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Pink Floyd 04/28/1972

SHOWID 19070

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 (5/5) FLAC / A View   M. aud cassette > DAT > FLAC
wes meyette (5/0) / View  
OldNeumanntapr (5/5) 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 (5/5) 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 (5/5) 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 (5/5) 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 (5/5) 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 (5/5) FLAC / 0 View  
Slick2007 (5/5) FLAC / 2 A- View  
michael kass (5/5) cdr / 2 View  
Xavier Birtwich (5/0) FLAC / 2 VG+ View   Sirene Records Chicago 1972 bootleg source Pink Floyd master folder Outlook account one drive...
Xavier Birtwich (5/0) FLAC / 2 AUD View   The Great Gig silvers bootleg source Pink Floyd master folder Outlook account one drive
Xavier Birtwich (5/0) / 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 (5/0) 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 (5/0) / View   DROPBOX FOLDER - DAT clone from original DAT
Notes: DROPBOX FOLDER - DAT clone from original DAT
Jack Warner (5/5) FLAC / 0 View   MAC>D>FLAC
Drifty (5/4.9) CDr / 1 B View   Audience
Notes: DSOTM Set Only
Marc Dreilinger (5/2.3) FLAC / 1 View   cass[Master] > DAT(2) > Delta DI/O 2496 soundcard > Soundforon > CD Wave (tracking)...
Notes: Archived Box 1 Disc 127
Marc Dreilinger (5/2.3) 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 (5/2.3) SHN / 1 View   AUD? -- "Dark Side of Chicago" liberated boot
Notes: Archived Box 1 Disc 427
sean hite (5/0) / 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 (5/0) flac / 2 View  
Gary (5/4.3) CDR / 1 View  
Notes: AUD [Hogweeds remaster]
John (5/5) CDR/FLAC / 2 View  
Notes: Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
Jonathan (5/0) / 2 View  
Notes: Fileset in Archive.
Damian (5/5) 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 (5/5) 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 (5/5) shn / 2 View  
Notes: "A Piece For Assorted Lunatics" Harvested CDR004
Steve O'Malley (5/5) FLAC / 2 A View  
Notes: "The Heart Of The Moon" PRRP056
Wiserphil (5/5) / 2 B+ View  
Hopper (5/5) CDR / 2 A A View  
Notes: "Chicago 1972"
Jeff Mitchell (5/0) / 0 View  
catherine (5/5) wav 1 / 0 View  
Notes: disc 1 only
Jon Pavuk (5/4.3) CD-R / 2 A A View   Audience
Jon Pavuk (5/4.3) FLAC / 2 A A View   Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
Jon Pavuk (5/4.3) DVD / 1 A A- View   BASF reel ->Sound Forge ->(-)16.7 cents speed correction ->gap repairs (hopefully all...
Jon Pavuk (5/4.3) FLAC / 1 A A View   "The Fireman's Tapes, Volume I">Audience Cassette Master > PCM > DAT > CDRCDR >...
Jon Pavuk (5/4.3) FLAC / 1 A A- View   Lineage: BASF reel ->Sound Forge ->(-)16.7 cents speed correction ->gap repairs...
Jon Pavuk (5/4.3) FLAC / 1 A+ A View   Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
Rachel Ford (5/5) cdr / 2 a a- View  
Jordan Jacobs (5/3) Flac / 0 View   AUD
Notes: BASF reel ->Sound Forge ->(-)16.7 cents speed correction ->gap repairs (hopefully all done) ->track splitup ->Flac
Jordan Jacobs (5/3) Flac / 0 View   AUD
Notes: Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
crozier (5/4.9) phuji / 2 View  
Notes: Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
Mike Zielinski (5/4.9) 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 (5/5) shn / 2 View   commercial boot>EAC>wav>mkw>shn
surfer1478 (5/5) CDR / 0 View  
Notes: BU DISC 56
Steve Blanchard (5/5) SHN / 1 View   liberated boot:
Notes: 1st set only with filler from 12/2/72
Captain Ten Hits (5/5) flac / 0 View   AUD (Hogweeds Remaster)
Jason Westerfeld (5/4.9) flac / 1 View   MAC>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
Oddball (5/5) CDR / 2 A View  
Notes: AUD
clay pelland (5/5) / 2 View  
Rich Pucci (5/4.7) CDR FLAC / 2 View  
barry bryson (5/4.3) CD / 1 View   CHICAGO AUDITORIUM
Jeff (5/5) CDR / 1 View  
Notes: "Eclipse: A Piece for Assorted Lunatics"(HRV CDR 004)
Rick Ford (5/5) cdr / 2 a- a- View  
Kevin Clark (5/5) 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
Brandon (5/3) cdr / 1 View  
Jesse (5/5) FLAC / 2 View   Unknown
Notes: HRVCDR004 - Eclipse: A Piece For Assorted Lunatics; includes Childhood's End and Blues from 12/1/72
Kufat (5/5) SHN / 2 View  
Notes: HRV 04
Kyle Martz (5/5) CDR / 1 B+ View  
Notes: 1 disc only
Billster (5/5) CDR / 2 B/+ View  
Notes: Flawless. One disc. Harvested 004.
