Pink Floyd 02/11/1970
Set I
The Embryo, Main Theme, Careful With That Axe Eugene, Sysyphus, The Violent Sequence, Set The Controls For The Heart Of The Sun, Atom Heart Mother
Set II
Set III
Comment
"Project Birmingham"
Collectors With This Show
| User (active/rating) | Media / # | Show | Sound | Details | DB Source | User Source |
|---|---|---|---|---|---|---|
| OldNeumanntapr | FLAC / 0 | B | View | Audience | ||
| Notes: | (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) | |||||
| OldNeumanntapr | FLAC / 0 | B+ | View | Audience 'Atomic Hearbeat In The Hall' bootleg | ||
| Notes: | '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. | |||||
| wes meyette | / | View | ||||
| Slick2007 | FLAC / 2 | B | View | |||
| John H | flac / 2 | B+ | B+ | View | audience | |
| John H | flac / 2 | A | A | View | audience | |
| Notes: | Pink Floyd 1970-02-11 Birmingham, 2nd gen stratcat58 tapes (16bit/44.1kHz) Pink Floyd Town Hall, Birmingham, England 11 February 1970 Lineage: 2nd gen Maxell XLII-S and XLII cassettes (bet.1992-96) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) > vince666 > header change to 88.2 Khz > WAV 88.2Khz/32bit float > speed correction > WAV 88.2Khz/32bit float > resampled to 44.1Khz and dithered to 16bit > WAV 44.1Khz/16bit > track splits > FLAC 44.1Khz/16bit 1. The Embryo .................................. 11:50 2. Main Theme From More ........................ 11:29 3. Careful With That Axe, Eugene ............... 10:12 4. Sysyphus .................................... 11:39 5. Heart Beat, Pig Meat ........................ 5:46 6. Oenone ...................................... 6:19 7. Moonhead .................................... 4:21 8. The Violent Sequence ........................ 7:59 9. Set The Controls For The Heart Of The Sun ... 13:36 10. The Amazing Pudding ......................... 22:57 Total running time 1 hours 46 mins 14 secs *Neonknight's notes* We believe that this is the best copy yet of this great show. Stratcat58's 2nd gen is smoother, closer and more detailed than the 3rd gen we torrented in July. It also has better high end. From the outset it is apparent that the cymbals and hi-hats appear where they were previously buried; always a good sign. In fact you can follow all the instruments more clearly, including during the quieter passages which are less dominated by hiss than our previous copy. Side B's TAP on the 3rd gen ends fractionally later than the 2nd gen so the 3rd gen cannot be a copy of this 2nd gen version. The third gen's lineage was master (probably a cassette) > reel > reel > Nak Dragon > stratcat58's cassettes. Stratcat58 arranged a loan of the 2nd gen cassettes and the lineage for them is master > reel > Nak Dragon > cassettes. Stratcat58's source's source (the owner of the 1st gen) visited with his reel many years ago and our man made two copies, one to cassette and the other to reel. The reel was the source of the 3rd gen cassette that we posted. It's as though two gens have been shaved off, not just one, for this Nak Dragon provenance. The audience chatter before The Embryo is more complete on some other copies e.g. the taper's comment at the very beginning of the recording, "I can't get the hang of his thing", is not present here. Additionally, the opening to side B, Heart Beat Pig Meat, is a bit steadier on lordsnooty's tapes than stratcat58's and his copy has some extra tuning. Stratcat58's tapes are fuller and closer than the lordsnooty version but his copy is cleaner. It's best to keep both! The taper was probably towards the back of the auditorium and possibly had their recording levels set low, at least some of the time. The way the high end falls off indicates that basic equipment was used. The recording levels have probably been subsequently optimised during copying. It's difficult to draw any clear conclusions about the Town Hall's acoustics but they may well have contributed to the overall ambience of this recording. Those not familiar with it might be a bit put off at first but my experience is that it ceases to be distracting when your ear dials into the sound. If you are outside of the UK or have never been to Birmingham it's worth taking a moment to to get a feel for the Town Hall's neo-classical architecture by looking it up on wikipedia. Internal pictures from the time suggest that the hall was quite long and slim with a balcony at the end furthest from the stage. As I mentioned in the 3rd gen text file, here the Floyd are recycling material from the Zabriskie Point sessions and working out what to do next. Little memorabilia from the concert appears to exist. The only thing I could find was a ticket on google image search. I tried contacting the Friends of Birmingham Town Hall in 2012 and they were unable to assist. 