWTAE / STC (pt1)
C: STC (pt2) / ASOS
Marbal had some other first gen tapes that he loaned to Yeeshkul member pinkrudy. These were also made by HB and a photo of them can be seen on GBC's website. HB's cassette recordings were regularly not as good as they could have been in later years because he apparently used a very average tape recorder. Fortunately for this Neonknight transfer, HB used an earlier and better cassette deck in 1981 when he first gave a copy of his recording to Marbal.
***Littlepieces' Mastering Notes***
This is a mono recording that was dubbed as two channel stereo as is often the case. Due to the previous transfers with less than perfect head alignment, the recording has a phase shift that varies from 8-15 samples. The channels SQ started very similar but then at times began to vary in different ways as the recording progressed. It wasn't clear to me which would be better overall so I chose not to eliminate a channel and instead manually aligned the channels to improve the phasing.
The speed of this recording was super slow and by transferring it at 88.2kHz and then changing the sample rate to 96kHz, we were able to avoid a speed correction in excess of 10%. After changing the sample rate to 96kHz the speed was still slow and adjusted from 1.7% - 3.9%.
This recording was marked as Dolby encoded but it was transferred without Dolby. Transferring a Dolby encoded recording without decoding the Dolby on playback is done often when playing the tape back on a different deck than that which it was encoded. The differences in decks often results in the decoding profile varying from the original encoding creating a poor result. Since this recording did not have its Dolby decoded, portions of its high frequencies were left boosted from the original transfer. I utilized and varied modest noise reduction settings working almost entirely above 10kHz to reduce the Dolby boosted effect in the extended upper end where a lot of the hiss resides.
I selectively reduced low frequency hums mostly at ~60Hz (after SpC). These seem to be present and prominent in all sources.
There were several minor drop downs and/or damage that I was able to repair or remove to make mostly transparent. I either removed a short piece of damage or was able to use the other channel to repair the damaged segment. There were a few more short but significant drop downs and/or damage that I only improved to varying degrees. Examples are during Gitc and Embryo.
No EQ was used to increase the output above 450Hz with the exception of one segment of AD. For 20s the upper half receded significantly so I increased the output 4dB from ~1kHz-6kHz. The adjustment made this passage transparent. The only other EQ increase used was below 450Hz and was selectively varied throughout. Most of these changes were between 1dB-3dB. At times I selectively used a 1dB decrease in the upper end in the area most effected by the Dolby off transfer.
Very odd carrier signal activity in this recording. At times throughout the recording the carrier signal would jump back and forth between two points 1kHz apart with no change in speed. It would also disappear for long periods often at the time an artifact would occur. To help ensure the carrier signal activity would not interfere with the upper end NR or anything else, I mostly reduced the carrier signal to the level of the surrounding signal.
Interesting and mostly subtle SQ changes occur periodically. Some examples, at ~5.54m of AHM, where I spliced sideA and sideB together, you can hear the slight difference in SQ and also the carrier signal disappears. I removed a pop at 7.52m of AHM where it sounds as if a splice likely occurred as a small bit of content seems to be missing and the SQ slightly changes. At 8.18m and 8.48m of AHM you can hear the upper half slowly increase without any accompanying artifact. At 9.28m of AHM the upper half increases again with a strong variable carrier signal returning. The changes at 5.54m and 7.52m I made some adjustments to make it less apparent. But the changes that occur at 8.18m, 8.48m, and 9.28m were left as is since I felt any adjustments would lower the fidelity of a segment in order to make the transitions transparent. Also, I think these artifacts are interesting and could offer some instruction to legacy and lineage questions.
There were a number of pops that seemed as possible splices. Some examples, 7.52m AHM, ~3.46m of Embryo where it fade downs and back up for 5s with pop in the middle and the carrier signal ends, 10.48m Embryo has odd pop, ~50s of SOS has loud pop followed by a large drop down and slowly increasing level until back to normal level. With the exception of 7.52m AHM, I didn't get the impression that any content is missing on these examples and I of course removed the pops and improved the transitions where possible. If these are indeed splices it could be related to dubbing from RtR to cassettes.
Periodically you can hear short segments, mostly less than 1s, where the upper end fades for a moment. I suppose this could be tape ageing.
Manually cleaned many tics and pops using the spectral cleaning tool.
Some minor gain changes were made throughout, mostly in the left channel, to help balance the output.
I suspect that people who listen to their music on larger and/or higher fidelity systems may prefer this version over the M-DAT, since though a bit dirtier, it offers a bigger more dynamic SQ imo.
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FLAC
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|
| 102. |
11/29/70 |
Zirkus Krone - München,
West Germany |
A- | Unknown Audience; Cass (2) >DAT (4) >CDR (1) >FLAC >WAV > (Speed Corrected) >FLAC | |
0 FLAC
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|
| 103. |
11/29/70 |
Zirkus Krone - München,
West Germany |
A | Audience; Japanese Bootleg 'Zirkus Krone '70' (Sigma 6) | *******************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*******************************************************************
This Source Has Even Levels, Whereas Other Source Has A Lower Right Channel. |
FLAC
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|
| 104. |
12/22/70 |
City Hall - Sheffield,
UK |
A | Audience; 2nd Gen Recording on TDK AD Cassettes played on NAD 6220 tapedeck into M Audio Soundcard via phono leads > raw WAV files > MOB Remaster > WAV > FLAC
Source tape provided by Pete Austin
Remastering by MOB
Artwork by RonToon
Produced by Harvested Records
| Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
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| 105. |
12/22/70 |
City Hall - Sheffield,
UK |
A | 2nd Gen Monaural Audience Cassette | Lineage: 2 x TDK AD normal position 2nd gen cassettes > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > FLAC > Reaper v4.61 > FLAC (16bit/44.1kHz)
*****************************************************************************
FLAC >WAV >Audacity (Combine Tracks Into A One-Track File, Add .20 MS Of Silence To Start Of Right Channel To Approximate A Stereo Effect, Re-Track On Original Index Points) >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
*****************************************************************************
Text File Notes:
Total running time: 2 hours 31 mins 6 secs
A fine end to the year, these tapes feature the only known live recording of Alan’s Psychedelic Breakfast and outstanding performances of a number of songs. Atom Heart Mother features brass and choir conducted by John Aldiss.
The right channel was stronger throughout on Pete’s cassettes and after careful comparisons I decided to drop the weaker channel. This reduced the hiss levels significantly, solved phase correction issues (the tapes are shifted ~15 samples) and dealt with some dropouts. My version is much clearer than the raw version used for releases such as ‘Rise & Shine’ but is also more hissy. You would not think I have used the same tapes.
Close to three years ago (this has truly been a slow burner) I did some preliminary work on Pete’s tapes with littlepieces. At the time we were tempted to switch the Dolby on on my deck to address the hiss. I found it didn’t work and the high end was pushed a long way down. The recording sounded much more subdued, like the versions that have previously circulated. Perhaps some EQ would work well in expert hands. The tapes were recorded with Dolby B on - the label confirms this.
My thanks to goldenband for sending me his customarily thorough speed correction advice. AHM was essentially uncorrectable without major intervention as the pitch slides upward by nearly 3% over the course of the song. The rest of the show was largely fine or, where a change was required, relatively easy to fix. APB and ASOS have some issues, but the former was fixable and we concluded that the latter could be safely ignored. Unusually for this show, a lot of the tape runs a bit slow. That was surprising because most copies seem to trend fast. Speed corrections were applied varying between -3.23 to +1.92%.
The most complex change was to Alan's Psychedelic Breakfast where three corrections were made utilising the long passages of sound effects.
We left CWTAE and STC alone because they're both within 0.5% of the correct speed.
ASOS was very strange indeed! First of all, Rick's organ pitch is unstable throughout the song. Goldenband kept hearing slight fluctuations, which suggests a possible power problem, but might be a tape problem. Usually we can rely on Rick for our pitch reference, but here it gets very dicey.
The beginning of the song is close, within 0.5%, though probably a hair slow. Then we have non-pitched music until CV, which starts out at the right speed. There's a sudden tape speed drop but it seems to recover over the next 30 seconds, so we concluded no correction is needed. Then we get the power failure followed by the avant-garde piano playing. Someone then seems to be playing a variation on Celestial Voices, but either they're playing it in the wrong key - a semitone too high - or something very strange is going on. Pianos are never tuned sharp, as they can explode.
Something doesn't make sense here, but maybe someone - David or Nick? - is just improvising a Celestial Voices variation in C minor, who knows. Another possibility, that the band was tuned very low for the whole show because of organ voltage problems, is too terrifying to contemplate! But David's voice doesn't sound off, so goldenband thinks it's just “a bit of weirdness”.
Then the restart, and we seem to be going too slow yet again, but then over the next 10-15 seconds the tape speed creeps back up to normal. There is then another speed drop, followed by a recovery. By the time we reach David's second set of vocals we're probably about 1% fast, but then we go back to normal-ish. Throughout the restarted CV the pitch keeps slipping a bit, but the final cadence is roughly normal.
Bottom line, it was best to leave ASOS alone. It's messy, but never goes too far from correct pitch.
AHM starts out about -0.58% slow, but rises over the course of the song until it reaches about +1.75% fast; AHM Reprise is steady at +1.75% but the contrast with AHM would be jarring so we also left these songs alone.
This raw transfer has some voltage/static spikes which could be relatively easily fixed but I decided to leave them in the spirit of keeping this release raw.
I hope you enjoy it and a big thanks to Petef451 for lending me his tapes and letting me keep them for so long.
Petef451 cassettes / Neonknight tape transfer, March 2015 |
FLAC
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|
| 106. |
02/12/71 |
Lecture Theater, U of Essex - Colchester,
UK |
B+ | Audience; Cass (2) >CDR (2) >EAC >WAV >SHN >WAV >FLAC | SHN >FLAC Via xACT 2.47 By Oldneumanntapr |
0 FLAC
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|
| 107. |
02/13/71 |
Farnborough Technical College - Farnborough,
UK |
A- | Audience; 'The Massed Gadgets Of Hercules 1970 / 1974' - (Godfather GR BOX 09) | (2nd Show Of Multi-Show Box Set)
'The Massed Gadgets Of Hercules 1970 - 1974' Bootleg
*****************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
***************************************************************** |
0 FLAC
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| 108. |
02/24/71 |
Halle Münsterland - Münster,
West Germany |
A | Audience Cassette (Sony C-90CR Chromium) | Incomplete Recording.
The Embryo
Green Is The Colour
Careful With That Axe, Eugene*
Fat Old Sun
Cymbaline*
*Partial
Recording was reportedly done by the manager of the club, who placed his gear near the board. |
1 FLAC
|
|
| 109. |
02/25/71 |
Großer Saal, Musikhalle - Hamburg,
West Germany |
A- | Audience; Bootleg LP >CDR >FLAC | (Sourced From M-502 Vinyl Bootleg LP)
Trade CDRs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 110. |
02/26/71 |
Stadthalle - Offenbach,
West Germany |
B+ | Audience; Phillips EL3302 Cassette | (Cassette Master >Reel [1981] >Phillips N4510 Reel >Pioneer RT707 > Tascam HD-P2 (WAV 24bit/96kHz) ===> Adjustments (WAV 32bit float/96kHz) > WAV (16bit/44kHz) > CDWave (1.98) > FLAC |
2 FLAC
|
|
| 111. |
04/03/71 |
Sportpalais Ahoy - Rotterdam,
Netherlands |
A- | Audience; Cassette (1) >DAT (2) >CDR >EAC >WAV >SHN >WAV >FLAC | [Trade FLACs >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 7.9 db, Re-Track Along Original Index Points) >FLAC (Level 8) Plus Tags Via xACT 2.47 By OldNeumanntapr] |
0 FLAC
|
|
| 112. |
06/04/71 |
Philipshalle - Düsseldorf,
West Germany |
A | Audience Reel | *******************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*******************************************************
Pink Floyd Live at the Philipshalle, Duesseldorf, West Germany 1971-06-04 from new reel-to-reel AUD source with artwork- Another Doinker/TheTooleman/GTheCock conspiracy of true Pink Floyd weirdness! (mp3 sample provided)
This is the longest, most complete known version of this show to date, and is NOT another SHN archive drudged up from an out-of-print CD! It features a prehistoric version of "Echoes" and is a unique and an amazingly good performance overall.
"Mrs. Doinker" and I visited Prague in November. On the way back, we stopped to stay with our German friends Mr. & Mrs. (Herr und Frau) Peter D. This is the person responsible for the source vinyl for the "Pictures Of Pink Floyd" restoration project, and it's him I have to thank for this most unexpected surprise. While thumbing through his amazing record collection, I ran across a BASF reel tape labeled PINK FLOYD DUESSELDORF. "What's this?" I asked. "Oh, that" he said with an unexpected air. "I had totally forgotten about that... Do you still have a reel machine?" "Yes", I said. "Take it", he said.
When home again, I compared the setlist against the two known Pink Floyd dates, and found it to be the rarer of the two. Something was wrong with the sound, so Dime member The TooleMan has carefully restored the sound quality. As an added bonus to you all, Dime member G The Cock (one of the best for artwork!) has made you a new cover to keep the goods!
Setlist (Runtime 1hr 51min 49sec)
CD1:
Atom Heart Mother
Careful With That Axe, Eugene
Fat Old Sun
Embryo (cut)
CD2
The Return Of The Son Of Nothing (Echoes)
Set The Controls For The Heart Of The Sun
Cymbaline
A Saucerful Of Secrets (cut)
Enjoy!
A DoinkerTape
|
FLAC
|
|
| 113. |
06/05/71 |
Berliner Sportpalast - W. Berlin,
West Germany |
A | Bootleg CD Harvested (HRV CDR 029) | Trade CDs >FLAC (Level 8) Via xACT 2.37
[notes: Vierundzwanzig Teile von Nichts means in French "24 pieces de rien", thus it means something like "24 pieces of nothing" in English. Therefore it's not the translation in German of "Return Of The Son of Nothing" but the German translation for another working title for Echoes that was "Nothings, Part 1 to 24".] |
2 FLAC
|
|
| 114. |
06/12/71 |
Palais des Sports - Lyon,
France |
B+ | French AM Radio Broadcast (Incomplete) | FLAC Tags Via xACT 2.50 By OldNeumanntapr
Set The Controls For The Heart Of The Sun
Cymbaline
Atom Heart Mother*
* Performed with Brass & Choir. |
FLAC
|
|
| 115. |
06/19/71 |
Palazzo della Mostra EIB - Brescia,
Italy |
B+ | Audience Reel | **********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************** |
FLAC
|
|
| 116. |
06/19/71 |
Palazzo della Mostra EIB - Brescia,
Italy |
B+ | Audience Reel | *************************************************************************************************
SHN >WAV >Audacity (Compine Tracks To A One-Track File, Amplify By 2.2db, Minor Edits And Repairs [Mic Bumps] Re-Track On Original Index Points) >Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr (This Recording Is A Little More Complete Than My Other Version.)
*************************************************************************************************
CD1
01. Atom Heart Mother 15:21
02. Careful With That Axe, Eugene 13:58
03. Fat Old Sun 15:18
04. Embryo 11:10
CD2
01. The Return Of The Son Of Nothing 22:26
02. Set The Controls For The Heart Of The Sun 13:10
03. Cymbaline 12:01
04. A Saucerful Of Secrets (complete) 19:41
TOT LENGTH: 123.08
['A Saucerful Of Secrets' COMPLETE Version]
notes:
this show replaced the show scheduled in Bologna, Palazzo Dello Sport which was meant to replace the one in Milan, Palasport ... both the shows were cancelled after failure of obtaining licenses from the local authorities.
very nice version from a crispy 2nd gen.
no more pieces of recording here compared to the versions commonly circulating since I guess the cuts between the songs are indeed on the master (?).
the claimed 'master' used for the DFA's "Super...Pink Floyd" is inferior to this, with a lotta NR.
there's nothing better than this around, at now ;) |
FLAC
|
|
| 117. |
06/20/71 |
Palazzo dello Sport EUR - Rome,
Italy |
A- | Audience; 2nd Gen Cassette > Nakamichi ZX-7 > Tascam HD-P2 (Wave 24bit/96khz) > Flash Card > PowerMac G5 (xACT 1.62 WAV > FLAC 8) | ******************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
****************************************************************** |
FLAC
|
|
| 118. |
06/26/71 |
Amsterdamse Bos - Amsterdam,
Netherlands |
B+ | Audience >Bootleg LP >Cassette (Low Gen) >CDR >FLAC | Trade Cass >CDR Via: Sony TC-D5M >HHb CDR 800 PRO >CD Master >FLAC Via xACT 2.37 By OldNeumanntapr.
[Free Concert. 'Careful With That Axe Eugene', 'Cymbaline', 'The Embryo', 'Saucerful Of Secrets'. Missing 'Set The Controls For The Heart Of The Sun'. Very Minor LP Surface Noise And Virtually No Crowd Noise Except For Chanting Of 'We Want More' Between 'The Embryo' And 'Saucerful Of Secrets'.] |
1 FLAC
|
|
| 119. |
06/26/71 |
Amsterdamse Bos - Amsterdam,
Netherlands |
A- | Audience Cassette | Amsterdam Free Concert |
0 FLAC
|
|
| 120. |
06/26/71 |
Amsterdamse Bos - Amsterdam,
Netherlands |
A- | Audience (Live At Free Concert - Godfatherecords G.R. 550 Bootleg) | A Little Less 'Processed' Sounding Than The Other Circulating Source. Levels A Bit Lower Too. |
0 FLAC
|
|
| 121. |
07/01/71 |
Stiftshoff - Ossiach,
Austria |
A- | Audience; 'Cosmic Music' Bootleg CD (Lizard) | FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Split Stereo Tracks To Mono, Amplify Left Channel By 9db And Amplify Right Channel By 5db To Correct Low Levels And Level Imbalance, Re-Track On Original Index Points) >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr |
FLAC
|
|
| 122. |
07/01/71 |
Stiftshoff - Ossiach,
Austria |
A- | Audience; "Musikform '71" Bootleg CD | |
FLAC
|
|
| 123. |
08/06/71 |
Hakone Aphrodite - Hakone,
Japan |
B+ | Audience; 'Echoes Of Japanese Meddle' (Open Air Festival) | (Missing 'A Saucerful Of Secrets')
*************************************************************
SHN >WAV >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
*************************************************************
Very First Pink Floyd Concert In Japan
|
FLAC
|
|
| 124. |
08/13/71 |
Festival Hall - Melbourne,
Australia |
A | Audience; '1st Australian Show' bootleg CD | |
FLAC
|
|
| 125. |
09/18/71 |
Pavillion de Montreux - Montreux,
Switzerland |
A+ | Sennheiser MD-421's >Uher 4200 Reel (19ips) >CDR >EAC >FLAC >CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37
[FOB: Mics Places One On Either Side Of Taper's Head Held In Place By A Custom Neck Brace And Hidden By Long Hair. Outstanding Quality! Polite, Quiet Crowd.]
|
2 FLAC
|
|
| 126. |
09/18/71 |
Pavillion de Montreux - Montreux,
Switzerland |
A+ | Sennheiser MD-421s >Uher 4200 Reel (@19 ips) | Vol. 2 "White Witch" Bootleg CD.
