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Pink Floyd
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http://www.pinkfloyd.com
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Date |
Venue - City, State |
Sound Rating | Notes | Media |
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| 1. |
??/??/39 |
"Let There Beeb More Light" - Various,
England |
AA | Echoes The History of Pink Floyd 6 disc set with artwork . Music and interviews. Westwood One. |
6 flac
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| 2. |
??/??/39 |
Saarlandehalle - Saarbrucken,
West Germany |
A | LP > Zoom H2n (24/96 Wav) > Flac (Level 8)
This is a raw rip of the clear vinyl reissue lp that started showing up around 2018 or so. The album is hand numbered, and this copy
is number 155 or 166, if we are to believe that. I have left all four sides of the LP intact as four long wav files,
and I have not processed the files in any way. Bear in mind that my turntable is not the best, but this file set should work
as a good reference for anyone reasearching this date and the different versions available. I have also included some photos of the album
sleeve and the discs themselves. Pictures of Pictures of Pink Floyd.
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2 flac
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| 3. |
??/??/67 |
Total Eclipse- various live/studio 4-disc set - Unknown,
Unknown |
a- | |
4 flac
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| 4. |
05/06/68 |
Palazzo Dello Sport - Rome,
Italy |
A | Continuing my never-to-be-quenched thirst for vinyl, here's a great offering from the European anti-CD label Sodium Haze Records. Pressed in perhaps batches of 50-100 pieces (correct me if I'm wrong there), your chances of snagging one are very limited... you'd better not blink or it will go away.
Side one features three tunes from the "Rome Goes Pop! program(me): Astronomie Domine, Set The Controls For The Heart Of The Sun, and Interstellar Overdrive. The first two tracks are sourced from a VPRO-FM radio rebroadcast on 1988-04-29. The third track is an audio rip from the television broadcast on ARD TV (West Germany) from 1968-05-18. The quality is simply stunning.
This is a 2 side vinyl reproduction |
1 flac
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|
| 5. |
06/05/68 |
Piper Club (1st International Pop Festival) - Rome,
Italy |
A | Source: fm > unknown > cdr > shn |
1 flac
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| 6. |
03/27/69 |
St. James' Hall - Chesterfield,
UK |
a- | |
2 flac
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|
| 7. |
05/09/69 |
University Of Southampton - Hempshire,
England |
B++ | Lineage: C-90 Cassette(0) > Reel to Reel tape (0) > DAT(0)(48kHz) > wav (16bit/48kHz) > flac (16bit/48kHz)
Playback Deck: Reel to Reel Tape - Revox A77 4-Track (azimuth adjusted) / DAT Tape - Fostex D-5 (even recording)
This is the raw files, no processing was applied, nothing's changed.
The Reel to Reel tape was transferred to DAT June 1995
The DAT tape was transferred to wav April 2016
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2 flac
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| 8. |
05/12/69 |
Paris Cinema - London,
England |
A | Continuing my never-to-be-quenched thirst for vinyl, here's a great offering from the European anti-CD label Sodium Haze Records. Pressed in perhaps batches of 50-100 pieces (correct me if I'm wrong there), your chances of snagging one are very limited... you'd better not blink or it will go away.
Side one features three tunes from the "Rome Goes Pop! program(me): Astronomie Domine, Set The Controls For The Heart Of The Sun, and Interstellar Overdrive. The first two tracks are sourced from a VPRO-FM radio rebroadcast on 1988-04-29. The third track is an audio rip from the television broadcast on ARD TV (West Germany) from 1968-05-18. The quality is simply stunning.
Side two is pre-FM sourced from the program(me) John Peel's Night Ride: Granchester Meadows (Daybreak), Cymbaline (Nightmare), Green Is The Colour (The Beginning/Beset By Creatures Of The Deep), and The Narrow Way. The last track is of mention as it contains vocals. For those of you unfamiliar with the extra titles, these tracks were performed on the road during 1969 as part of a concept piece "The Man and The Journey". The versions presented here are notable for their differences from the normal concert routine.
The sequence of songs on this album are simply superb. Hope you like it.
Lineage: LP->Echo Layal 3G->Sound Forge 6.0 ->light brushing with click and crackle removal tool -> Flac via TLH, level 6, sectors aligned and verified, track integrity checked and verified.
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1 flac
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| 9. |
08/09/69 |
Paradiso - Amsterdam,
Netherlands |
A+ | SB > unknown tape gen > WAV > FLAC
Someone graciously offered me this little golden nugget to torrent.
Donated anonymously in order to protect future trading sources.
Reportedly taken from the soundboard of the gig, this is a passage from
Povey's ITF book on that performance:
"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"
So we've got a short set of 4 numbers with absolutely no vocals, but the SQ
is amazing, even before you take the age of the recording into consideration.
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1 flac
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|
| 10. |
09/17/69 |
Concertgebouw - Amsterdam,
Netherlands |
A | |
2 flac
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| 11. |
10/25/69 |
Festival Actuel - Mont de l'Enclus - Amougies,
Belgium |
B+ | |
2 flac
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|
| 12. |
12/06/69 |
AFAN Lido Indoor Sports Centre - Port Talbot,
Wales |
A | Lineage: Cassette Master> Maxell UDXL II Cassette > 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.
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1 flac
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| 13. |
01/18/70 |
Fairfield Hall - Croydon,
UK |
a- | |
2 flac
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| 14. |
01/23/70 |
Theatre des Champs-Elysees - Paris,
France |
a- | 1970-01-23 Waters Gate (orig french press) vinyl rip_1644
---------------------------------------------------------
* 44.1Khz 16bit version *
lineage: 1st original french press "Waters Gate" LP > FLAC 192Khz 24bit > WAV 192Khz 32bit float > Restorations (*) > downsample and dither > WAV 44.1Khz 16bit > split into tracks > FLAC 44.1Khz 16bit
(*) Restorations :
- declick (manual and automatic)
- removed ultrasonic broadband noise from ~60Khz to ~96Khz
- speed correction
- gain adjustments
date: january 23th, 1970
venue: Theater Comedie Des Champs Elysees, Paris, France
source: AM radio b/c (source/recorder 1)
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1 flac
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| 15. |
02/11/70 |
Town Hall - Birmingham,
UK |
B+ | |
2 flac
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|
| 16. |
02/11/70 |
Town Hall - Birmingham,
UK |
A | 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
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2 flac
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| 17. |
02/28/70 |
Leeds University Union - Leeds, Yorkshire,
UK |
A | MASTER REELS > DAT @48KhZ/16bIT > WAVE (PROTOOLS) @48KhZ/16bIT
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2 flac
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| 18. |
03/12/70 |
Auditorium Maximum - Hamburg,
West Germany |
a- | Vinyl LP (condition - Mint) > Technics SL-1200MK5 > SF10 > WAV > FLAC > 24/192
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2 flac
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| 19. |
03/12/70 |
Auditorium Maximum - Hamburg,
West Germany |
A | There are 2 versions that I have. Both are very good
* 44.1Khz 16bit version *
lineage: 1st press german Big Pink (SMML) LP > FLAC 192Khz 24bit > WAV 192Khz 32bit float > Restorations (*) > downsample and dither > WAV 44.1Khz 16bit > split into tracks > FLAC 44.1Khz 16bit
(*) Restorations :
- declick (manual and automatic)
- manual decrackle on a few spots
- removed ultrasonic broadband noise from ~60Khz to ~96Khz
- speed correction
- gain adjustments
(included also the mono version)
date: march 12th, 1970
venue: Kleiner Saal, Auditorium Maximum, Hamburg University, Hamburg, Germany
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2 flac
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| 20. |
03/13/70 |
Audimax der Technische U - W. Berlin,
West Germany |
a- |
Lineage: 2nd gen cassettes (Maxell XLII 90) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > FLAC (24bit/96kHz) > Bert13 > TLH > WAV (24 bit/96kHz) > Adobe Audition 3.0.1 32 bit float/96kHz (see mastering notes below) > FLAC(24bit/96kHz)
xACT used to create FFP
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
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2 flac
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| 21. |
03/14/70 |
Meistersinger Halle - Nürnberg,
West Germany |
A+ | http://www.hokafloyd.com/CD3/Massed_Gadget_Of_Hercules/The_Massed_Gadget_Of_Hercules_1970_1974.htm
PF - The Massed Gadgets Of Hercules 1970 – 1974 - Godfather GR BOX 09
Several Species Of Some Unique Performances Gathered Together In A Box And Making A Joy
Fantastic 10 CD Box-Set with five shows.
INCLUDING:
5 Double Trifold Cardboard Sleeve CDs (Pictured)
• 28 PAGE BOOKLET (Scans here)
• 1972 US TOUR BOOK REPLICA
disc 1 & 2 |
2 flac
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| 22. |
03/14/70 |
Meistersinger Halle - Nürnberg,
West Germany |
8 | lineage: Telefunken Magnetophon 301 master reel > wav > flac |
2 Flac
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| 23. |
03/15/70 |
Niedersachsenhalle - Hannover,
West Germany |
A | A remaster in 44.1k (CD resolution) from the 32k master for anyone who cannot play 32k audio files. Sample rate converted with Pro Tools highest quality setting. This will be desirable over the on-the-fly SRC built into many media players. Technically this is a LOSSY conversion in a higher quality format (any digital SRC is lossy). However, since the only way to listen to the master LOSSLESSLY would be with hardware DACs that support 32k, this SRC version done under controlled conditions may be desirable.
Note that the filler tracks (OOTD,Echoes) from 5-21-1972 from the original DAT have not been included here as there are far better and more complete recordings available.
2 sources of different quality and unknown generation > 32k DAT > SHN > ProTools(SRC@44.1+levels) > AIFF > FLAC
1. Careful with that Axe, Eugene
2. Cymbaline
3. A Saucerful of Secrets
4. The Embryo
5. Interstellar Overdrive
6. Set the Controls for the Heart of the Sun
7. Consequently
8. Set the Controls for the Heart of the Sun (no eq version)
9. Consequently (no eq version)
Notes from the 32k source:
Its a 32khz version that appears to be or related to GBC's, described as follows. -littlepieces
*********GBC comments**********************************
1ST GENERATION 32khz unprocessed
Label -.-
Date & Place Niedersachsenhalle, Hannover, Germany, March 15th 1970
Sound Quality Disc 1 is VG+, Disc 2 is EX-
Source Audience
Generation cass[1] > DAT(2)@32khz > SHN > WAV > Soundforge 8 (reindex) > Cdwave (split) > FLAC@32khz
Disc 1 (55:04m)
1. tunings (0:29m)
2. CAREFUL WITH THAT AXE, EUGENE (8:14m)
3. tunings (0:29m)
4. CYMBALINE (8:32m)
5. tunings (0:16m)
6. A SAUCERFUL OF SECRETS (14:11m)
7. THE EMBRYO (9:14m)
8. INTERSTELLAR OVERDRIVE (13:38m)
Disc 2 (30:43m)
1. SET THE CONTROLS FOR THE HEART OF THE SUN (11:43m)
3. THE AMAZING PUDDING (19:00m)
Comments well i thought the other unprocessed sources were the best versions out there, but i was wrong. What a really nice surprise, this comes from a DAT@32khz (some other DATs at 48Khz were resampled from this one, so originally it is 32khz), and being 32khz or whatever, this sounds nice.
Sounds brighter, clearer & louder than the other sources, specially StC & AHM which sound superior to the rest of the recording as on the other versions. Also, frequencies here look pretty nice really, and i dont hear this was processed at all. I received this as a long SHN dump straight from the DAT, it came with StC as first track as on many other versions, so i moved it
before AHM to make the right setlist. Also, i removed 16 seconds of applause
repeated at the end of IO. I have the original untracked/unedited SHN file if
you want that.
Now, about the imperfections of this recording. One thing about the 'swoshing cymbals' that are native to this recording, at first i thought that a pre-recorded tape was used cos on the louder parts you hear like 2 different bands playing, but i really think now that maybe the media the taper used was damaged, cos the sowshing noise and the 'pre-recorded' tape thing only appear on the louder parts. When the music gets quiet you dont hear anything strange noise or swoshing cymbales on the back, except the hiss. First 3 tracks are mostly damaged by this, but Embryo & IO are almost free of this imperfection.
Now the interesting stuff. StC & AHM sounds clearly different, brighter and
better defined than the rest of the recording. The announcement before AHM is from the main source, you can hear the sudden change of sound. I have many theories about this, but the fact of that patch on the announcement before AHM makes me think this is from 2 different recorders (StC & AHM being recorder 2 and the rest being recorder 1). Of course. We've seen too many releases of recordings that are patches from 2 recorders, like 1972-11-15 or 1972-10-21 where one recorder was used for the music mainly and the other for the audience/chatter parts. I think this is another case, but i dont have any more info about this apart of my research.
About the performance, this is one of my favorites shows, they were really on fire that night. -gbc
************************************************** ****************
This originally had STCFTHOTS as track 1. but...
The trackorder has been changed and is not correct. According to 'In The Flesh' by Povey and Russell the correct order should be: Astronomy Domine/Careful With That Axe, Eugene/Cymbaline/A Saucerful Of Secrets/The Embryo/Interstellar Overdrive/Set The Controls For The Heart Of The Sun/The Amazing Pudding (Consequently)
Considering setlists of the period, consistent sound quality of STCFTHOTS and Consequently vs the rest, the extra isolated applause bit after IO applause cuts off which suggests the removal of a song, the above comment sounds reasonable. I can also see someone making a production decision to open the disc with one of the better sounding tracks vs audience banter from the lesser source since the alleged opening song is missing. So that's the track order I went with.
Additional remaster notes:
In ProTools the files were sample rate converted to 44.1k with the highest quality settings. The lever dropped drastically early in track 1 on the master. This was corrected. All level correction in the positive direction with no limiting of any kind. STCFTHOTS and Consequently have a loud 240Hz tone in the recording (likely some artifact from the original recorder or subsequent dub). This was reduced with Waves Linear Phase EQ. Un-eq'd versions are included as extra tracks. Some very loud microphone bumps were removed from CWTAE. The little repeated bit at the start of Embryo and other "silent" pauses removed.
The master is a 32k recording which means a top frequency responce of 16kHz. ANY digital eqing in the high end tends to do more harm than good in these types of recordings IMHO.
Thanks to the many people involved from taping to transferring, sharing and note taking. As usual, no selling, share with everyone and try not to molest the poor thing any further with mp3.
JFE 2008 |
2 flac
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|
| 24. |
03/20/70 |
Akademiska Foreningens, Stora Sal - Lund,
Sweden |
a- | Original lineage: Cassette (master) > DAT (3) @48khz > CDR (2) > SHN
Speed correction: SHN > WAV > Audacity > FLAC level 8 |
2 flac
|
|
| 25. |
03/20/70 |
Akademiska Foreningens, Stora Sal - Lund,
Sweden |
A | Reeling In Pink Floyd"
DVD 2 - Tape 3:
1970.03.20 Akademiska Foreningens, Stora Sal, Lund, Sweden
original source/lineage: audience / cass[M] > DAT@48khz > wav > shn@48khz
new source/lineage: audience / cass[M] > DAT@48khz > wav > shn@48khz > wav >
Adobe Audition 1.5 > TLH > flac@48khz
|
1 flac
|
|
| 26. |
04/11/70 |
Gymnasium, SUNY - Stony Brook,
NY |
a- |
Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 27. |
04/22/70 |
Capitol Theater - Port Chester,
NY |
a- |
Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 28. |
04/29/70 |
Fillmore West - San Francisco,
CA |
A | Silver 2CD > EAC > wav > Adobe Audition (Remove Duplicates in Disc 2 track 1) > TLH > FLAC
Rec1+2+3 (the longest composite of three sources.)
Recorder 1: Mono ambient mics recorder. Also known as soundboard. (Bert13's revision)
Recorder 2: Stereo audience: STCFTHOTS, ASOS, IO (Bert13's revision)
Recorder 3: Randy reels (1/4" Reel to Reel 3-3/4IPS > CD-R)
This is the complete version of the revised Bert13 version of Fillmore West patched with recorder 3.
All the unpleasant noises that existed at 12kHz have been removed and the sound is very easy to hear.
I think this is the best version of Fillmore West.
|
2 flac
|
|
| 29. |
04/29/70 |
Fillmore West - San Francisco,
CA |
a- |
Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 30. |
04/30/70 |
KQED TV Studios - San Francisco,
CA |
A |
Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 31. |
05/01/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
A | Taper: Dub Taylor
Recording equipment: Nagra R2R > 5" Reel Master
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
|
2 flac
|
|
| 32. |
05/01/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
a- | various |
2 flac
|
|
| 33. |
05/01/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
a- | various |
2 flac
|
|
| 34. |
06/27/70 |
Bath & West Showground - Shepton Mallet,
UK |
a- | Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 35. |
06/28/70 |
Kraalinge Bos - Rotterdam,
Netherlands |
a- |
Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 36. |
07/12/70 |
Reiterstadion Soersfestival - Aachen,
West Germany |
a- |
Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 37. |
07/16/70 |
Paris Cinema - London,
England |
A+ | BBC Mono Master
Source: BBC sound archive mono master
Lineage: Master > DAT > CDR > Soundstudio > Shorten > SHN
(also given as: Master > DAT(?) > CDR(?) > SHN) |
1 flac
|
|
| 38. |
07/16/70 |
Paris Cinema - London,
England |
8.5 | Lineage:
Cartridge: Ortofon Rondo Red (MC)
Turntable: Thorens TD165 MkII (modified with in-built symetrical 20dB MC pre-preamplifier)
(RIAA) Amplifier: Denon PMA-1500R
Loudspeaker set 1: Infinity Alpha 40
4-channel DI Amplifier: Behringen DI-4000
Mixer: Behringer Xenyx 1616FX
Amplifier 2: Phonic DMX 2501
Loudspeaker set 2: Wharfedale EVP-S15
Headphones 1: Sennheiser HD 540 reference
Headphones 2: AKG K-501
Audio-interface: E-MU 1616M PCI
PC Hardware: Intel Core i7-920, 6GB RAM, 1x 640GB HDD (system), 1x 1TB HDD (data)
Operating System: Windows 7 - 64bit
Audio Editor: Adobe Audition 3.0.1
FLAC convertor: FLAC frontend 1.7.1 |
2 Flac
|
|
| 39. |
07/18/70 |
Hyde Park - London,
UK |
a- |
Pink Floyd – Mind Your Throats Please - In Concert 1970
Not On Label (Pink Floyd) – PFA702
15 x CD, Compilation, Deluxe Edition, Limited Edition, Numbered, Unofficial Release
|
2 flac
|
|
| 40. |
09/26/70 |
Electric Factory - Philadelphia,
PA |
A | Electric Factory Master 48k - (Sept 26,1970 Philedelphia,PA) Ex (2cd)
Comments: Aud- Master[Reel]>DAT(4)>FLAC48khz a transfer from DAT. the sound is the same as hrv.
i suspect they used a DAT for their release. i do only notice one slight difference.
this one has a tiny bit less hiss. hrv has a little more, maybe to increase the high end? anyway,
this version is untouched. speed is ok. i wonder why AHM wasn't recorded. 102:05
transferred from DAT to PC digitally via Tascam DA-302 > S/PDIF > M-Audio 2496
|
2 flac
|
|
| 41. |
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
********************************************************************* |
1 flac
|
|
| 42. |
10/16/70 |
Pepperland Auditorium - San Rafael,
CA |
A+ | Sony TC-252 7" RtR > Reel[1] 1/4“ RtR Tape > Revox A77 RtR Deck > Tascam US-200 > Adobe Audition@32/96 > 24/96 > iZotope RX 2 Advanced > Voxengo HarmoniEQ > Samplitude X > TLH > FLAC |
2 flac
|
|
| 43. |
10/23/70 |
Santa Monica Civic Auditorium - Santa Monica,
CA |
AA | Master source:
1 Sennheiser 805 shotgun microphone > Uher 4000 1/2 track R2R Recorder @ 7 1/2 ips on 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
|
2 flac
|
|
| 44. |
11/06/70 |
Concertgebouw - Amsterdam,
Netherlands |
A | The Flaming Cow In Concert (Lulubelle Goes To Concertgebouw)
16bit/48Khz
LP Transferred on 2020-02-09:
Denon DJ151 => Art Pro Audio USB Phono Plus => Adobe Audition
Not too much information on the lineage from the cover. Unfortunately this is the maximum output we could achieve with the equipment at hand. This is transferred raw, did not apply any click and pop removal.