11 February 1970 was a Wednesday and the concert started at 19.45. It was promoted by big name promotor Roy Guest, who had joined NEMS Enterprises in the autumn of 1968. Most copies of the concert from the late 1970's onwards started out from a major tape collector in San Diego who sold and traded using low quality unbranded cassettes. His collection was passed to another collector who continued distributing tapes and then another one after that. There is also a guy from Wales, DT, who was probably the source of the San Diego trader in case anybody reading this recognises themselves or can offer a lead. The guy who owned the 1st gen reel that was the source for the tapes used for this release retired from trading and moved away. *Vince's mastering notes* Most of my notes are going to be the same as what i've just described for the previous work on the 3rd gen cassettes, since they have many things in common... so, i start by "recycling" a few points from there, which are perfectly true for these new cassettes, too... especially the point which brought me to choose the final 88,2Khz sample rate for the both of them. This recording did run very fast so, before actually performing the classic speed correction process, I made a header change to 88.2Khz which automatically "forces" the audio to play at a lower samplerate (and then at a lower speed) without actually altering the samples, so, i preferred to perform this header change to simply bring the recording much closer to the correct speed with no true resampling (and digital speed correction is a resampling process). But the choice to switch to 88.2Khz needs that the whole recording will need to stay at this new samplerate (but a good point of the 88.2Khz samplerate is that the conversion to 44.1Khz to make a CD version is more easy/transparent than when you go from 96Khz to 44.1Khz, which would involve much more complex maths to do the trick as 96000 isn't a multiple of 44100). So, with the recording played at 88.2Khz, and then much closer to a correct/reasonable speed, i finally started to think about the classic speed correction process, and it must be noted that the 88.2Khz header change alone did bring the first 9 minutes (or so) of "The Embryo" just to a quite correct speed (within a very small error I will explain later in more detail) so these first minutes weren't subjected to any resampling process as I simply left them alone as they sounded quite right that way... but let's go to the actual work I did... First of all, I must say that this recording isn't just the typical "easy" speed correction work as the speed varies a lot of times throughout the whole recording and, moreover, there are a whole lot of slight speed fluctuations and also a noticeable amount of wow and flutter (and my guess is that the W&F just belongs to the previous generations of this recording, as I seem to remember it's present on any versions of this gig). But, this time, I did choose to work in an even more careful and meticulous way as on the previous one... so, in the first moment, I simply checked the speed virtually second by second by trying the needed corrections "on the fly" without applying them and so I mapped the whole recording with a lot of markers to put in evidence all the segments which needed to be corrected differently (with a lot of markers I mean a few hundred markers!). This way, with this very detailed map of the recording, I could actually correct both the "overall" speed and the small/sudden fluctuations with the first (and only) processing pass, small segment by small segment (at times, tiny segment by tiny segment). On the contrary, on the previous 3rd gen, to make the work a bit easier, I had made a first "overall" correction applied on relatively long segments and then I addressed the short fluctuations within the same "just corrected" segments while applying a second correction process over the first one. And so, the much longer and detailed checking work I had made before brought me to the final result by also processing the recording the least possible... but, actually, after I finished the whole work and was finally making a properly relaxed listening, I caught a handful short things which at that point I did correct in a second processing step... but, hey, it's a matter of a few minor things here and there which are 1 second long each, at max... so not really a big deal, but these few "extra" corrections may have been a bit distracting while listening (or, at least, they were definitely distracting to my ears)... Thus, the result of the processing itself is still more "transparent" than on the previous 3rd gen and, after all, this 2nd gen is a better sounding source just as a starting point. But, since the Birmingham recording is perhaps the most "difficult" in terms of fluctuations and tape related problems of the whole PF recordings story, of course there are still small/light fluctuations here and there and there is still the infamous wow and flutter (more noticeable on some songs, less noticeable on others). I will explain the wow and flutter and the "within a small error" point in more detail... After the initial header change, the first nine minutes of The Embryo came gracefully extremely close to the right speed... I mean that they may still be a hair fast (with "a hair" I mean a fraction of a percentage, say around 0,5%) and it would have been unwise to subject them to processing for such a tiny difference, since they just sounded very nicely in raw shape... and, while trying to find the best correction ratios for this