1. Cymbaline (12.01)
2. Atom Heart Mother (w/orch) (29.16)
3. A Saucerful Of Secrets (19.30)
**************************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************** |
FLAC
|
|
| 127. |
09/18/71 |
Pavillion de Montreux - Montreux,
Switzerland |
A+ | Sennheiser MD-421's >Uher 4200 Reel (19ips) >CDR >EAC | FLAC Tags Via xACT 2.50 By OldNeumanntapr |
FLAC
|
|
| 128. |
09/19/71 |
Pavillion de Montreux - Montreux,
Switzerland |
A | Audience Reel >PCM >??? >DAT >WAV >FLAC >WAV >FLAC | Transfer: DAT(c) > Sony PCM-R500 > SPDIF > Tascam HD-P2 > CDWave > FLAC
DAT Provided By OldNeumanntapr
Transfer By Terry Watts
WAV >Audacity (Track Splits) >FLAC (Level 8) Via xACT 2.37
(Date Is Unconfirmed And Could Possibly Be A Duplicate Of A Portion Of The Previous Night's Show From 9/18/71) |
0 FLAC
|
|
| 129. |
09/23/71 |
KB Hallen - Copenhagen,
Denmark |
A | On Your Mark)(T-379) >Audience >Mics and recorder unknown >1st Gen Reel (Scotch 207) recorded at 7 1/2 ips >Playback Deck: Akai GX-747 >Nikko 32 Band EQ >Akai DR16 Digital Hard Disk Recorder >Sony PCM-R500 DAT->HHb CDR 800 CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 130. |
09/30/71 |
Paris Cinema - London,
UK |
A | BBC FM Broadcast->Reel->Bootleg LP Acetate->DAT->CDR->FLAC | Trade DAT Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o
(Fill: Syd Barrett BBC FM) |
1 FLAC
|
|
| 131. |
09/30/71 |
Paris Cinema - London,
UK |
A+ | BBC FM Reel (Stereo) | ('Meddled' Bootleg)
******************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
******************************************************************
Here it is, the infamous Meddled ROIO, feverishly sought after by
Floyd fans wanting to hear what Meddler was supposed to sound like
before being mistakenly edited to mono.
It came from an FM broadcast over the BBC in England. The stereo
dimension adds so much to the recording, you can actually hear very
distinctly what each band member is doing.
This ROIO is just an incredible listen from start to finish. The
sound is amazing as is the performance of the Floyd. Fat Old Sun
never sounded better. It is important to note, Embryo and Blues
came from a different original source I believe. You can read all
about this title (and Meddler) at the following URL:
http://www.pf-roio.de/roio/roio-cd/meddler.cd.html
Setlist is as follows:
01 Fat Old Sun 15:29
02 One Of These Days 7:31
03 Echoes 26:35
04 Embryo 10:05
05 Blues 4:56
One of the best Floyd ROIO's ever made, bar none. Sit back with a
nice big fat one and enjoy the music.
|
0 FLAC
|
|
| 132. |
09/30/71 |
Paris Cinema - London,
UK |
A+ | Sources: BBC Transcription LP (Fat Old Sun, One Of These Days, Echoes)
1st Gen Cassette (Embryo, Blues)
BBC Radio One Master Reels* (John Peel intros) *mono | (NO ARTWORK)
******************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
******************************************************************************
This is an upgrade of the second disc of Harvested's BBC Archives 1970-1971 (HRV CDR 007) which features the complete 1971 performance. The previous version, which we created over 6 years ago, used the same sources as above except that "One of These Days" and "Echoes" were taken from broadcast transcription CDs that were sent to radio stations in the 1980's. Back then I foolishly assumed that this "new" CD format would yield better sonic results than the vinyl transcription LP that I had. Wrong!
This new version features a brand new 48kHz/24Bit transfer of the BBC vinyl (BBC Rock Hour) that was done at a professional recording studio and captured with ProTools. All pops, clicks, and imperfections were manually removed one-at-a-time. No EQing or NR was applied.
The BBC only have a mono version of this show in their archives which we used as a blueprint to reassemble this TRUE stereo version. Since "The Embryo" was never included on the transcription LPs, we used a 1st generation audio cassette recording from a WNEW broadcast and edited it into the show in its proper sequence. We did the same for the improv "Blues" jam which was also sourced from the WNEW broadcast.
Our previous sources:
All of Peel's intros + dial = BBC mono masters
FOS = BBC Transcription LP
OoTD = BBC Transcription CD
The Embryo = FM broadcast
Echoes = Mostly BBC Transcription CD/Open and close Transcription LP
Blues = FM broadcast
RevA sources:
All of Peel's intros + dial = BBC mono masters
FOS = BBC Transcription LP
OoTD = BBC Transcription LP
The Embryo = FM broadcast
Echoes = BBC Transcription LP
Blues = FM broadcast
Once again we feel that we have created a definitive version of this show. We hope that you all enjoy it.
RonToon, MOB, and Big Ed
Harvested Records |
FLAC
|
|
| 133. |
09/30/71 |
Paris Cinema - London,
UK |
A+ | BBC FM Reel; 'Meddler' Bootleg CD >EAC >SHN | (BBC Rock Hour Series, Intro By Brian Matthews)
***********************************************************************
SHN >WAV >FLAC (Level 8) Via xACT 2.50 By OldNeumanntapr
*********************************************************************** |
FLAC
|
|
| 134. |
09/30/71 |
Paris Cinema - London,
UK |
A+ | BBC FM Reel; 'Meddled' Bootleg | No Text File!
**********************************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
**********************************************************************************
Same Artwork As 'Meddled' Bootleg, But John Peel Intro Is Different On This Recording.
Unmixed Master Mono Recording, Archived By The BBC |
FLAC
|
|
| 135. |
10/04/71 |
Roman Amphiteatre - Pompeii,
Italy |
A | Soundboard / Laserdisc rev.A (HRV CDR 010) | October 4-7, 1971
[SHN >WAV >FLAC Via xACT 2.47 By OldNeumanntapr]
Notes:
The original version of this show saw only limited distribution. We were
waiting to see if Adrian Maben would be successful in releasing this show on
DVD (see below). Now that this appears to be highly unlikely. We are going
forward with the general release of this title.
The audio quality is excellent. Ron grabbed the audio direct from his
Laserdisc.
But this is a rev A release. It is not exactly the same as the previous
version. Ron did a little tinkering, then I did a little deglitching, and then
Marc-Oliver helped with the speed correction.
I was surprised that a Laserdisc recording would need speed correction. But
according to Marc-Olivier, PAL to NTSC conversion screwups are quite normal.
In keeping with Harvested's mission statement of producing 'Live' events only,
all inbetween track chatter and DSotM studio tidbits have been removed. You
won't hear Nick asking for his pie on this one :-) Just pure uninterrupted
music:
Track 1: Intro
Track 2: Echoes part 1
Track 3: Careful With That Axe, Eugene
Track 4: A Saucerful of Secrets
Track 5: One of These Days I'm going to Cut You into Little Pieces
Track 6: Set the Controls for the Heart of the Sun
Track 7: Mademoiselle Knobs
Track 8: Echoes part 2
Enjoy the show.
---------------------------------------------------------
Regarding a potential Pompeii DVD release:
If memory serves me right, the Floyd and their label were 100% 'let's do it' for
a Pompeii DVD release. I believe Adrian Maben was contacted to resurrect the
beast.
The last thing I remember hearing about the project was that Adrian reported
that the Pompeii masters were lost or so badly degraded that making a DVD was a
'no can do' :-(
Which is too bad. I was really hoping that during the DVD preparation work that
copies of the masters would leak out.
I mean, the Pompeii we all know and love is a Frankenshow!!!
I wanted to see each days performance from each camera angle. Plus all the
interview footage that never made it past the cutting room floor. Maben must
have exposed 200+ hours of film in producing this picture. All we get to see is
that measly 1%. Can't someone unlock the vault and bring us the other 99%?
|
FLAC
|
|
| 136. |
10/10/71 |
The Great Hall - Bradford,
UK |
A- | Audience Cassette >Cassette (Gen?) >CDR >FLAC | (Missing Part Of 'Cymbaline')
Trade Cassette Transferred: Sony TC-D5M >HHb CDR 800 >CDR >FLAC (Level 8) Via xACT 2.37 Via OldNeumanntapr |
2 FLAC
|
|
| 137. |
10/10/71 |
The Great Hall - Bradford,
UK |
A | Audience Cassette | 'Over Bradford Pigs On The Groove' Pink Floyd 2021 Official Bootleg For Copyright BS.
**********************************************************
FLAC Re-Tags Via xACT 2.50 By OldNeumanntapr
********************************************************** |
FLAC
|
|
| 138. |
10/17/71 |
Convention Hall - San Diego,
CA |
A | Audience Cassette >Bootleg LP Acetate >DAT >CDR >FLAC | Trade DAT Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o,
CD Masters >FLAC (Level 8) Via xACT 2.28 By OldNeumantapr |
1 FLAC
|
|
| 139. |
10/17/71 |
Convention Hall - San Diego,
CA |
A+ | Audience; 'Sigma 121' Bootleg CD | Stronger Levels Than My Other Source.
***********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************************** |
FLAC
|
|
| 140. |
10/27/71 |
Auditorium Theatre - Chicago,
IL |
B+ | Audience; 'Echoes In The Auditorium' Bootleg CD | (Complete Show, With Tune Ups Between Songs)
Brief Left-Channel Dropout In 'Embryo' |
0 FLAC
|
|
| 141. |
10/27/71 |
Auditorium Theatre - Chicago,
IL |
B+ | Audience; 'Climb Toward The Light' Bootleg CD | (NO Dropout In 'Embryo')
Speed corrected where possible and equalized with Audacity
Original lineage: Aud Cass (2nd gen) > DAT > CDR > FLAC
Additional processing by me: WAV > Audacity > FLAC
*************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************* |
FLAC
|
|
| 142. |
10/31/71 |
Fieldhouse - Toledo,
OH |
B+ | Audience | SHN >WAV >Audacity (Combine Tracks To A One-Track File, Remove And Repair Several Small Static 'Blips', Minor Edits, Amplify Entire Recording By 14.3db, Re-Track On Original Index Marks) >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
Disc I:
xx. The Embryo*
xx. Fat Old Sun*
01. Set The Controls For The Heart Of The Sun
02. Atom Heart Mother
03. One Of These Days
04. Careful With That Axe Eugene
xx. Cymbaline*
Disc II:
01. Echoes
Encore:
02. Blues
*Missing
OldNeumanntapr Notes:
This recording came to me as a set of SHN files with front and rear artwork covers but no text file. The levels were extremely low and the recording suffered from several static 'blips' that could be seen in the Audacity waveform. After removing (and repairing) these blips the entire recording was amplified and re-tracked. (The rear cover artwork shows 'Cymbaline' as track five of disc one but no such song exists. There are edits between each song, some which contained blank space which I shortened. The artwork appeared to be from a bootleg CD but no title was listed, only a date and location.
Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. ;)
|
FLAC
|
|
| 143. |
11/05/71 |
Assembly Hall, Hunter College CUNY - New York,
NY |
B+ | Audience [Cass?] | (Hunter College) Some Distortion, Slight Distant Sound, No Crowd Noise. |
2 CDR
|
|
| 144. |
11/06/71 |
Emerson Gym - Cleveland,
OH |
A- | Audience Cassette >Cassette (Gen ?) >CDR >FLAC | Trade Cassette Transferred: Sony TCD-D5M >HHb CDR 800 >CDR >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr |
2 FLAC
|
|
| 145. |
11/06/71 |
Emerson Gym - Cleveland,
OH |
A- | Audience 'For Reasons I Don't Understand' Bootleg, Free Range Pigs (FRP CDR-022/23) | (Complete)
Very Clear Recording With Slight Audience Chatter In Spots. |
0 FLAC
|
|
| 146. |
11/06/71 |
Emerson Gym - Cleveland,
OH |
A | Audience; Master To CDR Clone | (Much Stronger Levels Than My Other Two Sources.)
From the Collection of KRW_CO
Lineage Audience Master tape transferred to cdr/cdr clone
to EAC secure mode wav 16/44.1 to TLH Flac Level 8
********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr (I Added Artwork From Another Bootleg)
******************************************************************** |
FLAC
|
|
| 147. |
11/10/71 |
Pavillon de la Jeunesse - Quebec,
QC |
A- | Audience; 'LABYRINTHS REV A.K' Bootleg CD | **********************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
**********************************************************************
Revisions made using Cool Edit Pro..........
- removed the vast majority of the static on disc 02
- edited for better transition between tracks
- fixed apparent skip during footsteps sequence of Cymbaline
- removed various clicks, thuds and anomolies
- fixed small gap at 17:04 of Echoes
i hope this has made an interesting show much more listenable. if you encounter any problems or have any suggestions please feel free to PM or e-mail me at kingjollytrouser@yahoo.com.
thanks to danlynch and littlesheep for providing source material.
enjoy.
kingjollytrouser Feb 10, 2004
**************** from original text file ***************************
notes:
even if my copy comes from an 'original' Highland CD thare's some static on CD2 ... this imperfection appears in almost all copies in circulation.
notes from the pf-roio db:
A few brief cuts during songs, some applause cut between songs. A few tape faults such as interference and speed changes. One annyoing speed change at the end of "A Saucerful Of Secrets." -LEMON
Many good tapes resulted from this tour, and many solid performances. For sound quality, this one scores a little short of 11/16/71, but noticeably better than 11/20/71. There are a couple of tape glitches, and AHM fades prematurely during Rick's jam. Overall though, it stands up well to multiple listens.
The performance is excellent, though not particularly unusual. The introduction is a few sentences in French, except for the concluding quip, "I hope everybody is stoned." Roger also says a few words in French before OoTD. The encore of ASoS could be a bit more far out than usual.
This is one of the minority Highland items that isn't just a dupe of something already out there. -EL
|
FLAC
|
|
| 148. |
11/12/71 |
Irvine Auditorium - Philadelphia,
PA |
B+ | Audience (Partial) | FLAC Tags Via xACT 2.50 By OldNeumanntapr
01 Tuning
02 The Embryo
03 Fat Old Sun
04 Set The Controls For The Heart Of The Sun
05 Echoes
Missing 'Atom Heart Mother', One Of These Days', Careful With That Axe Eugene', And 'Cymbaline'.
Included as 'Bonus' CD On 10/17/71 Sigma 121 Bootleg CD |
FLAC
|
|
| 149. |
11/16/71 |
Lisner Auditorium - Washington,
DC |
A | Audience (Reel?) | Trade CDs >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr
(Liberated Bootleg 'Something From Nothing'. Outstanding Version Of 'One Of These Days'. Very Clean And Well Recorded With A Polite Crowd.) |
2 FLAC
|
|
| 150. |
11/20/71 |
Taft Auditorium - Cincinnati,
OH |
A | Two Audience Recordings:
--Recorder 1: cass[M] > cdr(?) > shn > wav > Adobe Audition 1.5 (minor
editing) > cd wav (tracking) > TLH > flac
--Recorder 2: cass[1]>DAT[2]>CDR[?] >EAC>WAV>archived in shn
| (Original text file notes)
I put this version of this show together for my own edification, but figured some people might want to hear it as well, so here it is. FWIW, I received good feedback on a couple similar PF efforts, namely Hollywood Bowl í72 (later dubbed ìPlatinum Crackersî) and Chicago í77.
What I have here is the superior audience source (Recorder 1) patched with the second recording (Recorder 2) in places where Recorder 1 had cuts ñ that is,
except for the brief places when both tapers shut off their equipment, mostly between songs. Keep in mind that this is not merely Recorder 1 with the "DYI Patch Kit" at the end, but also with a couple of other patches/blends from Recorder 2 earlier in the show (see below) and some other processing. Specifically, hereís the work I did:
--Meticulously speed-corrected both sources ñ Recorder 2 was waaay slow, FYI
--**Removed a bit of hiss from both sources ñ those who are against this practice, beware. There was too much hiss for my taste and thatís why I decided to
make this adjustment, but I know there are many who prefer this not be done. Nevertheless, I encourage you to check out the samples in the torrent (all
under 20 seconds) before you judge. I think itís a considerable improvement, but thatís just me.
--Blended in roughly 40 seconds of Recorder 2 just after the end of Embryo to compensate for a cut ñ Recorder 2 was wobbly at this point, making this a
serious challenge
--Blended in Recorder 2 for a 5-10 second cut in CWTAE (see sample)
--Blended in Recorder 2 from ìDYI Patch Kitî at 15:14 of Echoes (where Recorder 1 ends) through the end of the show (see sample)
The only music that both recorders missed are a few seconds at start of CWTAE and a few seconds at 24:30 of Echoes; both were also turned off between songs
for the most part, but not much seems to have been missed.
No artwork, but please feel free to create and post your own.
DISC 1 (76:38)
1. The Embryo (28:54)
2. Fat Old Sun (12:56)
3. Set the Controls for the Heart of the Sun (15:18)
4. Atom Heart Mother (19:29)
DISC 2 (60:47)
1. Careful With That Axe, Eugene (14:21)
2. Cymbaline (11:59)
3. Echoes (26:57)
4. Blues (7:30)
|
2 FLAC
|
|
| 151. |
11/20/71 |
Taft Auditorium - Cincinnati,
OH |
A | Audience; Cass/1 > DAT/2 > CDR/? > EAC > WAV > SHN | *********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************* |
FLAC
|
|
| 152. |
01/20/72 |
The Dome - Brighton,
UK |
A | Audience (Reel?) Master >HiFi VHS >DAT (2) >SHN >CDR >FLAC | [Trade CDs >FLAC (Level 8) Via xACT 2.37]
First Performance Of 'Dark Side Of The Moon'. Abandoned During The Intro To Money Because Of Technical Problems. |
2 FLAC
|
|
| 153. |
01/20/72 |
The Dome - Brighton,
UK |
A | Audience; 'The Darkside Rehearsals' (Triangle) | ***********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************************** |
FLAC
|
|
| 154. |
01/22/72 |
Winter Gardens - Hampshire,
UK |
B | Audience; (Recorder 1) CASS[3] >DAT >SHN >WAV >FLAC | ***********************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************************** |
FLAC
|
|
| 155. |
02/17/72 |
Rainbow Theatre - London,
England |
A | Audience (Empress Valley 'The Dark Side Of The Lunatics' Box Set, 1st Night) | |
0 FLAC
|
|
| 156. |
02/18/72 |
Rainbow Theatre - London,
UK |
B+ | Audience | (Liberated Bootleg 'Rainbow Day 2')
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 157. |
02/18/72 |
Rainbow Theatre - London,
UK |
A | Audience (Empress Valley 'The Dark Side Of The Lunatics' Box Set, 2nd Night) | |
0 FLAC
|
|
| 158. |
02/19/72 |
Rainbow Theatre - London,
UK |
A | Audience (Empress Valley 'The Dark Side Of The Lunatics' Box Set, 3rd Night) | |
0 FLAC
|
|
| 159. |
02/20/72 |
Rainbow Theatre - London,
UK |
B+ | “In Celebration Of The Comet, The Coming Of Kohoutek” Bootleg LP >CDR >FLAC | LP Transferred: Pioneer PL400 >PRO-JECT Phono Preamp >HHb CDR 800 >CDR FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr |
1 FLAC
|
|
| 160. |
02/20/72 |
Rainbow Theatre - London,
UK |
A | FOB Audience Reel? w/Master Cassette Audience patches | "The intro is still from Rainbow Vol 4, the main source is the Soundboard though some call it Aud?. this sbd is taken from Best Of Tour 72 "original Master series". there is no change in the bass boosting, it's the same as the original best of the Rainbow. here is what's different. the patching on Time and US & Them is from a new Master >MD aud recording. the rest of the concert is also from Master >MD source. only volume amplification and speed correction has been done to Aud source."