01 Astronomy Domine (Blue Side)
02 Fat Old Sun (Blue Side)
03 Cymbaline (Orange Side)
04 The Embryo (Orange Side)
05 Atom Heart Mother (Black Side)
06 Green Is The Colour (Purple Side)
07 Careful With That Axe, Eugene (Purple Side)
08 Set The Controls For The Heart Of The Sun (Red Side)
09 Saucerful Of Secrets (Yellow Side)
|
2 flac
|
|
| 45. |
11/07/70 |
De Doelen - Rotterdam,
Netherlands |
a- | Cass(1)>DAT(5)>WAV>FLAC |
2 flac
|
|
| 46. |
11/07/70 |
De Doelen - Rotterdam,
Netherlands |
8.5 | Lineage:
Silver 2CD > EAC > TLH > FLAC
Source 1: 4th Gen (Stratcat58 tapes)
Source 2: 3rd Gen (Bert13 revision)
The best quality 4th gen source is used primarily, and the missing parts are patched with 3rd gen source and edited to the longest version |
2 Flac
|
|
| 47. |
11/11/70 |
Konserthuset - Göteborg,
Sweden |
A | 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.
|
2 flac
|
|
| 48. |
11/12/70 |
Falkoner Centret - Copenhagen,
Denmark |
A | Lineage: Shure SM57>Philips cass.recorder>cassm(Philips C90 low noise)>DAT>DAT. Transferred on a Tascam DA-20 in April 2020. Re-indexed in Fission.
Length: 89:19m
DAT acquired from German trader Roland R. circa 2005. The lineage is as I received it 15 years ago - Roland was pretty disciplined in keeping up with these things.
Don't expect an upgrade but I noticed a 16/48 DAT was not being seeded here. Great November 1970 show!
|
2 flac
|
|
| 49. |
11/13/70 |
Vejlby Risskovhallen - Århus,
Denmark |
B++ | Lineage: Low Gen Cass> Sony TC-WE475 dual deck> stereo sound card (Maddog Predator 5.1 DSP)> Dell SoundMax (ADI 198X integrated audio driver)> Goldwave> CD Wave> FLAC.
|
2 flac
|
|
| 50. |
11/14/70 |
Ernst-Merck-Halle - Hamburg,
West Germany |
A | The source for this CD-r release is a reel to reel tape recorded at 3 3/4 ips. I received it in trade from a guy in Chicago. This was one of the first shows I ever received in trade. I got it early in 1973. At that time it was only identified as Germany 1970. Many years later another tape trader told me he thought it was a fairly rare, low generation recording of 1970-11-14 Ernst-Merck Halle Hamburg Germany.
There are some bad edits on the reels I have. The sound made by releasing the pause on a reel to reel deck. I have left these intact for the most part since they also contain some program material.
A few years ago I did the first analog to digital transfer of this tape. I gave it out to one person and they copied and traded it. For this new release I have remastered it from my reel to reel tape. I think it's better than the first one.
Mics and recorder unknown >
generation unknown Reel to Reel Scotch 207 recorded at 3 3/4 ips >
Playback Deck: Akai GX-747 >
Nikko 32 Band EQ >
Akai DR16 Digital Hard Disk Recorder >
Sony PCM-R500 DAT Recorder >
Sony DAT Tape >
HHB CDR-800 Compact Disc Recorder >
HHB CDR >
WAV > SHN |
2 flac
|
|
| 51. |
11/21/70 |
Altes Casino - Montreux,
Switzerland |
A+ | Source: Audience
Sound Quality: EX/EX+
Lineage: Claimed Master Reel > DAT(0)@48khz > WAV@48khz > SHN@48khz
Total time = 142:24m (has 20 seconds of silence so actual timing
is around 142m)
|
2 flac
|
|
| 52. |
11/21/70 |
Altes Casino - Montreux,
Switzerland |
A+ | Source 1: g_b_c, "Embryonic Madness" PinkRoioShn-CDR-026 (PRS-CDR-026)
Lineage: Recorder 1 / cass[M] > cdr(?) > shn > wav > Adobe Audition 1.5 (minor
editing) > cd wav (tracking) > TLH > flac
Source 2: Recorder 2
Lineage: Cass/1 > DAT/2 > cdr/? > EAC > wav > shn |
2 flac
|
|
| 53. |
11/22/70 |
Altes Casino - Montreux,
Switzerland |
A+ | Lineage: 2 x Sennheiser MD-421 > Uher 4200 reel recorded at 19 ips > Audio CD > EAC > FLAC
The taper, Victor, used the following setup to record both shows: 2 x Sennheiser MD-421 > Uher 4200 reel recorded at 19 ips. Concerning his rig at the time, he had the following to say about it...
"I had my UHER "custom unbuilt" in multiple parts, so I could sneek it in more discretely. Then I built a whole "neck-holder" (like the ones Bob Dylan'd use to hold the harp), a heavy construction sewed in a tough-tissued jacked (often way to hot to bear at concerts...) and the two mics were placed niftily beside each ear hidden by the dutiful long hear..."
He said he has never released these shows directly from the master tapes, but did say, specifically concerning the 11/21/70 show, that “the ‘compilations’ I spoke about, we made them on cassettes only, so if it's the compilations circulating, it very much looks like that probably somebody copied them from these cassettes = 2nd or even 3rd generation.” He did mention that he used to have a number of parties and that, quite likely, what we have in our collections comes from someone copying this “compilation” tape, which would mean that most lineage we have could possibly be bogus.
Him and a buddy of his would usually record the same show and then combine their smaller, 13cm reels into a large reel by splicing their masters together. He describes their method as follows...
"Since we had both a Revox at home that can take the big reels as opposed to the UHER which can only take 13 cm spools and one big reel can hold up to 3 (or 4) small spools, we always recorded on the UHER Side 1 of spool A, and then Side 1 of Spool B and then Side 1 of Spool C and then Side 1 of spool D and then continued the recordings (either he or me) continuously on Side 2 of Spool D and then Side 2 of Spool C and then Side 2 of Spool B and then Side 2 of Spool A. When all spools were full, we scotched them together on one big reel... We never wasted expensive tape to copy onto. Especially since we're really buddies (from childhood), if either one of us wanted to listen to the tape, he'd have it, no problem. So why bother copy (except excerpts on cassette)?"
The transfers required Victor to do some repairs to his reel deck and bake the tapes, which he said took him about three days.
These are the raw files as received. MOB will be creating a definitive version for Harvested in the near future patching all the missing bits from an alternate recorder. Please DO NOT REMASTER or share on DIME (I will be doing that as soon as we get some seeders here).
|
2 flac
|
|
| 54. |
11/26/70 |
Killesberg Halle 14 - Stuttgart,
West Germany |
a- | Lineage: Low gen Chrome Maxell Epilaxial XLII 60 cassette (1986) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > WAV 24bit/96Khz > (right channel removed) > speed correction > WAV 32bit float/96Khz > resampled to 44.1Khz (and dithered to 16bit) > WAV 16bit/44.1Khz (stereo made with two identical mono channels) > splitting tracks > FLAC 16bit/44.1Khz
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
|
2 flac
|
|
| 55. |
11/27/70 |
Niedersachsenhalle - Hannover,
Germany |
a- | Recorder 1, low gen (16bit/44.1kHz)
Pink Floyd
Niedersachsenhalle, Hannover, West Germany
27 November 1970
Recorder 1
Lineage: Maxell Epilaxial XLII-90 and 60 (1985/6) low gen cassettes > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > FLAC (24bit/96kHz) > Reaper v4.54 > FLAC (16bit/44.1kHz) > CDWave 1.98 > FLAC (16bit/44.1kHz)
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
xACT used to create FFP
Total running time 2 hours 9 mins 26 secs
This is a really nice copy of an inspired performance.
You may recall my explanation of the date for this concert when I transferred the Recorder 2 ‘Hoka tape’ in February 2012. Back then I explained how ‘T136' and all the other tapes collectors have listed as 1970-11-14 should be re-labelled Recorder 1, Hannover 1970-11-27 |
2 flac
|
|
| 56. |
11/28/70 |
Saarlandhalle - Saarbrucken,
West Germany |
A+ | Revisions with Adobe Audition 3.0.1:
- editing out run-in and -out grooves
- speed correction
- automatic click removal
- some slight EQ on the Pictures of Pink Floyd Restoration Project patches and AHM
- a few left over pops and glitches manually cleaned up
- re-sequenced
Notes:
The main source I used is the unprocessed Pictures of Pink Floyd Vol. I & II, Topsound Quality Records – QR 179101 LPs rip, originally released in 1971, transferred to CDR and circulated in 2005.
The (speed corrected) Pictures Of Pink Floyd Restoration files were used for:
- a fragment of ambience before Fat Old Sun
- a fragment of ambience at the start of Libest Spacement Monitor (ground hum removed)
- a fragment at the start of Green Is The Colour
- Atom Heart Mother
I found the transfer of the original LPs to have the best fidelity and it responded quite well to the automated click removal process.
Revised by Bert13
August 2, 2020 |
1 flac
|
|
| 57. |
11/29/70 |
Zirkus Krone - München,
West Germany |
a- | Pink Floyd 1970-11-29 Munich, low gen stratcat58 tapes (16bit/44.1kHz)
Pink Floyd
Zirkus Krone, Munich, Germany
29 November 1970
Lineage: Maxell Epitaxial XLII 60 cassettes (1985/6) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) > Adobe Audition 3.0.1 > flac (32bit/96kHz float) > speed correction > FLAC (24bit/96kHz) > WAV (24bit/96kHz) > ClickRepair 3.9.8 > Reaper > FLAC (16bit/44.1kHz)
xACT used to create FFP
Total running time 1 hour 48 mins 22 secs
After the high points of Friday 27th and Saturday 28th November, this gig was a much more straight run through of the band's current repertoire.
Stratcat58's copy is possibly a 2nd gen. His tape is noticeably brighter than the circulating 2nd gen and my transfer adds additional top end to the Beechwoods version you probably have in your collection. There are some cuts in these tapes that are not on other versions.
My thanks, as ever, to goldenband for his speed correction advice and, once again, to Bert13 for dealing with the corrections for me because some sliding adjustments were required. Both tapes run slow and my transfer was faster than the one by Beechwoods. Values of between +0.4 to +3.65% were applied. Goldenband wasn't 100% satisfied with the values. FOS isn't sitting exactly in the pocket, for example, but it was the best we could do without painstaking second-by-second correction.
Bert additionally filtered out some interference between 15 and 16 kHz and put the recording through click repair, medium setting. After further discussion and tests, I subsequently used a strong setting on ClickRepair decrackle to further clean up the recording. I would usually be wary of doing this but on this occasion it was successful.
The songs are arranged in the following order on the tapes: A - AD & AHM, B - FOS & Cymbaline, C - Emb, GITC and CWTAE, D - STC & ASOS. Bert re-sequenced AHM.
Stratcat58 cassettes / Neonknight tape transfer / revisions by Bert13, February 2017 |
2 flac
|
|
| 58. |
12/22/70 |
City Hall - Sheffield,
UK |
a- | Lineage: 2 x TDK AD normal position 2nd gen cassettes > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > FLAC > Reaper v4.78 (with iZotopeRX2, Waves linear phase eq, UA precision multiband) > FLAC (24bit/96kHz)
Reduction for CD: 96k > 44.1k with SOX in XLD. 24 bit > 16 bit with Waves IDR
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
|
2 flac
|
|
| 59. |
12/22/70 |
City Hall - Sheffield,
UK |
A | Lineage: 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
NOTES FROM PETE:
The origins of this copy of the recording are as follows:
I went to University in Sheffield in the UK in October 1981. Sometime in my first year there (not sure if it was 81 or 82) I noticed an advert on a noticeboard in the University's Student Union building by a guy offering rare tapes of Pink Floyd and a number of other bands. I bought this recording on a TDK AD C60 and C120 Cassette (see the photos) from the guy who turned out to be a post-graduate. From my recollection (and it is 27 years ago!) the tapes I got were from his first gen copy from the masters. They are definitely not from vinyl (you can just tell!!!) and it predates the CD or CDR bootleg era. Ironically I think the cassettes have survived well because I only played them a few times as I was more into Stones and Clapton at the time. I guess it could be as little as four or five times prior to me finally capturing them as digital files.I was prompted to transfer it to digital format by two things:
1) I downloaded a couple of the bootlegs from the same date via the internet and I thought, "This is not half as good quality as I remember my tapes being"
2) A friend was clearing out his loft (attic) and offered me a little used NAD tapedeck, so now I had no excuse not to investigate my hunch that I had a better copy of this recording
The finished item is superb. I have really enjoyed getting back into this whole 68-72 Floyd era. I think the desire to get the best version of Sheffield 1970 out to the fan-base has made me go back and take an even greater interest in the legitimate and (ever expanding) bootleg stuff from this era.
A final, but very important note. A big "thank you" to John Johnstone (a colleague from work) who suggested I offered up the raw WAVs of the tapes to the Harvested Team. What an excellent piece of advice!
NOTES FROM MOB:
Pete's tapes were in really good condition, despite their age. The original recording was done with mono equipment, and the music was well centered between the 2 channels of the tapes (generally, old tapes tend to have fluctuations between channels, even if the original recording is mono, but it was not the case here). The hiss was very stable throughout the tapes, with almost no sign of warble.
The main problem with the recording was the speed. The tapes ran too fast, and the speed was not constant throughout the show (this is a well known problem of old analog tape recorders, very dependent on the battery levels fluctuations during a concert). Alan's Psychedelic Breakfast was almost at correct speed, but the speed of the following tracks increased progressively during the songs. The real difficulties began with A Saucerful Of Secrets, because the batteries were probably unloading faster. The speed was different depending on the part of the song, so I had to apply speed correction on a case by case basis. Atom Heart Mother was even worse, the very end really too fast.
After dealing with the speed issues, I carefully applied slight EQ to enhance some particular frequencies that were buried in the original recording (probably due to the original recorder and mics characteristics). An important note is that I didn't try to dehiss the recording. As a result, this remaster still has a good amount of hiss. After all, this is a 2nd gen and you cannot have a significant reduction of hiss without degrading the music clarity. Moreover, I wanted to keep the sound as natural as possible, because the best sounding version of that concert until now was the highly processed "Disgusting Hardly Music", remastered from Pete's tapes too, but with a lot of NR applied. I wanted this new remaster to be a nice alternative to DHM: people who can't stand hiss and don't mind about digital NR artefacts can still enjoy DHM, while people who prefer unprocessed recordings should definitely adopt "Rise & Shine" (of course it's not striclty "unprocessed" because I corrected the speed, applied some EQ and carefully cleaned the drop-outs and tape flaws, but anyway this still sounds "natural", unlike the other versions I heard).
As usual with all my remasters, I also manually cleaned every tape flaw that I could detect (cuts, small drop-outs, pops, crackles ...).
Here are the comparisons we did with the other RoIOs from that concert:
- "Allen's Psychedelic Breakfast" (from Circus Sun APSB 1270 A/B LP): full of vinyl clicks and pops
- "A Psychedelic Night" (Triangle Records PYCD 038 & 039): this silver bootleg CD is muffled and denoised to death
- "Alan's Psychedelic Christmas": 3rd or 4th gen from VHS, too dehissed
- "Pink's Psychedelic Last Night" (Highland HL176): again, very processed (NR)
- "Alan's Psychedelic Master Tape" (Ayanami-227): certainly not from mastertape (Ayanami often claims to have the masters while it's wrong) and over-processed
- "1st Gen": this RoIO is the only other "unprocessed" version apparently circulating, but it sounds more distant than Pete's 2nd gen; I guess the title "1st gen" is not correct, it's more probably 2nd or 3rd gen.
- "Disgusting Hardly Music" (FOS-CDR-001 ): music is very clear but NR artifacts are obvious
To summarize, we think that this new release "Rise & Shine" has the following benefits:
- it's the only Sheffield RoIO with "natural" sound (apart from the so-called "1st gen" which is sounding much more distant)
- it's the only Sheffield RoIO with correct speed for all the tracks
- it's the only Sheffield RoIO with the drop-outs and tape flaws corrected (in particular, you can check the very beginning of Careful's scream: the abrupt cut in the master recording is magically fixed ;-) )
Thanks to Pete for approaching us with this project and supplying us with the great source material. And, of course, thanks to MOB, the James Guthrie of bootlegs!
Enjoy and share freely!
RonToon (February 2009) |
2 flac
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|
| 60. |
01/17/71 |
The Roundhouse, Chalk Farm - London,
UK |
A | Source - LTD Edition Acetate Vinyl Record
Label: Uninvited Mole
Release: Implosion at the Roundhouse 12/100 copies
Previously Unreleased Generation of this Recording, I've not sound better.