recording I could experiment a few interesting things myself... the wow and flutter may appear to be more noticeable than on some other sources, not certainly because there is more or a deeper wow and flutter oscillation, but simply because the sound is clearer and better defined, so the instruments are more clear and detailed and, of course, the wow and flutter might also be heard more distinctly... if you think about it, the wow and flutter is a continuous and quite periodic speed fluctuation and the clearer you can finally hear the instruments, the clearer you will also detect the W&F, because if you have a confused and muffled sound, you will have the W&F somewhat masked just by the less defined sound itself, since the speed oscillation is detected just on the actual "useful" content and not on the hiss or on the background noise or on any other "non music related" noises. So, in other words, we have better sound and so we can "appreciate" the flaws of this recording in a "better" way and, anyway, I'd prefer to see quite only the "half full" glass of a better sounding tape anyday! The second point I'd like to mention is a sort of an easy way to tame what i've just explained here above about the W&F... in fact, I noticed that, when there is a noticeable continuous W&F speed oscillation, if I keep the overall speed a hair faster then the W&F speed fluctuation oscillates in a speed-range which, for example, goes from the correct speed to a hair fast or, anyway, it ranges mostly on the faster side... and, to my ears, such situation sounds noticeably better than if I try to put the overall speed to the "correct" value and leaving the W&F oscillation ranging also to the slower side as it definitely gives me the impression of a tape machine losing some power and I found it very annoying... so, in general, I tended to stay a hair fast throughout the whole recording because it makes the W&F much less annoying... so, a small error (around 0,5% or so) to the fast side sounded noticeably better than a "just exact" overall speed... and I add that, with the W&F and some minor fluctuations still present, it makes not really sense in talking about the "perfect" speed but it may be much more useful to directly stick to something which makes the recording more enjoyable, which is just what I tried to do. And, believe me, it needed quite a bit more work than the 3rd gen to make the recording how it is now and with the lightest hand I could in applying processing individually on hundreds of small to tiny segments... so, as the other 3rd gen one, at a certain (even longer to arrive) moment, I simply decided to stop working and consider it ready otherwise i would have risked to never finish to work on it as these Birmingham recordings are just those which you could keep improving for years and with countless hours of meticulous manual editing. So, the speed may still be not just perfect at moments and the W&F is still there but, hey, to my ears this time I finally have the impression of being phisically there attending the gig and it's indeed a nice upgrade in sound quality over any other circulating versions, including the recent 3rd gen cassettes which just sounded like a sort of miracle when they finally surfaced only a few months ago. No other kind of processing was done, so no level changes, no normalization, no NR, no EQ, etc... Stratcat58 cassettes / Neonknight tape transfer / Vince666 mastering, October 2017 | |||||
| David LeMond | FLAC / | B | View | |||
| Notes: | HRV CDR 024 | |||||
| Joe | FLAC / 0 | View | Lineage: Low gen cassettes > Nakamichi 700 > Zoom H2 > Wav (24bit/96kHz) ----> Adjustments (32bit... | |||
| Rick Martin | SHN / 2 | B | View | "Project Birmingham"; CDR from Harvested, HRV CDR 024>?>SHN | ||
| Notes: | "Project Birmingham"; CDR from Harvested, HRV CDR 024 | |||||
| Tulum | FLAC / 7 | View | Project Birmingham HRV CDR 024 | |||
| michael kass | / 2 | View | ||||
| Xavier Birtwich | FLAC / 2 | AUD | View | Firewalkwithme41@gmail.com - justinmsmith32@outlook.com (one drive) HARVESTED AUD low gen -... | ||
| Notes: | Firewalkwithme41@gmail.com - justinmsmith32@outlook.com (one drive) HARVESTED | |||||
| Gregg Beebe | CDR / 2 | View | Claudio | |||
| Drifty | CDr / 2 | B | View | Soundboard | ||
| Notes: | Bootleg "The Violent Pudding" | |||||
| sean hite | / 0 | View | ||||
| Notes: | Project Birmingham Harvested CDR #024 | |||||
| Brandon Moeller | CD-R / 2 | View | ||||
| Notes: | Slightly different set list | |||||
| John | CDR/FLAC / 2 | View | ||||
| Notes: | “Atomic Heart Beat In The Hall” The Godfatherecords GR 786-787 Lineage: silvers. EAC (secure mode) > WAV (& spectrograms included) Trader’s Little Helper > FLAC Level 08 | |||||
| PeaceTrader | CDR / 2 | View | ||||
| Damian | CD / 2 | View | ||||