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 161. |
02/20/72 |
Rainbow Theatre - London,
UK |
A- | Audience | ('Dark Side Of The Sky' Bootleg)
Clear Sound, But Lower Levels Than Compared To Other Sources.) |
0 FLAC
|
|
| 162. |
02/20/72 |
Rainbow Theatre - London,
UK |
A | Audience (Empress Valley 'The Dark Side Of The Lunatics' Box Set, 4th Night) | |
0 FLAC
|
|
| 163. |
02/20/72 |
Rainbow Theatre - London,
UK |
A | Audience Reel; 'The Complete Rainbow Tapes' (Godfather Records) | ****************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
****************************************************************
Notes:
This is the only show I took from this box set, as the other three sounded identical to the versions I already had. The high frequency on this one was a little more pronounced as opposed to the other versions of this show which sounded (and looked on the graphs) like it was more rolled off, except for possibly the Empress Valley 'Dark Side Of The Lunatics' source. |
FLAC
|
|
| 164. |
03/06/72 |
Taiikukan - Tokyo,
Japan |
A | Audience; 3rd Gen Tape >CDR >WAV >SHN >CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37
["Live In Tokyo 1972 (Amsterdam)" - Tokyo-To Taiikukan (Minor Hiss)] |
2 FLAC
|
|
| 165. |
03/06/72 |
Taiikukan - Tokyo,
Japan |
A- | Audience; 'Music From The Dark Side' (Godfather Records Box Set) | (Show #1 Of 6-Show, 12-CD, Box Set)
The Darker Side Of Rising Sun Japan 1972 Chronicles (The Godfather Box G.R. BOX 24)
####################################################################################################
(FLAC >WAV [Change File Names To Reflect Etree Standards, Group By Show And Not By Disc] >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr)
####################################################################################################
This is a 12CD box set covering six complete shows from their Japanese Tour in
1972 plus different/alternate sources as bonus tracks for each individual set.
|
FLAC
|
|
| 166. |
03/06/72 |
Taiikukan - Tokyo,
Japan |
A | Japanese FM Broadcast (Partial) | FLAC Tags Via xACT 2.50 By OldNeumanntapr
Heartbeat >
Breathe >
Travel Sequence >
Time >
Breathe (reprise) >
The Mortality Sequence >
Money >
Us And Them
Japanese Radio DJ Outro |
FLAC
|
|
| 167. |
03/07/72 |
Taiikukan - Tokyo,
Japan |
A- | Audience | Bootleg CD 'Japan 2nd Night (Sigma 161)'
(Missing 'Careful With That Axe Eugene', Track 2 Of Disc 2)
(Levels Stronger On This Source But High Frequency Not As Pronounced) |
0 FLAC
|
|
| 168. |
03/07/72 |
Taiikukan - Tokyo,
Japan |
A | Audience; 'At The End Of The Horizon' (Godfather Records Box Set) | (Show #2 Of 6-Show, 12-CD, Box Set)
The Darker Side Of Rising Sun Japan 1972 Chronicles (The Godfather Box G.R. BOX 24)
(High Frequency Better on This Source.)
####################################################################################################
(FLAC >WAV [Change File Names To Reflect Etree Standards, Group By Show And Not By Disc] >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr)
####################################################################################################
This is a 12CD box set covering six complete shows from their Japanese Tour in
1972 plus different/alternate sources as bonus tracks for each individual set. |
FLAC
|
|
| 169. |
03/08/72 |
Festival Hall - Osaka,
Japan |
A | Audience, Bootleg CD 'The Darkest Moon' | (Stonger Levels On This Source) |
0 FLAC
|
|
| 170. |
03/08/72 |
Festival Hall - Osaka,
Japan |
A- | Audience; 'Lunatics On The Run' (Godfather Records Box Set) | (Show #3 Of 6-Show, 12-CD, Box Set)
The Darker Side Of Rising Sun Japan 1972 Chronicles (The Godfather Box G.R. BOX 24)
####################################################################################################
(FLAC >WAV [Change File Names To Reflect Etree Standards, Group By Show And Not By Disc] >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr)
####################################################################################################
This is a 12CD box set covering six complete shows from their Japanese Tour in
1972 plus different/alternate sources as bonus tracks for each individual set. |
FLAC
|
|
| 171. |
03/09/72 |
Festival Hall - Osaka,
Japan |
A- | Audience 'Cold Side Of The Bow' (Godfather Records Box Set) | Show #4 Of 6-Show, 12-CD, Box Set)
The Darker Side Of Rising Sun Japan 1972 Chronicles (The Godfather Box G.R. BOX 24)
####################################################################################################
(FLAC >WAV [Change File Names To Reflect Etree Standards, Group By Show And Not By Disc] >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr)
####################################################################################################
This is a 12CD box set covering six complete shows from their Japanese Tour in
1972 plus different/alternate sources as bonus tracks for each individual set. |
|
|
| 172. |
03/10/72 |
Taisyougun Furitsu Taiikukan - Kyoto,
Japan |
A- | Audience; 'A Journey Through Time And Space' (Godfather Records Box Set) | (Show #5 Of 6-Show, 12-CD, Box Set)
The Darker Side Of Rising Sun Japan 1972 Chronicles (The Godfather Box G.R. BOX 24)
####################################################################################################
(FLAC >WAV [Change File Names To Reflect Etree Standards, Group By Show And Not By Disc] >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr)
####################################################################################################
This is a 12CD box set covering six complete shows from their Japanese Tour in
1972 plus different/alternate sources as bonus tracks for each individual set. |
FLAC
|
|
| 173. |
03/13/72 |
Nakanoshima Sports Center - Sapporo, Hokkaido Island,
Japan |
A | Audience Master Reel >DAT >CD >FLAC | 'The Great Gig On The Moon' Bootleg CD
Amazing Recording. Too Bad No One Bothered To Document What Microphones / Recorder Were Used. |
1 FLAC
|
|
| 174. |
03/13/72 |
Nakanoshima Sports Center - Sapporo, Hokkaido Island,
Japan |
A | Audience; 'Last Gig On The Moon' (Godfather Records Box Set) | (Show #6 Of 6-Show, 12-CD, Box Set)
The Darker Side Of Rising Sun Japan 1972 Chronicles (The Godfather Box G.R. BOX 24)
####################################################################################################
(FLAC >WAV [Change File Names To Reflect Etree Standards, Group By Show And Not By Disc] >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr)
####################################################################################################
This is a 12CD box set covering six complete shows from their Japanese Tour in
1972 plus different/alternate sources as bonus tracks for each individual set. |
FLAC
|
|
| 175. |
03/30/72 |
Free Trade Hall - Manchester,
UK |
B+ | Audience; 'Run Rabbit Run' (Harvested) | (A Bit Distant Sounding)
*********************************************************
SHN >FLAC (+ Tags) Via xACT 2.50 By OldNeumanntapr
********************************************************* |
FLAC
|
|
| 176. |
04/16/72 |
Township Auditorium - Columbia,
SC |
A | Audience Reel; 'The Massed Gadgets Of Hercules 1970 / 1974' - (Godfather GR BOX 09) | (3rd Show Of Multi-Show Box Set)
*********************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************* |
FLAC
|
|
| 177. |
04/16/72 |
Township Auditorium - Columbia,
SC |
A | Portable Reel-To-Reel [Master] >Cass >Cass [TDK SA-X-90] >AKAI TapeDeck >SBLive >PC >WAV >CoolEditPro >SHN. 'Take Up My Stethoscope' | (Both Bootlegs, 'Take Up My Stethoscope', And 'Massed Gadgets', Seem To Be From The Same Audience Reel Source.)
************************************************************************
SHN >WAV >FLAC (Level 80 + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************
Notes:
Why such a strange title from first Pink Floyd's album? Listen carefully to the
show... You will hear two guys screaming loudly near the taper: "Take up my
stethoscope and walk" just before "Atom Heart Mother"...
Raw rip from very nice 2nd generation audience tapes. This is as complete copy
of this concert, as we will ever get. Copy from copy of the taper's masters
(show was recorded on portable reel-to-reel - parts one and three on one tape,
part two on the other).
As we can see now - and contrary to "In The Flesh" book - "Atom Heart Mother"
was performed as an encore, not "Echoes"... |
FLAC
|
|
| 178. |
04/23/72 |
Music Hall - Cinncinnati,
OH |
B+ | Audience Cassette (3) >EAC >WAV >TLH >FLAC (16bit/44kHz) > Samplitude10 (32bit/44kHz) >WAV (16bit/44kHz) >CDWave (1.98) >FLAC | ***Neonknight's Notes***
An enjoyable early DSOTM concert from the usual recorder but using a new source to the general community. "Oh God" exclaims a member of the audience as CWTAE commences. As one who never tires of listening to that particular song I can entirely see what he means!
***Littlepieces' Mastering Notes***
This is a mono recording that was processed as two channel stereo. It has a phase shift that varies some but is generally about 2-5 samples. Both channels were retained and manually aligned to improve the phasing.
I improved the damaged segment near the beginning of Breathe by using the best part of each channel and repaired a dropout near the end of the song. Smoothed the fade out/fade in of The Mortality Sequence to Money and repaired a dropout in Money. Removed 13s repeated segment at beginning of U&T and spliced. Repaired noise at track change to BD and smoothed probable tape change and level drop during BD by using the best part of each channel.
I removed dead air from fade out/fade in near beginning of OoTD that is on all versions. Increased the gain of left channel on CWTAE 1.5db. Replaced the left channel with the right channel on Echoes as the left was 3.5-4db lower and of lower quality. About 5s into Echoes, you can hear the SQ change and signal drop after 6k - this seems to be on all versions. Removed dead air from fade out/fade in at ~15:22m into Echoes. I noted that before Echoes cuts that it has about 15s more content than the R&D source. I increased the gain of left channel 1.5-2.1db on SoS.
The speed of the first set was close enough most of the time and so I decided not to subject it to a SpC/resample. The second set was off a bit more and adjustments from 98.25 to 101.30 were made. |
0 FLAC
|
|
| 179. |
04/28/72 |
Auditorium Theater - Chicago,
IL |
A | (Original Lineage) BASF reel >Sound Forge >(-)16.7 cents speed correction >gap repairs (hopefully all done) >track splitup >Flac via Flac Frontend, level 6, sectors aligned and verified. | Hogweeds’ remaster of low generation Reel (16 bit). Original lineage: BASF Reel >Sound Forge >(-16.7 cents speed correction >gap repairs, track split up >FLAC via FLAC Frontend, (level 6), sectors aligned and verified. Improvements include: 1. Shifting phase alignment of the channels to better replicate the stereo effect. 2. Balancing the equalization to lift the lower frequencies to add body to the sound and a little more punch to the bass. 3. Repairing numerous small dropouts, and some larger glitches. DSOM Set Only.
Trade CD >FLAC (Level 8) Via xACT 2.28 |
1 FLAC
|
|
| 180. |
04/28/72 |
Auditorium Theater - Chicago,
IL |
A | Audience; FOB: Cassette Master >DAT 2 >Delta DI/O 24/96 >Soundforge7.0 >CD Wave >FLAC | (SET II)
Trade CD >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
|
|
| 181. |
05/02/72 |
Carnegie Hall - New York,
NY |
A- | Stereo Audience | (Set II ONLY)
************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************ |
FLAC
|
|
| 182. |
05/04/72 |
Music Hall - Boston,
MA |
B+ | Audience; Master Reel >DAW >SDII >WAV > SHN >mkw (V0.97 beta 1) >WAV (Some Improvements Using EAC V0.95 prebeta 4) >MKW >SHN >WAV >FLAC
| **********************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
**********************************************************************
Taped by: Joe Maloney
Transfered by: Jamie Salerno
Notes:
From original text file:
Tape flip at the end of d01t01.
Recorded on a Hitachi 290, using the microphone from the RCA YLS 15B
portable reel to reel recorder. Original cassettes were transferred
to a Mac DAW using a Nakamichi 480.The analog signal was first run
through: a) a SAE 2800 parametric equalizer to bump the highs slightly;
& b) a Phase Linear Autocorrelator to remove hiss. Lo Cut filter on
Mackie 1402-VLZ used to remove grunge below 75 Hz (-18 db/octive).
Transferred to the Mac using a MOTU 896/Bias Peak. Bias Deck used to
splice tape flips & even out volume levels. Bias Peak again used to
transfer SDII files to WAV files for shn compression. xACT used to fix
SBEs & encode to SHNs.
This recording is one of literally dozens of concerts recorded by Joe
Maloney in the late '60s - late '70s to be released to the live
recording community. The bulk of the concerts recorded were in the
Boston area, with some in Maine venues.
The improvements that I did:
- Repairing small click at drop out (44'56") on disc 1 (this was almost
certainly the result of a clumsy edit)
- Splitting up disc 1 into individual tracks
- Zero padding at the end of disc 2 (1 block = 588 samples)
- Last but not least, I also have created some artwork
The tracking on disc 2 is peculiar as well. The included cue sheets
fix this problem (for those who now how to use them) and the tracks
will start with Roger's announcements.
Credits:
Many thanks to Joe Maloney for recording this show and also to Jamie
Salerno for doing the transfer.
|
FLAC
|
|
| 183. |
05/18/72 |
Deutschlandhalle - West Berlin,
West Germany |
A- | Audience; Cassette [REC 2 - Master - rev A (SS106 & SS131 & Z055)] | (Clear Sound But Low Levels)
Sound Quality EX/EX- Source Audience (recorder 2 + recorder 1 for fills) Generation cass[Master] > CDR(4) > SHN > WAV > Cool Edit Pro (remaster + 2nd source fills) > SHN Additional lineage: SHN > SBE fix > FLAC level 8 |
2 FLAC
|
|
| 184. |
05/18/72 |
Deutschlandhalle - West Berlin,
West Germany |
A- | Audience (Unknown Gen Cass) Rec. 1
Unknown Gen. Cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.5 -> WAVE -> NeroWaveEditor And AdobeAudition -> TLH -> FLAC | (Strong Levels But Slightly Boomy)
**********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************** |
FLAC
|
|
| 185. |
05/21/72 |
Insel Grün - Germersheim,
West Germany |
A | Audience Cass; Bootleg LP >'Double Bubble' CD Remaster | By request, this is a remaster of the original "Double Bubble" vinyl version
of the Germersheim show. Cassette analog master through M-Audio Firewire
Interface (44.1khz/16bit) with Pluggo Noyzclipper to lessen the hiss and
pops. No EQ or Dynamics applied.
Vinyl >Nakamichi Cassette Analog Master >
M-Audio FW410 Interface>Bias Peak 4 >
Pluggo Noyzclipper Plug-In >AIFF >Flac
************************************************************************
FLAC Tags Via xACT 2.53 By OldNeumanntapr (+ front cover artwork)
************************************************************************ |
0 FLAC
|
|
| 186. |
09/22/72 |
Hollywood Bowl - Los Angeles,
CA |
A | Sony ECM 22P mics >Sony 770 Reel >DAT >CDR >FLAC | (Recorded By Rob Bertrando)
Trade DAT Transferred: Tascam DA-30 >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr |
2 FLAC
|
|
| 187. |
09/22/72 |
Hollywood Bowl - Los Angeles,
CA |
A | Sony ECM 22Ps >Sony 770 Reel | (Recorded By Rob Bertrando)
Revox A77 (playback) > Sony TC755 reel
Technics 1506 (playback) > Sony R500 DAT > HHb850 CDR
CDR rip (EAC) >Adobe Audition (fix speed/pitch, some editing and EQ) > TLH |
0 FLAC
|
|
| 188. |
09/22/72 |
Hollywood Bowl - Los Angeles,
CA |
A+ | Sony ECM-22P Cardioids >Sony 770 reel @ 7.5 ips | Recorded By Rob Bertrando, 40-50 Feet Back, Dead Center.
First generation R2R copy
Revox A77 (playback) > Sony TC755 reel
2010 first generation R2R transfer
Technics 1506 (playback) > Sony R500 DAT > HHb850 CDR
CDR rip (EAC) > Adobe Audition (fix speed/pitch, some editing and EQ) > TLH
2013 clean-up of edits, dropouts, pops, loudest claps and mic thumps and scrapes.
Audacity > CD Wav > TLH (Flac level 8) > Stamp ID3 tag editor
The sonar pings at the start of Echoes are missing.
Tape flip and original 2010 transfer edits to remove finger tapping the microphone lost a couple seconds here.
Technical issues meticulously cleaned up with no noise reduction or additional EQ applied.
For historical reference only and not intended for resale or any commercial use.
enjoy
-M- (Dec 2013)
Flying M Productions
|
0 FLAC
|
|
| 189. |
09/24/72 |
Winterland Auditorium - San Francisco,
CA |
A | Reel Master >Akai GX-400D-SS >Sound Forge at 24bit/48Khz >Downsampling and bit conversion to Red Book CD Standard >Track Splitup >Flac via Flac Frontend, Level 6, sectors aligned and verified. | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 190. |
10/21/72 |
Empire Pool - Wembley,
UK |
A- | Audience | (Bootleg CD, The Godfatherecords GR 361/362)
A Benefit For War On Want and Oxfam |
0 FLAC
|
|
| 191. |
11/10/72 |
KB Hallen - Copenhagen,
Denmark |
B+ | Audience Cassette "Dr. Who in Denmark" Bootleg | Text File Notes:
Bonus show to complete the Germany 1972 series originally weeded on the "FloydLive" newsgroup in 2002. This is an incomplete show from a low gen source. Missing "Set the Controls for the Heart of the Sun". Speed corrected-the original tape source was about 1/2 step too slow. There was no noise reduction used at all and very minor EQ. This is my favorite 1972 show so I gave it a name. The name "Dr. Who in Denmark" is based on what sounds to me like slide guitar licks during the "on the run" jam similar to those in "One of These Days" or later on in "Sheep". I've never heard Gilmour use a slide during that part of show on any other recording, so I consider this a very unique show. |
0 FLAC
|
|
| 192. |
11/14/72 |
Philips Veranstaltungshalle - Düsseldorf,
West Germany |
B+ | Audience Cassette >Cassette (Gen ?) >CDR >FLAC | Trade Cassette (Unknown Gen) Transferred: Sony TC-D5M >HHb CDR 800 >CD Masters >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr |
2 FLAC
|
|
| 193. |
11/15/72 |
Sporthalle - Böblingen,
West Germany |
B+ | Audience >? >Cassette (Gen?) >CDR >FLAC | [Not From Bootleg LP. Minor Hiss, Levels Were Low On Cassette And Had To Be Raised During CDR Transfer, Though Vocals And Instruments Are Clear. Very Little Crowd Noise. (Edits Between Songs On Disc II.)
Trade Cass Transferred: Sony TC-D5M >HHb CDR 800
CD Masters >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr |
2 FLAC
|
|
| 194. |
11/15/72 |
Sporthalle - Böblingen,
West Germany |
A | Audience, Bootleg LP (Remastered) | Lineage: FL1/4 ->Technics SL1200MK2 running way fast ->Echo Layla ->Sound Forge 6.0->Click And Crackle Removal ->Flac via Flac frontend, level 6, sectors aligned and verified.
A lot of fun to work on, this 2 LP set ran way, way too slow. It was pitch-corrected on the turntable to the online program "Virtual Keyboard", and declicked. The album fades between sides at strange moments (why didn't they keep DSOTM together?), but fortunately there was enough overlap to resplice it together almost without any notice.