Much higher quality recording than currently I can find surfacing (Even on here), sounds direct from the reel to vinyl I've been told. Tops seem much clearer
Recorded in 24/96 LOSSLESS
Normal EQ, Click, Pop, Hum and minimal Hiss Reduction (Only When Required)
Lineage: REEL ? > Vinyl > Technics 1210 MKII > Allen & Heath Xone 62 Mixer > EMU 1212M > Cubase 6 > Audition CC 2015 > WAVES VST > FLAC FRONT END LEVEL 5
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1 flac
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|
| 61. |
02/12/71 |
Lecture Theater, U of Essex - Colchester,
UK |
A | Pink Floyd 1971-02-12 Colchester, 2nd gen [16-44]
Pink Floyd
Lecture Theatre Block 6 & 7, University of Essex, Wivenhoe Park, Colchester, England
12 February 1971
Lineage: 2nd gen Maxell XLII 90 cassettes (1988/9) > Technics RS-B565-MH > Tascam SD-20M > WAV (24bit/96kHz) > Reaper v5.983 > FLAC (24bit/96kHz) > Adobe Audition 2.0 for speed correction and track divides > FLAC (16bit/44
Total running time 1 hour 36 minutes 43 seconds
This 2nd gen has good top end and punchiness and gives a greater sense of being in the room than other sources I have heard. It is also more complete. On the downside, the recording is more hissy than I would generally expect for a second gen.
In skilled re-mastering hands - sympathetically tackling the hiss and removing the occasionally audible mains hum - I have no doubt that this capture would rank amongst the best sounding Pink Floyd 1971 audience recordings.
The taper for this concert was Chris B. Chris used to live in Bromley, Kent. If you are reading this, Chris, I understand that back in the day you had four or five shows that nobody else has. I'd love to help you archive your recordings.
Colchester is the last in a recent series of releases of tapes I borrowed from a German collector friend. My thanks, once again, to pelino for speed correcting my transfer.
Neonknight, September 2020 |
2 flac
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|
| 62. |
02/13/71 |
Farnborough Technical College - Farnborough,
UK |
a- | Lineage: cas(1)>DAT(2)>FLAC
Playback: Tascam DA-20mkII>Waveterminal 2496>CEP (@16-bit, 44.1kHz)>WAV>CD Wave>FLAC
Editing: Normalize, fades
Transfer: Travis Simpson |
2 flac
|
|
| 63. |
02/13/71 |
Farnborough Technical College - Farnborough,
UK |
A | http://www.hokafloyd.com/CD3/Massed_Gadget_Of_Hercules/The_Massed_Gadget_Of_Hercules_1970_1974.htm
PF - The Massed Gadgets Of Hercules 1970 – 1974 - Godfather GR BOX 09
Several Species Of Some Unique Performances Gathered Together In A Box And Making A Joy
Fantastic 10 CD Box-Set with five shows.
INCLUDING:
5 Double Trifold Cardboard Sleeve CDs (Pictured)
• 28 PAGE BOOKLET (Scans here)
• 1972 US TOUR BOOK REPLICA
disc 3 & 4 |
2 flac
|
|
| 64. |
02/24/71 |
Halle Münsterland - Münster,
West Germany |
8.5 | Lineage: Sony C-90CR Chrome Cassette > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > FLAC (24bit/96kHz)
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
xACT used to create FFP |
2 Flac
|
|
| 65. |
02/25/71 |
Großer Saal, Musikhalle - Hamburg,
West Germany |
8.5 | http://www.hokafloyd.com/CD4/M-502_Sigma_97/M-502_Sigma_97.htm
PINK FLOYD - M - 502 - Sigma 97
Matrix Disc 1: Sigma 97 Disc-1 1A31800503 IFPI LT029
Matrix Disc 2: Sigma 97 Disc-2 1A31800506 IFPI LT029
Matrix Disc 3: Sigma 97 DVD 5A31800103
(P) 2013 Made In Japan |
2 Flac
|
|
| 66. |
02/26/71 |
Stadthalle - Offenbach,
West Germany |
8.5 | New High Definition transfer from Marbal's own 1st Generation backup reel.
Artwork production by Beechwoods.
Lineage History:
- Master Recording (1971-02-26): Philips EL3302 cassette deck, stock external mic, no Dolby.
- Cassette to Reel to Reel (~1981): unknown cassette deck > Philips N4510 reel to reel > BASF 1/4" tape
- 1st Gen Reel (2011-10-11): Pioneer RT707 > Tascam HD-P2 (WAV 24bit/96kHz) ===> Adjustments (WAV 32bit float/96kHz) > WAV (16bit/44kHz) > CDWave (1.98) > FLAC
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2 Flac
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|
| 67. |
04/03/71 |
Sportpalais Ahoy - Rotterdam,
Netherlands |
A- | Recorder 1: Pink Floyd 1971-04-03 Rotterdam, Recorder 1, unknown gen stratcat58 tapes (24bit/96kHz)
Lineage: TDK SA90 cassettes (1985/6) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz)
Recorder 2: LIVE IN ROTTERDAM (MAF/R&D) April 3, 1971 Sportpaleis Ahoy, Rotterdam, Netherlands
Lineage: AUD(src2)>Live In Rotterdam LP>PCM(declicked)>CD-R>EAC>SHN
Recorder 1 is a mono recording that was transferred to analog stereo format in the lineage. The left channel alone is used here. The right channel is full of broken connection crackling sounds. Recorder 2 is genuine stereo. Arranging the recording R2-Rch left, R2-Lch center, R1 right, seems to extend and complete a stereo image. Some live mix panning can be heard to flow across these recorders. The performance is reinforced with a more complete mix in a wide stereo image. The songs and fragments captured by the mono R1 alone are restored as well as possible for a complete show. Imagine you got a seating upgrade at track 4 if it helps.
The recordings were cleaned of the worst artifacts like mains hum and thumps from hitting the microphone. The louder parts overwhelm the recording devices a bit leading to the classic 'inside out' audience recording with the quiet sections now louder than the originally louder parts. All mastering and restoration work from speed correction, synchronizing recorders, artifact and noise removal or reduction, eq surgery and correction, and dynamics work using Reaper DAW with Waves & UA plugins and iZotope RX spectral editor. Recorder 2 was upsampled to 96k with SOX prior to work.
Jimfisheye, April 2022 |
2 flac
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|
| 68. |
05/15/71 |
Crystal Palace Bowl - London,
England |
A |
Lineage: Maxell XLII-90 & Maxell XLII Epilaxial 60 low gen cassettes > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > FLAC (24bit/96kHz) > Reaper v4.61 > FLAC (16bit/44.1kHz)
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
xACT used to create FFP
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2 flac
|
|
| 69. |
05/20/71 |
The Ballroom, Strathclyde University - Glasgow,
Scotland |
B+ | Lineage: Unknown gen Maxell XLII90 chrome cassette (1996) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) |
2 flac
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|
| 70. |
05/25/71 |
Grosser Saal Musikhalle - Hamburg,
Germany |
AA | Lineage : 2X vinyl LPs > Echo Audio Fire 4 > WAV 24bit/96Khz > declick and speed correction > downsampling > FLAC 16bit/44.1Khz
|
2 flac
|
|
| 71. |
06/04/71 |
Philipshalle - Düsseldorf,
West Germany |
B+ | Lineage: 5th or 6th gen Maxell XLII cassette (1997) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.61 and iZotope RX4 > FLAC (24bit/96kHz)
xACT used to create FFP |
2 flac
|
|
| 72. |
06/05/71 |
Berliner Sportpalast - W. Berlin,
West Germany |
a- | ineage: Maxell UD60 normal position cassettes (1978) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) > tezeta > Reaper v5.17 > FLAC (24bit/96kHz)
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2 flac
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|
| 73. |
06/12/71 |
Palais des Sports - Lyon,
France |
8.5 | French AM Radio Broadcast (Incomplete)
FLAC Tags Via xACT 2.50 By OldNeumanntapr
|
1 Flac
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|
| 74. |
06/19/71 |
Palazzo della Mostra EIB - Brescia,
Italy |
B+ |
Lineage: Maxell XLII 90 3rd gen cassettes (1992-96) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) > tezeta > Reaper v4.76 > FLAC (16bit/44.1kHz)
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2 flac
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|
| 75. |
06/19/71 |
Palazzo della Mostra EIB - Brescia,
Italy |
A | Nipote :
Found new recordings is always a great surprise and a great satisfaction for all that like the Pink Floyd's music live.
Some weeks ago, MrPinky, one of the big (Italian) collector on the world, told me that he had a new recording from Brescia and send me the files that the taper digitalized.
The taper is Pasquale Perulli, that was one of the lucky that attended at the show.
For who don't know, this show was many problems for location, first Milano, after Bologna and in the end Brescia.
Pasquale was in the first row, near the barriers, two meters from the stage, only accredited photographers was from him to the band.
He put the microphone between the barriers and during the concert he made small adjustments to the tone, to improve the sound and try to prevent distortions, since he had a speaker nearby.
In his hands he had a 8mm camera, and he made some video too.
Pasquale made it for personal use only, and for all this years he was out from trader groups.
Now, he want share his recording.
The raw recording is very nice, but I asked at our friend Renzo (RDWM) to put his touch.
A very big thanks to Pasquale Perulli for his recording, and to MrPinky, always magnificent person.
Renzo (RDWM) :
Before all treatments, all files have been leveled to have a perfect dual-mono
- pitched with Celemony Capstan using very very low value setting -pitched at A=440
- EQ-ed with HarBal
- applied Waves Trueverb disabling "early reflection" flag in order to open the sound and get some air between instruments without the "body" of a reverberation
- final level using Magneto and Waves L3
All plugins used with low value settings |
2 flac
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|
| 76. |
06/19/71 |
Palazzo della Mostra EIB - Brescia,
Italy |
A | Lineage: Uher 4400 with Shure 545 in configuration N:O:S (look pdf) -> Master BASF -> Revox A77 1/4 -> Digi002 -> Macbook pro -> Reaper 6 -> flac with TLH -> Y!
Here for the first time the complete gig from Brescia recorded by Renzo Storti.
Renzo Storti is a sound technician that worked for radio, cinema and with University of Padua.
He recorded the concert with a Uher 4400 with Shure microphone; he adjusted the levels during concerts while a friend moved the two microphones that were placed on stands.
The tapes were played a few times after the concert, then they were left safe without ever being touched.
About ten years ago Renzo decided to digitize the tapes to make a CD to give to his friends present at the event.
With the fiftieth anniversary of the concert, Renzo came into contact with Andrea Borsotti, a member of Y! and soul of research.
Renzo made a new transfer in 24/96, and yesterday in Padua we organized an event with a preview of this recording.
The quality is incredible, perhaps one of the best audience recording of 1971, an incredible document that finally sees the light in complete raw version.
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2 flac
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|
| 77. |
06/20/71 |
Palazzo dello Sport EUR - Rome,
Italy |
B++ | Lineage: CDR from Digital Floyd Project > EAC (secure) > FLAC (level 5)
Taped by: ? |
2 flac
|
|
| 78. |
06/26/71 |
Amsterdamse Bos - Amsterdam,
Netherlands |
a- | An excellent performance by the band and great stereo audience recording by the N brothers.
I transferred Preclicktrack's LPs using some very expensive audiophile gear connected up to my Saffire.
* Clear Audio Innovation Compact
* Clear Audio Stradivari V2 cartridge
* Clear Audio Tangential tone arm TT3
* Amp - Leema Acoustics - Tucana II
* Not sure what interconnect we used to connect to the phono stage
* Phono stage - Pro-Ject Audio Phono Box RS. RS set to fixed input impedance, gain RIAA 60dB RCA
* Turntable to phono stage cable - The Chord Company, Sarum Super Aray RCA cable
* Mains conditioner for all connected equipment - Sigma, IsoTek EVO3
Both sides were copied at the same level. Side A contains tracks 1,2,5 and B 3,4.
I used ClickRepair in automated mode to find and repair clicks and crackles:
1. Declick 60, wavelet x 3, reverse, pitch protection
2. Decrackle 60, wavelet x 3, reverse
Side A of the LP is notably quieter than B and I added gain in iZotope to even the recording out. Speed correction assistance was provided by tezeta. He applied a simple reduction of .75 semis to STC and ASOS using Elastique in Reaper v5.17.
I believe that this copy supersedes the version Preclicktrack and I released in 2014 but the differences, for general listening purposes, are quite subtle. The track marks are in the same positions so you can compare the two.
Neonknight transfer / Preclicktrack LP, July 2017 |
1 flac
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|
| 79. |
07/01/71 |
Stiftshoff - Ossiach,
Austria |
B++ | |
2 flac
|
|
| 80. |
07/01/71 |
Stiftshoff - Ossiach,
Austria |
A | raw transfer of my 3rd gen cassettes that I received in a trade with an experienced collector in January 1996. This transfer has a nice ambience and seems warmer and more upfront than the 2nd gen DAT source that does the rounds.
You may note that GITC is 2.5% fast but after that the recording quickly settles down so no speed correction was judged to be necessary. Stereo audience recordings of Pink Floyd were relatively rare in 1971 and it is nice to hear reasonably good separation between the channels most of the time, particularly when listening on headphones. Further adjustments, as part of a re-mastering, would be beneficial for some of the tracks.
The songs were arranged in the wrong order on my tapes:
A - GITC / CWTAE / FOS
B - AHM / ASOS
C - ASOS (continues) / Echoes / STC
D - STC (continues) / Cymbaline
Mixed tape stock was used by my source. I never liked it when this happened but on this occasion it does not appear to have had a detrimental affect. Sides A to B are on a Maxell XLII-S 90 and the second tape is a Maxell XLII 90.
After setting satisfactory input levels for side A, I found side B to be louder so turned down both channels. Side C would have been too quiet so I made a further adjustment. Side D was a good match for side C, so no further changes were necessary. I would not ordinarily alter my recording levels when songs are split between sides but it was necessary for ASOS, otherwise there would have been a distinctive drop in volume.
Neonknight, November 2013 |
2 flac
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|
| 81. |
08/06/71 |
Hakone Aphrodite - Hakone,
Japan |
A | Source: Audience Recording
Lineage: Sigma-133 Boot 2CD > WAV > EAC > FLAC
* Live at Hakone Aphrodite, Hakone, Kanagawa, Japan 6th August 1971
(Stereo & Mono: 2 Different Sources)
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4 flac
|
|
| 82. |
08/07/71 |
Hakone-Ashinokohan Sheikeigakuen-Jofudai - Hakone,
Japan |
| Sigma 283 (2021)
Lineage: My Original Silver --> EAC --> WAV --> THL --> Flac8 --> You
This version is the 2CD+1Bonus CDR
|
2 Flac
|
|
| 83. |
08/09/71 |
Festival Hall - Osaka,
Japan |
A | cass[3] > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > FLAC (24bit/96kHz) |
2 flac
|
|
| 84. |
08/09/71 |
Festival Hall - Osaka,
Japan |
A | Pink Floyd - (1971-08-09) Osaka 1971 50th Anniversary Edition
Sigma 278 (2021)
Lineage: My Original Silver --> EAC --> WAV --> THL --> Flac8 --> You
Excel with Sigmas Updated. |
2 flac
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|
| 85. |
08/13/71 |
Festival Hall - Melbourne,
Australia |
A | Pink Floyd 1971-08-13 Melbourne, stratcat58 3rd gen (24bit/96kHz)
Pink Floyd
Festival Hall, Melbourne, Australia
13 August 1971
Lineage: Maxell XLII 90 cassette (bet.1992-96) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) > vince666 > WAV 96Khz/32bit float > speed correction > WAV 96Khz/32bit float > dithered to 24bit > track splits > WAV 96Khz/24bit > FLAC 96Khz/24bit
*Neonknight's notes*
Karmamania is the authority on this date and copies linked to his 1st gen set the benchmark. I feel that stratcat58's tape sounds generally better than the 1st gen. It has stronger high end and you can hear more detail but you can also sometimes hear some distortion in the right channel that's not present on the 1st gen. Karmamania's 1st gen also has more tuning up before AHM and Cymbaline. Worth keeping both I would say.
Karmamania explained on the Brain Damage website that the master was recorded using a Sony TC80 mono portable cassette recorder, smuggled in a schoolbag, and a BASF cassette. The original tape ran out after five and a half minutes into Saucerful. The show was recorded about fifty yards from the stage in the stalls. For more details see karmamania's text files and http://www.brain-damage.co.uk/concerts/pink-floyd-australia-august-1971.html
Go-Set magazine commented: "Pink Floyd are very serious and involved as they play. The only showmanship is that of concentration, listening to one another, waiting for their separate parts, weaving those adventurous, inventive space patterns."
*Vince's mastering notes*
The recording did run fast from approx 4,5% to approx 6%... each song was corrected with a fixed speed change, no variable corrections/changes made... no EQ, no NR, no level change, etc.
Stratcat58 cassette / Neonknight tape transfer / Vince666 mastering, August 2017 |
2 flac
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|
| 86. |
08/13/71 |
Festival Hall - Melbourne,
Australia |
A | 2nd gen metal cassette [16-44]
Pink Floyd
Festival Hall, Melbourne, Australia
13 August 1971
Lineage: 2nd gen Sony metal 100 minute cassette (1990-92 type) > Technics RS-B565-MH > Tascam SD-20M > Reaper v5.983 > FLAC (24bit/96kHz) > Adobe Audition 2.0 for speed correction, editing and track divides > FLAC (16bit/44.1kHz
Total running time 1 hour 32 mins 18 secs
Thank you for sending your tape on a 10,000 mile journey to me CCE338 - certainly the longest trip a cassette has gone on for a neonknight Yeeshkul release and it was definitely worthwhile.
I would also like to thank pelino for his speed correction work and for moving the songs around so they are in the correct order.
CCE338's metal cassette was copied from his karmamania 1st gen tape. You no doubt have a transfer and re-master of the 1st gen in your collection.
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2 flac
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|
| 87. |
09/18/71 |
Pavillion de Montreux - Montreux,
Switzerland |
A |
Lineage:
First Generation Reel to Reel > DAT > PCM > DAT [clone] > Sony DTC-A7 >
SoundBlaster > Cool Edit Pro > wav > Soundforge (speed correction, several
edits/patches, set fades) > CDWave (tracking) > Flac Frontend (level 7, align
sector boundaries) > flac
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2 flac
|
|
| 88. |
09/19/71 |
Pavillion de Montreux - Montreux,
Switzerland |
8.5 | Source: Reels > PCM > ??? > DAT(c)
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)
SetlistFM has different setlist for both nights This has to be incomplete
One of These Days
Green Is the Colour
Careful With That Axe, Eugene
Echoes
Fat Old Sun
Atom Heart Mother
A Saucerful of Secrets |
1 Flac
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|
| 89. |
09/23/71 |
KB Hallen - Copenhagen,
Denmark |
A | Lineage: Silver 2CD > EAC > TLH > FLAC
|
2 flac
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|
| 90. |
09/30/71 |
Paris Cinema - London,
UK |
A+ | "LEGENDARY PINK GENTLEMAN RECORDS IN MONO, BROADCASTS IN STEREO VIA THE BBC"
01. Fat Old Sun 14:13
02. One of These Days 7:56
03. Embryo 10:28
04. Echoes 26:51
05. Blues 4:53
TT = 54:21
Tr 1, 2 and 4: (Arnold_Layne) Source: BBC 7" Reel 7.5ips 2 track stereo > Technics RS1500 > Tascam DA3000 > 24/96 BWF Format > FLAC
Tr 3 and 5: (Kbrubaker/Neonknight/LPP) WNEW stereo broadcast > Maxell XLII Cassette (low) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > Wav (24bit/96kHz) > Adjustments (32bit float/96kHz) > Wav (24bit/96kHz) > CDWave (1.98) > FLAC (24bit/96kHz)
I'm a big fan of the stereo versions of these broadcasts recently made available thanks to the boundless generosity of the folks on Yeeshkul.