| Notes: | PINK FLOYD Project Birmingham HRV CDR 024 11-February-1970 Town Hall Birmingham, UK Release date: 18-Dec-2001 by Harvested Records Originally released in SHN format 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) -------------------------------------- >>From Harvested's RonToon: For those who are interested, here's some of the details of Project Birmingham (which will be our NEXT release...Ed promises to be wedding in time for X-Mas). I initially started working on this almost 2 years ago. I had three sources to choose from; the vinyl bootleg LP "Violence In Birmingham" (the longest of the 3), "The Violent Pudding" released by JS&TBD, and a low gen analogue tape. I mainly used the old analogue tape as my source and spliced in the additional material from the vinyl release, which gives you a few more minutes of AHM. I then tweaked the Hell outta this one, balancing and boosting channels, patching lost moments and applying a custom EQ to the whole thing. There was still an unacceptable amount of hiss left, and for the 1st time I was willing to go with some major noise reduction and give it a try. I sent the files I had been working on to Chris Burns in NYC. Chis had some professional audio equipment and volunteered to lend his skills to the project. The NR greatly reduced the hiss, but created an artifact that gave the impression of listening through a long drain pipe. Still, I felt that this was an improvement over all that hiss. The data CDs were next sent to Marc-Oliver who has a built in radar detector for speed correction. He worked on each track, making sure that the pitch and speed were accurate. The next step was more difficult. Marc had trouble mailing it back to me as customs busted the package (pretty trivial with what's going on in the world today)! Eventually, the CDs got back to Ed via France, no less. I was glad to be finally done with this one.... until a better source came along!!! As soon as I heard the quality of this new recording, I knew I would have to scrap all the work that was done and start all over again. Which I did........ There was still hiss on this new source, but not as bad. AND, I was able to hear some subtleties that I hadn't heard before. I also took a new approach to remastering this show as well. I didn't want to use any NR this time as I felt that some EQing would do the trick. There seemed to be some strange anomolies with the source that I also would like to mention. During some songs, the hiss seems to oscilate in and out like a whirlwind effect. It's really not too terrible and only rears it's ugly head in a few places for a short period of time. In other places it just cuts in and out...almost as if someone was playing with the Dolby button while making the dub (although I was assured that this was not the case). These sudden "bursts" were also very difficult to smooth out and I only had limited success at times. After re-assembling the entire show, I cross-dissolved different EQ applications over the entire piece. During the quieter parts I brought the high end down, for the louder parts I boosted the bass and midrange a bit. Next, it was back to balancing and boosting levels again and all the general work I had done before. Lastly, I speed corrected the entire thing, using M-O's previous effort as a reference. I'm sure that the speed will be pretty close, although it does vary from time to time. This performance has an incredible setlist, one of my favorites, and it's mostly instrumental! If you can make it through the opening minute of Embryo (which is totally distorted and over-saturated), you'll be in for a real treat for what follows. You will also find that Sysyphus and AHM (aka The Violent Pudding) are now complete, and the missing bits were NOT sourced from an alternate show. However, Dr FrankenToon did "cheat" to make them complete ; ) Cheers! Ron -------------------------------------- >>From Harvested's Ed P.: Hello Again, The air is thick with anticipation. Harvested's next release will be available soon, I promise. I wanted to take a few moments to discuss Project Birmingham and make a request to the group. For the benefit of those that are a little less knowledgeable than others, I'll go over a little of the history of this show. Basically, the February 11, 1970 performance in Birmingham has produced the most infamous Pink Floyd RoIOs of all time. Why is that? It's a combination of two factors -- the set list and the sound quality. After completing the 'Man and the Journey' tour in 1969, and before settling down to the standard setlist that would become the 'Atom Heart Mother' tour, the band was very experimentative with their setlist and even included songs from their most recent project -- Zabriskie Point. The setlist: The Embryo The Main Theme from More Careful With That Axe, Eugene Sysyphus Heart Beat, Pig Meat Quicksilver Moonhead The Violent Sequence Set the Controls for the Heart of the Sun The Amazing Pudding Of these songs, Embryo, Careful, and Set the Controls were quite common numbers in Floyd shows; but the others... Variations of Quicksilver and Moonhead had been standard numbers during the Man and the Journey performances. But this was not an M&J performance. These tracks here, in their normal form, are quite rare. The Main Theme from More, Heart Beat Pig Meat, and The Violent Sequence are equally rare tracks without caveat. Variations of these songs did not appear in M&J or other tours. Although Atom Heart Mother would become standard faire, it's precursor - The Amazing Pudding - is