It's a great recording, and one of the longer Dark Sides I've ever heard. |
0 FLAC
|
|
| 195. |
11/15/72 |
Sporthalle - Böblingen,
West Germany |
A+ | Audience Reel; Marbell's 2nd Gen Cassette (Maxell XLII90)(Dolby On) > *Technics RS-B965-M (Dolby On) > Focusrite Saffire Pro 14 > Audacity 1.3 > Wav (24bit/96kHz) ====>> Adjustments (32bit float/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC (16bit/44kHz)
*The Technics RS-B965-M is a modified deck | ********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************
01 [14:28] Careful With That Axe, Eugene
02 [26:13] Echoes
03 [09:39] One Of These Days
== [50:21] Total
***Neonknight's Notes***
Marbal's cassette of this amazing recording is significantly better than previously circulated copies. The taper's microphones appear to have been perfectly positioned and he seems to have used a professional reel-to-reel recorder. I asked Grolsch for his thoughts on the tape's origins and he mentioned that there was a rumour that it was done by a ZDF employee who used the TV station's equipment.
***Littlepieces' Mastering Notes***
I love this recording. It has so much more depth and realism that the DAT and CDR versions are missing. I am not at all surprised by Grolsch's comment about it possibly being done by an insider with the station's equipment.
This is a Dolby-On recording. The differences in decks often result in the decoding profile varying from the original encoding creating a poor result. So in order to ensure we got the best possible outcome, we tried three different transfer settings: Dolby on-70us, Dolby off-70us, and Dolby on-120us. In this case we decided that the original settings of Dolby on-70us provide the best result given the planned processing approach.
Marbal's tape is a true stereo recording. Like most stereo audience recordings it has a phasey SQ due to sound entering the mics at slightly different times. I used the multiband enhancer to move everything below 260Hz towards mono, varying the amount throughout and adjusted gain as necessary. This really helped to ground the sound stage and build the low end.
I utilized and varied moderate noise reduction settings working mostly above 12kHz and only slightly lower on audience and quieter sections, while being diligent not to encroach on the harmonics.
A subtle but strange phenomonom occurs sporadically throughout the recording but is really only noticeable during some of the quiet parts. The upper level hiss level changes between about 10k-20k. It's as if the Dolby setting is changing or fading since the EQ is not changing. Not sure what is causing it but I altered the NR settings to make it less apparent whenever it occurred.
OoTD has two transfers, the first ended after ~6m and the last was complete. I felt the complete version had better SQ but had some rough almost damaged sounding sections in the first part, so I spliced just under 3m of the undamaged part of the incomplete transfer and the remainder is from the complete transfer.
The track order on the tape was Echoes, CWTAE, OoTD so I put the tracks in the proper order including a 5s segment before OoTD that is actually part of the pre Echoes tuning.
I used a moderate shaped EQ to increase the area between ~1k to 3-4k and sometimes extended the upper end slightly where it began to fall off after 10k. Also adjusted channel gain throughout to help balance the recording output. The recording responded very well to these small changes.
A few segments have over-driven low frequencies below 80Hz which I moderated. I also reduced a few low frequency hums during a some quiet sections and manually spectral cleaned some tics, pops,etc.
There were many micro drop outs caused by damaged segments, mostly ~20ms, and I removed the short piece of damage.
Thankfully, the speed of the recording was close enough, so I decided to not subject it to a resample.
I noted compared to 'Untitled 1st gen', Marbals' recording is missing about 48s of audience tuning before echoes but has ~8s more before audience applause preceding OoTD.
Marbal Tape / Neonknight Transfer / Little Pieces Production (LPP) December 2012
****************************************************************************************** |
FLAC
|
|
| 196. |
11/15/72 |
Sporthalle - Böblingen,
West Germany |
A+ | Soundboard; 'Eclipse' - Live In Germany CD | ************************************************************************
FLAC Tags Via xACT 2.52 By OldNeumanntapr
************************************************************************ |
FLAC
|
|
| 197. |
11/16/72 |
Festhalle - Frankfurt Am Main,
West Germany |
B | Phillips Cassette Audience Master >DAT >CD >WAV >FLAC >CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 198. |
11/17/72 |
Festhalle - Frankfurt,
West Germany |
A | Telefunken Magnetophon 300 >Grundig TK 147 Reel | ** Beechwoods' Notes
Marbal recorded both of the Floyd's performances at the Festhalle in Frankfurt in November 1972, on the 16th and 17th. The first show was recorded to cassette, on a mono Philips EL3302 portable recorder. On the 16th Marbal spotted that the venue had conveniently sited mains power upstairs besides the seats, so he decided to try and get his Grundig TK147 reel to reel recorder into the venue for the second night.
This transfer is named in honour of that machine, and the nerve it took to get it into the venue! It's easy to forget how big decent machines were back in the early 70's, and the difficulty in getting them into a venue. As Marbal commented on the day before 'When we ran inside the hall we kicked the security out of the way...' - a 'take no prisoners' approach to stealth recording!
It's worth saying a little about existing copies that circulate. All Marbal's cassette copies are from his 1st Gen backup reel. 'I did that during my student time to secure the quality of the 1st reel which was in my parents house together with the machine while I had 2 cass-decks in my little flat'. Circulating cassette copies will be 2nd gen or higher.
The mastertape is sadly damaged and lost.
This particular transfer is, I hope you will agree, an extraordinary improvement on circulating copies.
** Jimfisheye's Notes
This is a mono recording of a concert presented in quadraphonic surround sound. The balance captured on tape is fairly complete considering but certain elements are far away sounding due to the mono perspective.
The recording suffers from incorrect transfer speeds, high frequency attenuation from tape degradation and generation loss, and harmonic distortion from a microphone/deck just not up to the task of capturing full spectrum live loud dynamic sound. The loudest sections of music suffer further high and high mid frequency attenuation and compression.
The intent for this master is to present the concert as closely as possible to how it originally sounded with a reasonable amount of restoration work. Listening to a raw audience recording of an event made on amateur and/or portable equipment can turn into more of a study of the challenges and imperfections than the event itself. Tapes running at wrong speeds, volume levels altered by equipment response and operator controls, and frequency balance altered by equipment limitations can be very large distractions. Perfectly complete restoration is not always the goal (or even always possible). There will almost certainly be some artifact left untouched or a technique employed to be scrutinized. The goals here were to restore the correct speed, offset the high frequency attenuation, and correct record level fluctuations caused by level adjustments during the recording and other equipment anomalies.
The 1st half of TDSOTM is 46c flat but the rest of the show is 31c flat. This was corrected with Serato Pitch n Time. The level of harmonic distortion makes it difficult to make any adjustments without further degrading the recording. I was able to restore some balance by boosting the high frequencies. The high mids were boosted and the highs further boosted during the more compromised loud sections. All eq boosts were done by first isolating the frequency range to boost in a copy of the track and then mixing this together with the original track. This clinical approach avoids the coloration and alterations inherent in eq boosts. I used iZotope2 noise removal on the track adding back in high frequency content in order to not increase the hiss in the recording. It was not possible to remove hiss from the overall recording without losing content. I corrected the record level fluctuations and removed a number of noises from the mic and equipment being physically jostled.
Speed correction and certain isolated noise/artifact removal is fairly black and white. Acoustics of the venue, performance of the sound engineer, and the nature of the quadraphonic surround sound mixing present a lot of variables. Add portable recording equipment to this (and these levels moving around especially at the beginning of the show) and frequency balance and level correction become more subjective. Although this recording is far from audiophile or even portable consumer standards, the fragile nature of it's remains actually require a full quality digital format to preserve without incurring further loss. With this in mind and to preserve raw data for future technology, the raw digital transfer and a speed corrected only version are included with the mastered version of this recording. Additionally, a reduced (CD quality) version of the master for portable players and small systems is included. Sample rate conversion with Protools highest quality and word length reduction with Waves IDR.
This show gets off to a rough start as well. Rick's keys are flat at first. (Power issues affecting Ricks tuning?) They seem painfully aware they are out of tune and are just trying to get thru it. You can hear it in their playing. Sounds like everything's under control again by the end of Time.
|
0 FLAC
|
|
| 199. |
11/29/72 |
Palais des Expositions - Poitiers,
France |
B+ | Audience "Poitiers '72" (Sirene) | ********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
******************************************************************** |
FLAC
|
|
| 200. |
12/05/72 |
Vorst Nationaal - Brussels,
Belgium |
A | AKG Microphones >Uher Report 5" Reel To Reel | CD-ROM -> SOUNDSCAPE mastering -> Speed correction with Serato in ProtoolsHD -> FLAC (level 8 with internal checksums and tags)
Trade FLACs >WAV >Audacity (Split 'Dark Side Of The Moon' Suite Into Separate Tracks) >FLAC (Level 8) Via xACT 2.47 By OldNeumanntapr |
0 FLAC
|
|
| 201. |
12/07/72 |
Palais des Sports - Lille,
France |
A- | Audience; Telefunken Reel, External Microphone (Mono) | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 202. |
12/09/72 |
Hallenstadion - Zürich,
Switzerland |
A- | FOB; Unknown Audience | ['Childhoods End' Encore]
DSOM Tracked As One File.
Trade CDs >FLAC (Level 8) Via xACT 2.37
|
2 FLAC
|
|
| 203. |
12/09/72 |
Hallenstadion - Zürich,
Switzerland |
A | Audience | 'In A Neutral Land' Bootleg |
0 FLAC
|
|
| 204. |
12/09/72 |
Hallenstadion - Zürich,
Switzerland |
A | Audience; Master Reels > CDR > iTunes > MacFlac >FLAC | (1st Gen)
Text File Notes:
I got this one in a trade from the guy who recorded it.
He wrote "Now this is a very fine recording. I remember borrowing a reel-to-reel machine which we smuggled into the stadium with two microphones. probably one of the best recordings from 1972 capturing all the excitement of an incredible show."
There really isn't anything I can add to the tapers comments. This show has probably been out on some bootleg label of dubious nature but I very much doubt it's from this source. All I've done is made up a cover booklet which is included. |
0 FLAC
|
|
| 205. |
12/10/72 |
Palais des Sports - Lyon,
France |
B | Audience; "Across The Swiss Border" (Digital Floyd Archive) | (Final 1972 Show)
********************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
******************************************************************** |
FLAC
|
|
| 206. |
02/04/73 |
Palais des Sports de la Porte de Versailles - Paris,
France |
A- | Audience; Bootleg CD "Remembrance Of Things Past" (Highland HL281) | Pink Floyd Ballet - with the Roland Petit Ballet |
0 FLAC
|
|
| 207. |
03/06/73 |
Kiel Auditorium - St. Louis,
MO |
B+ | Audience 'The Valley Of The Kings' Bootleg CD (Speed Corrected) | One Of Only Five Live Performances Of 'Childhoods End'. (Minor Hiss, Distortion.)
[Trade CDs >FLAC (Level 8) Via xACT 2.37] |
2 FLAC
|
|
| 208. |
03/07/73 |
International Amphitheatre - Chicago,
IL |
B+ | Audience | ('Childhoods End' Bootleg) Vocals Slightly Echoey
Trade CDs >FLAC (level 8) Via xACT 2.37
[Filler: Kiel Auditorium, St. Louis, Missouri, March 6, 1973): Childhood's end (with tune up) / The Fieldhouse, University of Cincinnati, Cincinnati, Ohio, March 8, 1973): Childhood's end.] |
2 FLAC
|
|
| 209. |
03/08/73 |
Fieldhouse - Cincinnati,
OH |
B | Unknown Audience | One Of Only Five Live Performances Of 'Childhoods End'
'Pink Is The Sky' Bootleg
[Set I Only]
Minor Distortion, Some Tape Stops And Starts Between Songs, But Clear Sound. |
1 FLAC
|
|
| 210. |
03/11/73 |
Maple Leaf Gardens - Toronto,
ON |
A- | Audience | [Liberated Bootleg "Yeeshkul!"]
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 211. |
03/11/73 |
Maple Leaf Gardens - Toronto,
ON |
A- | Audience; Cassette Master >Cass >DAT >CDR >EAC >TLH >FLAC | Appears To Be A Different Recording Than The 'Yeeshkul' Bootleg |
0 FLAC
|
|
| 212. |
03/14/73 |
Music Hall - Boston,
MA |
A | Sony TC-110A Master Cassette (w/built in mic) >WAV >FLAC >CDR >FLAC | (Recorded By Joe Maloney)
Trade CDs >WAV Via xACT 2.37
WAV >Audacity (Combine ‘Set The Controls For The Heart Of The Sun’ Pts 1 & 2 To A Single Track) >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 213. |
03/14/73 |
Music Hall - Boston,
MA |
A+ | Audience; Sony TC-110A w/Built-In Microphone
(Master Cass > SHN >FLAC by Jamie Salerno) | (No CD Generation, Like My Other Source)
***********************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
***********************************************************
Recorded By Joe Maloney.
Original cassettes were transferred to a Mac DAW using a Denon DR-M10HR. The analog signal was first run through:
a) a SAE 2800 parametric equalizer to bump the highs slightly and to remove "room boom" at around 80 Hz; &
b) a Phase Linear Autocorrelator to remove hiss & expand the signal
(the TC-110A did not have controls for recording; the recorder, designed for dictation, compressed the signal and recorded at a fixed level). Transferred to the Mac using a MOTU 896. Bias Deck used to splice tape flips, even out volume levels & in some case to edit audience portions to allow for whole sets to fit on a 74 minute CD. Bias Peak used to transfer SDII files to WAV files for shn compression.
Notes
This recording is the first of literally dozens of concerts recorded by Joe Maloney in the late '60s - late '70s to be released to the live recording community |
FLAC
|
|
| 214. |
03/17/73 |
Radio City Music Hall - New York,
NY |
A- | 4th Generation Audience Reel >Cassette >CDR >FLAC | Trade Cassette Transferred: Sony TC-D5M >HHb CDR 800
CD Master >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr
(Missing DSOM Set) |
1 FLAC
|
|
| 215. |
03/17/73 |
Radio City Music Hall - New York,
NY |
A | Audience; Cassette Master >CDR >FLAC | (Complete, Including DSOM Set)
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 216. |
03/17/73 |
Radio City Music Hall - New York,
NY |
A+ | Audience; Combination Of Sources [Godfather Records (G.R. 340 / 341)] | (1:00 AM Show. Files Marked 3/18/73)
Much confusion has surrounded these recordings from March 18th, 1973 in recent years;
Pink Floyd were scheduled to perform in Waterbury, Conneticut on the date in question,
and thus, many of the tapes from this date were attributed to the Palace Theatre in
Waterbury for that reason.
However, the band actually performed twice on the 18th; although the tickets for Pink
Floyd's March 17th 1973 concert at New York's Radio City Music Hall had been printed
with the March 17th date, the band didn't actually take to the stage until 1 A.M. the
following morning, hence he difficulty in accurately identifying this show.
Early tape traders originally determined that the origin of these recordings was the
Radio City Music Hall, but as new sources emerged with the March 18th date, and
subsequently compared to the older Radio City sources, determined to all be of the same
show, based upon the bands tour schedule, they were then attributed to Waterbury!
Ultimately, it is unlikey that 5+ sources could originate from one show in a small
Conneticut city in 1973, yet none from the famous Radio City Music Hall in New York,
and given this fact, along with other details found within the recordings themselves,
we can finally clear up this confusion once and for all! We proudly present to you the
silver debut of Pink Floyd's excellent 1973 performance at New York's Radio City Music
Hall, in support of the "Dark Side Of The Moon" album!
The eleventh concert of the bands first North American tour for 1973 includes "When You're
In" and "Obscured By Clouds" from the soundtrack of the same name. - these songs would
only be performed live in 1973, and make documents such as this even more valuable.
Additionally, this would be the last year "Set The Controls For The Heart Of The Sun" would
be performed on a Pink Floyd tour, and the other long time fature "Careful With That Axe,
Eugene" would soon be retired the following year to make way for newer material. Of course,
the centrepiece of this collection is the complete "Dark Side of the Moon" suite, marking the
first time the New York audience would experience the final, post-LP release version of the
epic, which had transformed significantly since the bands last visit in May of 1972.
Without question, this is one of the most important concerts the band performed in 1973 that
directly contributed to the changing fortunes of the band!
********************************************************************************************************
This can be viewed as a marked improvement over many previous releases, due to the multiple source
tapes used. The rare inclusions of "Obscured By Clouds" and "When You're In" are in possibly the best
sound quality I've heard for the live renditions of these songs. Just as a side-note, it is a well
known fact the The Grateful Dead were in attendance at this concert; you can hear someone near the
one of the tapers saying "The Dead just left".
|
0 FLAC
|
|
| 217. |
03/18/73 |
Palace Theater - Waterbury,
CT |
A- | Audience; Two Complete Recordings, Rec. 2 And Rec. 3 | ********************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr)
******************************************************************** |
FLAC
|
|
| 218. |
05/18/73 |
Earls Court Exhibition Hall - London,
England |
B+ | Audience >Bootleg LP 'The Live Biography Series, Volume III' >CDR >FLAC | (25 min)
01. Obscured By Clouds >
xx. When You’re In
02. Careful With That Axe, Eugene
Bootleg LP >CDR Via HHb CDR 800
CD Master >FLAC (Level 8) Via xACT 2.37 |
0 FLAC
|
|
| 219. |
05/18/73 |
Earls Court Exhibition Hall - London,
England |
A- | "Earl's Court 1973 Day 1" >Ayanami 175 >Unknown Audience >Unknown >CDR >EAC >SHN >FLAC >CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 220. |
05/19/73 |
Earls Court Exhibition Hall - London,
England |
A | Live At Earls Court 1973; Orange Records OR 12a/b :Audience - Recorder 1 / Cass [Low Or Master] >Original Silver >CDR >FLAC | text borrowed from YGBC site:
SHELTER-National Campaign for the Homeless benefit
this comes more or less from the same source used by HRV for Supine In The Sunshine, though this RoIO release was mastered differently, the volume is lower but sounds a bit smoother to me (no levels were boosted).
it has some little portions more too.
the recorder is the same of course.
[Trade CDs >FLAC (Level 8) Via xACT 2.37]
|
2 FLAC
|
|
| 221. |
05/19/73 |
Earls Court Exhibition Hall - London,
England |
A | Audience; "Supine In The Sunshine" (Harvested) | *********************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************
|
FLAC
|
|
| 222. |
06/20/73 |
Merriweather Post Pavilion - Columbia,
MD |
B+ | Unknown Audience | |
0 FLAC
|
|
| 223. |
06/22/73 |
Memorial Auditorium - Buffalo,
NY |
A- | Audience; 'The Return Of The Yeeshkul' | *******************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*******************************************************************
Notes:
Comments: This is obviously from a very low generation tape copied to DAT. Minimal hiss, quite clean, without a lot of noticeable editing. This is the complete recording of Buffalo 73, including all the tunings and audience-reception.
here we have indeed pieces of tuning + audience completely missing in the other version (after Careful) where the crowd requests songs (Money /Arnold Layne /Point Me At The Sky etc...)
Echoes is split, starts > fades out > re-starts again.
same happens to The Great Gig In The Sky.
On The Run is split too ... fades out at the very end on the first CD and shows up again restarting from the very end on CD2 (I guess who made this version followed exactly the order on the tape).
During the tuneups between 'When You're In' and 'Set The Controls', the taper clearly says "yeeshkul" into the microphone...perhaps he was the same taper who captured the 11 March show of the same name? Chances are that he was, and he was accompanied by the same friend who made inebriated noises and burps during the earlier 'Yeeshkul' show, since he repeats them in this recording. You can hear the same chap (likely taper) screaming "yeeshkul!": at the end of When You're In (2 times), at the end of Echoes and at the end of Money, during the first few notes of 'Us And Them'.
a wonderful performance, audience very warm and excited ...