Though purists may prefer to listen to the original mono rec, I thought I'd make this stereo mix since there's such great sound to begin with it would seem a shame not to share such great sounding stereo simulations as a complete performance.
Though there is a very noticeable difference in the stereo image of the two broadcasts, I wanted more continuity between them, so I flipped the channels on the WNEW tracks so that the drums are in the left channel, as they are biased to the left in the Rock Hour broadcast.
The WNEW DJ dropped the station tag during Rick's organ solo in "Embryo", which I found distracting, so I patched in the mono version from HRV's BBC Archives RevB over that.
And finally, I faded out "Echoes" early to remove the Rock Hour announcer's closing words for better overall flow in the set.
Enjoy!
- tezeta, July 2016 |
1 flac
|
|
| 91. |
10/04/71 |
Roman Amphiteatre - Pompeii,
Italy |
A+ | This is the original audio from the film, NOT the audio
from the official DVD (audio track on "Director's Cut" DVD
has additional reverb and effects).
The present soundtrack is faithful to the original film. |
2 flac
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|
| 92. |
10/05/71 |
Roman Amphiteatre - Pompeii,
Italy |
A+ | |
1 flac
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|
| 93. |
10/10/71 |
The Great Hall - Bradford,
UK |
A- | Original source lineage: Cass(1) (Fuji Film FX Pure-Ferrix C-60 x 2) > Onkyo TA-RW 244 >
Tascam DA-20 MkII > DAT@48Hhz > Monster Coaxial Cable > Cool Edit Pro >
wav@16/48 > shn@16/48 > flac@16/48
Additional source lineage: flac > Adobe Audition 3.0.1/Capstan 1.1.0* > flac@16/48
* - cleaned up of digital silence, overlap (AHM and Cymbaline), a few clicks, ticks and dropouts
- speed adjusted 98.6 shrink
- copied right channel to left
- de-amplified -2dB
- speed wobble at the very start of CWTAE corrected with Capstan
- ground hum filtered out during quieter passages
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2 flac
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| 94. |
10/16/71 |
Civic Center - Santa Monica,
CA |
A+ | excellent for its age
*Lineage*
*PA recorder:
"Pink Floyd Santa Monica 1971 soundboard reel to reel" Ebay find supported privately by members of the Y! community
1/4” 7” open reel with mono program in both channels. The right channel is much stronger and higher fidelity. This is telltale of an originally mono recorded tape played back on a stereo machine. The single magnetic stripe on the tape ends up more under one channel in the stereo head than the other.
This sounds like a microphone placed in front or very close to one of the front main PA speakers. There are telltale “soundboard recording” elements - but as captured nearly directly from the speaker with a mic instead of plugged in directly. There are also open room sounds and nearby people. There is a layer of saturation like you might expect from recording a PA speaker with a 1960’s dictation quality recorder and mic. At the same time this preserves an up close detailed and dynamic capture vs distant audience recording sound. Calling this a soundboard would have been an honest mistake since the sound is recorded nearly directly from the PA speaker connected to the soundboard. It sounds more soundboard-like than not. The open room sounds and conversation give it away that it isn't.
The song order on the reel:
Side A - AHM, Embryo, Cymbaline, 1.7 sec fragment of beginning of STC, filler
Side B - CWTAE, FOS, STC, tuning and announcement fragment, Blues (incomplete), filler
The reel was likely left spooled to side B. The evidence here further indicates this reel to be a generational copy itself. The STC fragment and the complete STC (complete on “side B”) are on opposite sides of the tape. Blues is on the opposite side it should be and there is remaining tape space after it cuts off (that was then recorded with filler).
Three transfers were made of the reel.
Unknown studio
This transfer has almost no low end and extra saturation on the highs and high mids. This was likely done in the early digital age with a hardware CDr recorder or DAT deck. Telltales being 16 bit file format and the blurred but edgy at the same time sound of the AD converters in those machines.
This transfer has the most stable high end of the 3.
Mystery Room
This transfer nailed the azimuth and has the best tape transport stability. A very high level of expertise showing there. Something went wrong however. The sound is washed out with extreme low levels and no high end at all. Something awkward like an errant playback eq setting on the deck perhaps. It’s also possible that this is a striking example of the original recorded magnetic stripe being out of alignment and a textbook playback alignment missing the mark. Or a little of both. I suspect more the former.
That being said, this transfer still contains the best low end.
A_L
This transfer sounds the most overall correct out of the box. There is a tape flatness issue that was beyond the ability of the playback deck transport resulting in high end wow and flutter. This transfer has the best low mid thru high mid sound and is free of the added saturation in the original unknown studio transfer.
*Audience recorder:
Pink Floyd 1971-10-16 Santa Monica, low gen HG tape [24-96]
Low gen TDK SA90 cassettes (1987-89) > Technics RS-565 > Focusrite Saffire Pro 14 > Reaper v4.61 > FLAC (24bit/96kHz)
The audience recording comes from somewhere in the middle of the room. No one surround speaker stack is more discernible or in close proximity.
*Neonknight’s original notes*
Pinkrudy's cassettes have better high end than other versions I have heard and are not affected by the low end hum that is present on the 1st gen that most people reading this will have in their collection. The sound is also more airy and you can hear greater detail.
The recording was made by Al who was 15 or 16 at the time, so all credit to him for doing such a good job. When the concert first surfaced in 1985 Al was very generous in sharing it, so there could be a number of different sources doing the rounds.
The song order on the tapes and speed corrections are as follows:
Side A - CWTAE/FOS +3.36%, Embryo +2.47%
Side B - Cymbaline +1.58%, Blues +1.29%, Echoes (part 1) +2.47%
Side C - Echoes (part 2) +4.83%, ASOS +3.97%, STC +3.67%
Side D - AHM +3.08%
Howard Gil tape supplied by pinkrudy / Neonknight tape transfer, May 2016
*Mastering*
Mastered with Reaper DAW with iZotope, Waves, and Universal Audio plugins. The reel source - being a recording of the main PA and thus almost soundboard like - plus an audience recording from out in the room reinforce each other well if combined. This requires very precise sync alignment between sources which is easily handled with lossless Elastique Pro veri-speed pitch/time correction in Reaper. The right channel alone of each recording is used here. The left channels offered no extended content or fidelity for either recording.
You hear the sound of the close drum mics on the snare and toms in the PA speaker recording while the cymbals are far away. (Cymbals are often un-mic’d because they project in the room by themselves and they’re actually already a problem bleeding into the vocal mics.) Vocals and guitar are up close and detailed. The room recording has present cymbals and more keys/organ especially as it projected from the surround speakers. Some elements of their surround in motion mixing are preserved between the two recordings especially in STCFTHOTS and Cymbaline.
The choice between the original transfer and the A_L transfer is difficult. Using both together would be a magical best case but would only be possible if the sync between them could be made perfect. Even the slightest slightest drift between copies from the same original source will flange. If you get them to 99% sync with Elastique Pro in a DAW, sometimes you can get lucky with iZotope RX adaptive azimuth correction and it nails it. This was one of those lucky times. I was able to blend between the 3 transfers of the PA speaker recording reel for the most complete fidelity.
The 5.1 surround presentation in this master has the mono PA recorder front L,R and the audience recorder rear L,R. The center channel is a blend of the mono PA recorder with isolated cymbals from the audience recorder to put Nick’s drum kit back together front and center and then have the (mono remains of) the PA speakers firing front L,R. The audience recorder brings up the room from the rears. There’s certainly more missing with the surround than preserved but some front to back motion is preserved. The stereo mix has the PA recorder just left of center 15%, the center drums centered, and the audience is harder right at 65%. The L,R pans go 100% for the featured surround parts in STC and Cymbaline to preserve the panning in stereo.
The loud section in the first track CWTAE, is overloading the recorders. It cleaned up OK-ish. The sound opens up on the 2nd track. Some genuine surround play elements captured in STC and this track comes across properly with the whispered vocals and delicate parts clearly audible. As these things often go, the PA speaker recording cuts out before the end of the show. The 2nd half of Blues, Echoes, and ASOS come form the mono audience recorder alone.
*Release formats*
2 recorder 5.1 master 24/96 & 24/48
2 recorder stereo master 24/96 & 16/44.1
PA recorder 24/96 & 16/44.1
audience recorder 24/96 & 16/44.1
Original raw PA reel transfer 16/44.1
Mystery Room raw PA reel transfer 24/96
A_L raw PA reel transfer 24/96
All FLAC level 8. Sample rate reduction for SD versions with SOX codec. 16 bit conversion with Waves IDR.
Raw versions are indexed and speed corrected (lossless) but otherwise unprocessed original digital files in the original sample format and the original stereo format with inferior left channel.
Jimfisheye - Nov 2019 |
2 flac
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|
| 95. |
10/17/71 |
Convention Hall - San Diego,
CA |
A |
Lineage: 2nd gen TDK SA-C90 cassette (1979) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) > Adobe Audition 3.0.1 > flac (32bit/96kHz float) > speed correction > flac (24bit/96kHz) > wav (16bit/44.1kHz)
Tracked with CD Wave, encoded to flac 8 with TLH.
xACT used to create FFP
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2 flac
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|
| 96. |
10/28/71 |
Hill Auditorium - Ann Arbor,
MI |
A- | 2nd gen > DAT(?) > CDR > ? > shn@44.1kHz/16bit
shns converted to flac level 8 with foobar2000 v0.8.3, verified to be bit identical
Reeling in Pink Floyd CD DVD1 source
Needs left channel increase various mic bumps still a solid recording |
2 flac
|
|
| 97. |
10/31/71 |
Fieldhouse - Toledo,
OH |
B++ | Unknown Mics, recorder and media >
unknown >
CD-r >
Playback Deck: HHB CDR-800 Compact Disc Recorder >
Behringer Ultragraph Digital DEQ1024 - 31 Band 24 Bit Digital Graphic Equalizer >
Akai DR16 Digital Hard Disk Recorder >
HHB CDR-800 Compact Disc Recorder >
CD-r > WAV > Audacity > CD Wave Editor > FLAC
all digital work done using at least 16 bit 44.1 Khz sampling rate
|
2 flac
|
|
| 98. |
11/05/71 |
Assembly Hall, Hunter College CUNY - New York,
NY |
A- | Lineage: Maxell XLII Epilaxial 90 unknown gen cassettes> *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > FLAC (24bit/96kHz) > Reaper v4.61 > FLAC (16bit/44.1kHz)
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
xACT used to create FFP
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2 flac
|
|
| 99. |
11/06/71 |
Emerson Gym - Cleveland,
OH |
A | "Finally, Now I Understand"
date/venue: 1971-11-06 Emerson Gym, Case Western Reserve University, Cleveland, Ohio
source/lineage: audience / analog master or low gen > cdr(?) > EAC > flac
new source/lineage: audience / analog master or low gen > cdr(?) > EAC > flac > AudioMuxer (join wav's) > Reaper v4.61* > wav > iZotope RX 7 Advanced** > wav > Adobe Audition 3.0.1***
> TLH > flac > iZotope RX 7 Advanced**** > wav > TLH > flac
* speedcorrection with Elastique 3.1.4 Pro
** de-clip & gain adjustments
*** graphic EQ to tone down the lower frequencies & some click removal (Bert13)
**** further cleanup up of artifacts, distracting noises, & some minor adjustments
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2 flac
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|
| 100. |
11/10/71 |
Pavillon de la Jeunesse - Quebec,
QC |
a- | avillon de la Jeunesse, Quebec City, Quebec, Canada
10 November 1971
Lineage: Maxell XLII Epilaxial 90 & 60 low gen cassettes > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > FLAC (24bit/96kHz) > Reaper v4.61 > FLAC (16bit/44.1kHz)
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
xACT used to create FFP
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2 flac
|
|
| 101. |
11/16/71 |
Lisner Auditorium - Washington,
DC |
AA | source/lineage: audience / analog master or low gen source > cdr(?) > original silvers > EAC > wav > flac
new source/lineage: audience / analog master or low gen source > cdr(?) > original silvers > EAC > wav > flac > TLH > wav > iZotope RX 7 Advanced*
> Reaper^ > iZotope RX 7 Advanced* > wav > cd wav > TLH > flac
* piecing the show back together and cleanup
^ speedcorrection with Elastique Pro
|
2 flac
|
|
| 102. |
11/16/71 |
Lisner Auditorium - Washington,
DC |
A | Catalog: RSC CD 104 Oil Well
Misc.: Audience SIAE - ADD, Volume I, Scancode: 8013013410423
Produced: Made in Italy (P) 5/1995
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2 flac
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| 103. |
11/20/71 |
Taft Auditorium - Cincinnati,
OH |
A | *Sources*
Recorder 1: Pink Floyd 1971-11-20 Cincinnati, Recorder 1, low gen HG tapes [24-96]
Lineage: Low gen Maxell XLII-S cassettes (1996/97) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.61 and iZotope RX4 > FLAC (24bit/96kHz)
Recorder 2: 1971-11-20 - Live In Taft - [1st Gen Rec 2] - Taft Auditorium, Cincinnati, Ohio
Lineage: cass/1 > DAT/2 > cdr/? > EAC > wav > shn
*Notes*
Recorder 1 is closest to the stage and has some very good fidelity captured. Recorder 2 is out into the room by the sound of it and significantly lower fidelity. However, it adds to the sound and room ambience and even reveals occasional fragments of the original surround mix due to proximity to the surround speakers vs recorder 1.
Although both recordings are monophonic, the quad surround format is needed to present the front to back perspective and to allow for more of the sound from recorder 2. The stereo mix is presented in a listenable perspective (rather then presenting the recordings hard L/R as data) and as such features much less of recorder 2 sound.
Both recorders 1 & 2 are mono recordings transferred to stereo format tape. The right channel contains a superior recording in both recordings and is used alone for both here. Recorder 1 has some surprising fidelity but its raw condition makes it a challenge to present. The recording is dolby encoded and doesn’t decode well on the tape deck. Transferring the tape without dolby results in the most complete sound even if unnaturally bright and dynamically altered. The particular combination of dolby pre eq and emphasis with the louder lead guitar parts results in thin piercing high mid bursts exaggerated as much as 30db.
Recorder 1 cuts at the end of the seagull section in Echoes. Recorder 2 alone is the source for the end of Echoes and Blues.
*Mastering*
I balanced recorder 1 as well as possible in eq and dynamics. The level fluctuation from the dolby pre emphasis and possibly from recording device compression in addition was corrected as well as reasonable. (ie. You don’t want to just turn down the quieter parts - captured with higher fidelity and dynamics than the loud parts - to be academic.) The shrill emphasis around 3.8k that was going out of control, especially during the loud lead guitar parts, was dynamically eq’d into place.
I synchronized both recorders together to the correct speed. The humble rear recorder restores some natural ambience and surround mix elements as well as the end of Echoes and Blues. I left the recorders to start and stop as they did between songs with no production to smooth anything over. You get the perspective the tapers running their machines at the show.
Audio tools used include Reaper for the main DAW, iZotope RX, Universal Audio and Waves plugins. Speed correction and sync work was done in Reaper using the lossless Elastique Pro 3 algorithm. The quad master is 24 bit 96k 4.0 in a 5.1 container with digital zero C & Lfe channels to insure compatibility in all media players. The stereo master puts recorder 1 just left of center and recorder 2 right for the most natural presentation.
Every attempt was made to restore the sound to the fullest quality without damage. Compromises that are often made for challenging recordings for commercial presentation are strictly avoided in favor of preservation of all remaining content, damaged as it might be.
*Release formats*
2 recorder quad master (in 5.1 format) 24/96 & 24/48
2 recorder stereo master 24/96 & 16/44.1
All FLAC level 8. Sample rate reduction for SD versions with SOX codec. 24 to 16 bit conversion by truncation.
Jimfisheye - June 2020 |
2 flac
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|
| 104. |
11/20/71 |
Taft Auditorium - Cincinnati,
OH |
a- | Source 1: g_b_c, "Embryonic Madness" PinkRoioShn-CDR-026 (PRS-CDR-026)
Lineage: Recorder 1 / cass[M] > cdr(?) > shn > wav > Adobe Audition 1.5 (minor
editing) > cd wav (tracking) > TLH > flac
Source 2: Recorder 2
Lineage: Cass/1 > DAT/2 > cdr/? > EAC > wav > shn
Remaster
01. Re-balance frequencies/EQ, each source
02. Repair bumps, clicks, pops and other tape errors, each source
03. Reduce tape noise as well as hum when it occurred, each source
04. Correct pitch and speed using commercial sources as reference
05. Patch multiple missing sections in each source with the other
06. Sync sources
07. Combine sources to generate stereo field
08. Correct phasing
09. Adjust power, balance and center stereo field
10. Remove redundant sections
11. Adjust dynamics
12. Re-track as continuous show. CD burn 1-4, 5-8
Notes:
Last performance of Cymbaline, ever.
Last performance and longest version of The Embryo ever recorded.
End of Echoes and Encore Blues only present in source 2. Lower fidelity in this segment.
Some CWTAE-type screaches during Embryo.
Bird chirping during quiet keyboards and lyrics of Fat Old Sun.
Baby cries at the beginning of Set the Controls.
It is heard well in source 2 and heard in the distance in source 1
Man yells Yea at end of Careful with that Ax, heard in both sources but much closer to source 1,
Original Source 1 notes:
This is a historic show for many reasons. The first is that this is the last gig of the 1971 tour, this date was a replacement date for the concert that was originally schedeuled on October 30th at the Music Hall in Cincinnati. A couple more reasons (and these are the good ones) are that this performance marks the last time the band ever performs 2 songs which had been staples of their setlist for quite some time, one song being The Embryo and the other one being Cymbaline. The Embryo contained here is the longest version to have ever been recorded, lasting about 26 minutes ... incredible!!! The band is quite hot this night too and therefore all the songs are performed very well in my opinion. This is the 1st recorder for this date and unfortunately it is not complete, missing some of Echoes and all of the encore, Blues. This is, however, the better sounding of the 2 recorders for this date and deserves a very nice EX rating. It's something special when you get all these goodies in one RoIO, please enjoy responsibly!
Original Source 2 notes:
The whole concert from the 2nd source! This is the source that is often used to complete Echoes and Blues. It comes from a 1st generation tape, reaching into the VG-/VG area for sound quality. Apart from a few drops at the begining of CWTAE and a cut during the Blues number, this is very decent, very listenable. It's 3 CDs although it could fit on 80 mins. The performance is sublime, as we all know it. It's always interesting to collect all available sources since you get a different feel for the show. I strongly recommend this one! 145 minutes of Pink Floyd at their best.
