Pink Floyd 04/28/1972
Set I
Eclipse [Heartbeat->Breathe->Travel->Time->Breathe (reprise)->The Mortality Sequence->Money->Us and Them->Any Colour You Like->Brain Damage->Eclipse
Set II
One Of These Days, Careful With That Axe Eugene, Echoes, E: Set The Controls For The Heart Of The Sun
Set III
Comment
Collectors With This Show
| User (active/rating) | Media / # | Show | Sound | Details | DB Source | User Source |
|---|---|---|---|---|---|---|
| David LeMond | FLAC / | A | View | M. aud cassette > DAT > FLAC | ||
| wes meyette | / | View | ||||
| OldNeumanntapr | FLAC / 1 | A | View | (Original Lineage) BASF reel >Sound Forge >(-)16.7 cents speed correction >gap repairs... | ||
| Notes: | 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 | |||||
| OldNeumanntapr | FLAC / 1 | A | View | Audience; FOB: Cassette Master >DAT 2 >Delta DI/O 24/96 >Soundforge7.0 >CD Wave >FLAC | ||
| Notes: | (SET II) Trade CD >FLAC (Level 8) Via xACT 2.37 | |||||
| John H | flac / 2 | a- | a- | View | audience | |
| Notes: | All Sources used from here. Rec 1: The Great Gig (HL561-562) Rec 2: Master (cass)>DAT(2) or The Fireman's Tapes Volume I (both supposed clones of the original DAT), or a speed correction. Doinker's Reel is more complete. *********'s HRV CDR 004 RevA comes from a first gen, but has better sound for certain parts of the show. Quadraphonic matrix: Quadraphonic master 24-44.1 DVDA | |||||
| John H | flac / 2 | AA | AA | View | audience | |
| Notes: | 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 A 'Hogweeds' remaster of original torrent: http://www.dimeadozen.org/torrents-details.php?id=228149 Many thanks to Doinker for uploading this marvellous 'Dark Side' performance. It is a huge sonic improvement on the original Harvested release (RevA includes the entire concert), which is still on the tracker here: http://www.dimeadozen.org/torrents-details.php?id=219847 In listening I thought there were a few things in the recording I wanted to adjust for myself, including: i) A stereo image consistently off to the left, which I found distracting, especially on headphones. It probably reflects the positioning of the taper within the hall. I reckon he was seated to the left side, close to the stage. Thus he would naturally have swivelled slightly right to face the stage. When he did, he'd have the audience around him and in front, but more weighted to the right. He'd also have the closest main speaker stacks above his left side, and the Floyd's surround-sound stacks behind and to the right. I think he aimed his stereo mic towards the visual focus, the stage, and thus captured the left-dominant stereo field we hear on this recording. Changing this is an aesthetic matter. The taper's positioning was not ideal, and no adjustment will make it so. However by simply shifting the phase alignment of the channels, I have duplicated what this recording would have sounded like if the taper had pointed his mic at the acoustic focus, the primary speaker stacks, and captured the music stereo centre. It does shift the audience a bit off to the right, and some of the multi-channel speakers too, but for me, this actually brings out the 'surround' feel of the tape effects a little better. You can certainly discern the tape effects from what comes from the musicians play on stage (eg: Speak to Me) Note also at the end of 'Money', when (I'm guessing) it sounds as though the front PA dies, leaving audio coming from the stage itself and the surround stacks. ii) Balancing the equalisation to lift the lower frequencies, adding 'body' to the sound and a bit more punch in the bass. iii) Repairing numerous small dropouts, and some larger glitches. No critique of Doinker, who may have corrected even worse problems (and said 'hopefully all done'), but