VGOOD + +
---
REMASTER NOTES: I used two different tapes for this, both initially sourced from the same master. On one (master 2) I got rid of the left channel because it was very choppy and full of drop outs and stereo spatialized the right into 2 channels. Toned down the hiss slightly (there wasn't a lot), and EQ'd it a bit to bring the highs out a little better. I also speed corrected it a tiny bit, and used a compander to chase out the uneveness of the volume. This is the tape I used to patch bad spots in the other. The other version of the tape (master 1 - Return Of The Yeeshkul) was used for majority of the show. Unfortunately this tape sounded duller and could not be EQd to sound as good as the other. Also it was a very damaged tape, with dropouts, flutter and wrinkled spots throughout that I could not get rid of without their being replaced by bursts of hiss from the volume increase. as it is I ran 3 passes of a compander to try to level out all the dropouts and get it to where it was useable. Consequently the show is very compressed sounding, kind of FM radio-like. It also needed a wee bit of speed correction. Strangely, though it was very well recorded stereo image, Echoes was in mono from the start to the applause at the end. I began using master 2 beginning with a fade at the start of Echoes because the stereo image I was trying to keep up to that point disappeared. The right channel of the tape was pretty garbled throughout Brain Damage/Eclipse, and the left was duller in quality, so the end of the 2nd set beginning with the section that bridges the songs at the end of ACYL is from master 2, the spatialized mono one. I also used this for most of GGitS because the main tape went out of alignment after the flip and sounded like it was drowning for several seconds, a sound which also reappeared in the middle of the song. Rather than create two patches in the song that might be obvious, I just replaced the entire song. I'd really have liked to preserve the stereo image throughout the show, but both tapes were badly aged and all I could salvage was the one channel for the second set. There were many edits and stops which I crossfaded as smoothly as possible, trying for a balance between undetectability and losing as little of the tape as I could. I went through this trouble for one reason (And Buffalofloyd had the same reason for doing a Rev-A on the same tape): this is one of the best PF shows I've come across from this period. The OBC/WYI jam is amazing, and I personally think this is the single best DSotM I've ever heard. Dave's voice is good (and he doesn't try any of those deviations from the arrangement where he tries to be spur-of-the-moment creative, and which almost invariably fall flat), his guitar playing is top notch (The Time solo is brilliant and doesn't suffer from his frequent repetetive brain-jam somewhere, Money RIPS, and ACYL rips MORE!). There's a great little moment near the end of GGitS where Rick starts going a bit jazzy, then Nick catches on and Roger starts doing a walking bassline. Even Us And Them (in my opinion one of the most boring songs ever written) is pretty jamming. I love this show. Makes me actually enjoy listening to DSotM again.
All remaster work done with Adobe Audition 1.5. Flac conversion and SBE correction by TLH
--}{eywood |
FLAC
|
|
| 224. |
06/28/73 |
The Sportatorium - Hollywood,
FL |
B+ | Audience | (Some Crowd Noise)
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 225. |
06/28/73 |
The Sportatorium - Hollywood,
FL |
A- | Audience; 'Dark Age' Bootleg CD | Better Quality Than The Other Circulating Source From This Night. |
0 FLAC
|
|
| 226. |
06/29/73 |
Tampa Stadium - Tampa,
FL |
A- | Master taper (John Tsalikes) >CD >EAC >WAVLab >SHN >CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 227. |
06/29/73 |
Tampa Stadium - Tampa,
FL |
A- | Audience ("At the Stadium" Bootleg), Screamer label | Most Likely From The John Tsalikes Recording |
0 FLAC
|
|
| 228. |
10/12/73 |
Olympiahalle - Munich,
West Germany |
A | Audience; 'The Massed Gadgets Of Hercules 1970 / 1974' - (Godfather GR BOX 09) | (4th Show Of Multi-Show Box Set)
**********************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************** |
FLAC
|
|
| 229. |
10/13/73 |
Stadthalle - Wien,
Austria |
B+ | Audience; 'Lunatics On The Run' Bootleg CD | Text File Notes:
Second show of a 2-show European tour in 1973. This is also part of "Highland's Masters From The Archive" series, although I cannot confirm this is an actual master clone. This sounds better than the previous title Pink Floyd in Austria: Vol2-Wien 73, with a fuller sound and a bit less hiss (to my ears anyways). SQ will stay in the VG+ area most of the time, and there are a couple tape problems here and there but the whole thing is very listenable. I think this is a good performance as well... similar to the one in Munich. I suggest you get this show! Although Highland made a habit of copying known releases and re-releasing them under new names, I think their Master series is something worth collecting (even if probably not all their releases come from actual masters) -Comments from The Pink List |
0 FLAC
|
|
| 230. |
11/04/73 |
Rainbow Theatre (early show) - London,
UK |
A- | Audience | Trade CD >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr |
1 FLAC
|
|
| 231. |
11/04/73 |
Rainbow Theatre (early show) - London,
UK |
A | Audience, Reel | (last show of the DSOTM tour)
Robert Wyatt benefit
[Much better sound than my previous copy] |
0 FLAC
|
|
| 232. |
06/22/74 |
Parc des Expositions - Colmar,
France |
A | Unknown Audience | [Trade SHNS >FLAC (Level 8) Via xACT 2.37]
'Colmar' HRV CDR 02
Set I Only:
Shine On*
Raving And Drooling
Echoes
*3rd Ever Performance. Early Version Of 'Shine On You Crazy Diamond', pts 6-9, According To Povey & Russell's 'In The Flesh, The Complete Performance History' |
1 FLAC
|
|
| 233. |
11/15/74 |
Empire Pool, Wembley - London,
England |
A- | Audience; 'Black Holes In The Sky' (Rev A.) Harvested | ****************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
****************************************************************
Remarks: This is the Harvested reissue of Black Holes In The Sky (known as Rev A.). Quite a bit of care and cleanup has taken place to lower the number of known glitches on the Rev 0 release from 51 to 13 on disk 1 and from 77 to 13 on disk 2.
Shine On You Crazy Diamond, Raving And Drooling (Sheep), and You've Got To Be Crazy (Dogs) were unreleased at that time and the latter two especially were prototype peices during this tour. Sheep and Dogs wouldn't appear in a studio form until about 3 years later.
This was also the debut tour for Mr. Screen (the big circle screen that Dave got to keep in the Pink Floyd 1987 LTD. settlement) and you can hear the audience reacting to the images being displayed at certain points during the show (mostly during the end of DS0TM).
|
FLAC
|
|
| 234. |
11/16/74 |
Empire Pool - London,
England |
A+ | BBC PRE FM Broadcast Reel; (BBC Archives '74) | (Includes 'Echoes')
‘BBC Archives’ Bootleg
Trade CD >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
|
|
| 235. |
11/16/74 |
Empire Pool - London,
England |
A+ | BBC Pre-FM "Time In London" (The Swingin' Pig) | (Levels Slightly Stonger Than 'BBC Archives '74')
30th Anniversary Edition, Remaster
*******************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
******************************************************* |
FAC
|
|
| 236. |
11/17/74 |
Empire Pool, Wembley - London,
England |
A+ | FOB; Audience Master Cassette >CDR (4) >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37
[Pink Floyd Empire Pool, Wembley London, England November 17, 1974 British Winter Tour - 1974 Getting Better All The Time Free Range Pigs (FRP CDR-012/013/014) Disc One: 1. Raving And Drooling 2. Gotta Be Crazy 3. Shine On You Crazy Diamond (Parts I-IX) Disc Two: 1. Speak To Me 2. Breathe 3. On The Run 4. Time / Breathe (Reprise) 5. The Great Gig In The Sky 6. Money 7. Us & Them 8. Any Colour You Like 9. Brain Damage 10. Eclipse Disc Three: 1. Echoes 2. Shine On You Crazy Diamond * 3. Raving And Drooling * 4. Gotta Be Crazy * Roger Waters: Bass, Vocals David Gilmour: Guitar, Vocals Rick Wright: Keyboards Nick Mason: Drums Dick Parry: Saxophone Carlene Williams: Vocals Vanetta Fields: Vocals Comments: Source: A(0)>CDR(4) Entire show, including tuneups and the recorded radio announcer lead-in to Raving & Drooling. Great vocals from David during "You've Gotta Be Crazy". The taper's comments to his friend between songs really add to the ambience of the recording -- "They keep getting better all the time".
* British Winter Tour '74 Bootleg LP; 11/19/74, Trentham Gardens, Stoke-On-Trent, England.
This bootleg LP was released in the spring of 1975 and sold 10,000 copies, the most of any bootleg LP so far, and was thought to have been pressed in Germany or the Netherlands. Many thought that the professional-looking bootleg was the Floyd’s next commercial release.] |
3 FLAC
|
|
| 237. |
11/19/74 |
Trentham Gardens - Staffordshire,
UK |
A- | Audience; Cassette | Text File Notes:
Lineage: Unknown gen Maxell XLII-S 90 (1988-9 type) cassette > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (16bit/44.1kHz)
This is an upgrade to the best sounding source for DSOTM and Echoes. Brighter, clearer sounding and a better transfer.
My thanks to goldeband for his customary expert speed correction advice.
Side A: Echoes -2.0% and DSOTM -1.831%
Side B: DSOTM (starts with Money) -1.377%
Goldenband tells me that side B isn't exact; the speed fluctuates a bit and the band may not even be in tune with themselves at times, especially Rick's organ on U&T, but it's a workable average.
Stratcat58's cassette is labelled as Bristol 14 December 1974 and features an inferior copy of Raving & Drooling from 17 November '74.
The master of the complete recording still exists and I understand that it is a lot better than the circulating versions, so let's hope it eventually sees the light of day.
Stratcat58 cassettes / Neonknight tape transfer, January 2018 |
0 FLAC
|
|
| 238. |
11/19/74 |
Trentham Gardens - Staffordshire,
UK |
A | Audience;
Boot CD Silvers >EAC >WAV> TLH >FLAC
Taken From The Japanese CD Bootleg 'British Winter Tour 74' (Sirene 047) | ************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
************************************************************
This is the Hot Wacks online review:
Pink Floyd's Stoke-On-Trent concert in 1974 has a long, famous history behind it. After the worldwide critical and commercial success of Dark Side Of The Moon in the spring of 1973
expectations were high for the band's follow up. Floyd debuted new material during a short tour of France in the summer of 1974 and brought the same show to England in November of that year.
A couple of enterprising British fans taped this concert and the three new songs, 'Raving & Drooling', 'You Gotta Be Crazy', and 'Shine On You Crazy Diamond' were released on vinyl in early 1975.
The sales of this title were very high (rumored to be about 10,000) for a bootleg and it served as a stop gag for new material until the official release of the Wish You Were Here LP in September of that year.
For thirty years the first set was all that circulated until late last year. The second set, consisting of Dark Side Of The Moon and 'Echoes', surfaced on tape and was distributed in the Pink Floyd ROIO community.
Many questions have been raised about the authenticity of the tape (there is no mention on the tape of the venue), but comparisons with other tapes from the era have lead to the conclusion that this is indeed the Stoke show.
The first disc is a straight copy of the vinyl complete with surface noise and the second disc is taken from a low generation tape. Collectors are further scratching their heads: Does the first source exist on tape?
Is the second tape source complete?
Be that as it may, Sirene's latest release is the first commercial bootleg of this famous show. The songs fade out between the tracks on the first (as per the vinyl), and there is a fade out between
'The Great Gig In The Sky' and 'Money', probably for a tape flip. The sound quality is a bit thin but very good, listenable and enjoyable.
It is fascinating to hear the songs from the first set, basically their two next albums in embryonic form.
'You Gotta Be Crazy' sounds like David Gilmour singing in rap and the compete 'Shine On' without the mystical keyboard beginning.
The band is obviously more confident in the second set playing the complete Dark Side LP and the favorite 'Echoes'.
It is great that Sirene have finally made this show available and another worthy addition to their excellent catalogue.
|
FLAC
|
|
| 239. |
12/09/74 |
The Palace Theatre - Manchester,
UK |
A | Audience | ('Manchester '74 Bootleg') Good Clear Up Front Sound.
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 240. |
12/09/74 |
The Palace Theatre - Manchester,
UK |
A | Audience; Cass[1] > CDR (2 or 3) > EAC 0.94 > TLH 1.0.0.72 > FLAC | ******************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
****************************************************************** |
FLAC
|
|
| 241. |
12/14/74 |
Colston Hall - Bristol, Avon,
UK |
B+ | Audience; Cassette | (MOTB Remaster)
Some Hiss, Sound Sometimes Fluctuates. |
0 FLAC
|
|
| 242. |
12/14/74 |
Colston Hall - Bristol, Avon,
UK |
A- | Audience; 'The Massed Gadgets Of Hercules 1970 / 1974' - (Godfather GR BOX 09) | ***************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*************************************************************** |
FLAC
|
|
| 243. |
04/10/75 |
Seattle Center Coliseum - Seattle,
WA |
B | Sony ECM-22P >Tandberg Model 11 5" Reel To Reel Full-Track Mono Master Reels | Wavelab 24bit/96khz 1 Channel Mono >WAV >16bit/44.1khz 2 Channel Mono >FLAC
Recorded And Transferred By JEMS
(Music Is Clear But Vocals Sound Distant And Undefined).
FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 3.1db, ReTrack On Original Index Points) >FLAC (Level 8) Via xACT 2.47 By OldNeumanntapr |
0 FLAC
|
|
| 244. |
04/13/75 |
Cow Palace - Daly City,
CA |
A- | Audience; 'Riding The Cow' (Godfather Records) | *****************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
***************************************************************** |
FLAC
|
|
| 245. |
04/21/75 |
Sports Arena - San Diego,
CA |
A- | Unknown Audience | Listed As A Soundboard, 'California Soundboard' Bootleg, But I Have My Doubts. It Sounds Like An Audience To Me (Too Much Crowd Noise And Vocals Not Crisp) And That's How I'm Listing It. |
0 FLAC
|
|
| 246. |
04/26/75 |
Sports Arena - Los Angeles,
CA |
A+ | Mike Millard Audience Master (FOB: AKG Mics >Nakamichi 550 Cassette) >Bootleg CD >EAC (V0.95 prebeta 4) >WAV >MKW (V0.97 beta 1) >SHN >STG >Sound Forge >FLAC >CDR >FLAC | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 247. |
04/26/75 |
Sports Arena - Los Angeles,
CA |
A+ | AKG 451e Cardioids w/CK-1 Capsules > Nakamichi 550 Cass. 'Cruel But Fair' (HRV 026) | ************************************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************************
NO TEXT FILE!! |
FLAC
|
|
| 248. |
06/09/75 |
Capital Center - Landover,
MD |
A- | Audience; Cass(1) > CDR(3) (Revision) | (SET II ONLY)
***********************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************** |
FLAC
|
|
| 249. |
06/15/75 |
Roosevelt Stadium - Jersey City,
NJ |
B+ | Unknown Audience | Taken from the Japanese CD Bootleg 'Raving Maniacs' (Sigma 12) |
0 FLAC
|
|
| 250. |
06/17/75 |
Nassau Veterans Memorial Coliseum - Uniondale,
NY |
A | Sony ECM 22P Cardioids >Sony TC-152SD, Maxell UD120s w/Dolby B | (Recorded By Jerry Moore)
transferred & seeded by Rob Berger (2009-12-01):
Nakamichi Dragon > Tascam HD-P2 @ 24/96
Hard Dive > CD wave > adobe audition 2.0 > flac
Noise Removal And EQ By Flying -M- (Dec 2016)
iZotope RX4 Advanced & Har-Bal 3.0 > CD Wave > AudioGate Aqua (16-44) > TLH FLAC (Level 8) |
0 FLAC
|
|
| 251. |
06/18/75 |
Boston Garden - Boston,
MA |
A+ | Audience Master Reel >DAT >EAC >SHN >CDR >FLAC | (Text File States 'Master Reel' But Could Very Well Be From Steve Hopkin's FOB Cass Master.)
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 252. |
06/18/75 |
Boston Garden - Boston,
MA |
A+ | FOB Audience; (Most Likely From Steve Hopkins' Master Cass) | ********************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************
(Unlike other versions of this show, this mix is nowhere near as harsh in the midrange.) |
FLAC
|
|
| 253. |
06/28/75 |
Ivor Wynne Stadium - Hamilton,
ON |
A | Audience Reel | ‘Steel Breeze’ Bootleg
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 254. |
06/28/75 |
Ivor Wynne Stadium - Hamilton,
ON |
A | Sony ECM 99 1-Point Stereo Microhone >Sony TC-124 Cassette (No Dolby) | ('Canadian Bacon' Bootleg)
Maxell UD cassettes (Master) > TEAC reel to reel at 15ips using Maxell ud blanks (1st Gen) > DAT > Sony TCD-D7 > Hard Drive > WAV > CD-R > FLAC > TLH, Decode > WAV > Remaster > Flac (Level.8, Align On SBE'S) (All Tracks Tested With TLH, No Errors Occured)
Label: N/A
Original Taper: Henry B
This is a Group/Personal Project by "Those Who Were Trained Not To Spit At The Fan", Mikey64, Kingmike, Porgie, Mark, The 7th Son, Joel, Mike, Grendel, and Acapulco Gold.
We hope that whoever picks this up will enjoy this, and will pass it along and share it with others, or just pass, the choice is yours.
This is not meant to be a "Definitive" edition.
********************************************************************
Notes:
And Now For Something Completely Different...
This project is our first attempt at remastering a Floyd tape.
My friends and I have been wanting to work on a Floyd tape for a long time, but the opportunity to work on a decent sounding recording never arose until just recently when Mikey64 posted the 1st Gen version of the 2nd tape source of the bands performance at Ivor Wynne Stadium.
This show is one of my favourite Floyd concerts of all time, and has special meaning for me because both of my parents attended this show (not together though, they didn't know each other at the time), and I have several friends who attended the concert and shared their memories with me.
This show was one of the last concerts ever held at Ivor Wynne stadium, (home of the Canadian Football team The Hamilton Tiger-Cats).
It's an open air football field (not a dome stadium like the ones built for NFL teams) and was built in 1930, it was originally built and used for the 1930 Empire Games, and after the games were over, the Tiger-Cat's moved in and have been playing there ever since.
Renovations are currently being made on Ivor Wynne to accomodate athletes for the upcoming Pan-Am Games.
It's a shame that the stadium was never used for more concerts because it really does have nice acoustics, but I do understand why concerts aren't held at Ivor Wynne anymore (I'll explain why later on in my notes).
As I said, this show was one of the last concerts ever held here, but not the very last show ever held there.
The last concert held there was Rush back in 1979, an audio recording of that concert hasn't turned up, but according to my friend Kevin (a huge Rush fan) there is apparently footage of that concert on one of Rush'srecent concert DVD's, not being a fan, I wouldn't know, but maybe someone could verify this.
There were several reasons why the city stopped hosting concerts at Ivor Wynne, and the Floyd concert was mostly the cause for the ban.
This show was the last performance of Floyds North American tour, so Pink Floyd's crew decided to end the tour with a bang and used up their remaining pyrotechnics around the stadium scoreboard.
The explosion at the climax of the show was so intense it blew the scoreboard to pieces and shattered windows in neighboring houses.
For those that may doubt this fact and say that it's impossible that the explosion was that intense, I'm here to tell you that it's absolutely true.
The stadium isn't positioned like alot of major sports teams arenas, it's actually located very close to residential areas in the city, not in the downtown core of a major city, or in an industrial area or on the outskirts of the city, it's actually located fairly close to residential houses and neighbourhoods.