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2 flac
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|
| 105. |
01/20/72 |
The Dome - Brighton,
UK |
A | A(0)->HiFi VHS->DAT(2)->SHN
Rating: EX- (IMHO YMMV)
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2 flac
|
|
| 106. |
01/20/72 |
The Dome - Brighton,
UK |
A- | Catalog: PYCD 065-2 Triangle
Misc.: AAD, Made in the EEC
Produced: Manufactured in Italy by Opti.Me.S |
2 Flac
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|
| 107. |
01/22/72 |
Winter Gardens - Hampshire,
UK |
A | Audience recorder 1
Original source lineage: Cassette (low gen) > Sony Professional WM6 Playback (azimuth aligned) > Marantz DR700 CD Recorder > CD-RW > EAC > Audition (index/edit) > Nero > Verbatim CD-R > EAC > FLAC
Transferred to CDR in 2010 by Journeyman, ripped from CDRs and torrented in 2022
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2 flac
|
|
| 108. |
01/28/72 |
Town Hall - Leeds,
England |
a- | You Are Number Six
Free Range Pigs (FRP CDR-030/31)
Comments: Recorded at The Town Hall in Leeds. This one is another amazing find. It's one of the earliest Dark Side shows - the sixth to be exact. This tape captures the entire show, including a lengthy 'Speak To Me' punctuated by members of the crowd calling to each other. You can hear cash register sound effects and a cow mooing as well. Or was that a sheep?
There is a fair amount of hiss, which is not unusual considering the age of this tape. Over 32 years! The last two tracks of the Dark Side should be called "warped" versions, since there is a ton of warble. Even Mo Becks would be challenged to work this one out. It finally lets up a minute or so into One Of These Days.
The original taper copied his source and sent it to a friend, who forwarded it on by his friend to our good friend JCE, who took sterling care of it over the years. He was kind enough to share it with us all. More precisely, the lineage is; Cassette(1 or 2)>Edirol UA-3FX>HDD>CEPro>WAV>SHN.
Show Notes:
The crowd is very quiet, which is not surprising, since we'd be too, if we had the chance to hear one of the first Dark Side performances.
'Money' is a fun listen, especially since the boys don't get the harmony quite right during the opening. There is a small break in the recording during 'Brain Damage'. It's obvious from the sound that the taper was moving around for some reason -- maybe to see the effects? We also suspect he was starting to have battery problems.
This is unfortunate because a good bit of 'Eclipse' suffers from speed issues that would have taken another 32 years to fix! This lingers a little bit into 'One Of These Days' although it is not as bad; it slowly resolves itself and is gone by the end of the track.
It's great that the taper captured the break after 'Dark Side' even though it is sometimes muffled, probably from hiding the mic. You can hear wind effects, a dog howling, and the boys tweaking their instruments in between. This is rare for an early 1972 recording.
During 'Echoes', there is a small break, with no loss of music. The tape includes the entire band break with audience applause after 'Echoes'. Seamless.
Credits: Jim Canale (bigpig@freerangepigs.com) and Free Range Pigs would like to thank the following people for their contributions to this effort:
JCE for donating this rarest of jewels for us to enjoy.
The Pentagon Pig for providing Project Coordination and Quality Assurance.
The Hirsute Swine for providing Tree Admin Services, and a kick in the pants where needed.
Busy Day Productions for creating the Ambient Artwork.
Without these guys, none of this would have been possible.
------------------------------------------------------------------------------
If you are reading this, this is the speed-corrected version of this show. It generally ran about 3% too slow and all files are now A4 = 440. They were then re-encoded to APE Level 4. |
2 flac
|
|
| 109. |
02/17/72 |
Rainbow Theatre - London,
England |
B++ | Floyd
Rainbow Theatre, Finsbury Park, London, England
17 February 1972
Lineage: 1st gen TDK SA90 cassettes (1983) > Nakamichi RX-505 > Edirol UA-5 > Audacity > WAV > CD Wave > FLAC
xACT used to create FFP
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2 flac
|
|
| 110. |
02/17/72 |
Rainbow Theatre - London,
England |
A- | (BERKELY 2034) Vinyl Rip
Lineage :
Audio technica LP120 > Audacity > WAV > Vegas Pro 15 > FLAC
Notes :
The record was found out of the blue by my father, the record was spotted at a local record store by my dad while I was at work
he sent me a photo of it and I checked floydboots.com and checked what it was and to my surprise it was a really rare record
and for a steal price, he picked the record up for $50 and I paid him back after work.
The record looks and sounds almost brand new, no warping, no major or minor scratches on the vinyl.
It's a nice piece that I think should be ripped to the best of my abilities and shared with the Y Community!
added photos of the record & the sleeve
Shine On,
Atomic |
2 flac
|
|
| 111. |
02/18/72 |
Rainbow Theatre - London,
UK |
a- |
Lineage: Maxell XLII Cassette (low) > Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > FLAC (24bit/96kHz) > Reaper v4.76 > FLAC (16bit/44.1kHz)
xACT used to create FFP
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2 flac
|
|
| 112. |
02/19/72 |
Rainbow Theatre - London,
UK |
a- |
Lineage: 2nd gen TDK SA90 tapes > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Reaper v4.61 and iZotope RX3 > FLAC (16bit/44.1kHz)
xACT used to create FFP
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2 flac
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| 113. |
02/20/72 |
Rainbow Theatre - London,
UK |
a- | A remaster in 44.1k (CD resolution) from the 32k master for anyone who cannot play 32k audio files. Sample rate converted with Pro Tools highest quality setting. This will be desirable over the on-the-fly SRC built into many media players. Technically this is a LOSSY conversion in a higher quality format (any digital SRC is lossy). However, since the only way to listen to the master LOSSLESSLY would be with hardware DACs that support 32k, this SRC version done under controlled conditions may be desirable.
Note that the filler tracks (OOTD,Echoes) from 5-21-1972 from the original DAT have not been included here as there are far better and more complete recordings available.
2 sources of different quality and unknown generation > 32k DAT > SHN > ProTools(SRC@44.1+levels) > AIFF > FLAC
1. Careful with that Axe, Eugene
2. Cymbaline
3. A Saucerful of Secrets
4. The Embryo
5. Interstellar Overdrive
6. Set the Controls for the Heart of the Sun
7. Consequently
8. Set the Controls for the Heart of the Sun (no eq version)
9. Consequently (no eq version)
Notes from the 32k source:
Its a 32khz version that appears to be or related to GBC's, described as follows. -littlepieces
*********GBC comments**********************************
1ST GENERATION 32khz unprocessed
Label -.-
Date & Place Niedersachsenhalle, Hannover, Germany, March 15th 1970
Sound Quality Disc 1 is VG+, Disc 2 is EX-
Source Audience
Generation cass[1] > DAT(2)@32khz > SHN > WAV > Soundforge 8 (reindex) > Cdwave (split) > FLAC@32khz
Disc 1 (55:04m)
1. tunings (0:29m)
2. CAREFUL WITH THAT AXE, EUGENE (8:14m)
3. tunings (0:29m)
4. CYMBALINE (8:32m)
5. tunings (0:16m)
6. A SAUCERFUL OF SECRETS (14:11m)
7. THE EMBRYO (9:14m)
8. INTERSTELLAR OVERDRIVE (13:38m)
Disc 2 (30:43m)
1. SET THE CONTROLS FOR THE HEART OF THE SUN (11:43m)
3. THE AMAZING PUDDING (19:00m)
Comments well i thought the other unprocessed sources were the best versions out there, but i was wrong. What a really nice surprise, this comes from a DAT@32khz (some other DATs at 48Khz were resampled from this one, so originally it is 32khz), and being 32khz or whatever, this sounds nice.
Sounds brighter, clearer & louder than the other sources, specially StC & AHM which sound superior to the rest of the recording as on the other versions. Also, frequencies here look pretty nice really, and i dont hear this was processed at all. I received this as a long SHN dump straight from the DAT, it came with StC as first track as on many other versions, so i moved it
before AHM to make the right setlist. Also, i removed 16 seconds of applause
repeated at the end of IO. I have the original untracked/unedited SHN file if
you want that.
Now, about the imperfections of this recording. One thing about the 'swoshing cymbals' that are native to this recording, at first i thought that a pre-recorded tape was used cos on the louder parts you hear like 2 different bands playing, but i really think now that maybe the media the taper used was damaged, cos the sowshing noise and the 'pre-recorded' tape thing only appear on the louder parts. When the music gets quiet you dont hear anything strange noise or swoshing cymbales on the back, except the hiss. First 3 tracks are mostly damaged by this, but Embryo & IO are almost free of this imperfection.
Now the interesting stuff. StC & AHM sounds clearly different, brighter and
better defined than the rest of the recording. The announcement before AHM is from the main source, you can hear the sudden change of sound. I have many theories about this, but the fact of that patch on the announcement before AHM makes me think this is from 2 different recorders (StC & AHM being recorder 2 and the rest being recorder 1). Of course. We've seen too many releases of recordings that are patches from 2 recorders, like 1972-11-15 or 1972-10-21 where one recorder was used for the music mainly and the other for the audience/chatter parts. I think this is another case, but i dont have any more info about this apart of my research.
About the performance, this is one of my favorites shows, they were really on fire that night. -gbc
************************************************** ****************
This originally had STCFTHOTS as track 1. but...
The trackorder has been changed and is not correct. According to 'In The Flesh' by Povey and Russell the correct order should be: Astronomy Domine/Careful With That Axe, Eugene/Cymbaline/A Saucerful Of Secrets/The Embryo/Interstellar Overdrive/Set The Controls For The Heart Of The Sun/The Amazing Pudding (Consequently)
Considering setlists of the period, consistent sound quality of STCFTHOTS and Consequently vs the rest, the extra isolated applause bit after IO applause cuts off which suggests the removal of a song, the above comment sounds reasonable. I can also see someone making a production decision to open the disc with one of the better sounding tracks vs audience banter from the lesser source since the alleged opening song is missing. So that's the track order I went with.
Additional remaster notes:
In ProTools the files were sample rate converted to 44.1k with the highest quality settings. The lever dropped drastically early in track 1 on the master. This was corrected. All level correction in the positive direction with no limiting of any kind. STCFTHOTS and Consequently have a loud 240Hz tone in the recording (likely some artifact from the original recorder or subsequent dub). This was reduced with Waves Linear Phase EQ. Un-eq'd versions are included as extra tracks. Some very loud microphone bumps were removed from CWTAE. The little repeated bit at the start of Embryo and other "silent" pauses removed.
The master is a 32k recording which means a top frequency responce of 16kHz. ANY digital eqing in the high end tends to do more harm than good in these types of recordings IMHO.
Thanks to the many people involved from taping to transferring, sharing and note taking. As usual, no selling, share with everyone and try not to molest the poor thing any further with mp3.
JFE 2008
Total running time 1 hour 21 mins 20 secs
A new 1st gen source for Steve B's recording of this concert, which is clearer and has better high end than previous copies.
You may have my August 2015 2nd gen source. The hiss on the 2nd gen oscillates slightly, making it more distracting. If you concentrate on Nick's cymbals and hi-hats they are more present on this 1st gen.
I could have taken a subtle decrackler to my transfer but a completely raw release appealed to me.
A bit of trivia for people outside the UK; Roger's "I can''ear ya" before STC is mimicking a North / East London accent.
Vince 666 checked the recording speed for me and it runs slow by up to 1%.
In more detail:
OOTD is just around 1% slow
CWTAE is around 0,5% slow
Echoes is OK or at max 0,5% slow
ASOS is around 1% slow
Blues is around 0,5% slow
STC is around 1% (around the beginning) to 0,5% slow (around the end)
Careful53 cassettes / Neonknight tape transfer, July 2017 |
2 flac
|
|
| 114. |
02/22/72 |
Winter Gardens - Bournemouth,
UK |
A | "50th Anniversary" MOB remaster of "Eclipse Of The Dark Side" bootleg CD (Gold Standard DEPSIX000, 1999)
Lineage: Recorder 2 > unknow gen tape > "Eclipse Of The Dark Side" CD (1999) > MOB remastering (2022) > FLAC
Remastering:
- speed correction (original bootleg ran slow)
- restoration of Breathe first two bars
- restoration of missing frequencies
- EQ
- manual repairing (clicks and drop-outs)
- channels rebalancing |
1 flac
|
|
| 115. |
03/06/72 |
Taiikukan - Tokyo,
Japan |
A | PINK FLOYD The Darker Side Of Rising Sun Japan 1972 Chronicles
The Godfather Box G.R. BOX 24
Matrix Disc 01: G.R. BOX 24A - B CD1
Matrix Disc 02: G.R. BOX 24A - B CD2
Matrix Disc 03: G.R. BOX 24C - D CD1
Matrix Disc 04: G.R. BOX 24C - D CD2
Matrix Disc 05: G.R. BOX 24E - F CD1
Matrix Disc 06: G.R. BOX 24E - F CD2
Matrix Disc 07: G.R. BOX 24G - H CD1
Matrix Disc 08: G.R. BOX 24G - H CD2
Matrix Disc 09: G.R. BOX 24I - L CD1
Matrix Disc 10: G.R. BOX 24I - L CD2
Matrix Disc 10: G.R. BOX 24M - N CD1
Matrix Disc 12: G.R. BOX 24M - N CD2
(P) 2014 Made In Japan
BOX Ticket Miniposter Tour Book Scans
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.
The box also contains a Tokyo Concert Poster, Ticket Reproduction, and a
24 Page Tour Book.
BOX approx.16,5cm x 16,5cm x 6,5cm
|
2 flac
|
|
| 116. |
03/07/72 |
Taiikukan - Tokyo,
Japan |
A | Lineage
Bootleg(Tokyo 1972 2nd Night Sigma161) Silver CD > Xrecode3 > FLAC (Level 5)
|
2 flac
|
|
| 117. |
03/07/72 |
Taiikukan - Tokyo,
Japan |
A | PINK FLOYD The Darker Side Of Rising Sun Japan 1972 Chronicles
The Godfather Box G.R. BOX 24
Matrix Disc 01: G.R. BOX 24A - B CD1
Matrix Disc 02: G.R. BOX 24A - B CD2
Matrix Disc 03: G.R. BOX 24C - D CD1
Matrix Disc 04: G.R. BOX 24C - D CD2
Matrix Disc 05: G.R. BOX 24E - F CD1
Matrix Disc 06: G.R. BOX 24E - F CD2
Matrix Disc 07: G.R. BOX 24G - H CD1
Matrix Disc 08: G.R. BOX 24G - H CD2
Matrix Disc 09: G.R. BOX 24I - L CD1
Matrix Disc 10: G.R. BOX 24I - L CD2
Matrix Disc 10: G.R. BOX 24M - N CD1
Matrix Disc 12: G.R. BOX 24M - N CD2
(P) 2014 Made In Japan
BOX Ticket Miniposter Tour Book Scans
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.
The box also contains a Tokyo Concert Poster, Ticket Reproduction, and a
24 Page Tour Book.
BOX approx.16,5cm x 16,5cm x 6,5cm
|
2 flac
|
|
| 118. |
03/08/72 |
Festival Hall - Osaka,
Japan |
A | Source: Audience Recording
Lineage: Sirene-007 Boot 2CD > WAV > EAC > FLAC
|
2 flac
|
|
| 119. |
03/08/72 |
Festival Hall - Osaka,
Japan |
A | original source/lineage: audience Recorder 3 / LP > original silvers > flac
new source/lineage: audience Recorder 3 / LP > original silvers > flac > AudioMuxer 0.9.6.4 (join flacs) > iZotope RX 7 Advanced* > wav > TLH > flac
*re-track, manual click & pop removal, azimuth adjustment
|
2 flac
|
|
| 120. |
03/08/72 |
Festival Hall - Osaka,
Japan |
A | PINK FLOYD The Darker Side Of Rising Sun Japan 1972 Chronicles
The Godfather Box G.R. BOX 24
Matrix Disc 01: G.R. BOX 24A - B CD1
Matrix Disc 02: G.R. BOX 24A - B CD2
Matrix Disc 03: G.R. BOX 24C - D CD1
Matrix Disc 04: G.R. BOX 24C - D CD2
Matrix Disc 05: G.R. BOX 24E - F CD1
Matrix Disc 06: G.R. BOX 24E - F CD2
Matrix Disc 07: G.R. BOX 24G - H CD1
Matrix Disc 08: G.R. BOX 24G - H CD2
Matrix Disc 09: G.R. BOX 24I - L CD1
Matrix Disc 10: G.R. BOX 24I - L CD2
Matrix Disc 10: G.R. BOX 24M - N CD1
Matrix Disc 12: G.R. BOX 24M - N CD2
(P) 2014 Made In Japan
BOX Ticket Miniposter Tour Book Scans
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.
The box also contains a Tokyo Concert Poster, Ticket Reproduction, and a
24 Page Tour Book.
BOX approx.16,5cm x 16,5cm x 6,5cm
|
2 flac
|
|
| 121. |
03/09/72 |
Festival Hall - Osaka,
Japan |
B++ | Lineage 1st Set and 35 secs of tunings before CWTAE: Echoes From Osaka, unknown label (BS-10-11) > EAC > flac
Lineage 2nd Set: Cass(4) > CDR(0) > EAC > flac
Additional lineage: flac > TLH > wav > Adobe Audition 3.0.1* > wav
Tracked with CD Wave, encoded to flac 8 with TLH, tagged with foobar2000
* - speed corrected 1st Set (102.1 stretch)
- speed corrected 2nd Set (101.3 stretch)
- filtered out interference just below 16kHz during first part
- cleaned up diginoise and ticks and deleted digital silences
- declicked 2nd Set
- de-amplified 2nd Set -2.1dB
|
2 flac
|
|
| 122. |
03/09/72 |
Festival Hall - Osaka,
Japan |
A | PINK FLOYD The Darker Side Of Rising Sun Japan 1972 Chronicles
The Godfather Box G.R. BOX 24
Matrix Disc 01: G.R. BOX 24A - B CD1
Matrix Disc 02: G.R. BOX 24A - B CD2
Matrix Disc 03: G.R. BOX 24C - D CD1
Matrix Disc 04: G.R. BOX 24C - D CD2
Matrix Disc 05: G.R. BOX 24E - F CD1
Matrix Disc 06: G.R. BOX 24E - F CD2
Matrix Disc 07: G.R. BOX 24G - H CD1
Matrix Disc 08: G.R. BOX 24G - H CD2
Matrix Disc 09: G.R. BOX 24I - L CD1
Matrix Disc 10: G.R. BOX 24I - L CD2
Matrix Disc 10: G.R. BOX 24M - N CD1
Matrix Disc 12: G.R. BOX 24M - N CD2
(P) 2014 Made In Japan
BOX Ticket Miniposter Tour Book Scans
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.