quite rare as well. There are subtle and not so subtle differences between TAP and AHM. Best of all, the Birmingham performance includes a 4 minute long drum solo by Nick Mason! Last, but not least, is Sysyphus. This track is unique to this show!!! No other RoIO date has it. Obviously, this one-of-a-kind setlist makes a recording of this show a must have in every RoIO collection. But what makes this show infamous is the sound quality. It sucks! I bought the 2LP Violence in Birmingham RoIO fifteen years or so ago. Now that was a painful listening experience. The show was very very hissy, saturated, and distorted. Add to that, vinyl pops, speed problems, and losses from a high gen tape source... yuck! Ron Toon to the rescue. As Ron posted before, Ron acquired a very low gen tape source a couple years ago, converted it to CD and speed corrected it and was almost ready to release it, when he acquired an even lower (2nd?) gen tape and redid the whole effort. This is what I've been working with. It's got no clicks, no pops, no speed problems. The sound is full. You can hear subtle things that were lost on later generation tapes. But the original problem remained: HISS. I've been very carefully dehissing the show. Painstakingly applying just the right amount to preserve the fidelity of the music and not create any noise reduction artifacts. The weeding will begin very soon. As always, Ron and I enjoy the work we do and are happy to pass it along. But, because of the importance of this show and the effort we've put in to produce it, Ron and I have decided to alter the weed rules on this one slightly. After you receive this show, you should listen to it before offering up copies to the group. When you make your weed offer post, you should include your comments/thoughts/observations about it as part of the offer post. And not just a one-liner. Put some effort into composing a paragraph (or more). Thanks. Stay Tuned, Ed. -------------------------------------- >>From Harvested's Ed P.: Hello everyone, I hope everybody's poised for a great 2002. Best wishes to you all. First, many thanks to everyone that's been posting reviews of our latest release, Project Birmingham. We definitely appreciate it. But, I'd like to remind those continuing this weed that posting a "full review" isn't a requirement. Just a paragraph of your thoughts/comments/observations... But the more the merrier. Second, I'd like to bring up the topic of applause and the lack of it in this show. Has anyone noticed the relationship between when the last note of a song is played and when the audience starts to applaud? A well behaved audience usually withholds their applause until the song ends. And I would certainly consider the Birmingham audience to be well behaved that night. On Embryo, the applause starts 2 seconds before the last note. On More, the applause starts 2 seconds after the last note. On Careful, the applause starts at the same time as the last note. On Sysyphus, the applause starts 7 seconds before the last note. On PB, the applause starts 3 seconds after the last note. On Controls, the applause starts 2 seconds after the last note. On AHM, the applause starts 2 seconds before the last note. Although Ron did a superb job faking the endings to Sysyphus and AHM; in my opinion, the fake applause added to the end of the faked Sysyphus ending comes in too soon. I assume this was intentional, a necessary part of the illusion. If the applause were to come in 2 seconds after the end, like it probably did in reality, the fakery would probably be noticeable. Another topic concerns the lack of applause in PB. The first three parts of PB all segue into each other nicely. However, between the end of the third part (Moonhead) and the start of the fourth part (TVS), there are 24 seconds of silence (that's right twenty-four). Was The Violent Sequence a separate track? Did the audience not notice the end of Moonhead as the end of the piece and thereby forget to applaud? Or was the band still doing something on stage during this lull (like the pause for the footsteps in Cymbaline) to indicate to the audience that the piece was continuing? Regards, Ed. -------------------------------------- >>From listener Pat B.: allow me to stir this pot up a bit. disclaimer: i haven't heard PB yet, but i did spend an obscene amount of time fiddling with a different low gen source of this show (which eventually became the JS+TBD release "the violent pudding", thank you again scott j.) and there should not be any "silence" before us&them/the violent sequence. i had to crank the levels to an extreme degree on that particular section to make out what was going on, but there SHOULD be some extremely quiet piano happening there. i suspect there was a spotlight or something on rick to let people know that the piece continued. perhaps this bit was lost to the noise reduction?... (if you have TVP, refer to the end of track 10 'moonhead' after the tom-tom stops. there IS a bit of piano going on there, buried under that mountain of hiss.) on a side note, nobody has mentioned this: THE PIANO!!?!? did they really drag a baby grand PIANO around the british midlands in