Besides the scoreboard incident, there were also several incidents where people leaving the concert caused significant property damage to homes located near the stadium, and some fights broke out.
I've often asked my parents and my friends who attended this show what it was like seeing Pink Floyd live, and they all give me different stories about the show.
For my mother, the Hamilton concert was her 2nd time seeing the band live.
She first got to see them play at Maple Leaf Gardens back in 1973 (the infamous "Yeeshkul" show).
She's told me that she enjoys their music, but wasn't a hardcore fan, and really wasn't interested in going to either of those shows, but her "at the time" boyfriend ( who was connected to the music industry) was lucky enough to snap up tickets for both of them, really wanted to go to the shows, and she didn't want to disappoint him, so she went to the shows.
Her memory of the whole show is a little fuzzy, but she does remember that she was sitting in the stands on the left hand side of the stadium, she had a fairly good view of the band and the stage, that the show was the loudest concert she's ever been to, and that she's never seen so much pot in her life.
She mostly tells me that part about the concert, that people in their section of the stands were handing her joints all night long, and she just kept passing them along (because she didn't smoke) to her boyfriend (who did smoke).
My friend Andre remembers this show quite fondly, he's a die hard Floyd fan and bought tickets for this show as soon as they went on sale.
He and his friends were lucky enough to snap up field tickets, they loaded up on beer before and during the show and would later drop some acid as the show progressed.
Even though he was quite ripped during the show, he tells me that he can remember the show quite vividly.
The one thing he talks about that night more then anything is that he remembers the Hamilton police being on the field observing and trying to keep order, he also says that some of the police were on horse back.
Here's a story about the concert that I found posted on the Traders Den by a collector who had posted the version of the first tape source "Steel Breeze".
"Long Cold Road"
By: Wray Ellis
PROLOGUE: My Life Changes: June 28th, 1975
I should describe an important event that charted the course of my future.
It started in the basement of my parentsí general store. It was long before any recycling programs so one of my duties was to burn paper and cardboard.
One day, as I tore up the unsold Toronto Stars and tossed them into the fire, something caught my eye. On one of the pages I was about to toss into the flames, I noticed a picture of Pink Floyd.
It was the inside cover photo from the album ìMeddleî. Above it, read: ìDanceÖThink PinkÖPink Floyd LIVEî.
I pulled it out and read the ad. Pink Floyd (who I had recently become a great fan of) was going to play live in Hamilton at Ivor Wynne Stadium.
That was a show I desperately wanted to see, but there were hurdles.
A ticket cost an extravagant $8 and I was making about $2 an hour. I could just about cover that, so I immediately sent off a money order.
Next hurdle: getting to Hamilton from Haliburton was a long drive ñ 5 or 6 hours. I had a car, but it was an old one: a 1964 Pontiac station wagon.
It could possibly make the trip but I was still 16 and hadnít even driven on a real highway yet. And, there was no one that I could ask to drive me.
My parents were more than a little concerned about such a long drive for such an inexperienced driver. But when my ticket arrived, I knew I had to make it work somehow.
I asked my buddy Jack Outram to come along. He said he didnít mind going even without a ticket ñ so I finally had a plan.
On the morning of June 28, 1975, I gassed up the wagon and we headed out to parts unknown ñ and off to my very first rock concert.
Everything was going fine until we got to Lindsay, about half way. That's when I experienced my first blown tire. For just such an emergency, I carried my fatherís Esso credit card so I limped into an Esso station, bought a cheap tire and had it installed.
We were back on the road and it only slowed us down by an hour. Amazingly, I got through Toronto traffic with no problem at all. I didnít get lost or take a wrong turn ñ which happens regularly to me even now. We easily found our way to Hamilton and from there, I basically just followed the throngs of people until we spotted the stadium. Parking was a trick though. Every driveway, front yard or side alley was already packed with cars.
I spotted a kid in front of a factory who took my last $5 and showed me to his last spot. I figured he probably had no connection to the property but we were running out of time. I decided that if my car got towed, Iíd deal with it after the show. Pink Floyd was calling!
We hopped out and joined the exuberant crowd marching toward the concert. It was a beautiful, warm summer night. The smell of sulpher from the steel mills would give way to something more herbal the closer we got to the stadium. Jack and I agreed to meet right after the show outside the stadium under the scoreboard and I wandered in and found my seat.
I was about half way back, to the left of the stage. The place was packed: 65,000 people. As I looked out over the city, the roof of every nearby building was populated for the ìfreeî show. Iíd never been to anything like this!
As soon as the music started, I became transfixed. I was amazed by the lights, sound effects and most of all, David Gilmourís guitar-playing. It was an awesome spectacle - and it was on this night that I decided to devote as much of my life as possible to playing music. Specifically, to playing the guitar.
At the end of the show, I felt elated. I hooked up with Jack and was relieved to hear that heíd found a spot where he could look through the fence and see the show about as well as I did. We were both overwhelmed by the experience and I needed to walk around a bit before I could drive. Luckily, when we reached my parking spot, my car was still there and the ride home was a breeze. We probably got home around dawn, but it was worth every second.
Recently, I happened to experience that very show again. Thanks to the internet, you can find an astonishing array of bootlegged concerts ñ and I found this one. Itís known as ìSteel Breezeî. Itís a wonderful show. But for me, that concert (just 2 days after my 17th birthday) was when my life completely changed ñ and I decided to be a musician. Iíve never looked back.
The link to that story online can be found here: http://davisvilleproductions.com/hom...portfolio=Wray
From what I know, there are 2 tape sources of this show in circulation, and there's the possibility that there is some silent 8mm concert footage (thank you to brinkhoffs for sharing that information with everyone)
Both recordings are excellent, and sound quite simular to each other in someways (i.e: both sound like they were taped from the field or possibly from the lower stands) but there are some differences between them.
The 1st tape source runs a little fast compared to the 2nd tape source, which runs at the correct tape speed.
Also, I think the 1st tape source has a little bit more tape than the 2nd tape source, but I might be wrong about that.
This being our first attempt at remastering a Floyd recording, and not knowing how our work will go over with the Floyd community, we decided to play it safe and just try to do a straight remaster of the raw transfer of 2nd tape source instead of attempting to make a merge.
I do hope that I have the lineage posted correctly, if anything does need to be corrected, please let me know and I'll be more than happy to fix any possible errors.
I've tried to get the lineage down as accurately as possible, but I have seen quite a few conflicting statements about the true generation of the tapes shared to the community and posted online.
Mikey64's textfile states that the generation of the raw tape source is Master Reel > DAT > Sony TCD-D7 > Hard Drive > WAV > CDR > FLAC, but according to fellow Dime member "searcher2cr" the raw transfer could not possibly be from the master reel because there apparently is no master reel.
The concert was apparently recorded on a Sony TC-124 portable cassette deck with no dolby using a ECM-99 1-point stereo microphone using Maxell UD cassettes. It was then transferred onto a TEAC reel to reel at 15ips using Maxell ud blanks.
Thus the lineage is more likely derived from a 1st generation reel, not a master reel.
But I've also heard a conflicting testimonial to what Searcher has said about this recording from TTD member Carrste, who had posted a 24 bit, 2nd Gen transfer version of this source on the Den.
According to Carrste, the equipment used to tape the show was not a Sony TC-124 portable cassette deck, but a Uher cassette deck and AKG mic.
Carrste's 2nd Gen version came to him from Nigel B (who taped Zeppelin at Earls Court on 5-23-75, and Floyd at Earls court in 1980), Nigel got his tapes from a Canadian trader who knew the taper (Henry B).
Carrstes 2nd Gen version lineage is: Master (Henry B) > 1st gen (Mark L) > 2nd Gen (Nigel B) > Nakamichi ZX-7 cassette deck with manual adjustment to height and azimuth of playback head to match that of the original tape recorder to optimise the sound during playback > Direct connection to analogue input of Audiophile 2496 soundcard via high quality Clicktronic interconnects with 24K gold plugs.
I have Carrstes version and have listened to it and compared it to the 1st gen version posted online and to me they sound quite simular to each other, which makes me wonder if Mikey's version really is genuine 1st Gen, or just the 2nd Gen transfer downsampled to 16 bit.
I've decided to go with Searcher's information about this show to be the correct lineage of this transfer, as I said previously, if I'm wrong, I'll gladly correct the lineage.
What we've done to make this project:
- We've tried to balance the instruments as much as possible, and have tried to bring out instruments that were not as dominate in the mix as others (originally the vocals and guitars were dominating over the bass and drum fills in the raw tape mix)
- We've brought down the volume to a more reasonable level, originally the raw transfer was running a little too hot.
- We've tried to bring out more things that were buried in the raw recording (crowd cheers, clapping, commentary, etc). After we did the remastering on the project, we could hear things on the recording we didn't before (like the crowd clapping during "Have A Cigar").
In regards to the title:
We really wanted to come up with a title that makes reference to Hamilton in some way, the city is famous for a couple of things, but it's mostly known for The Hamilton Tiger-Cats (their Canadian Football Team that plays at Ivor Wynne) and the Steel industry, at one time, Hamilton produced as much (or possibly more steel than Pittsburgh).
A title that referenced the Cat's hadn't been done yet, so we tried to come up with titles referencing that but we came up short, only coming up with "Tiger-Cat Hunters" and "Hunting Tiger-Cats".
We then tried to reference the steel industry, but that also came up short, and besides, the bootleg "Steel Breeze" is kind of an homage to it.
So we just started thinking of clever titles that made reference to Canada and would possibly connect to the band, and suddenly it hit us.
CANADIAN BACON.
Hope everyone here will enjoy this.
Cheers! |
0 FLAC
|
|
| 255. |
01/23/77 |
Westfalenhalle - Dortmund,
West Germany |
A- | Audience; 'Animals Premier' (Man Of Leisure) | ***********************************************************************************************
SHN >WAV >Audacity (Re-Join Tracks Five And Six, Disc I) >Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
*********************************************************************************************** |
FLAC
|
|
| 256. |
01/24/77 |
Westfalenhalle - Dortmund,
West Germany |
A | Unknown Audience; 'Animals Fly Again From Battersea To Europe' Box Set 9 LPs' | This is the Part I
Lineage: Vinyls -> Sony PS-HX500 -> Wav 24/96 -> Audacity cutting edges & convert to Flac
Each Lp was cleaned before digitization. The signal level is what the turntable transfers directly to the computer.
Nothing added. Nothing taken away.
Now you can play ...
*******************************************************************************************
FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 11.6db, Downsample To 16 Bit / 44.1kHz, Minor Edits [LP Transfers], Re-Track Song-By-Song Instead Of Each LP Side) >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
*******************************************************************************************
|
FLAC
|
|
| 257. |
01/27/77 |
Festhalle - Frankfurt,
West Germany |
A- | Audience; (Reel?) >Bootleg LP >CDR >FLAC | [Missing most of 'Sheep', and 'Money' is missing completely. Some Idiot is blowing a whistle through the first part of 'Shine On You Crazy Diamond']
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 258. |
01/27/77 |
Festhalle - Frankfurt,
West Germany |
A+ | Source 1:
MoLM vinyl archives
Lineage: LP> PS-LX250H> STR-DE895> HK CDR26> EAC> SHN
Comment: Missing most of Sheep at the beginning, the first few minutes of Shine On part 1,
the last 30 seconds of Shine On part 2 and the encore Money.
Source 2:
Lineage: M[REEL] > DAT[4] > CD-R > EAC > FLAC
Complete show with encore. The source is mono | Text File Noters:
Two source, stereo remaster
A very special event, early in the Animals tour. This show was recorded by two known tapers, both with excellent equipment. For source 1, the master tape is not available but has been stored on vinyl records. Given the time limitations of this storage medium it appears that the show's recording was cut to fit the constraints of two LPs. Still, 89 minutes of the show is available. For source 2 we have the complete recording, including encore. This tape was recorded in mono rather than stereo. The two tapers seem to be in different locations. For example, some have described source 1 as mostly Roger's bass and keyboards while source 2 has been described as having a high mix of Dave's guitar and vocals. A fan can be heard blowing a whistle during the opening of Shine On You Crazy Diamond in source 1 but this can not be heard in source 2; strongly suggesting that the two tapers were separated by a significant distance. Given the outstanding quality of both recordings, the predominance of different instruments in each and the apparent separation of the two tapers, creating a stereo recording by merging both recordings seemed worthwhile.
*********************************************************************
Disc 1
01 01 Sheep 13:40
01 02 Pigs On The Wing (Part 1) 2:05
01 03 Dogs 18:50
01 04 Pigs On The Wing (Part 2) 2:29
01 05 Pigs (Three Different Ones) 16:46
Total Time 53:50
Disc 2
02 01 Shine On You Crazy Diamond (I-V) 13:20
02 02 Welcome To The Machine 8:19
02 03 Have A Cigar 5:42
02 04 Wish You Were Here 6:24
02 05 Shine On You Crazy Diamond (VI-IX) 16:35
02 06 Money 9:15
Total Time 59:35
Remaster
01. Source 1: Repair clicks and pops, repair gaps, repair clipping,
remove low frequency rumble, merge overlap sections.
02. Source 2: Re-balance sound/EQ, repair gaps, adjust dynamics,
repair clicks and pops.
03. Sync sources
04. Mix sources to create stereo image
05. Correct phasing.
06. Use two channel mono source 2 in sections that source 1 is missing
07. Adjust channel balance and power
08. Track
2013:
09. Fine tune some sync points
10. Adjust speed
11. Verify pitch
12. Additional adjustment to EQ
13. Adjust pre-mix dynamics and produce new stereo image
Notes
During Dogs Nick forgets to hit first cymbal crash.
During Dogs Dave's guitar comes in nicely on the Left for the leads while keyboards and dog barks are heard on the right.
During the second interlude of Dogs, initial synthesizers and keyboards are almost exclusively right channel while vocals alternate between channels.
At end of Dogs, most barks are heard on the right but occassional bark heard only on the left.
Pigs grunting almost exclusively in the right channel.
At the beginning of SOYCD part 1, Dave's guitar is heard on the left while keyboards and a fan's whistle is on the right.
The beginning of Welcome To The Machine has mostly right channel bass and rumble then Dave's guitar and vocals come in on the left.
Roger's vocals during SOYCD part 2 are mostly in the right channel with Dave's guitar on the left.
From Melody Maker:
It had been an evening totally without mishaps.
The 12,000 natives packed into Frankfurt's Festhalle for the second successive night on Thursday were in a generally friendly mood, for the Floyd hardly attract the standard aggro crowd of people like Zep or Purple. But in an audience that size it is a statistical certainty there are bound to be some nutters, like those who were throwing cans and bottles during the first set.
An announcement in the first interval to desist, bitte because delicate equipment was getting damaged. I saw another bottle smash on Nick Mason's Hokusai painted drum kit - evidently a full one, for it sprayed his face with foam.
In the shadow of the PA columns, a group of "plain clothes" polizei, about as inconspicuous as a panzer armoured division in their uniform anoraks and regulation length haircuts, took photographs of the crowd to see if anyone was smoking dope. Their American counterparts in the Military Police also ranged through the crowd, checking IDs of hapless GIs out of the camp for a little night music, searching if they were AWOL or carrying exotic substances.
The band's special effects department still hadn't got the highpoint of their contribution to the show quite yet. In the middle of the "Pigs" section, which closed the first half, a gigantic inflated porker is meant to fly over the PA, emerging out of a cloud of smoke, clearing the stacks by a few inches, and making a circuit of the hall over the heads of the audience. Well, Mr. Pig made it over the stack all right without toppling the driver horns on the top, but the trouble was the smoke. The first three nights of the tour they couldn't get enough product out of the rented fog-machine, so they tried a smoke bomb instead. That worked rather too well for comfort, filling the hall with billowing clouds of acrid, throat strangling murk, through which it was barely possible to see that something was happening on stage.
|
0 FLAC
|
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| 259. |
01/27/77 |
Festhalle - Frankfurt,
West Germany |
A | Audience (Complete) "Frankfurt '77" | ***************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
***************************************************************
Roger does not shout any number on Pigs (Three Different Ones) |
FLAC
|
|
| 260. |
01/29/77 |
Deutschlandhalle - West Berlin,
West Germany |
A- | Soundboard; 'Animals From The Soundboard' Bootleg CD | ***************************************************************
SHN >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
***************************************************************
(Set 1 Only. Weird Mix, Possibly Monitor Mix.) |
FLAC
|
|
| 261. |
01/30/77 |
Deutschlandhalle - Berlin,
Germany |
A | Unknown Audience; 'Animals Fly Again From Battersea To Europe' Box Set 9 LPs' | This is the Part II
Discs 4-6
FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 10db, Re-Track Each Song Separately*, Minor Edits [Static Pops & Clicks], Minor High End EQ) FLAC (Level 8) + Tags, Via xACT 2.53 By OldNeumanntapr, Plus Front Cover [Amended] Artwork
*Original Source Was Tracked By LP Side
|
FLAC
|
|
| 262. |
02/01/77 |
Stadthalle - Vienna,
Austria |
A | Soundboard (Fragment) | Source: Soundboard mix tapes (unknown lineage)
1. Wish You Were Here 5:54
2. Shine On You Crazy Diamond (parts VI-IX) 17:05
3. Money 8:44
4. Us And Them 7:24
Total time: 39:07
Original source lineage: Darkside II Desktape and Darkside Of The Pig silvers > CDex > wav > Flac Frontend > flac 8
Flacs decoded to wav with TLH
Wavs appended, edited, channels balanced and speed corrected (97.1 shrink) with Adobe Audition 3.0.1
Tracked with CD wave, encoded to flac 8 with Flac Frontend, tagged and verified
Wish You Were Here and SOYCD 6-9 are taken from Darkside II Desktape.
The 22 secs fragment at the end of SOYCD 6-9, which is cut from the longer version on Darkside II Desktape, Money and Us And Them are taken from Darkside Of The Pig.
Special thanks to Paulrammylad for torrenting his Dark Side of The Pig and Darkside Desktape II silver Discs at Yeeshkul tracker.
Bert13
Monday, July 1, 2013 |
0 FLAC
|
|
| 263. |
02/01/77 |
Stadthalle - Vienna,
Austria |
A | Audience; Reel >DAT >CDR >EAC >FLAC | (Complete)
************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
************************************************************ |
FLAC
|
|
| 264. |
02/03/77 |
Hallenstadion - Zürich,
Switzerland |
A- | Unknown Audience; 'Animals Fly Again From Battersea To Europe' Box Set 9 LPs'
LIMITED EDITION 9 LP 180 Gram COLOR VINYL | This is the Part III
Lineage: Vinyls -> Sony PS-HX500 -> Wav 24/96 -> Audacity cutting edges & convert to Flac
Each Lp was cleaned before digitization. The signal level is what the turntable transfers directly to the computer.
Nothing added. Nothing taken away.
Now you can play ...
*******************************************************************************************
FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 11.6db, Downsample To 16 Bit / 44.1kHz, Minor Edits [LP Transfers], Re-Track Song-By-Song Instead Of Each LP Side) Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
******************************************************************************************* |
FLAC
|
|
| 265. |
02/25/77 |
Pavillon de Paris - Paris,
France |
A- | AKG Microphones >Uher Reel To Reel | Vocals Are A Little Trebly (Some Sibilance) But Music Is Clear And Up-Front Sounding.