The box also contains a Tokyo Concert Poster, Ticket Reproduction, and a
24 Page Tour Book.
BOX approx.16,5cm x 16,5cm x 6,5cm
|
2 flac
|
|
| 123. |
03/10/72 |
Taisyougun Furitsu Taiikukan - Kyoto,
Japan |
A | PINK FLOYD The Darker Side Of Rising Sun Japan 1972 Chronicles
The Godfather Box G.R. BOX 24
Matrix Disc 01: G.R. BOX 24A - B CD1
Matrix Disc 02: G.R. BOX 24A - B CD2
Matrix Disc 03: G.R. BOX 24C - D CD1
Matrix Disc 04: G.R. BOX 24C - D CD2
Matrix Disc 05: G.R. BOX 24E - F CD1
Matrix Disc 06: G.R. BOX 24E - F CD2
Matrix Disc 07: G.R. BOX 24G - H CD1
Matrix Disc 08: G.R. BOX 24G - H CD2
Matrix Disc 09: G.R. BOX 24I - L CD1
Matrix Disc 10: G.R. BOX 24I - L CD2
Matrix Disc 10: G.R. BOX 24M - N CD1
Matrix Disc 12: G.R. BOX 24M - N CD2
(P) 2014 Made In Japan
BOX Ticket Miniposter Tour Book Scans
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.
The box also contains a Tokyo Concert Poster, Ticket Reproduction, and a
24 Page Tour Book.
BOX approx.16,5cm x 16,5cm x 6,5cm
|
2 flac
|
|
| 124. |
03/13/72 |
Nakanoshima Sports Center - Sapporo, Hokkaido Island,
Japan |
AA | The Great Gig On The Moon CD > WAV > FLAC > WAV > COOL EDIT PRO 2.1 > WAV > FLAC
Originally Released by Eelhouse [2004-08-xx]
Editted and Remastered by Spectre [2006-07-07]
|
2 flac
|
|
| 125. |
03/13/72 |
Nakanoshima Sports Center - Sapporo, Hokkaido Island,
Japan |
A | PINK FLOYD The Darker Side Of Rising Sun Japan 1972 Chronicles
The Godfather Box G.R. BOX 24
Matrix Disc 01: G.R. BOX 24A - B CD1
Matrix Disc 02: G.R. BOX 24A - B CD2
Matrix Disc 03: G.R. BOX 24C - D CD1
Matrix Disc 04: G.R. BOX 24C - D CD2
Matrix Disc 05: G.R. BOX 24E - F CD1
Matrix Disc 06: G.R. BOX 24E - F CD2
Matrix Disc 07: G.R. BOX 24G - H CD1
Matrix Disc 08: G.R. BOX 24G - H CD2
Matrix Disc 09: G.R. BOX 24I - L CD1
Matrix Disc 10: G.R. BOX 24I - L CD2
Matrix Disc 10: G.R. BOX 24M - N CD1
Matrix Disc 12: G.R. BOX 24M - N CD2
(P) 2014 Made In Japan
BOX Ticket Miniposter Tour Book Scans
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.
The box also contains a Tokyo Concert Poster, Ticket Reproduction, and a
24 Page Tour Book.
BOX approx.16,5cm x 16,5cm x 6,5cm
|
2 flac
|
|
| 126. |
03/30/72 |
Free Trade Hall - Manchester,
UK |
B++ | Revision B
Original source lineage: Mono Philips Cassette Recorder > Cass(M/1) (Scotch-120) > CDR(1) > shn
Additional source lineage: shn > TLH > flac > Adobe Audition 3.0.1* > flac (Revision A)
May 2019: appended tracks, re-speed corrected with Reaper v5.35 (0.99 time shift)
Tracked with CD Wave, encoded to flac 8 with TLH, tagged with foobar2000
* - clip restoration / de-amplification / levels adjustments
- speed correction 97.3 shrink
- cleaned up of ticks, clicks, digital silence and two fragments of repeated material during Echoes and before STC
- interference just below 16kHz filtered out
- missing / damaged audio fragments during Echoes and before STC inserted / replaced with the processed Completely Replay, Blue Cafe RoIO
|
2 flac
|
|
| 127. |
04/15/72 |
The Sportatorium - Hollywood,
FL |
B++ | cass[M]>[hifi]>DAT>cdr |
2 flac
|
|
| 128. |
04/16/72 |
Township Auditorium - Columbia,
SC |
A | http://www.hokafloyd.com/CD3/Massed_Gadget_Of_Hercules/The_Massed_Gadget_Of_Hercules_1970_1974.htm
PF - The Massed Gadgets Of Hercules 1970 – 1974 - Godfather GR BOX 09
Several Species Of Some Unique Performances Gathered Together In A Box And Making A Joy
Fantastic 10 CD Box-Set with five shows.
INCLUDING:
5 Double Trifold Cardboard Sleeve CDs (Pictured)
• 28 PAGE BOOKLET (Scans here)
• 1972 US TOUR BOOK REPLICA
disc 5 & 6 |
2 flac
|
|
| 129. |
04/27/72 |
Ford Auditorium - Detroit,
MI |
A | All Sources: ACL2005>CDR>EAC>FLAC
Source1: "War In The Head LP" FLAC: Declicked/Decrackled, Speed Corrected, Level Adjusted, Track Order Corrected
Source2: "Pandoras Box" Silver: Speed Corrected -2.7%, Upgrade Bonus Tracks: STC and Blues.
"War In The Head" was generally rated VG to VG/VG+, primarily because it was a raw rip from no better than average condition Vinyl. Though often a bit thin and sometimes shrill, it has pretty strong fidelity, but is full of vinyl artifacts, e.g. snap, crackle, pop, static etc. the usual. Also many level fluctuations, mostly drop offs of various amounts throughout the whole recording. Also, IMO, the speed was off on the Dark Side set and on some of the second set as well. Finally the track order of the second set was incorrect.
IMHO, though the vinyl source is still a bit rough, after the adjustments this version is much more listenable now and the Bonus tracks from "Pandoras Box" from this date are nice upgrades to the other sources from this date. The PB bonus tracks on disc 2 can be placed before their vinyl counterparts if one chooses with no transition issues. Enjoy.
|
2 flac
|
|
| 130. |
04/28/72 |
Auditorium Theater - Chicago,
IL |
a- | 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
|
2 flac
|
|
| 131. |
04/28/72 |
Auditorium Theater - Chicago,
IL |
AA | 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. |
2 flac
|
|
| 132. |
04/28/72 |
Auditorium Theater - Chicago,
IL |
A | *** 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.
|
2 flac
|
|
| 133. |
05/02/72 |
Carnegie Hall - New York,
NY |
A | Original Transfer Notes:
Nakamichi DR2 > KorgMR1000 DSDFF@5.6MHz > Audiogate > 24/88.2 > Wavelab 6 > Ozone4 > CDWave > R8Brain(16/44.1)
MOTB Remastering Notes:
Ñ slight overall tape hiss reduction using Izotope RX Denoiser 2
Ñ slight EQ and balance adjustments
Ñ lowered audience applause gain after each song
Ñ removed a few very loud claps
Ñ there is one section of "Careful" where the mics get overloaded, can't fix
Ñ there is a tape flip during "Echoes", can't fix
Ñ overall the gain was slightly increased with less tape noise
Ñ thanks goes to Ken Lee for recording this amazing show |
2 flac
|
|
| 134. |
05/04/72 |
Music Hall - Boston,
MA |
a- | A JOE MALONEY MASTER KRW_CO TRANSFER
LINEAGE AUDIENCE ANALOG MASTER TO WAV TO
AUDIO CLEANING LAB FOR TAPE FLIP EDITS AND TRACK MARKS ONLY
TO CDR KRW TRANSFER TO EAC TO TLH FLAC LEVEL 8
NO EQ OR REMASTERING
|
2 flac
|
|
| 135. |
05/21/72 |
Insel Grün - Germersheim,
West Germany |
A | Source: 'Double Bubble' vinyl LPs recorded on a That's VX 90 cassette (circa 1987-89).
Lineage: 2 x 'Double Bubble' vinyl LPs > That's VX 90 cassette > Technics RS-B565-MH * > Echo Audiofire 4 > WAV 24bit 96Khz > WAV 32bit 96Khz > declick > speed correction > gain adj. > downsampling to 44.1Khz > dither to 16 bits > WAV 16bit 44.1Khz > FLAC 16bit 44.1Khz
* The Technics RS-B565-MH is a deck modified by vince666
This is a Remastered version of the transfer made by vince666 in 28 june 2020.
|
2 flac
|
|
| 136. |
05/21/72 |
Insel Grün - Germersheim,
West Germany |
a- | New High Definition transfer from Marbal's own 1st Generation Safety Cassette. Artwork production by Beechwoods.
Lineage History:
-Master Recording (1972-05-21): Telefunken Magnetophon 300 reel to reel
-RtR to Cassette (1981-09-18): ASC AS 5000 reel to reel > unknown cassette deck > Maxell UDXLII C90 cassette (Dolby 'On')
-1st Gen Cassette (2011-07-18): Nakamichi CR7A > Maxell UDXLII C90 cassette (Dolby 'On') > Tascam HD-P2 (WAV 24bit/96kHz) ===> Adjustments (WAV 32bit float/96kHz) > WAV (16bit/44kHz) > CDWave (1.98) > FLAC
|
2 flac
|
|
| 137. |
06/28/72 |
The Dome - Brighton,
UK |
a- | from marbal's cassettes / transferred by pinkrudy on february 2008
Generation: Maxell XLII90 & Maxell XLII60 cass[3] > Sony CFD-G500 >
SB X-Fi Xtrememusic > Cooledit Pro > WAV 24/48 > FLAC 24/48
Total Time 105:48m
1. DAKR SIDE OF THE MOON (44:30m)
2. ONE OF THESE DAYS / CWTAE / ECHOES (43:58m)
3. SET THE CONTROLS (17:20m)
|
2 flac
|
|
| 138. |
09/10/72 |
McFarlin Auditorium, SMU - Dallas,
TX |
a- | transferred by Furry_Animal from M.B. tapes
Tape recorded on May 5th 1983
Recording source .. Audience
Sound Quality ..... EX-
Tape source ....... Maxell UDXLII C90 3rd generation cassette w/ Dolby B
Transfer .......... Sony CD/Cass deck TXD-RE210 > Creative Sounblaster X-FI
Platinum > HD > Auditon 1.5 > 24b/48Khz WAV > Adobe
Audition (file merge) & CDWave 1.95.1 (track) > FLAC
Total time ........ 87:32m |
2 flac
|
|
| 139. |
09/22/72 |
Hollywood Bowl - Los Angeles,
CA |
A | cass(low)>eac>flac
|
2 flac
|
|
| 140. |
09/22/72 |
Hollywood Bowl - Los Angeles,
CA |
AA | Source:
ECM-22P mics > Sony 770 reel @ 7 1/2 ips
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
There are 2 entries one was a store bought copy and the other was done by Flying M Productions |
2 flac
|
|
| 141. |
09/22/72 |
Hollywood Bowl - Los Angeles,
CA |
A | Today we got 49th anniversary of this legendary show and here's my own contribution to it. What I am doing is sharing with my fresh rip I did from my almost mint copy of the very first pressing of the Crackers set. Released in 1978, it was originally issued as a triple single hard cartoon pocket envelope, soon reissued couple of times. The latter pressings from 1979 onwards were famous heavy hinged open boxes with inserts. Speaking in other words, Crackers has been released many times, as it was a very popular and on-demand title throughout entire 1980s. More info can be found here: http://www.floydboots.com/pages/crackers.php
I did two separate versions. The first is just a raw vinyl rip, without absolutely no processing, with all the crackles, pops and other factors. The second is a fully declicked and speed/pitch/phase corrected version, where I was able to eliminate most of the issues and this including several pops and some surface noises too. There's absolutely no technical procession on it, no EQ or other digital interferences. To be honest, I was always very unsatisfied with what I could find on the tracker, and this is my own attempt to make this particular version sounding better. Unless we get a raw tape transfer made by Jon Wizardo, this is possibly the best version of this source.
Lineage (raw version): Crackers 3LP set (first pressing) -> Pioneer PL-550 -> Steinberg UR44 -> Reaper -> WAV 24/96 -> TLH -> FLAC 24/96
Lineage (remastered version): Crackers 3LP set (first pressing) -> Pioneer PL-550 -> Steinberg UR44 -> Reaper -> WAV 24/96 -> mastering @ Elastique Pro 3 & Izotope (declicking and this featuring removing bigger pops by hand, pitch/speed/phase correction, manual volume and channel adjustments, etc.) -> TLH -> FLAC 24/96
|
2 flac
|
|
| 142. |
09/23/72 |
Winterland Auditorium - San Francisco,
CA |
A- | Title: Winterland 1972
Date: 23-24 September, 1972
Location: Winterland Auditorium, San Francisco, California
Source: TDK Tape 100 Master Reel>Sirene-046 Silver CDs
Copy 77 of 300>EAC>WAV>SHN
Rating: VG+
|
2 Flac
|
|
| 143. |
09/24/72 |
Winterland Auditorium - San Francisco,
CA |
A | 1st gen 1/4“ RtR Scotch 203 Tape (7 1/2 ips)
This show was originally recorded on cassette by JD (the same taper as Pepperland 1970) then copied to open reel
and the cassettes re-used. Sony TC-126 with Powered Single Point Stereo Microphone.
These tapes were 'baked' by Grolsch and smegmaO in June 2011. |
2 flac
|
|
| 144. |
09/24/72 |
Winterland Auditorium - San Francisco,
CA |
8 | Title: Winterland 1972
Date: 23-24 September, 1972
Location: Winterland Auditorium, San Francisco, California
Source: TDK Tape 100 Master Reel>Sirene-046 Silver CDs
Copy 77 of 300>EAC>WAV>SHN
Rating: VG+
|
2 Flac
|
|
| 145. |
10/21/72 |
Empire Pool - Wembley,
UK |
B++ | 1st gen TDK SA90 and SA60 cassettes (1983 type) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz)
xACT used to create FFP
|
2 flac
|
|
| 146. |
10/21/72 |
Empire Pool - Wembley,
UK |
AA |
The Oxfam Concert
The Godfatherecords GR 361/362
Matrix Disc 1: G.R. 361/362 CD1
Matrix Disc 2: G.R. 361/362 CD2
|
2 flac
|
|
| 147. |
11/10/72 |
KB Hallen - Copenhagen,
Denmark |
a- | |
2 flac
|
|
| 148. |
11/10/72 |
KB Hallen - Copenhagen,
Denmark |
A | "Live In Denimerk"
Digital Floyd Archives DFA-029 |
2 flac
|
|
| 149. |
11/14/72 |
Philips Veranstaltungshalle - Düsseldorf,
West Germany |
B++ | http://www.hokafloyd.com/CD4/Dusseldorf_1972_Sigma_105/Dusseldorf_1972_Sigma_105.htm
|
2 flac
|
|
| 150. |
11/15/72 |
Sporthalle - Böblingen,
West Germany |
A | source/lineage: audience Recorder 2 / probably cass[low] > original RoIO > shn > wav
> Adobe Audition 1.5 > cd wav > TLH > flac
> Adobe Audition 3.0 > cdwav > TLH flac
|
2 flac
|
|
| 151. |
11/15/72 |
Sporthalle - Böblingen,
West Germany |
A | ******************************************************************** 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 ****************************************************************************************** |
1 flac
|
|
| 152. |
11/15/72 |
Sporthalle - Böblingen,
West Germany |
A | Soundboard 'Eclipse' - Live In Germany CD
************************************************************************
FLAC Tags Via xACT 2.52 By OldNeumanntapr (+ front cover artwork) |
2 flac
|
|
| 153. |
11/16/72 |
Festhalle - Frankfurt Am Main,
West Germany |
A | Lineage:
- Master Recording (1972-11-16): mono Philips EL3302 portable cassette recorder
- Nakamichi CR7A > Tascam HD-P2 (WAV 24bit/96kHz)
- ProTools 9 HD mastering (2013)
|
2 flac
|
|
| 154. |
11/17/72 |
Festhalle - Frankfurt,
West Germany |
A | Lineage:
- Master Recording (1972-11-17): Grundig TK147 reel to reel
- Master to reel to reel backup (c. 1976): Grundig TK147 > Telefunken Magnetophon 300
- 1st Gen reel to reel (2011-08-05): Pioneer RT707 > Tascam HD-P2 (WAV 24bit/96kHz)
- ProTools 9 HD mastering (2012)
Files:
MASTER: 24bit/96kHz stereo* FLAC
SC: 24bit/96kHz stereo* FLAC (speed corrected only |
2 flac
|
|
| 155. |
11/22/72 |
Salle Valliers - Marseille,
France |
B++ | Lineage -> original cd -> EAC (wav) -> TLH (Flac 8) |
2 flac
|
|
| 156. |
12/01/72 |
Palais des Sports - Saint Ouen,
France |
a- | Harsh Realities [1972 RTL AM broadcast restored]
}{eywood / eckoes 2011
-------------------------------------------------------------------------------------------------------
Details:
Date: December 1st, 1972
Venue: Centre Sportif de l'Ile des Vannes, Saint-Ouen, France
Original Source: AM radio brodcast
Channel(s): Mono (1.0)
-------------------------------------------------------------------------------------------------------
Notes:
In 1972, RTL was one of the most popular radio station in Europe. Despite having their studio in France (they were the intended audience), they had an insanely powerful transmitter in Luxembourg to overcome the French legislation that banned private broadcasting at the time. Because of this, they could be heard all over Western Europe, even in Scotland during beautiful days. At the time, Pink Floyd were very popular in France. They knew it and toured extensively there. It's nonetheless quite surprising that the band agreed to broadcast live one of their shows from there because they only dealt with the BBC for this before and after this show. Well, if you consider that RTL was sponsoring 9 of their concerts in french-speaking Europe at the time, it's not that surprising, maybe it's part of the deal. The show we're talking here is the second from those 9 dates (the original poster for this mini-tour is included in this package). It's their last live broadcast on any media 'til the 1989 Venice TV show (one of their shows was recorded in November 1974, but was edited prior to broadcasting many months later).
-------------------------------------------------------------------------------------------------------
Concert:
That night was special in many ways:
-"Blues" jam, generally played as an encore in a few show, is part of the concert.
-"Childhood's End" make it's live debut in that show. It was played sometimes that month and at a few show in March 1973 before disappearing completly from their setlist. In fact, it's the very first time a song from the album "Obscured By Cloud" (released 6 months before) was played live.