Billster (5/5) 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 (5/0) SHN 2 / 2 View  
Notes: Eclipse A Piece For Assorted Lunatics/Harvested
jeremy (5/0) shn / 2 View   no source
Notes: Eclipse - A Piece For Assorted Lunatics
Gregg Martenson (5/0) / 1 View  
katy miller (5/5) shn / 2 View  
DRS (5/0) Cd-r / 0 not View  
Notes: Odd tracking, not a complete concert, sound isn't too bad
jt james (5/3) SHN / 2 View  
Notes: no source / info
Joe Hardwick (5/0) CDR / 2 View  
Notes: Title: "Dark Side of Chicago"
Michael (5/0) / 0 View  
Roger Postema (5/0) CDR / 1 A A View  
Notes: Eclipse : A Piece for assorted Lunatics Harvested RoIO
Sunshineannie (5/3) SHN / 2 View  
Demetrius (5/5) AUD / 1 View  
Chris M. (4/4) FLAC / View   "The Heart Of The Moon" Grexit Records (GREX-087)
Mark Goldey (4/4.3) FLAC.16 / 1 View  
Michael Shilling (4/5) 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 (4/5) shn / 1 View  
Andrew Davies (4/4.4) CDR / 2 A A View  
Notes: HRV004
John Cook (4/5) SHN / 2 View  
Notes: 745 MB, 118:41 (includes filler). Harvested CDR 004 Rev A.
John Cook (4/5) 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 (4/4.9) FLAC / 1 View   AUD>MC>DAT/2>SF7.0>CDWav>FLAC [remastered]
Marinus van der Plaats (4/5) / 0 View  
Max Power (4/5) WAV / 1 A+ A- View  
Notes: 118 min. Very cool, early Dark Side
Max Power (4/5) WAV / 1 A A View   BASF reel ->Sound Forge
Notes: 48 min - Only the Dark Side Set
Ron (4/5) CDR / 2 A- View   Digital copy of audience analog master
Zionpower (4/0) / 0 View  
Michael (4/0) CD-R / 2 B+ View  
chris carter (4/5) flac/2 / 2 View   aud
Antoine Joly (4/0) 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 (4/1) CDR / 1 View  
Notes: Partial
Trevor LeVan (4/4.8) cdr / 2 View  
terryfunku (4/5) FLAC / 1 A A View  
Mike (4/5) cdr / 2 B+ B+ View  
Notes: "Eclipse - A Piece for Assorted Lunatics REV A"
Mike McCann (4/5) FLAC / 2 View   Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
mamou1 (4/0) CDR / 2 View   Master Aud. Cass.>DAT2x>Delta DI/O 2496 soundcard>Soundforge 7.0>CD Wave Editor>Flac
Martin McNally (4/0) shn / 2 B View  
Notes: Harvested 004 Eclipse-A Piece for Assorted Lunatics Includes Childhoods End and Blues from 12-1-72.
Fleahman (4/5) CDR / 1 A View  
Amber Saxon (4/0) CDR / 1 A View   "A Piece For Assorted Lunatics" Harvested CDR 004
Don Maynard (4/4.9) CDR / 2 A A View   AUD
David Landwehr (4/0) cdr / 1 View