['Animals aux Abattoirs' (HRV CDR 038) Bootleg] |
0 FLAC
|
|
| 266. |
02/27/77 |
Olympiahalle - Munich,
Germany |
A+ | Audience Cassette Master (Uher Cassette w/2 AKG Mics) >DAT >CD Audio >EAC >Remaster >FLAC >CDR >FLAC | Things done for this remaster:
1. Severely Damaged Right channel repaired.
2. Multiple noise reduction techniques used to reduce intermittent clicks, pops and hiss.
3. Static and Dynamic filtering used to adjust tonality
4. Speed corrected for each disc.
5. Multiple patches needed and used.
6. Dynamics adjusted.
7. Retracked.
[Trade CDs >FLAC (Level 8) Via xACT 2.37]
|
2 FLAC
|
|
| 267. |
04/26/77 |
Omni Coliseum - Atlanta,
GA |
A- | Audience | Listed As A Soundboard, But I Have My Doubts. The Vocals Are A Little Distant, But The Instruments Are Clear. Plus, There Is Some Talking In Places. Could Be A FOB.
(Shine On You Crazy Diamond [Parts 6-9] Is Cut And Encore Is Missing.) |
2 FLAC
|
|
| 268. |
05/01/77 |
Tarrant County Convention Center - Fort Worth,
TX |
B | Audience Cassette->Bootleg LP 'The Whole Hog'->CDR | |
2 CDR
|
|
| 269. |
05/01/77 |
Tarrant County Convention Center - Fort Worth,
TX |
A- | Sony ECM-19B Electret Condensers >Sony TC-152SD | 'Iron Pigs On Fire'
Info file says, "I'm the guy who recorded this show. I have the original analogue cassette tapes of it. Over the years I have traded analogue tape copies and have done one other digital transfer of it (Iron Pigs On Fire T-700). This is a revision of that release for the 30 year aniversary of the show. I have gone back to the original tapes as the source for this release (Iron Pigs On Fire T-700Rev.A)." Mics: 2 Sony ECM 19B > Recorder: Sony TC-152 > Tape: Sony Chrome CRO-90 cassettes the Original Analogue Cassette Tapes > Playback Deck: Tascam 130 > Nikko 32 Band EQ > Akai DR16 Digital Hard Disk Recorder > 16 bit 48 kHz > ADS Tech Instant Music RDX-150 input SPDIF output USB to computer 16 bit 48 kHz > Wave Lab 5 - WAV 16 bit 48 kHz > Audacity > CD Wave Editor > WAV 16 bit 48 and 44.1 kHz > FLAC |
0 FLAC
|
|
| 270. |
05/06/77 |
Anaheim Stadium - Anaheim,
CA |
A | Audience >Bootleg LP >CDR >FLAC | Missing 'Sheep', Shine On You Crazy Diamond 1-V', & 'Money' Encore.
Trade CD >FLAC (Level 8) Via xACT 2.37
('Live In Anaheim' Bootleg LP) Better Sound than Some Bootlegs Of This Show, Which Is Known For An Extremely Bad Crowd.)
From collectorsmusic.com: The May 6th show has two audience recordings. The first surfaced on vinyl in the seventies as the famous California Stockyard (On The Road) (PF400 – PINK I&II A/D & PF200). This was a two LP set with most of the show (“Sheep”, “Shine On You Crazy Diamond Parts 1-5″ and the encore “Money” are missing) and was reissued many different times. [The second source was released on CD only many years later.] [Bootleg CD label] Sirene includes this audience source on disc five of this set and also on the bonus cdr with the cover from the old vinyl. This is copied from vinyl and contains obvious surface noise but is still very good and clear and the best sounding tape in this collection.
This is a great concert occurring right before the famous Oakland shows at the end of the first half of this tour. It is unfortunately plagued by one of the rowdiest audiences captured on tape. Fighting erupts during “Dogs” and the chaos continues throughout the entire show. Before the intermission Roger says, “Stop fighting. It’s hard to play when you’re all beating the shit out of each other.” Nothing really improves in the beginning of the second half with constant shouts and a sizable section of the audience going into a “down in front” chant during “Shine On You Crazy Diamond Parts 1-5″.
“Welcome To The Machine” pacifies the audience somewhat (I guess the drugs were kicking in) and the band delivers a better show to the end. There is a bouncy and happy solo in “Have A Cigar” that sounds very strange but appealing. Gilmour’s and White’s jamming at the ten minute mark in “Shine On You Crazy Diamond Parts 6-9″ has been singled out for praise and it is good. “Money” contains a very subdued guitar solo and ends with Roger Waters’ goodnight and good byes. There is no evidence they played the second encore “Us & Them”. A very good show despite the insanity going on in front of the band.” |
1 FLAC
|
|
| 271. |
05/09/77 |
Oakland Coliseum - Oakland,
CA |
A+ | FOB: Sony ECM-280's >Sony TC-158SD | [Animal Instincts rev B (HRV-CDR-014)]
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 272. |
05/09/77 |
Oakland Coliseum - Oakland,
CA |
A+ | FOB; Sony ECM -280s >Sony TC-158SD Cass Master
Analog Sound Preservation: MAC >> Nakamichi CR-7a >> Korg MR-1000 >> DSF [1-bit 5.6448 MHz Stereo] >> Korg MR-1000 => Korg AudioGate >> WAV [24/96] | ***********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
***********************************************************************
Taped By: Reinhart Holhwein
Transfer By: Bob Menke
Original Mastering By: Derek McCabe
Remaster
01. Repair many audible clicks, pops and other recording imperfections.
02. Repair audible micro-dropouts.
03. Attenuate some feedback.
04. No change to stage buzz during Us and Them.
05. Smooth irregularity of frequency response/EQ.
06. Adjust speed.
07. Verify pitch.
08. Correct channel imbalance.
09. Remove track gaps.
10. Attenuate loud claps and other audience noises during segments with music.
11. Adjust stereo field.
12. Adjust dynamics.
13. Re-track.
Notes:
Thanks to Mr. Holhwein, Mr. Menke and Mr. McCabe for bringing this outstanding recording to the Pink Floyd Trader community. The soundboard mix is well balanced and the taper could not have been in a better location to get a high fidelity capture. All serious collectors of Pink Floyd live shows should consider this original recording for their collection.
The primary purpose of this remaster project is to correct the hundreds of little flaws that are present in any audio recording that uses tape. These include audible clicks, pops and micro-dropouts. Using modern remaster software, these flaws, and many others, were repaired as much as possible. Other changes to the recording were also made as detailed. For those that enjoy the style of PRRP and RMCH remasters, this offering will hopefully be an enjoyable listening experience.
|
FLAC
|
|
| 273. |
06/27/77 |
Boston Garden - Boston,
MA |
A+ | FOB: Sony ECM-99 Stereo Cardioid >Sony TC-152SD | 'The Perfect Day' (AYANAMI-133
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 274. |
06/27/77 |
Boston Garden - Boston,
MA |
A+ | Audience; 2-Source Matrix;
Sony ECM-99a Stereo Cardioid > Sony TC-158SD > Cass [master] >DAT[?] >CDR[?] >EAC >WAV >SHN >FLAC +
Two Nakamichi CM-300 Microphones > Nakamichi 550 Tape Recorder >
Master Cassette >Nakamichi CR-3A cassette deck with azimuth correction >M-Audio Firewire Audiophile 2496 >CDWAV 24-bit/96-KHz wav files >Goldwave (normalizing and crossfades) >CDWAV (track breaks) >FLAC
| Taper 1: Steve Hopkins
Location: FOB
Lineage : Sony ECM-99a > Sony TC-158SD
Source comment: T.Mack (Yeeshkul): Almost certain this is a Master DAT clone and even if it's not, it's still damn good. PRRP: Have a Cigar version is closer to proper speed but trails off after 18,000Hz more than this version. Both have step-wise processing artifact after 16,000Hz but Have a Cigar verion goes to zero and this version does not. This version is clipped and runs too fast but both problems were corrected.
Taper 2: Dan Lampinski
Location: Floor section CC, Row 20, Seat 4
Lineage : Two Nakamichi CM-300 Microphones > Nakamichi 550 Tape Recorder
*************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*************************************************************************
Band:
David Gilmour - guitar, vocals
Roger Waters - bass, vocals
Richard Wright - keyboards, vocals
Nick Mason - drums, percussion
Dick Parry - saxophone
Snowy White - guitar
Set I
01 01 Sheep 11:29
01 02 Pigs On The Wing (Part 1) 1:26
01 03 Dogs 18:58
01 04 Pigs On The Wing (Part 2) 2:19
01 05 Pigs (Three Different Ones) 19:28
Total Time 53:40
Set 2
02 01 Shine On You Crazy Diamond (I-V) 13:17
02 02 Welcome To The Machine 8:34
02 03 Have A Cigar 5:06
02 04 Wish You Were Here 6:57
02 05 Shine On You Crazy Diamond (VI-IX) 22:10
02 06 Money 12:16
02 07 Us And Them 8:11
Total Time: 76:31
Remaster
1. Correct clicks, pops and tape imperfections of each source
2. Match EQ and verify pitch in each source
3. Dynamics differed between sources so channels balanced, clipping repaired.
4. Sync sources and correct speed
5. Repair missing sections using material from alternate source to complete each recording.
7 gaps repaired in Hopkins restoring 6 minutes and 41 seconds to the recording.
7 gaps repaired in Lampinski restoring 1 minute and 18 seconds to the recording.
6. Create stereo field
7. Correct phasing and center sound
8. Adjust dynamics
9. Track
Notes:
Limited stereo field noted in each source. This is improved by the 2-source blending process
"As the Fear Grows" stated by one of the tapers at 5:15 of Sheep,
Roger shouts '48' at 12:26 during 'Pigs (Three Different Ones).
In Lampinski source a strong whistle can be heard just before the beginning of Wish You Were Here. It is heard faintly in Hopkins.
Money guitar solo differs from typical performance, using interesting effects.
Roger announces "Us and Them"
Roger says "The perfect end to a perfect day" at the end of the performance
|
FLAC
|
|
| 275. |
06/27/77 |
Boston Garden - Boston,
MA |
A+ | Two Nakamichi CM-300 Microphones >Nakamichi 550 Cassette | (Recorded By Dan Lampinski)
Mastered and FLAC'ed by Carl Morstadt (dantalion8@yahoo.com)
Master Cassette ->
Nakamichi CR-3A cassette deck with azimuth correction ->
M-Audio Firewire Audiophile 2496 ->
CDWAV 24-bit/96-KHz wav files ->
Goldwave (normalizing and crossfades) ->
CDWAV (track breaks) ->
dBpowerAMP Audio Converter (24-bit/96-KHz wav files converted to
16-bit/44.1 KHz wav files) ->
FLAC Front End (FLAC 8 with sector boundary alignment)
FLAC files tagged with Foobar2000 Live Show Tagger
No EQ'ing.
A 24-bit/96-KHz flac24 version of this recording is also available.
Dan Lampinski recorded over 100 concerts in the Providence/Boston area, mostly between 1974 and 1978. His earliest recordings were made with an internal microphone deck, and though they are somewhat lo-fi compared to his later work, some very great moments in rock history were captured for posterity. In late 1974 he bought a Sony TC-152SD tape recorder, a Sony ECM-99 stereo microphone, and began using Maxell cassettes. He was also fortunate enough to have a friend who provided excellent taping seats for many shows, resulting in high quality recordings. In 1977, he switched over to a Nakamichi 550 tape recorder, two Nakamichi CM-300 microphones, and continued using Maxell cassettes.
He recorded many of the major 70's bands: Yes, Genesis, Pink Floyd, Queen, Blue Oyster Cult, Frank Zappa, Jethro Tull, ELP, Kiss, Black Sabbath, The Who, Al Stewart, Alice Cooper, Jeff Beck, Bruce Springsteen, Supertramp, Jean-Luc Ponty, Moody Blues, Neil Young, The Faces, Rush, Rick Wakeman, Kansas, as well as several "under the radar" acts.
Since Dan never traded copies of his recordings, they are all essentially uncirculated. Some copies were made for friends, but these releases are the first time most of these recordings have ever seen the light of day, and are direct from his master cassettes. No EQ'ing has been done to any of the transfers. Feel free to EQ, matrix, patch, etc and re-post if you like, just give Dan credit for the original recording.
Dan was very meticulous about taking good care of his tapes and is very pleased that these recordings will now circulate among the trading community. Please honour his kindness and generosity by sharing these recordings freely.
The transfers are available as 16bit/44.1KHz flac files suitable for CD burning, and also as 24bit/96KHz flac files for those who prefer the higher resolution.
Always remember - the more generous you are with your music, the more it comes back to you.
Kev & Carl
June 2009
|
FLAC
|
|
| 276. |
07/02/77 |
Madison Square Garden - New York,
NY |
B+ | Audience Cassette->Bootleg LP ' The Live Biography Series, Volume IV'->CDR | 25 min. 'Pigs' only, (Bootleg LP->CDR via HHb CDR 800 pro standalone) |
0 CDR
|
|
| 277. |
07/02/77 |
Madison Square Garden - New York,
NY |
A | Audience Cassette >German Bootleg CD 'Welcome To The Mashine' | (54 min)
Bootleg CD >FLAC (Level 8) Via xACT 2.37 |
1 FLAC
|
|
| 278. |
07/02/77 |
Madison Square Garden - New York,
NY |
A | Audience; Unknown Microphones >Sony TC-153SD Cassette | (Complete)
Taped By: Louis Falanga |
FLAC
|
|
| 279. |
07/04/77 |
Madison Square Garden - New York,
NY |
A- | Audience (2nd Gen, Recorder 1) | **************************************************************************************
SHN >WAV >(Fix SBEs) >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************************** |
FLAC
|
|
| 280. |
07/06/77 |
Stade du Parc Olympique - Montreal,
QC |
A- | Unknown Audience | (Roger Spits On Fan)
Missing 'Blues', Second Encore
[Trade CDs >FLAC (Level 8) Via xACT 2.37] |
2 FLAC
|
|
| 281. |
07/06/77 |
Stade du Parc Olympique - Montreal,
QC |
A- | Unknown Audience; Master > DAT(2) > Amadeus > MacFlac > FLAC | [Complete (Includes 'Blues' Second Encore), But Levels Low.]
FLAC >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 5.1db, Re-Track On Original Index Points. Break Show Into Disc I, II, And III) >FLAC (Level 8) Plus Tags Via xACT 2.47 By OldNeumanntapr |
0 FLAC
|
|
| 282. |
07/06/77 |
Stade du Parc Olympique - Montreal,
QC |
A | Audience; 'Who Was Trained Not To Spit On The Fan' (HRV 023) | This is the show where Roger finally had enough of
the huge, wild audiences of the stadium concerts. After
ridiculing them with profanity, he later spits in the
face one of the more unruly fans. This total estrangement
between the band and the audience is what Roger claims
gave him the inspiration for the Wall.
********************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************
|
FLAC
|
|
| 283. |
07/06/77 |
Stade du Parc Olympique - Montreal,
QC |
A | Audience; 'Last Performance of Animals' (MoLM) complete | ************************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************
Remastered from a hand-numbered boxed set entitled
Azimuth Coodinator, part two.
Remastered by Danalog of Man of Leisure Music (MoLM),
February, 2003 from an EAC clone of the original
silver CDs. The original release ran too slowly, and
Danalog corrected the speed, brought out a bit more
bass and reduced some of the extraneous noise.
This is the show where Roger finally had enough of
the huge, wild audiences of the stadium concerts. After
ridiculing them with profanity, he later spits in the
face one of the more unruly fans. This total estrangement
between the band and the audience is what Roger claims
gave him the inspiration for the Wall. |
FLAC
|
|
| 284. |
??/??/78 |
Britannia Row Studios - London,
England |
A | Studio Soundboard; 'Under Construction' The Wall Demos |
***************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
***************************************************************
======================================================================
Original Release Notes from: http://village.infoweb.ne.jp/~pinky/wall/wall25.htm
Pink Floyd's The Wall (1979) stands as one of Pink Floyd's greatest achievements, as well of one of the greatest achievements in rock music and live concert production. The album spawned a tour, a film, a book of the film (now quite collectible), and eventually an all-star revival concert in Berlin, and finally in 1999 a double live album.
But before The Wall was a film, a concert, or even an album, The Wall was just an idea... an idea under construction. The Wall went through at least two "demo" stages. The first was a crude recording of Roger Waters strumming his guitar and singing alone. Presented by waters at the same time as another concept called The Pros and Cons of Hitch Hiking, Waters' first demo -still uncirculated even today - was deemed unlistenable by the rest of the band, but they felt it had potential. The Hitchhiking demo was set aside, but The Wall demo was developed further.
Many writing sessions later, Pink Floyd - probably with assistance from Bob Ezrin - recorded a second, more complete demo. The lyrics were not polished, and neither was the music. Thankfully, lyrics like "I am a physician/ who can handle your condition/ like a magician" would be entirely discarded and rewritten before the songs were finally committed to tape in a studio, But the rough lyrics and the risky musical experiments which appeared in that second demo have finally made it to the public.
These demo tapes have circulated among just a very few collectors since about 1999. Now it is available for all fans. This recording presents the entire 'work in progress' in the best sonic quality available on CD.
This recording was produced bv fans for fans. and is strictly not for sale. Do not pay for this recording! Many fans will trade it to you for free. If you have the ability to burn CD-Rs, please feel free to distribute this recording to others who are interested.
===========================================================================
|
FLAC
|
|
| 285. |
02/07/80 |
Sports Arena - Los Angeles,
CA |
A | 2 Sennheiser MKH 404 > Sony TC-D5M (SEC 8, Row 2, Seat 4) | Opening night of the tour and the premier live performance of "The Wall"
From the master cassettes and an upgrade to any previous versions of this recording.
This is a 16-44 version for CD burning
A Hi-Resolution 24-96 transfer is also available
Recorded by Mark (the B-Man) with John and Mike holding the microphones.
Source:
2 Sennheiser MKH 404 tu microphones > Sony D5 (w/ Dolby) using 3 TDK SA C60 cassettes
Transfer (May 2014):
Nakamichi CR 7-A (azimuth aligned, Bias @ 70us, Dolby B) > Korg mr-2000s @ 1 Bit 5.6 MHZ DSDIFF
Mastering:
AudioGate (24-96) > Adobe Audition 3.0 (repairs and track splits) > AudioGate (16-44) > TLH (Flac Level 8-sector boundaries aligned) > Stamp ID3 tag editor
Special thanks go out to Sue for sneaking the deck in, without her help this recording would not have been possible
and additional thanks to Mark for sending me the master cassettes to make this upgrade
After 34 years this recording finally sounds like it should!
First Set
01. Pre Show
02. Cynthia Fox - KMET-FM
03. In The Flesh ?
04. The Thin Ice
05. Another Brick In The Wall - Part I
06. The Happiest Days Of Our Lives
07. Another Brick In The Wall - Part II
08. Mother
09. Goodbye Blue Sky
10. Empty Spaces
11. A Break to put the Fire out (shortened)
12. Empty Spaces (continued)
13. Young Lust
14. One Of My Turns
15. Don't Leave Me Now
16. Another Brick In The Wall - Part III
17. Goodbye Cruel World
[68:51]
Second Set
18. Hey You
19. Is There Anybody Out There ?
20. Nobody Home
21. Vera
22. Bring The Boys Back Home
23. Comfortably Numb
24. The Show Must Go On
25. Cynthia Fox - KMET-FM
26. In The Flesh
27. Run Like Hell
28. Waiting For The Worms
29. Stop
30. The Trial
31. Outside The Wall
32. Thanks Alot !
[53:55]
Additional Touring Personal
Musicians:
Bass Guitar ñ Andy Brown
Guitars ñ Snowy White
Keyboards ñ Peter Woods
Drums ñ Willie Wilson
Backing Vocals:
Joe Chemey
Jim Farber
Jim Haas
John Joyce
Roger's comment for tonight:
This next song is a little song for all the paranoiacs in the audience
I am sure there's a lot of you out there
It's called Run Like Hell...Piggy
notes:
the official name ñ The Last Few Bricks ñ was not used at the shows in 1980ñ1982, and instead was suggested to Roger Waters by producer James Guthrie during the mixing of the live album.