there were quite a few in 'Breathe' and from 'Brain Damage' on, including some bad clunks in 'Eclipse'. There were a few comments on Doinker's torrent suggesting these improvements would be appreciated, so having prepared this remaster for myself, I thought I would offer up the results for others. Here it is now, with Doinker's approval. Corrected artwork from the earlier torrent, seeded separately here: http://www.dimeadozen.org/torrents-details.php?id=228179&hit=1 **** Doinker's original release notes: Superb DSOTM from Low-Gen Reel to Reel 16 bit This is perhaps the nicest early performance this guy has ever had the pleasure to hear. | |||||
| John H | flac / 2 | A | A | View | audience | |
| Notes: | *** Sources: Recorder 2 (front): Main source: Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac 1st 53 seconds: Lineage: BASF reel ->Sound Forge ->(-)16.7 cents speed correction ->gap repairs (hopefully all done) ->track splitup ->Lplex. This is a 24 bit 48k audio DVDr with a black screen. Recorder 1 (rear): The Great Gig (HL 561-562) Original Pressed Silver CDs *** Recording background: Pink Floyd concerts were presented in quadraphonic surround sound. They called this system the Azimuth Coordinator. They used a front (stage), back, left, right speaker pattern live as opposed to the L,R,Ls,Rs setup for home systems and studio recordings. This show was captured by 2 tapers who happened to be strategically located with respect to each other and the sound system. The front stereo source (rec2) sounds fairly well centered and close to the stage. The back mono recorder (rec1) is in the back of the room directly in front of the rear surround speaker. This speaker stack is captured very discreetly with the room ambiance only half the volume of the direct sounds from this PA speaker. Combined we have an amazing 3 point capture of the live surround mix. *** Recording notes: Both recorders show a shrill saturation that blooms with the loud lead guitar sections that sounds like an effect of the room acoustics with the high volume to begin with even before any limitations of the recording devices. This generation of R2 is undecoded dolby. The sound is saturated beyond the dolby pre-emphasis effect. This could be from any of further analog generation copies (of the undecoded dolby), some consumer grade analog eq from the past, one of the early lower res digital eqs found in early DAW apps and media players, or the lower res digital transfer with early 44.1k 16 bit consumer gear. Or all of the above. The dolby pre-emphasis eq helps correct some of the high end attenuation that comes from generation loss and the recording equipment to begin with. Not in a perfect or intentionally controlled way but this often continues to be an example of two wrongs making a right. The dolby pre-emphasis eq is aggressive but avoids distortion by backing off with stronger moments of high end content. This gives you that impossible boost you were looking for without hitting the red but with breathing (compression) artifacts. This dolby circuit anticipates studio production balances to start with. This led to some of these audience recordings with odd balances that would never decode properly if recorded with dolby, Which leads to people playing them back with the dolby off because it’s now closer to what the original sounded like with less loss vs a decode that doesn’t track. The end result of all of the above is a recording with some very detailed fidelity (especially the quieter parts) but with some moments of shockingly over the top shrillness. R2 has 3 distinct sound profiles that are probably the combined effect of different record levels and different tape response in the generational copies with the dolby pre-emphasis eq. It’s also