-They played an entire proto "Dark Side Of The Moon" live on the airwaves, almost 4 months before it's release. One can hear that "The Mortality Sequence" is on it's way to become "The Great Gig In The Sky", "The Travel Sequence" jam is still there, and that some arrangements are not quite finished.
|
2 flac
|
|
| 157. |
12/05/72 |
Vorst Nationaal - Brussels,
Belgium |
A+ | |
2 flac
|
|
| 158. |
12/05/72 |
Vorst Nationaal - Brussels,
Belgium |
A | Pink Floyd - (2020) December Moon
2020 Lunatic Records LR-72
Lineage: Orig. -> EAC (WAV) -> TLH (Flac)
Long box with two concerts |
|
|
| 159. |
12/07/72 |
Palais des Sports - Lille,
France |
B++ | |
2 flac
|
|
| 160. |
12/07/72 |
Palais des Sports - Lille,
France |
A | Pink Floyd - (2020) December Moon
2020 Lunatic Records LR-72
Lineage: Orig. -> EAC (WAV) -> TLH (Flac)
Long box with two concerts |
2 flac
|
|
| 161. |
12/09/72 |
Hallenstadion - Zürich,
Switzerland |
A | |
2 flac
|
|
| 162. |
02/04/73 |
Palais des Sports de la Porte de Versailles - Paris,
France |
A | RoIO: "Remembrance of Things Past" (Highland HL281)
Venue: Palais des Sports de La Porte de Versailles
Place: Paris, France
Lineage -> Original Factory Pressed Silver CDs - Highland HL281
Notes: My rip, logs included.
Artwork included
Description: Broadcast/Audience Recording
|
2 flac
|
|
| 163. |
03/06/73 |
Kiel Auditorium - St. Louis,
MO |
A | Generation: cass[4] > Sony CFD-G500 > SB X-Fi Xtrememusic > Cooledit Pro >
WAV 24/48 > FLAC 24/48
Tape Source: Maxell UDXLIIC90&Maxell UDII60 4th Generation cassettes [ {pic} ]
Total Time: 114:34m
|
3 flac
|
|
| 164. |
03/07/73 |
International Amphitheatre - Chicago,
IL |
B++ | Lineage: 1st gen TDK SA90 cassettes (1982-1984 type) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Reaper v4.61 > FLAC (16bit/44.1kHz)
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
xACT used to create FFP |
2 flac
|
|
| 165. |
03/08/73 |
Fieldhouse - Cincinnati,
OH |
A | Extracted to FLAC from original silver CDs via EZ CD Audio Converter
|
2 flac
|
|
| 166. |
03/10/73 |
Gymnasium - Kent,
OH |
B+ | Audience recorder 1
Original source lineage: Cass (unknown gen) (Maxell XLII 60 x 2) (1986/7) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > flac@24/96
Additional source lineage: flac > TLH > wav > Adobe Audition 3.0.1* > wav > CD Wave > wav@24/96
Encoded to flac 8 with Flac Frontend, tagged and verified
|
2 flac
|
|
| 167. |
03/11/73 |
Maple Leaf Gardens - Toronto,
ON |
A | Lineage: 2nd gen TDK SA-X90 cassettes (1990-1991 types) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (16bit/44.1kHz)
|
2 flac
|
|
| 168. |
03/11/73 |
Maple Leaf Gardens - Toronto,
ON |
8 | Obscure Night
Siréne 171 (2006)
Lineage: My Original Silver --> EAC (Wav) --> THL (Flac8)
|
2 Flac
|
|
| 169. |
03/14/73 |
Music Hall - Boston,
MA |
a- | Lineage: MC (master) -> HD recording -> shn -> mkw (V0.97 beta 1) ->
wav (some improvements using EAC V0.95 prebeta 4 and shntool
V2.0.3) -> mkw -> shn (futher details see below) |
2 flac
|
|
| 170. |
03/17/73 |
Radio City Music Hall - New York,
NY |
a- | source: audience / recorder 3
cass[4/5] Maxell XL II High Position 90x2>playback deck Philips (FCD485)>SoundBlasterLive>CD WAVE>speedcorrection (CEP)>wav@48KHz
|
2 flac
|
|
| 171. |
03/18/73 |
Palace Theater - Waterbury,
CT |
A | A part of the world tour, promoting album „The Dark Side Of The Moon”.
Collectors' edition - two complete recorders: 2nd and 3rd. Recording
mastered from rare, genuine low generation analog tapes.
Discs' division compatible with the course of the show. Carefuly indexed.
Revised copy. Balanced. Speed corrected.
Discs 1 & 2: from rare low gen tape, Audience recorder 3.
Discs 3 & 4: from rare low gen tape. Audience recorder 2.
Lineage (both sources): A Cass 2&3[Low]>SBLive>WAV>CoolEditPro>EAC>SHN.
collectors edition |
2 flac
|
|
| 172. |
05/18/73 |
Earls Court Exhibition Hall - London,
England |
A | Pink Floyd 1973-05-18 Earls Court, careful53 1st gen Recorder 2 (16bit/44.1kHz)
Pink Floyd
Earls Court Exhibition Hall, Earls Court, London, England
18 May 1973
Lineage: 1st gen TDK SA90 and SA60 cassettes (1983) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz) > iZotope RX4 (to deal with hum) > tezeta > Reaper v5.17 > FLAC (16bit/44.1kHz)
xACT used to create FFP
01 Obscured By Clouds
02 When You're In
03 Set The Controls For The Heart Of The Sun
04 Announcement
05 Careful With That Axe, Eugene
06 Echoes
07 Speak to Me
08 Breathe
09 On the Run
10 Time
11 Breathe (Reprise)
12 The Great Gig In The Sky
13 Money
14 Us And Them
15 Any Colour You Like
16 Brain Damage
17 Eclipse
18 One Of These Days
Total running time 2 hours 1 mins 32 secs
Careful53 received his tapes from Steve B who is usually considered to be R1. Steve recorded alongside Mick P who is R2. Back in 1983 Steve gave Careful53 the impression that he was sending a copy of his own recording. I consulted lordsnooty and Steve still has his R1 tapes, which are distinguished by the incomplete DSOTM. Perhaps Steve was looking after Mick's tapes at the time and chose to copy them for Careful53, knowing that they were a more complete representation of the concert. You can hear the same voices on both recordings.
This sounds better than the Reeling version you are probably familiar with. DSOTM is complete and it appears that the only disadvantage to this copy is that it has about a minute less audience before OBC starts.
Careful53's cassettes are arranged as follows: A 1-5, B 6, C 7 to opening of 15, D rewound a little to enable splicing, then continues through to 18.
A fairly obtrusive 50Hz hum can be heard on all four sides of careful53's tapes and I tackled it using the learn and manual hum removal options on iZotope. Fractionally different settings were applied to each side.
I'm grateful for tezeta's assistance. He used Reaper 5.17 w/ Elastique 3.1.4 Pro on normal to reduce the speed of side A by -.23 semitones. He also removed a bit of dead space, added some fades at side transitions, and spliced together the cut in ACYL.
Careful53 cassettes / Neonknight tape transfer, July 2017 |
2 flac
|
|
| 173. |
05/19/73 |
Earls Court Exhibition Hall - London,
England |
A | *Lineage*
Recorder 1, Source 1: Pink Floyd 1973-05-19 Earls Court, Recorder 1, hhallste tape (24bit/96kHz)
Low gen TDK SA90 cassette (1990/91) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz)
Recorder 1, Source 2: Pink Floyd 1973-05-19 Earls Court, careful53 1st gen Recorder 1 (24bit/96kHz)
1st gen TDK SA90 and SA60 cassettes (1983) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > FLAC (24bit/96kHz)
Recorder 2: Pink Floyd 1973-05-19 Earls Court, Recorder 2 master, raw transfer [24-192]
Master cassettes - Audio Magnetics 120 and 90 recorded on a Decca Legato mono cassette recorder > Nakamichi DR-1 cassette deck with adjustable head azimuth > AS372N analogue to digital USB converter to a Windows 10 Professional PC > 64 bit Goldwave > FLAC (24bit/192kHz)
*Mastering Notes*
Both recorders 1 & 2 are a mono source recorded to stereo format tape. Each channel may contain unique elements of the sound due to a number of variables in this scenario. I auditioned each channel alone and there wasn’t a clear winner. I used isotope RX to correct the azimuth error offset between channels which worked well. I then auditioned the two channels combined in pure mono vs separated and I preferred leaving them separated even though pure mono should be the technically correct choice.
Recorder 1 sounds like a Dolby encoded tape played back Dolby off. This can result in a boosted high end. The original Dolby encoding eq hits the audio signal before it gets recorded. This leads to high end that would have otherwise been buried in hiss getting preserved (as designed). This one is a difficult listening experience with a choice between exaggerated and shrill highs with Dolby off vs subdued highs from Dolby not tracking the recording properly (an all too common scenario). Manually working with the recording results in surprising fidelity.
Source 1 sounds both higher generation and better fidelity than source 2. With variables like tape and tape deck quality in addition to generation count, that’s how this one turned out. Source 2 is more complete with more between song time and the entire 2nd set. I used source 1 where it was available.
I synchronized both recorders together to the correct speed. Recorder 1 sounds closer to the stage with significantly better fidelity and dynamics. Recorder 2 sounds further back in the room and restores some natural ambience and surround mix elements. I left the recorders to start and stop as they did between songs with no production to smooth anything over. You get the perspective the tapers running their machines at the show. The quad surround mix places recorder 1 front L/R and recorder 2 rear L/R in mono. The stereo mix has recorder 1 centered L/R and recorder 2 panned 30% right.
Gross level jumps were corrected. Noise, hum, device artifacts, and exaggerated resonances tamed or removed as well as possible. No damage was allowed in order to favor mastering presentation, such as over use of noise reduction or taming a shrill recording too far. There was pronounced 50Hz hum with a harmonic at 100Hz even stronger. An artifact from an earlier copy. I used iZotope RX to remove that and for some hiss reduction. With the mains power hum out of the way the low end could be put into better balance.
Audio tools used include Reaper for the main DAW, iZotope RX, and Waves plugins. Speed correction and sync work was done in Reaper using the lossless Elastique Pro 3 algorithm.
|
6 flac
|
|
| 174. |
06/17/73 |
Saratoga Performing Arts Center - Saratoga Springs,
NY |
A- | |
2 flac
|
|
| 175. |
06/20/73 |
Merriweather Post Pavilion - Columbia,
MD |
| |
2 flac
|
|
| 176. |
06/22/73 |
Memorial Auditorium - Buffalo,
NY |
A | Original source lineage: Cass(2) > CDR > wav > shn > wav > flac > wav > Adobe Audition 1.5 > CD Wave > flac 8 (Return Of The Yeeshkul Rev. 1)
Cass(2) > CDR > wav > shn > wav > flac (Return Of The Yeeshkul) for Brain Damage
War Memorial, Low Generation Analog > DAT(?) > CDR(?) > EAC > shn > flac (for TGGITS patch)
Additional source lineage: flac > TLH > wav > Adobe Audition 3.0.1* > wav
Tracked with CD Wave, encoded to flac 8 with Flac Frontend, tagged and verified
* - Edited cuts and repeats before and at the start of Echoes, during On The Run and at the start of The Great Gig In The Sky
- Speed adjusted (96.8 shrink, resampled with high precision)
- Gain increased/decreased, levels adjusted, peaks reduced
|
2 flac
|
|
| 177. |
06/28/73 |
The Sportatorium - Hollywood,
FL |
A | Sirene Silver > EAC Wav > Flac
|
2 flac
|
|
| 178. |
06/28/73 |
The Sportatorium - Hollywood,
FL |
A | Album notes:
Great upgrade to previous versions. From unique master source.
Irrespective of very good sound, this is the longest version available.
Revised and verry carefully indexed. Audience recording. From master tape.
Lineage: A Cass[Master]>DAT>CDR>EAC>SHN.
|
2 flac
|
|
| 179. |
06/29/73 |
Tampa Stadium - Tampa,
FL |
A- | Lineage: Master taper -> CD -> EAC -> WAVLab -> SHN
Comments: Fixed the sbe errors and then re-encoded the original shn files to flac8.
too much talking |
2 flac
|
|
| 180. |
10/12/73 |
Olympiahalle - Munich,
West Germany |
A | Master tape>dat>cd-r>Bias Peak Pro 5.2.1>XACT>flac
|
2 flac
|
|
| 181. |
10/12/73 |
Olympiahalle - Munich,
West Germany |
A | http://www.hokafloyd.com/CD3/Massed_Gadget_Of_Hercules/The_Massed_Gadget_Of_Hercules_1970_1974.htm
PF - The Massed Gadgets Of Hercules 1970 – 1974 - Godfather GR BOX 09
Several Species Of Some Unique Performances Gathered Together In A Box And Making A Joy
Fantastic 10 CD Box-Set with five shows.
INCLUDING:
5 Double Trifold Cardboard Sleeve CDs (Pictured)
• 28 PAGE BOOKLET (Scans here)
• 1972 US TOUR BOOK REPLICA
disc 7 & 8 |
2 flac
|
|
| 182. |
10/13/73 |
Stadthalle - Wien,
Austria |
A+ | Recording: AKG D1000E Mic > Philips Cassette Recorder
Location: 8th row on the main floor, left of center
Transfer: Master Cassettes > Nakamichi DR-01 > Sound Devices USBPre2 > Adobe Audition (24/96) > iZotope RX / ozone 5 (mastered) > Peak Pro 6 (post production) > xACT 2.39 > FLAC
|
2 flac
|
|
| 183. |
11/04/73 |
Rainbow Theatre - London,
UK |
A | Obscured At The Rainbow
PYCD 053 Triangle Records
Matrix Disc: LORDISC DIGIP PYCD 053
(P) 1990 Mady in EEC |
2 flac
|
|
| 184. |
06/22/74 |
Parc des Expositions - Colmar,
France |
B++ | Lineage: silver -> EAC -> WAV -> shn -> TLH -> flac
|
2 flac
|
|
| 185. |
06/24/74 |
Palais Des Sports - Paris,
France |
B++ | Original lineage: 24 bit transfer from (1st gen) Reel at 48khz -> data DVD ->
"TheTooleman's mystical remastering process" -> 16 bit 48Khz data DVD ->
Resample in Sound Forge to 44.1Khz and track splitup ->
Flac encoding via Flac Frontend, level 6, sectors aligned and verified
Additional lineage: Flacs > TLH > Wav > Adobe Audition 3.0.1 (appending Wavs/speed correction) >
Wav > CD Wave > Wav > Flac Frontend > Flac 8 (tagged and verified)
- Echoes speed corrected + 2%
- Speak To Me through to One Of These Days speed corrected + 1.5%
|
2 flac
|
|
| 186. |
11/04/74 |
Usher Hall - Edinburgh,
Scotland |
8 | Picts In The Highlands
No Hiss which is something for its age. 1st show of the 1974 British Winter Tour |
2 Flac
|
|
| 187. |
11/05/74 |
The Usher Hall - Edinburgh,
Scotland |
a- | CD Reference: Edinburgh 4.11.74, British Winter Tour 74 Vol 1, Picts In The Highlands
LP Reference:
Comments:
Start of U.K. Tour (Nov 4 - Dec 14, 1974) |
2 flac
|
|
| 188. |
11/09/74 |
The Odeon - Tyne and Wear,
UK |
B++ | Lineage: Unknown gen cassettes (Sony HF90 normal position) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > FLAC (24bit/96kHz)
xACT used to create FFP
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
|
2 flac
|
|
| 189. |
11/15/74 |
Empire Pool, Wembley - London,
England |
a- | PROTOTYPE WISH YOU ARE ANIMALS (2CD)
catalog: Highland hl 017/18pf#1 silver cds
Entire show speed corrected with Cooledit Pro 2.0.
T Seager, 04/04. |
2 flac
|
|
| 190. |
11/15/74 |
Empire Pool, Wembley - London,
England |
A- | Black Holes In The Sky (Rev A.)
Harvested (HRV CDR 022
****************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr |
2 flac
|
|
| 191. |
11/15/74 |
Empire Pool, Wembley - London,
England |
a- | Audience recorder 3
Who Gotta Be Crazy - Sigma 21
|
2 flac
|
|
| 192. |
11/15/74 |
Empire Pool, Wembley - London,
England |
a- | How Time Flies - Rover Records Source #4
Music collectors might expect that all recordings from 1970’s Pink Floyd have been found, traded and distributed but here we are in the 21st century and new little treasures are still popping up. Take for example this recording. The source for this remaster project has been dubbed source number 4 for the Pink Floyd November 15th, 1974 concert. It was released by Rover Records under the title How Time Flies. Once torrented on the Dimeadozen website, a spirited discussion occurred regarding its characteristics and quality compared to other sources. We agree that it is the best quality source of that night’s event but felt that work needed to be done to improve the listening experience. Below, with permission, we present the lengthy and well thought out description of this recording ...
I think it’s best to address the issue of How Time Flies originally being announced as the November 14th, 1974 concert at Wembley -this is also the date printed on the cover. What we have here is in fact the concert from the following evening, November 15th, 1974. It’s pretty clear that this was nothing more than an honest, albeit tragic mistake and not an attempt to rip anyone off. That being said, some enthusiasts feel that the performance of the 15th is actually superior to that of its infamous successor. Previously, there have been versions of this show that have circulated both incomplete and intact. The first source was used for the majority of past releases including the incomplete Money on Flashback (FB0133), the often copied (and complete) Black Holes In The Sky first from Great Dane (GDR CD 9101) and later speed corrected by Harvested (HRV CDR 022), as well as the surprisingly good We Are From Planet Earth (STTP 184/185) from the often spotty Shout To The Top label. A second, inferior source was used for Akashic’s Electric Magic (AKA-26) with slightly better versions of this source circulating via trader circles afterwards, and then in 2004 a mysterious, incomplete soundboard recording surfaced of this show offering a third, albeit odd perspective of this show (being that it was primarily drum and bass tracks) represented on silver via disc 2 of Siréne’s Absolutely Years (Siréne-119).
The tape begins midway through Roger Waters’ introduction of ‘Shine On You Crazy Diamond’ indicating that it is a new song. (PRRP: we have repaired this introduction in this release). What follows is a lengthy solo synthesiser introduction from Richard Wright that foreshadows his work on the Wish You Were Here and Animals albums, coming across as celestial, in an almost Kitaro-esque way. This introduction is unique to the shows from this year as it evolved into the shorter, more familiar chord sequence and clear melody by the time of the first shows in April 1975. There’s a small amount of microphone noise as the taper gets settled (PRRP: much of which is now minimised), but it is brief and doesn’t affect the enjoyment of this developing epic whatsoever. There’s also a really strange bit at 1:42 that sounds like some acoustic guitars being strummed and “Pictish” ranting - an anomaly present on ALL sources, so apparently this came from the stage. The introduction continues at length until the vocals finally enter at the 8:27 mark, and things start sounding more familiar. Although the song was still relatively new, it is probably the most developed of the newer songs, and despite being played as a complete suite (instead of in halves as it would be from 1975 onward), it is the closest to its final form of the new material. After 1974, the band would never play ‘Shine On’ as a complete piece again, so that contributes to the value of tapes such as this.
Floyd surely recognised the benefits of developing new material in a live setting after the tremendous success of Dark Side Of The Moon. Any musician can understand the value of gauging both audience reaction and the overall flow of new songs onstage, but the band clearly jumped the gun on ‘Raving And Drooling’ and ‘You Gotta Be Crazy’ during the French tour earlier in 1974. These songs started to gel more throughout the winter tour, but are still somewhat embryonic during this performance and at times bearing only a passing resemblance to the final versions heard in 1977.