winter for this leg of the tour? or did they only play this tune in halls that had one available? that would be my theory as to why this piece was dropped from the setlist so early after it's introduction only two weeks before.... :) pb -------------------------------------- >>From listener Ryan D.: Hello all, Violence in Birmingham was one of the first ROIOs I ever received. I was still relatively unfamiliar with early Floyd- I did have all of the albums, however I didn't listen to them much. Even after hearing Main Theme on ViB I thought that the label was a misprint- I believed that i was listening to a long jam on the intro to Let There Be More Light. Regardless, Violence in Birmingham quickly became my favorite show to listen to- it was just *so* different, so unique. When I first heard about JS+tBD's release of ViB as The Violent Pudding I knew that I would want to get my grubby paws on it. My tape of ViB was pretty much useless in this day and age of digital media, and it was an nth generation tape to boot. It sounded like shit. TVP was a godsend. The sound quality was much better (though, as the liner notes state, 'it still sounds terrible') and I began to pick up on nuances that could not be heard on my old cassette. Now comes Project Birmingham. And after two-plus listenings all I can say is this: WOW! I read all of the technical jargon that RonToon posted last month about how he had put the show together. Not being an audiophile of any sort I didn't understand half of what Ron said he was doing to the show- but I did know that this release would surely have to surpass TVP in quality (I's assume Ron wouldn't release it otherwise). And surpass TVPs quality it surely does. I took out my copy of TVP and listened to the first minute or so of Embryo. Ignoring the distortion and saturation that plagues this section, I listened to the music. On TVP it seems as if the notes blend together- there is no articulation. It sounds like I am on the other side of a giant wall while Pink Floyd plays toward the opposite direction. This isn't quite the case on Project Birmingham. Five seconds into the opening of Embryo I knew we had a winner of a show. The notes were separate, for the most part, and now, instead of just being on the other side, I have my ear up against the wall, waiting for someone to call out 'would you touch me'.... erm... yeah. Anyways, you can play this show LOUD and it will sound good- I look forward to being able to listen to it in my car, where previous versions of the show were difficult on the ear. The whirling hiss Ron mentioned seems to me to only be noticeable when Nick is playing the cymbals. I do not know what it is about their tone, but they seem to bring that whirling effect out a little bit. Another thing I want to comment on is how great of job Ed has done getting rid of the little pops and clicks that were prevalent on TVP. I understand that these are different sources (I think) so the task may not have been as daunting, but as of my third listen I have yet to hear any little excess noise- no pops, no clicks, no farts, nothing. This is a clean show. I'll refrain from commenting on the performance as I think I do a horrible job at reviewing music, but I do want to point out that the rendition of CWTAE on this set reminds me greatly of the Oakland '77 performance, and that's not a bad thing, that's... a good thing! :^D Now, Ron, I really want to know what you did to complete Sysyphus and TAP. I had always assumed that these bits were lost forever. You hint at doctoring them a bit in your original posts on the matter, but you state that it's not a Frankenshow (god I love that word) of different dates. So I venture to guess that you copied and pasted completed parts of each tune over the missing sections, but that's a lot of space to fill, especially in TAP, which jumped from 9:42 on TVP to over 25 minutes on PB. What's your secret, dude?! -------------------------------------- >>RonToon's response to Ryan D.: Warning: SPOILERS If you don't like to know how magic trick are done, please avoid the rest of this post ; ) To answer Ryans question (and thanks for the great post, dude ; ) << Now, Ron, I really want to know what you did to complete Sysyphus and TAP. Ryan was correct in remembering that I said that this was indeed a Frankenshow, and those 2 song were now complete, but not used from alternate sources or shows. Sysyphus was a no-brainer. It almost kinda works too. The end of the piece basically reprises the main theme that is played during the the 1st section. If you listen carefully, you can hear my segue. From that point on, it'll stick out like a sore thumb. TAP was trickier. The source was much longer than 9:25....in fact, it plays out all the way through Nick's drum solo. I listened to a few other performances of TAP within a week's period to see how they were completing the piece after Nick's drum solo. Again, previous sections were reprised and repeated. Nick's solo end's with a drum roll re-introducting the main theme again. I just segued (I rarely do hard "cuts") together the next few sections that were repeated during the other performances. I think my edit is