possible the taper moved closer to the stage starting with CWTAE. If the original recordings were given a reference quality analog to HD digital transfer it would likely reveal more fidelity and less damage, but even with the shortcomings listed my sense is more has been preserved than lost here. *** Live surround mix notes: In general, Dave's lead parts and solos are sent to all speakers and usually also pan around. They like to have fun panning the keys and guitar during the trippy improv parts. The taped preacher voices come from all directions with one directly from the rear speaker in Mortality Sequence. The laughing voice in BD is directly in the rear speaker. The Apollo 8, Kennedy assassination, etc tapes in Eclipse are all around the room. OOTD has all the wild quad panning you could ask for in the middle section. Obvious quad panning for the seagulls in Echoes and the guitar and keys are often in motion throughout. The taped voices at the end come in from the back and then spread around. STC is all about surround soundscape play and is very well captured and preserved here. *** Mastering notes: The quadraphonic format (4.0) is the simplest standard format to present this recording. The front source to L & R and the rear mono source to both Ls & Rs. All sources were upsampled to 96k to allow for restoration work with HD tools. ** Tools: Reaper DAW iZotope RX plugins and spectral editor Waves linear phase eq plugins ** Work done: The left channel of the dual channel mono R1 is better sounding and used alone. Azimuth error offset correction on R2. Speed correction and sync between sources. (Elastique Pro 3 algorithm) Correcting overall level imbalances throughout. High end eq correction for the strongly attenuated right channel of R2 in Dark Side - OOTD. Dynamic eq to track and offset the dolby boosts that go too far and exaggerate shrillness. Additional dynamic eq and balance work on the loud lead guitar sections. The big shrill band is centered at 3989Hz. Removed the worst mic thumps and fixed the worst dropouts. The recordings still suffered from high end attenuation in spite of the dolby encoding. This was corrected to the extent possible by blending in parallel high passed duplicate tracks (as opposed to eq boosts) using linear phase eq to avoid phase issues. These “boost” tracks were noise reduced to avoid adding more noise to the recording. R2 still had exaggerated noisy distortions that were broadband enough to be impossible to soften without muffling the entire high mid range. iZotope RX deconstruct feature allowed separation of the tonal content from the noise and transients to create a ‘tone boost’ track to blend in to further help balance things without stepping on the remains of the higher frequency transients. All these balance corrections followed the different sections of the recording as needed. ** Edits and patches: R1 (rear) starts recording first. Stops at 1:15 and starts up again at 2:17. R2 (front) comes in at 1:22. The Speak To Me fx tape is the same at every show in this part of the tour and thus the gap in R1 from that first pause is of known length. The fx are patched from 1972-02-20 R2 in the gap with audience ambience constructed from nearby samples. The first 0:53 of R2 comes from an alternate higher gen copy. The better preserved lower gen source truncates that first 0:53. The opening tape fx in Money are heavy in the L & R side surround speakers which are the furthest from the recording positions. These L & R side elements are enhanced from isolated tape fx extracted from Feb 20 R1 & Mar 6 R1 & R2 to match the balance with the more closely captured front and rear quad channels. Both tapers changed tapes between Money and U&T and miss a small part. R2 drops out at -0:04, R1 drops out at 0:05. R2 comes back at 0:15, R1 at 0:57. The fx tape with the woman moaning that runs through this segue was patched from 1972-02-20 R1 and the opening chord and audience ambience constructed from nearby samples. R2 drops out again for 23 seconds at 1:37. This is patched from R1 and enhanced with nearby samples from R2. A 2 second dropout in R1 during the seagulls in Echoes was patched using nearby samples. The person who screamed "Pink Floyd!!" 