The longest performance of this medley was on 7 February 1980 at Los Angeles Sports Arena when "Another Brick in the Wall (Part III)" was stretched to over 13 minutes - Wikipedia
Well not quite, but 12 minutes and 39 seconds anyhow!
The Dolby was not switched back and forth, that on again off again hiss comes from the special effects tapes played over the PA
About the fire.
Someone shot off a good sized sky-rocket and the incredible burst of colors had more than the intended effect.
It took a while but it was soon obvious that the smoke effects were coming from the ceiling.
That was where the Sports Arena stored the rolled up curtains which were smoldering pretty good by then.
Finally there were embers like orange leaves slowly floating down to the stage and Roger announced that the show would have to stop for the fire.
The swoooshing noises heard during "Mother" are the fire extinguishers putting out those embers.
Once the curtains were rolled down from up high the air got into them and whoosh, flames and then lots of ooohing and awwwwing by the crowd.
Kind of stinky and that could be why Mark's response was "No" when Dave asked "wasn't that exciting".
Repairs:
Due to an intermittent microphone connection tracks 8,9,10 and 16 include significant portions in mono (dual right channel)
The tape flips were patched with added applause or music as required to reduce abrupt changes
tr07, Mother (tape flip at end of song-missing material) (31 seconds patched from the 1980-02-13 recording by Ken G-thanks for the filler!)
tr14, Don't Leave Me Now (tape flip after song-spliced-no music lost)
tr20, Nobody Home (tape flip after song-spliced-no music lost)
tr27, Run Like Hell (tape flip after song-spliced-no music lost)
Where possible the loudest claps were reduced along with the majority of the transport noises that plagued this recording.
You may hear it now and then but it is no longer a constant distraction.
Equalization to add a little more bottom end (6 dB increase at 44 Hz and a 3 dB increase at 88 Hz).
This helps to restore some of the low end lost due to taping location.
We were in the loge towards the right side of the center section (pointing the mics at monitors in front and above us)
A scan of my ticket stub is included.
The ticket shown on the CD version jewel case artwork was not ours but looked nicer for use as cover art.
For historical reference only and not intended for resale or any commercial use.
enjoy
-M- (August 2014)
FLYING M PRODUCTIONS
FAN RECORDINGS FOR COLLECTORS
TRADE FREELY BUT PLEASE DO NOT SELL
|
FLAC
|
|
| 286. |
02/08/80 |
Sports Arena - Los Angeles,
CA |
A- | Audience | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
|
|
| 287. |
02/08/80 |
Sports Arena - Los Angeles,
CA |
A | Unknown Audience; CDR (GEN??) >Amadeus II >WAV >SHN (WWRM002) | (A WALLweeds Production)
*************************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
*************************************************************************
2nd Live Performance Of 'The Wall' In Concert |
FLAC
|
|
| 288. |
02/28/80 |
Nassau Veterans Memorial Coliseum - Uniondale,
NY |
A+ | FOB; Nakamichi CM-700's->Sony TC-D5->DAT->CDR >FLAC | Trade DAT Transferred: Tascam DA-30 >HHb CDR 800 PRO Via Analog i/o
CD Masters >FLAC (Level 8) Via xACT 2.28 |
2 FLAC
|
|
| 289. |
02/28/80 |
Nassau Veterans Memorial Coliseum - Uniondale,
NY |
A+ | FOB; Nakamichi CM-700s >Sony TC-D5M
Analog Sound Preservation: MAC >> Nakamichi DR-1 => Grace Design Lunatec V3 >> Korg MR-1000 >> DSF [1-bit 5 -6448 MHz Stereo] >> Korg MR-1000 => Korg AudioGate >> WAV [24/96] | [24bit/96kHz]
(Recorded By Barry Glassberg, Transfer By Adam Egert, Mastering By Derek McCabe)
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FLAC
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| 290. |
08/06/80 |
Earls Court Exhibition Hall - London,
England |
A | Recording made from Block 22, Row S seat 111 (Upfront central position)>Technics Single Point Stereo Microphone->Sony TC-153SD Cassette Deck->Sony BHF90 cassettes (2 off used)>.Playback via Nakamichi ZX-7 cassette deck with manual adjustment | Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
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| 291. |
08/06/80 |
Earls Court Exhibition Hall - London,
England |
B+ | Pro Shot Video | Video Has Some Generation Loss But Is Still Very Watchable.
(Date Was Miss-Marked 6-8-80 Which Is Incorrect) |
2 DVD
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| 292. |
08/06/80 |
Earls Court Exhibition Hall - London,
England |
A+ | Recording made from Block 22, Row S seat 111 (Upfront central position)>Technics Single Point Stereo Microphone->Sony TC-153SD Cassette Deck->Sony BHF90 cassettes (2 off used) | **********************************************************************************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
(Original text file did not include recording lineage, but after comparing audience voices on tracks I can say with just about 100 percent certainty this recording is from the same source as the known lineage Technics stereo mic >Sony 153 source.
This source has much stronger levels and has benefited from additional WALLweeds post production, which makes this already amazing recording oh so much better sonically!
See (Original)NOTES text file for more info.
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FLAC
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| 293. |
08/09/80 |
Earls Court Exhibition Hall - London,
England |
A | Audience; Bootleg CD 'Earls Court 1980 Final Night' | |
FLAC
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| 294. |
??/??/80 |
The Wall - Original Film Sessions - Unknown,
Unknown |
A | Early Audio Pre-release Soundboard Mix for the Official Movie | |
FLAC
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| 295. |
02/19/81 |
Westfalenhalle - Dortmund,
West Germany |
A | Audience; FOB Master >Cassette >CDR >FLAC | (Some Talking During Recording But Clear Sound.)
Trade CDs >FLAC (Level 8) Via xACT 2.37 |
2 FLAC
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| 296. |
02/20/81 |
Westfalenhalle - Dortmund,
West Germany |
B | Audience >Bootleg LP 'Wall Live' >CDR >FLAC | 1st LP only (Bootleg LP >CDR Via Pioneer PL400 >HHb CDR 800 Standalone) |
1 FLAC
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| 297. |
06/16/81 |
Earls Court Exhibition Hall - London,
UK |
A- | Audience; 'The Wall Live' Bootleg | (Roger Waters' Second To Last Show As A Member Of Pink Floyd) |
FLAC
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| 298. |
06/17/81 |
Earls Court Exhibition Hall - London,
UK |
A | Audience; 'The Last Few Bricks' (Sirene- 074) Waters' Final Show | *************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*************************************************************
Infos by collectorsmusicreviews.com
The final week of Wall shows at Earl's Court in the summer of 1981 were scheduled in order to film the band for their film project.
As is well known the footage was never used for the film and has sat in the vaults for the past quarter of a century (although Roger Waters has hinted an official release).
But this stint is more significant because it is the final time the real Pink Floyd performed together (until Live 8 in July), and The Last Few Bricks is the very last show from that summer.
There are three different excellent sounding tape sources for this show.
According to the You Gotta Be Crazy website, 'very easy to distinguish them from one point only, right during the first announcement by Gary Yudman: after he says 'Any camera found being used will be confiscated': on recorder 1 taper yells 'bollocks'
on recorder 2 there's no comment (the taper laughs after Yudman says 'Believe me, there'll be enough explosions in your mind ').
on recorder 3 taper says 'boo' and he or his friend also whistles then.
Ayanami's 'Roger At Last' is sourced from the first tape source, whereas this new release
on SirÈne comes from the third tape source from Nigel Bradder.
It is a superb stereo audience recording whose only flaw is the occasional muffled comments by the taper.
It really isn't too intrusive but is noticeable.
The tape does pick up all of the dynamics of the audience's reactions to the puppets perfectly and you really get the feel of the live experience.
The performance is excellent as well and a worthy end of an era.
It's structured as all of the Wall shows so no surprises there.
Before 'Young Lust' Waters announces, 'Thank you! Good evening! Welcome! Well at least Neil Diamond's not here tonight.
That's something isn't it? This is called 'Young Lust' Sorry Neil, only joking! Before 'Run Like Hell' he says, 'Welcome! Are we gonna have a good time? Does anyone here like pigs? This is for all the weak people in the audience.
Is there anyone here who's weak? This is for you; it's called 'Run Like Hell'.
Lets all of us clap!'
This is another worthy title from SirÈne and it's great to see the Japanese labels producing more Wall shows.
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FLAC
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| 299. |
09/19/87 |
John F. Kennedy Stadium - Philadelphia,
PA |
A | Audience Recorder 2 / Cass[1] >DAT(2) @16bit/48khz > Tascam DA-302
> Audigy 2 Platinum > WAV > Adobe Audition 1.5 (minor editing)
> Cdwav (track spliting and sample conversion to 16bit/44.1khz)
> TLH > FLAC | (Rare 'Echoes' Opener)
*********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************* |
FLAC
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| 300. |
09/30/87 |
County Stadium - Milwaukee,
WI |
A- | Unknown Audience; 'Delusions of Maturity' Bootleg CD | ****************************************************************************************
SHN >WAV >Audacity (Remove And Repair Several Digital 'Spike Blips' In The Beginning Of 'SOYCD') >Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
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FLAC
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| 301. |
11/01/87 |
Orange Bowl - Miami,
FL |
A | Soundboard; Cassette >CDR >FLAC | (Complete)
*************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************* |
2 FLAC
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| 302. |
12/03/87 |
Oakland-Alameda Coliseum - Oakland,
CA |
A- | Unknown Cassette Audience >Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.4 >WAV >NeroWaveEditor >TLH >FLAC | My first Pink Floyd Show was the following night, 12/4/87 Oakland Coliseum Arena |
0 FLAC
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| 303. |
02/19/88 |
Tennis Center - Melbourne,
Australia |
A+ | Soundboard | |
FLAC
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| 304. |
03/23/88 |
Budokan - Tokyo,
Japan |
A | Audience; 'Another Lapse In Japan' (Godfatherecords) | ***************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
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FLAC
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| 305. |
04/22/88 |
Oakland Stadium - Oakland,
CA |
A | FOB: Schoeps MK4s >Sony PCM F1 >Sony SL 2000 Beta | Recorded & Transferred By Daspyknows. Master Recording Was Transferred Using A PCM-501ES/SL2000 Beta Into A Tascam CD-RW700 CD Recorder >WAV >FLAC.
FLAC Files Sent Privately By Daspy. Trade FLACs >WAV (Change File Names To Reflect Etree Standards) >FLAC (Level 8) Via xACT 2.39 By OldNeumanntapr |
0 FLAC
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| 306. |
05/18/88 |
UNI Dome, University of Northern Iowa - Cedar Falls,
IA |
A | Custom PZM Microphone In Hat >Sony TC-D5M Master Cass | **************************************************************************************************
SHN >WAV >Audacity (Combine Tracks To A One-Track File, Amplify By 3.4db, Re-Track On Original Index Points) >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************************************** |
FLAC
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| 307. |
07/01/88 |
Praterstadion - Vienna,
Austria |
A- | Unknown Microphones >Sony D6 Analog >WAV >SHN >WAV >FLAC | (Includes Soundcheck)
*************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************* |
FLAC
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| 308. |
08/19/88 |
Nassau Coliseum - Uniondale,
NY |
A | Digital Audience; FOB Row 15; AKG 414s -> Sony F1 PCM/SL2000 | Transfer:
PCM -> Sony 60ES DAT ->
Waveterminal U2A -> CDWAVE -> mkwACTSHN
*************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************* |
FLAC
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| 309. |
06/21/89 |
Festhalle - Frankfurt,
West Germany |
A- | Audience; Unknown Hat-Mounted Microphone >German Fisher Auto Reverse Cassette Recorder | ***************************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*************************************************************************** |
FLAC
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| 310. |
07/01/89 |
Palais Omnisport de Paris Bercy - Paris,
France |
A- | Unknown Mic >Sony WM-D3 (TDK SA-X 90 Cassettes) | Transfer: Master cassettes > Nakamichi LX-5 (azimuth adjusted) > PreSonus AudioBox USB 2X2 USB Recording Interface > Sound Forge Pro
11.0 Build 299 (HP G60 Notebook) > .WAV
Mastering: .WAV > Sound Forge Pro 11.0 Build 299 [iZotope Mastering Suite (declick); splicing, minor edits, normalize, & fades] > CDWav
(tracking) > iZotope MBIT+ (dithered and downsampled to 16 bit/44.1 kHz) > Trader's Little Helper (level 5) > FLAC >
TagScanner 5.1 (tagging)
Location: General Admission, 1st or 2nd block, left hand side of the stage
Taped by: "DGB"
Transferred & mastered by: Dennis Orr
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FLAC Tags Via xACT 2.53 By OldNeumanntapr (+ front cover artwork)
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0 FLAC
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| 311. |
06/30/90 |
Knebworth Park - Knebworth,
England |
A+ | BBC FM; 'Of Promises Broken' Bootleg CD (Harvested HRV CDR 006) | (Knebworth Festival)
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumantapr |
FLAC
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| 312. |
03/30/94 |
Joe Robbie Stadium - Miami,
FL |
A | FOB; AKG 409's >Sony TCD-D7 | Trade DAT Transferred: Tascam DA-30 >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr
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1 FLAC
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| 313. |
04/17/94 |
Rose Bowl - Pasadena,
CA |
B+ | Unknown Audience; "Jurassic Sparks" Bootleg CD | FLAC Tags Via xACT 2.50 By OldNeumanntapr |
FLAC
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| 314. |
04/20/94 |
Oakland Coliseum Stadium - Oakland,
CA |
A | FOB: Schoeps MK4s >Reutelhuber Preamp >DAT (Either Panasonic SV-250 Or Sony TCD-D3) | Recorded By Daspyknows & Friends. DAT Clone From Master Tranferred On Panasonic SV3800 To Tascam CDRW700. WAV Files Sent Privately By Daspy. WAV >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr |
0 FLAC
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| 315. |
04/21/94 |
Oakland Coliseum Stadium - Oakland,
CA |
A | FOB Center; Schoeps MK4s >Panasonic SV250 w/Reutelhuber Mod | (Recorded By Daspyknows)
DAT Master > CDWav > FLAC |
0
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| 316. |
04/22/94 |
Oakland Coliseum Stadium - Oakland,
CA |
A | Schoeps MK4s >Reutelhuber Mod >Panasonic SV-250 | (Recorded From Front Of Board Center Section By DaspyKnows)
Panasonic SV250 DAT master transferred on
Panasonic SV3800 to Tascam CD-RW700 >WAV >FLAC
FLAC >WAV >Audacity (Combine Files To A One-Track File, Selectively Compress Fireworks Explosion Peaks At End Of Show, Amplify Entire Recording By 2.0db, Re-Track On Original Index Points) >FLAC (Level 8) + Tags Via xACT 2.48 By OldNeumanntapr
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0 FLAC
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| 317. |
05/20/94 |
Foxboro Stadium - Foxboro,
MA |
A | Unknown Audience | ************************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************************
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FLAC
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| 318. |
06/22/94 |
H.H.H. Metrodome - Minneapolis,
MN |
A+ | DSM-6Ps >Sony TCD-D7 (9th Row, Side) | Total Running Time: 2 hours 56 minutes and 58 seconds
Recorded by Tom Jorgensen
9th row on side
Sonic Studios DSM-6P > Sony TCD-D7
1st copy digital clone of master from OldNeumanntapr's DAT @ 16-48 (received from Tom)
1st Clone Copied From Master: Sony 60 ES >S/PDIF >Tascam DA-40.
For all intents an exact copy of the master
Transfer & Mastering by Flying -M-
Playback on an Otari DTR-8S > Korg MR-2000-S via digital coax @ 16-48
Audacity > Har-Bal > iZotope RX6 advanced > CD Wave > iZotope RX6 advanced (16-44) > TLH (flac level 8)
The sound favored the right side even though the meters were balanced
Corrected this by adjusting the phase - Removing samples from left channel with Audacity and bringing the listening center to the middle
Harmonic Balancing (EQ) and a light 2dB compression - Har-Ball
Reduced the sub 200 Hz bump during harmonic balancing and spot reduced it even more where the bass became overbearing
Once the bass was reduced it allowed the other frequencies to be heard better bringing out more detail
Removed the loud clapping and a 60 Hz hum
Removed or minimize the neighbors constantly "who hoo-ing" close to the mics and some of the loudest or shrillest whistling
There were hundreds of those whoo hoo's and hoots, it was like a contest or something and took a while to reduce all of that
Some chatter was also attenuated so that it doesn't stick out as much
Increase amplitude of the entire set by 3 dB and selectively reduced peaks to avoid clipping
Fine balance
Fixed the digital breakup at the beginning of "Run Like Hell" - it was less than a seconds worth
During the second set the recording starts "in progress" - the taper had to take a pee and didn't get back in time.
A clip from an alternate capture (recorded by Jaycee and also using Sonic Studios DSM-6P's on the floor) filled in the missing segment.
Equalization and stereo depth matching were performed in an attempt to blend the 2 sources together.
Thanks to Jaycee for the 6 minute and 33 second patch used to complete this performance.
For historical reference only and not intended for resale or any commercial use.
enjoy
-M- (Jan 2018)
A FLYING M PRODUCTION in conjunction with OLDNEUMANNTAPR! and Tom Jorgenson
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0 FLAC
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| 319. |
07/09/94 |
Robert F. Kennedy Stadium - Washington,
DC |
A | FOB; Schoeps >Sony TCD-D10 PRO | Trade DAT Transferred: Tascam DA-30 >HHb CDR 800 PRO
CD Masters >FLAC (Level 8) Via xACT 2.37 By OldNeumanntapr
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2 FLAC
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| 320. |
08/25/94 |
Idrætsparken - København,
Denmark |
A | Unknown Audience; 'Live In Parken '94' Bootleg | SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr |
FLAC
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| 321. |
09/13/94 |
Stadio Della Alpi - Torino,
Italy |
A+ | Soundboard; 'A Passage Of Time' Bootleg CD | SHN >WAV >FLAC (Level 8) Via xACT 2.50 By OldNeumanntapr |
FLAC
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| 322. |
10/15/94 |
Earls Court Exhibition Hall - London,
England |
A | Audience; 'Complete Earls Court Volume 4' [#ROIO CDR 017] | ********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
******************************************************************** |
FLAC
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| 323. |
07/02/05 |
Hyde Park - London,
England |
A+ | FM / Digital TV Broadcast 'No Voice-Overs' | (First Pink Floyd Show With Roger Waters Since 6/17/81)
*****************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
*****************************************************************
Notes:
I've managed to splice the uninterrupted beginning and end of the set onto the FM source, using audio from Breathe's DVD.
Lineage for the FM source:
FM (Sony STRDB1070) > Creative SBLive! > Creative Recorder > Nero Wave Editor > Flac Frontend FLAC 8 Aligned CD sector boundaries
Recorded by enajh2, Loughborough, UK
Lineage for Breathe's DVD:
Digital TV broadcast > DVD (LPCM audio)
1. Speak to Me / Breathe / Breathe (Reprise)
2. Money
3. Wish You Were Here
4. Comfortably Numb
Enjoy the lack of hack network announcers.
--Meddler |
FLAC
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