fairly true to the other complete performances as the ending of TAP on PB is comprised of 4 individual sections. Now go enjoy the show and don't think of this all to much. And, as Dr Frankentoon once said...."IT'S ALIIIVE!" -------------------------------------- >>Ryan D's final thoughts: >Warning: SPOILERS I'll repeat this- Warning: SPOILERS >Sysyphus was a no-brainer. It almost kinda works too. The end of >the piece basically reprises the main theme that is played during the >the 1st section. If you listen carefully, you can hear my segue. > From that point on, it'll stick out like a sore thumb. I did notice this in my first listen, but I'll disagree that it sticks out like a sore thumb. It's noticeable, especially with headphones, but it's very well done and I doubt unsuspecting listeners would even notice. > I think my edit is fairly true to the other >complete performances as the ending of TAP on PB is comprised >of 4 individual sections. Well, Ron, you've done a masterful job at creating something out of nothing. It is definitely rewarding to be able to hear a 'complete' TAP when I listen to this show. The cut on all other versions of the Birmingham show was always a big letdown- it's like there was no reward for having the patience to listen to such a low quality recording. It's like having Echoes cut out just before the big climax prior to the final verse. It was disappointing. But now I can rejoice in knowing that I have a 'complete' recording of the show. And speaking of 'complete', I fear that with Ron's fine handiwork now out for public consumption that some misguided fellow will get a hold of it, make a few copies, and start marketing it as, 'For the first time ever! Pink Floyd's Legendary show in Birmingham- the COMPLETE recordings!' or somesuch and make a few bucks off of it. Hopefully we'll be able to discover any type of this activity early. Or maybe I'm just a worrywart. Thanks again, Harvested crew for another fine release. ~Ryan | |||||
| Philip Spencer | CD-R / 2 | View | ||||
| Yoshi | MP3 / 1 | View | ||||
| Jeff Mitchell | / 0 | View | ||||
| Jon Pavuk | SHN / 1 | A | B+ | View | Audience>??>"Project Birmingham"; CDR from Harvested, HRV CDR 024>?>SHN | |
| Yossarian Hunter | shn / 1 | View | ||||
| Notes: | thanx avz | |||||
| Steve Blanchard | SHN / 2 | View | audience | |||
| Notes: | Project Birmingham | |||||
| molexn | audio cdr / 2 | View | ||||
| clay pelland | / 2 | View | ||||
| barry bryson | CD / 1 | View | M.B. "PROJECT BIRMINGHAM" | |||
| Harry P | CDR / 2 | View | ||||
| Notes: | from "Project Birmingham" harvested release | |||||
| Tom Lamprey | cdr shn / 1 | View | ||||
| Dan Karan | cdr / 2 | B+ | View | |||
| Notes: | "Project Birmingham"; CDR from Harvested, HRV CDR 024 | |||||
| richard bryce | CD / 2 | SBD | View | |||
| Notes: | Some distortion in places | |||||
| kippenhok | cd / 2 | A | B- | View | ||
| Notes: | HRV | |||||
| kippenhok | cd / 2 | C+ | View | |||
| Notes: | The Amazing Pudding | |||||
| ronnie | cd-r / 2 | View | ||||
| Notes: | Project Birmingham- harvested-024 | |||||
| Jeff Riney | cdr / 1 | View | ||||
| Notes: | shns not listed in etree db | |||||
| andrew | CDR / 2 | View | Audience ; Project Birmingham CDR from Harvested, HRV CDR 024 | |||
| Notes: | The set list for this show is one of a kind. I don't see how anyone could give this one an A rating for sound since there's an abundance of overload distortion during the show. When the recorder isn't overloading the sound is quite ok. According to some other traders some of these songs were recorded during no other performance so this is a must have for a diehard Floyd fan. | |||||
| Fred | SHN / 1 | View | ||||
| johnbutler | CD-R/SHN / 1 | A | B | View | AUD | |
| Jesse | FLAC / 2 | View | Unknown | |||
| Notes: | HRVCDR024 - Project Birmingham | |||||
| Kufat | SHN / 2 | C | View | Project Birmingham (HRV 024) | ||
| Notes: | HRV 024 (Low quality, but best available for this show.) | |||||
| Evil Taper | CDR / 2 | A+ | View | AUD | ||
| Rich | audio / 2 | B | B | View | ||
| Notes: | Project Birmingham CDR from Harvested, HRV CDR 024 | |||||
| Ender | CDR / 2 | View | HRV Release | |||
| Notes: | Project Birmingham | |||||
| Billster | CDR / 2 | A | View | |||
| Notes: | Flawless Project Birmingham - Harvested 024 | |||||
| Steven Bosley | SHN 1 / 1 | View | ||||
| Notes: | Project Birmingham/Harvested | |||||
| Ernie Presley | CD / 2 | B- | View | |||
| jeremy | shn / 2 | View | no source | |||
| Notes: | The Amazing Pudding | |||||
| Kevin Sigafoos | shn / 1 | View | ||||
| Jon Spiering | CDR / 2 | A+ | B- | View | AUD | |
| Notes: | The set list for this show is one of a kind. I don't see how anyone could give this one an A rating for sound since there's an abundance of overload distortion during the show. When the recorder isn't overloading the sound is quite ok. According to some other traders some of these songs were recorded during no other performance so this is a must have for a diehard Floyd fan. | |||||
| Joe Hardwick | XL2 / 1 | A+ | C/D | View | ||
| Notes: | Title: "Violence in Birmingham" | |||||
| Joe Hardwick | SHN / 0 | View | ||||
| Joe Hardwick | CDR / 1 | A+ | View | |||