4 times during the seagull section of Echoes has been carefully erased. Both tapers pause between songs for the rest of the show after Dark Side and the tapes are left to cut in/out as they were started/stopped at the show with no smoothing over. The fx burst from the rear speaker in the very opening of the show sounds like it was panned quickly 360 around the room 3 times. You hear the perspective from right next to the rear channel of 3 bursts. Distorted as the volume was a surprise and overloads the recording. I smoothed the distortion over and added the motion in the other speakers that was implied by the rear channel component. Nothing else in the mix has been modified or panned after the fact. The end result here is a very good fidelity authentic surround sound concert recording with just a few rough edges. | |||||
| Joe | FLAC / 0 | View | ||||
| Slick2007 | FLAC / 2 | A- | View | |||
| michael kass | cdr / 2 | View | ||||
| Xavier Birtwich | FLAC / 2 | VG+ | View | Sirene Records Chicago 1972 bootleg source Pink Floyd master folder Outlook account one drive... | ||
| Xavier Birtwich | FLAC / 2 | AUD | View | The Great Gig silvers bootleg source Pink Floyd master folder Outlook account one drive | ||
| Xavier Birtwich | / | View | xavierbirtwich10@hotmail.com - outlook account one drive (5 GB) (EX quality) 106 min from... | |||
| Notes: | xavierbirtwich10@hotmail.com - outlook account one drive (5 GB) (EX quality) 106 min | |||||
| Xavier Birtwich | FLAC / 2 | EX- | View | justinmsmith32@outlook.com - HARVEST Records version (outlook account one drive 5GB) | ||
| Notes: | justinmsmith32@outlook.com - HARVEST Records version (outlook account one drive 5GB) | |||||
| Xavier Birtwich | / | View | DROPBOX FOLDER - DAT clone from original DAT | |||
| Notes: | DROPBOX FOLDER - DAT clone from original DAT | |||||
| Jack Warner | FLAC / 0 | View | MAC>D>FLAC | |||
| Drifty | CDr / 1 | B | View | Audience | ||
| Notes: | DSOTM Set Only | |||||
| Marc Dreilinger | FLAC / 1 | View | cass[Master] > DAT(2) > Delta DI/O 2496 soundcard > Soundforon > CD Wave (tracking)... | |||
| Notes: | Archived Box 1 Disc 127 | |||||
| Marc Dreilinger | FLAC / 2 | View | Remaster: cass[Master] > DAT(2) > Delta DI/O 2496 soundcard > Soundforge 7.0 > CD... | |||
| Notes: | Archive Box 1 Disc 149 | |||||
| Marc Dreilinger | SHN / 1 | View | AUD? -- "Dark Side of Chicago" liberated boot | |||
| Notes: | Archived Box 1 Disc 427 | |||||
| sean hite | / 0 | View | ||||
| Notes: | Eclipse - A Piece For Assorted Lunatics (Rev A) (HRV CDR 004) (Bonus Tracks) *3. Childhood's End *4. Blues *Recorded Palais des Sports, St Ouen, France - 12/1/1972 | |||||
| MrSteve | flac / 2 | View | ||||
| Gary | CDR / 1 | View | ||||
| Notes: | AUD [Hogweeds remaster] | |||||
| John | CDR/FLAC / 2 | View | ||||
| Notes: | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |||||
| Jonathan | / 2 | View | ||||
| Notes: | Fileset in Archive. | |||||
| Damian | CD / 2 | View | ||||
| Notes: | Eclipse - A Piece For Assorted Lunatics (Rev A) (HRV CDR 004) Pink Floyd April 28, 1972 The Auditorium Chicago, IL Disk 1 1. Intro 2. Breathe 3. The Travel Section 5. Time 6. Home Again 7. The Mortality Sequence 7. Money 8. Us And Them 9. Scat 10. The Lunatic Song 11 Eclipse 12 One Of These Days 13 Careful With That Axe, Eugene Disk 2 1. Echoes (Encore) 2. Set The Controls For The Heart Of The Sun (Bonus Tracks) *3. Childhood's End *4. Blues *Recorded Palais des Sports, St Ouen, France - 12/1/1972 | |||||
| Damian | CD / 2 | View | ||||
| Notes: | Pink Floyd April 28, 1072 The Auditorium Theater, Chicago, Illinois Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac This show has been widely bootlegged and traded in various levels of quality. Back in 2001, (someone who shall remain nameless) digitaized the cassette masters for the first time. It was briefly tree'd on The Well in CD form but it never seemed to make it into general circulation. I have one of the few DAT clones made from the original DAT. For some of you that already have this show, it should be an upgrade. If you have never heard this show, hang on to your hat! No equalizing or remastering is ever done to any shows I seed. Here it is, as it was recorded that night back in 1972. Enjoy! Disk 1 Dark Side of the Moon (all 10 tracks) Disk 2 One of these Days Careful with that Axe, Eugene Set the Controls for the Heart of the Sun Echoes Please do not sell or convert to MP3. Seeded by The Beastmaster | |||||
| Ryan Boone | shn / 2 | View | ||||
| Notes: | "A Piece For Assorted Lunatics" Harvested CDR004 | |||||
| Steve O'Malley | FLAC / 2 | A | View | |||
| Notes: | "The Heart Of The Moon" PRRP056 | |||||
| Wiserphil | / 2 | B+ | View | |||
| Hopper | CDR / 2 | A | A | View | ||
| Notes: | "Chicago 1972" | |||||
| Jeff Mitchell | / 0 | View | ||||
| catherine | wav 1 / 0 | View | ||||
| Notes: | disc 1 only | |||||
| Jon Pavuk | CD-R / 2 | A | A | View | Audience | |
| Jon Pavuk | FLAC / 2 | A | A | View | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |
| Jon Pavuk | DVD / 1 | A | A- | View | BASF reel ->Sound Forge ->(-)16.7 cents speed correction ->gap repairs (hopefully all... | |
| Jon Pavuk | FLAC / 1 | A | A | View | "The Fireman's Tapes, Volume I">Audience Cassette Master > PCM > DAT > CDRCDR >... | |
| Jon Pavuk | FLAC / 1 | A | A- | View | Lineage: BASF reel ->Sound Forge ->(-)16.7 cents speed correction ->gap repairs... | |
| Jon Pavuk | FLAC / 1 | A+ | A | View | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |
| Rachel Ford | cdr / 2 | a | a- | View | ||
| Jordan Jacobs | Flac / 0 | View | AUD | |||
| Notes: | BASF reel ->Sound Forge ->(-)16.7 cents speed correction ->gap repairs (hopefully all done) ->track splitup ->Flac | |||||
| Jordan Jacobs | Flac / 0 | View | AUD | |||
| Notes: | Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |||||
| crozier | phuji / 2 | View | ||||
| Notes: | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |||||
| Mike Zielinski | CDR / 2 | A- | A- | View | Aud | |
| Notes: | "Eclipse A Piece For Assorted Lunatics (Chicago 4-28-72 and St. Ouen France 12-1-72) - Harvested CDR 004"; Audience | |||||
| Yossarian Hunter | shn / 2 | View | commercial boot>EAC>wav>mkw>shn | |||
| surfer1478 | CDR / 0 | View | ||||
| Notes: | BU DISC 56 | |||||
| Steve Blanchard | SHN / 1 | View | liberated boot: | |||
| Notes: | 1st set only with filler from 12/2/72 | |||||
| Captain Ten Hits | flac / 0 | View | AUD (Hogweeds Remaster) | |||
| Jason Westerfeld | flac / 1 | View | MAC>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |||
| Oddball | CDR / 2 | A | View | |||
| Notes: | AUD | |||||
| clay pelland | / 2 | View | ||||
| Rich Pucci | CDR FLAC / 2 | View | ||||
| barry bryson | CD / 1 | View | CHICAGO AUDITORIUM | |||
| Jeff | CDR / 1 | View | ||||
| Notes: | "Eclipse: A Piece for Assorted Lunatics"(HRV CDR 004) | |||||
| Rick Ford | cdr / 2 | a- | a- | View | ||
| Kevin Clark | CDR / 2 | B | View | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | ||
| Notes: | a few gaps throughout the whole recording Echoes is after Set the Controls for the Heart of the Sun |