| Notes: | "Project Birmingham" | |||||
| Sunshineannie | SHN / 2 | View | ||||
| Steve K | FLAC / 2 | B | View | Aud | ||
| Chris M. | CDR / 2 | View | 2 sources: "Project Birmingham" & Lord Snooty Tape Transfer/ Little Pieces Production (LPP) /... | |||
| Andrew Davies | CDR / 2 | A | A | View | ||
| Notes: | HRV024 | |||||
| John Cook | SHN / 1 | View | ||||
| Notes: | 549 MB, 110:42 Harvested HRV CDR 024 | |||||
| Brad Foster | SHN / 1 | View | AUD | |||
| Marinus van der Plaats | / 0 | View | ||||
| Zionpower | / 0 | View | ||||
| chris carter | shn/1 / 2 | View | aud | |||
| Ray D | / 2 | View | ||||
| Notes: | Probably THE most unusual and historic Pink Floyd show that is circulating. This is the only circulating recorded show where they played the mega rare Sysyphus (the only recorded performance), Main Theme, and Violent Sequence at the same show. The recording is not great, but is an improvement over the Violence In Birmingham (VIB) release. The only other drawback is that The Amazing Pudding (aka Atom Heart Mother) is cut during the vocal section. Other than that, this is a very nice and needed upgrade. Patched in the remainder of The Amazing Pudding (TAP) from VIB. This patched segment of TAP is definitely not as clean as Pudding, but at least it's nice to have the full song if you want to hear it. If not, you can always cut the patched segment out (Track 4, Disc 2). Interestingly, the VIB TAP has a cut in it at the same place that the Pudding TAP ends, which indicates that even the VIB main source cuts and the producers patched in the remainder of the song from a higher gen source. It sounds like the second source is from the same performance, but I am not sure. | |||||
| Antoine Joly | SHN / 0 | View | Project Birmingham HRV CDR 024 | |||
| groundhog | SHN / 2 | View | HRV CDR 024 | |||
| Notes: | 548mb | |||||
| Bohac | flac / 0 | View | ||||
| Mac | SHN / 1 | View | "Project Birmingham"; CDR from Harvested, HRV CDR 024 | |||
| Notes: | "Project Birmingham"; CDR from Harvested, HRV CDR 024 | |||||
| Trevor LeVan | cdr / 2 | View | ||||
| Notes: | Project Birmingham | |||||
| Mike | cdr / 2 | A- | A- | View | ||
| Notes: | "Project Birmingham HRV 024" | |||||
| mamou1 | CDR / 2 | View | 18-Dec-2001 by Harvested Records > Originally released in SHN format | |||
| Martin McNally | shn / 1 | View | ||||
| Notes: | HRV024 "Project Birmingham" Disc I The Embryo Main Theme From More Careful With That Axe Eugene Sysyphus Disc II Project Birmingham (featuring variations of Heart Beat Pig Meat, Sleeping, Moonhead, The Violent Sequence) Set The Controls For The Heart Of The Sun The Amazing Pudding (AKA Atom Heart Mother) | |||||
| Matt D. | CDR / 2 | B- | View | RoIO: Violence In Birmingham | ||
| Notes: | If your looking for a better version of the "Main Theme" see 1-18-1970 Disc: 1 1. The Embryo 11:31 2. Main Theme 11:25 3. Careful With That Axe, Eugene 10:07 4. Sysyphus 8:41 5. Violent Sequence 25:32 Total Time: 71:11 Disc: 2 1. Set The Controls ... 13:19 2. The Amazing Pudding (early AHM) 22:15 3. Interstellar Overdrive 12:39 4. Blues 5:34 Total Time: 56:15 | |||||
| Don Maynard | CDR / 2 | A | A | View | AUD | |
| Bill Clark | CDR / 2 | View | ||||
| Brien | cdr / 2 | View | ||||
| Notes: | Project Birmingham" http://www.harvested.org/ProjectB.gif | |||||
| adam parsons | CD-R / 2 | A | C+ | View | audience - i think | |
| Notes: | fantastic show, get it for the songs, not the quality! | |||||
| noreason | SHN / 2 | View | ||||
| james semmes | cdr / 2 | B+ | View | audience | ||
| Arne | / 0 | View | ||||
| JLP | cdr / 2 | B | View | Violence In Birmingham | ||
| Notes: | Violence In Birmingham | |||||
| Bill Bruno | shn / 2 | aud | View | |||
| Notes: | "Violence In Birmingham" | |||||
| Bill Bruno | shn / 2 | aud | View | |||
| Notes: | "Project Birmingham" major upgrade | |||||
| Mark Hegg | CDR/SHN / 2 | View | ||||
| Joe | CD-R / 2 | View | None | |||
| Notes: | D1 The Embryo Theme from More Careful w/ that Ax Sysyphus D2 Project Birmingham Set the Controls Amazing Pudding | |||||
| chucktcounceller | CDR / 2 | View | AUD | |||
| Bob (boisebob1) | shn / 1 | View | ||||
| TTDaddy | shn / 1 | View | AUD | |||
| Notes: | Project Birmingham (HRV 024) - converts to 2 audio discs | |||||
| Richard Warren | shn / 1 | View | ||||
| Notes: | HRV024 | |||||
| Mike Pageau | AUD 17 / 2 | View | ||||
| Dave Lemen | audio / 2 | View | ||||
| Notes: | DVD 136 (Harvested 024 Project Birmingham) | |||||
| Scott Plumer | Analog / 1 | C+ | View | Aud. | ||
| Notes: | W/ Sysyphus & Main Theme from "More" | |||||
| Duane Kneller | CD-R / 2 | View | Aud. | |||
| Rob Place | SHN / 1 | B- | View | |||
| Notes: | 'Harvested' source; interesting - wish it were better quality | |||||
| Josee | / 1 | View | ||||
| Bill d'Angelo | CDR / 2 | View | ||||
| Notes: | The Violent Pudding | |||||
| Fred | CDR / 2 | View | ||||
| Brad | shn / 1 | View | ||||
| Joel | Audio / 2 | View | ||||
| Daniel Brown | FLAC / 0 | View | CDR(x) > EAC (Secure) > WAV > FLAC | |||
| Notes: | 397mb "Project Birmingham" | |||||
| Joe the Troll | / 0 | View | ||||
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