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| Brandon | cdr / 1 | View | ||||
| Jesse | FLAC / 2 | View | Unknown | |||
| Notes: | HRVCDR004 - Eclipse: A Piece For Assorted Lunatics; includes Childhood's End and Blues from 12/1/72 | |||||
| Kufat | SHN / 2 | View | ||||
| Notes: | HRV 04 | |||||
| Kyle Martz | CDR / 1 | B+ | View | |||
| Notes: | 1 disc only | |||||
| Billster | CDR / 2 | B/+ | View | |||
| Notes: | Flawless. One disc. Harvested 004. | |||||
| Billster | CDR / 2 | A- | View | |||
| Notes: | I have two "versions" of 4/28/72, a 1-disc and a 2-disc. This is the 2-disc. Flawless. Disc one = Dark Side of the Moon song cycle, Disc two = One of These Days, Echoes | |||||
| Steven Bosley | SHN 2 / 2 | View | ||||
| Notes: | Eclipse A Piece For Assorted Lunatics/Harvested | |||||
| jeremy | shn / 2 | View | no source | |||
| Notes: | Eclipse - A Piece For Assorted Lunatics | |||||
| Gregg Martenson | / 1 | View | ||||
| katy miller | shn / 2 | View | ||||
| DRS | Cd-r / 0 | not | View | |||
| Notes: | Odd tracking, not a complete concert, sound isn't too bad | |||||
| jt james | SHN / 2 | View | ||||
| Notes: | no source / info | |||||
| Joe Hardwick | CDR / 2 | View | ||||
| Notes: | Title: "Dark Side of Chicago" | |||||
| Michael | / 0 | View | ||||
| Roger Postema | CDR / 1 | A | A | View | ||
| Notes: | Eclipse : A Piece for assorted Lunatics Harvested RoIO | |||||
| Sunshineannie | SHN / 2 | View | ||||
| Demetrius | AUD / 1 | View | ||||
| Chris M. | FLAC / | View | "The Heart Of The Moon" Grexit Records (GREX-087) | |||
| Mark Goldey | FLAC.16 / 1 | View | ||||
| Michael Shilling | CDR / 2 | A- | View | |||
| Notes: | A- recording (Upgrade) D/L from db.etree. Master Aud. cass.>DAT2x>Delta DI/O. DAT clone from Master DAT | |||||
| Jeff Hagen | shn / 1 | View | ||||
| Andrew Davies | CDR / 2 | A | A | View | ||
| Notes: | HRV004 | |||||
| John Cook | SHN / 2 | View | ||||
| Notes: | 745 MB, 118:41 (includes filler). Harvested CDR 004 Rev A. | |||||
| John Cook | FLAC / 1 | View | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>FLAC | |||
| Notes: | 608 MB, 108:40 | |||||
| Brad Foster | FLAC / 1 | View | AUD>MC>DAT/2>SF7.0>CDWav>FLAC [remastered] | |||
| Marinus van der Plaats | / 0 | View | ||||
| Max Power | WAV / 1 | A+ | A- | View | ||
| Notes: | 118 min. Very cool, early Dark Side | |||||
| Max Power | WAV / 1 | A | A | View | BASF reel ->Sound Forge | |
| Notes: | 48 min - Only the Dark Side Set | |||||
| Ron | CDR / 2 | A- | View | Digital copy of audience analog master | ||
| Zionpower | / 0 | View | ||||
| Michael | CD-R / 2 | B+ | View | |||
| chris carter | flac/2 / 2 | View | aud | |||
| Antoine Joly | FLAC / 0 | View | CD Bootleg "Detroit" 3 sources AUD 6 CDS | |||
| Notes: | Label: HRV CDR 004, Highland HL561/562, SIRENE-032 Quality: VG+/EX- CD Bootleg "Detroit" > EAC > FLAC level 5 | |||||
| Thom Mann | CDR / 1 | View | ||||
| Notes: | Partial | |||||
| Trevor LeVan | cdr / 2 | View | ||||
| terryfunku | FLAC / 1 | A | A | View | ||
| Mike | cdr / 2 | B+ | B+ | View | ||
| Notes: | "Eclipse - A Piece for Assorted Lunatics REV A" | |||||
| Mike McCann | FLAC / 2 | View | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |||
| mamou1 | CDR / 2 | View | Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac | |||
| Martin McNally | shn / 2 | B | View | |||
| Notes: | Harvested 004 Eclipse-A Piece for Assorted Lunatics Includes Childhoods End and Blues from 12-1-72. | |||||
| Fleahman | CDR / 1 | A | View | |||
| Amber Saxon | CDR / 1 | A | View | "A Piece For Assorted Lunatics" Harvested CDR 004 | ||
| Don Maynard | CDR / 2 | A | A | View | AUD | |
| David Landwehr | cdr / 1 | View | ||||
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