‘Raving And Drooling I Fell On His Neck With A Scream’ (as introduced by Waters) begins with a truly bizarre taped recording that actually is some chap (Jimmy Young) raving and drooling nonsensically! Apart from that, the song itself has evolved to be fairly close to the much later version everyone knows from Animals. The bridge section about 10 minutes into the song features some interesting volume swells/feedback unique to this era, and there’s no 23rd psalm recitation.
The audience is apparently a bit impatient as the band tunes up before ‘You Gotta Be Crazy’ and Roger responds by saying “We’re going as fast as we can”. While one person in the audience tells Roger, “We’re from planet Earth”, another shouts “1967” to which Waters retorts, “1967 no, you’re wrong this is 1974! And this is another new tune especially for YOU. And it’s called You Gotta Be Crazy”. Which of these two people he was addressing with this last comment, we will never know. The song itself is more “together” than it was during the French tour earlier in the year, but is still the least complete in relation to its finalised version from the Animals era. Vocally it comes across more melodically than on other nights, but the lyrics are delivered in a rapid-fire fashion making it difficult to discern what Gilmour is singing. Fortunately, the lyrics were printed in the tour programs for the audience. There are some interesting passages after the 2nd verse with Gilmour vocalising in the style of ‘Atom Heart Mother’ prior to the 3rd verse, and a rather lengthy instrumental section after it.
The sound quality seems to improve slightly for the Dark Side Of The Moon set and it is a fairly standard post-album release performance. The band sounds more confident and enthusiastic and the audience erupts with rapturous applause from start to finish. Gilmour delivers fantastic solos in ‘Money’ and ‘Time,’ while ‘On The Run’ has something of a Bladerunner vibe this evening. It should also be noted that backing vocals sound absolutely fantastic throughout the suite - especially on ‘The Great Gig In The Sky’. The critics may have bashed the Wembley gigs, but the crowd responds with absolutely thunderous approval at the conclusion of ‘Eclipse’. They knew that Dark Side Of The Moon was well on its way to becoming an epic masterpiece. But in 1974, the audience had no way of knowing of the greatness that was to come from the material presented in the first set and that it was still ... a work in progress.
Notes from the Re-Master
As noted above, we began with the How Time Flies source recording for this remaster project. This recording had great clarity suggesting that the taper was in a good position within the venue. Unfortunately, numerous microphone bumps and other recording noises were found but most were repaired or minimised. Both the sub-bass and treble were excessive in sections and so both were attenuated to balance the tonality. Many segmental channel volume drops were found which led to imbalances. These may have been produced by microphone movement or obscuring the mics from time to time. These were also corrected. A distinct speed error was found, particularly during the first set material, suggesting that the cassettes themselves rather than the recorder were to blame. Only a minor degree of speed correction was needed for the Dark Side Of The Moon material. Dynamics were adjusted to make volumes more consistent throughout the show. Re-tracking was necessary to conform to standard references. We chose to keep Shine On You Crazy Diamond as a single track because, at this stage in development, this song is one full song, not the two parts that it later becomes on the subsequent album. As a result of remastering, we can now hear the audience member who yells, “We are from planet Earth”. This is an important moment since it causes Roger Waters to respond humorously before beginning the next song. |
2 flac
|
|
| 193. |
11/16/74 |
Empire Pool - London,
England |
A | Lineage: 2 Binaural Mics>Sanyo Stereo Cass Recorder>2 Agfa C90 cass(m)>CDR(?)>FLAC
Taped by: Nigel Bradder
Transferred by: ? |
2 flac
|
|
| 194. |
11/16/74 |
Empire Pool - London,
England |
A | Pink Floyd, New Pre-FM Master (with Echoes!) 1974-11-16 Wembley
If you're a Pink Floyd collector, you probably have several versions of this particular recording. However, you've never heard it this good--and indeed, you've never heard the pre-FM soundboard 28-minute version of Echoes that appears for the first time in this set.
This is a noticeable upgrade over the EX roio called "Brain Damage" that was torrented on the Groove nearly a year ago.
These were EAC'ed from the original silvers by the person who brought this into circulation this week (thanks bbatnifty!)
Here is the text file:
PINK FLOYD
title:WEMBLEY 1974 PRE-FM MASTER (2CD)
catalog:Sirene-009 LIMITED EDITION: 300 COPIES ONLY (NUMBERED)
data:Live At Empire Pool, Wembley 16th November 1974 |
2 flac
|
|
| 195. |
11/17/74 |
Empire Pool, Wembley - London,
England |
A | Original source lineage: External Mics > Portable Sanyo > Cass(M) > Reel(1) > CDR > shn > flac
Additional source lineage: flac > Adobe Audition 3.0.1* > flac
Tracked with CD Wave, encoded to flac 8 with TLH, tagged with foobar2000
* - speed corrected (values supplied by goldenband)
- 11 secs overlap before Money and digital silences removed
- digital micro gap 1:34 into ACYL patched with another source transfer
|
2 flac
|
|
| 196. |
11/17/74 |
Empire Pool, Wembley - London,
England |
9 | Name: Little Lambs Eat Ivy
Format: shn
Discs: 3
Recorder: audience
Label: MoLM
Lineage: cass[Master] > cass[likely 2 or very low] > ? (no transfer info
provided) > SHN
It really is that good |
3 Flac
|
|
| 197. |
11/19/74 |
Trentham Gardens - Staffordshire,
UK |
a- | 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)
xACT used to create FFP |
2 flac
|
|
| 198. |
11/19/74 |
Trentham Gardens - Staffordshire,
UK |
9 | Recording Info:
British Winter Tour 74 Vinyl (Unopened record first time played)
Transfer Info:
Rotel RP-3000 Turntable (with Shure M97xE Audiophile Cartridge) ->
Music Hall pa1.2 Phono Preamplifier -> Sound Devices 744T (24bit/192k) ->
Samplitude Professional v11.2.1 -> FLAC/24
(1 DVD FLAC)
All Transfers and Mastering By Charlie Miller
charliemiller87@earthlink.net
January 26, 2013
Notes:
-- There were a ton of pops and clicks that I removed
-- The pitch is not perfect but it is better than other sources
|
1 Flac
|
|
| 199. |
11/29/74 |
Empire Theatre - Lancashire,
UK |
a- | Recorder 1: 1974-11-29 Liverpool rec 1 Cass (unkn gen) stratcat58 [24-96]
Original source lineage: Cass (unknown gen) (Maxell XLII 90 & 60 Epitaxial) (1985-6 type) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > flac@24/96
Additional source lineage: flac@24/96 > TLH > wav@24/96 > Adobe Audition 3.0.1*
Encoded to flac 8 with TLH, tagged with foobar2000
* - interference at around 15kHz filtered out
- speed corrected (values supplied by goldenband)
- balanced channels on first Set
- smoothed out tape flips
Stratcat58 tapes
Transferred by neonknight in 2017
Revision by Bert13
Recorder 2: 1974-11-29 Liverpool rec 2 Cass(M) Revision
Original source lineage: Master > shn (no specifics) > flac
Additional source lineage: flac > Adobe Audition 3.0.1* > flac
Re-encoded to flac 8 with TLH, aligned on sbs. Tagged with foobar2000
* - clip restored: left channel -2.5dB, right channel -2dB
- digital silences edited out
- interference just below 16kHz filtered out
Revised by Bert13
February 5, 2018
*** Mastering notes:
Recorder 1 is a mono recording transferred to a stereo format tape. The left channel is inferior throughout so only the right channel was used here. I brightened it slightly and boosted the level for the second set. I brightened the really dull section (Us&Them - Eclipse) a little more.
Recorder 2 is a mono recording transferred to a stereo format tape. The left channel is inferior throughout so only the right channel was used here. The recording device had something broken in the transport and it would run very unstable for some moments after hitting record before settling down. I got the levels under control pulling back the most distorted parts and evened out some of the high end balance issues.
I synchronized both recorders together to the correct speed using R1 as reference. R1 was already at the correct speed. Everything runs continuous between the two recorders. I left the recorders to start and stop as they did with no production to smooth anything over. You get the perspective the tapers running their machines at the show.
Audio tools used include Reaper for the main DAW, iZotope RX, Universal Audio and Waves plugins. Speed correction and sync work was done in Reaper using the lossless Elastique Pro 3 algorithm. Sources with sample rates lower than 96k were upsampled with SOX.
The master is 24 bit 96k 4.0 quadraphonic in a 5.1 container with digital zero C & Lfe channels to insure compatibility in all media players. In addition to the quad master, I produced a 24 bit 96k mono matrix mix with proper balances of the sources (not just a straight fold down). Although a compromise, it still retains some of the fidelity and completeness of the presentation.
|
2 flac
|
|
| 200. |
11/30/74 |
Empire Theatre - Liverpool,
UK |
B++ |
*** Notes:
The first set is a 'mono surround' master made from two audience recordings mastered to quadraphonic surround for an immersive concert experience. This is another case where we have a 1st recorder from closer to the stage and a 2nd recorder further back in the room. By themselves, both recordings are a degree of challenging to listen to. The combination of the two reenforcing each other raises the sound to a surprising level as well as offering remains of the original live surround presentation. Although both recordings are monophonic, the quad surround format is needed to present the front to back perspective. So a mono source in both front and back for 'mono surround'.
The second recorder only includes the first set. This second recorder overall has many more pronounced flaws and artifacts than R1 but it is also clearly recorded much closer to the stage than R1. These recordings reenforce each other in a dramatic way. You even hear some remains of the live surround play between them in spots like the bridge in Raving and Drooling in addition to the two recordings simply reenforcing each other. The weight of the live drum mix really comes across well.
Everything is still very rough around the edges but the surround presentation puts you into the venue. Much like a real concert experience where the sound mix might not have been perfect at your seats anyway. Better seats for the first set here. Some parts sound downright good. Careful with the volume on this one.
*** Sources:
Recorder 1: 1974-11-29 Liverpool rec 1 Cass (unkn gen) stratcat58 [24-96]
Original source lineage: Cass (unknown gen) (Maxell XLII 90 & 60 Epitaxial) (1985-6 type) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > flac@24/96
Additional source lineage: flac@24/96 > TLH > wav@24/96 > Adobe Audition 3.0.1*
Encoded to flac 8 with TLH, tagged with foobar2000
|
2 flac
|
|
| 201. |
12/09/74 |
The Palace Theatre - Manchester,
UK |
a- | Lineage: 1st gen cassettes > Nakamichi ZX7, no dolby, 120uSec eq with tape head height and azimuth adjusted > M-Audio 2496 soundcard > FLAC (24bit/48kHz) > Reaper v4.61 speed corrections, trimming, divide and export > FLAC (24bit/48kHz)
xACT used to create FFP |
2 flac
|
|
| 202. |
12/14/74 |
Colston Hall - Bristol, Avon,
UK |
A | |
2 flac
|
|
| 203. |
12/14/74 |
Colston Hall - Bristol, Avon,
UK |
A | http://www.hokafloyd.com/CD3/Massed_Gadget_Of_Hercules/The_Massed_Gadget_Of_Hercules_1970_1974.htm
PF - The Massed Gadgets Of Hercules 1970 – 1974 - Godfather GR BOX 09
Several Species Of Some Unique Performances Gathered Together In A Box And Making A Joy
Fantastic 10 CD Box-Set with five shows.
INCLUDING:
5 Double Trifold Cardboard Sleeve CDs (Pictured)
• 28 PAGE BOOKLET (Scans here)
• 1972 US TOUR BOOK REPLICA
disc 9 & 10 |
2 flac
|
|
| 204. |
04/08/75 |
PNE Exhibition Park - Vancouver,
BC |
a- | Lineage:
Rick Sheehy's unknown generation Maxell UD XLII cassettes ->
Nakamichi MR-1 (balanced) -> Apogee PSX-100SE at 24 bit 96KHz
Mastering in ProToolsHD2
Files are stereo 24 bit, 96KHz FLAC (level 8 with internal checksum). Tags include lineage comment.
patches from:
Master2ndSource
Man of Leisure Music (MoLM) Issued February, 2004
|
2 flac
|
|
| 205. |
04/10/75 |
Seattle Center Coliseum - Seattle,
WA |
B++ | Lineage: Master Reels @ full track mono>Tandberg Model 11>Wavelab 96/24 1ch mono>wav 44.1/16 2ch mono>flac
Taping Gear: Tandberg Model 11 R2R deck, Sony ECM-22P mic
Taped and Transferred By: JEMS
|
2 flac
|
|
| 206. |
04/10/75 |
Seattle Center Coliseum - Seattle,
WA |
a- | Seattle Master Reels (Sigma 58)
|
2 flac
|
|
| 207. |
04/13/75 |
Cow Palace - Daly City,
CA |
B+ | original source/lineage: Recorder 3 / cass[1] > Sony TC- WE475 > SB X-Fi Platinum > TLH > flac
new source/lineage: Recorder 3 / cass[1] > Sony TC- WE475 > SB X-Fi Platinum > TLH > flac > wav
> Adobe Audition 3.0 (minor editing, speed/pitch correction)
> cd wav (tracking) > dBpoweramp > flac
VG+ |
2 flac
|
|
| 208. |
04/13/75 |
Cow Palace - Daly City,
CA |
8 | PINK FLOYD - Cow Palace 75
No Label Visible PF 13.4.75 1/2
Matrix Disc 1: PF 13.4.75 1/2
Matrix Disc 2: PF 13.4.75 2/2
(P) 2010 Made In Europe |
2 Flac
|
|
| 209. |
04/13/75 |
Cow Palace - Daly City,
CA |
8 | 'Riding The Cow'
Cow Palace, San Francisco, California
April 13th 1975
Fillmore East, New York, NY
September 27th 1970
Godfather Records (G.R.) 515 / 516 / 517
Silver CD > FLAC |
3 Flac
|
|
| 210. |
04/21/75 |
Sports Arena - San Diego,
CA |
AA | Source: Soundboard (mixing desk)
Lineage: My vinyl > Philips 903 stereo music centre > Sony PCM-M10 > WAV 24bit-96kHz > Soundforge for conversion to 16-44 > TLH > FLAC.
Conversion to 16 Bit/44.1khz with iZotope 64 BIT Sample Rate Conversion /iZotope MBIT+ Bit depth. I split in tracks, and removed some seconds of silence that there are in the 24-96 version, at the start and the end of the discs.
|
2 flac
|
|
| 211. |
04/25/75 |
Sports Arena - Los Angeles,
CA |
AA | "Cruel but fair" |
2 flac
|
|
| 212. |
04/26/75 |
Sports Arena - Los Angeles,
CA |
A | Lineage: Probable 1st gen cassettes > DAT(4)(48kHz) > Tascam DA-20mkII > Coax > Edirol UA-1D > Reaper v4.61 > FLAC (16bit/48kHz)
xACT used to create FFP |
2 flac
|
|
| 213. |
04/26/75 |
Sports Arena - Los Angeles,
CA |
A | Mike Millard Original Master Tapes via JEMS
1644 Edition
The Lost and Found Mike the MICrophone Tapes Volume 18
Recording Gear: AKG 451E Microphones (CK-1 cardioid capsules) > Nakamichi 550 Cassette Recorder
JEMS 2020 Transfer: Mike Millard Master Cassettes (TDK KR90) > Nakamichi CR-7A (azimuth adjustment; Dolby Off) > Sound Devices USBPre 2 > Audacity 2.0 capture > iZotope RX6 > iZotope Ozone 6 > MBIT+ resample to 16/44 > Audacity > TLH > FLAC
|
2 flac
|
|
| 214. |
04/27/75 |
Sports Arena - Los Angeles,
CA |
A | Lineage: Unknown gen cassettes (Maxell XLII) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > FLAC (24bit/96kHz) > Reaper V4 > WAV > CD wave Editor 1.98 to split tracks > FLAC (16bit/44.1kHz)
xACT used to create FFP
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
|
2 flac
|
|
| 215. |
06/09/75 |
Capital Center - Landover,
MD |
A | Original source lineage: Cass (unknown gen) (Maxell XLII 60 & XLII 90) (1986-7 type) > Technics RS-B565 > Focusrite Saffire Pro 14 > Reaper v4.76 > flac@24/96
Additional source lineage: flac > Adobe Audition 3.0.1* > flac
Tracked with CD Wave, encoded to flac 8 with TLH, tagged with foobar2000
* - speed corrected (values supplied by goldenband)
- interference at around 15kHz filtered out
|
2 flac
|
|
| 216. |
06/10/75 |
Capital Center - Landover,
MD |
a- | Lineage: Low gen cassette (Maxell XLII) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > Wav (24bit/96kHz) ----> Adjustments (32bit/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
***Neonknight's Notes***
It would be great if the second half of this show were to surface as the taper did a nice job with what must have been some very good recording equipment. I haven't seen a tape of this date with known lineage. With thanks to Kbrubaker who sent me this cassette along with many others to work on.
***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/dubs with less than perfect azimuth (head alignment), the recording has a phase shift that varies from 7-15 samples. I manually aligned the channels to improve the phasing.
The speed of this recording varied between correct and within ~1% fast so I decided not to subject it to a resample. Other than removing some dead air between tracks, nothing else was done to this recording.
This tape has the end of SoYCD pt6-9 that it is missing on some sources. |
2 flac
|
|
| 217. |
06/15/75 |
Roosevelt Stadium - Jersey City,
NJ |
B++ | NEW SOURCE UPDATE: cass[master]>DAT clone>cdr[?]
|
2 flac
|
|
| 218. |
06/15/75 |
Roosevelt Stadium - Jersey City,
NJ |
A | Sigma 295 (2022)
Lineage: My Original Silver --> EAC --> WAV --> THL --> Flac8 --> You
The last Sigma that came out a couple of weeks ago.
|
2 flac
|
|
| 219. |
06/16/75 |
Nassau Coliseum - Uniondale,
NY |
A | Lineage: Cass (3) > CDR > WAV (Remaster by Nigel B.) > CDR > FLAC
|
2 flac
|
|
| 220. |
06/16/75 |
Nassau Coliseum - Uniondale,
NY |
9 | Raving Crazy Diamond Moon
1975-06-16
Highland HL 252/253
ripped with EAC and compressed with flac 1.1.0 (level 8) by Pict |
2 Flac
|
|
| 221. |
06/17/75 |
Nassau Veterans Memorial Coliseum - Uniondale,
NY |
A- | 16 bit
source: aud cassette master
taped by Jerry Moore
lineage: sony ecm 33p's>sony tc-152, maxell ud-120's, dolby b
nak dragon>hd-p2 24/96>hd>cd wave>adobe audition 2.0>flac
|
2 flac
|
|
| 222. |
06/17/75 |
Nassau Veterans Memorial Coliseum - Uniondale,
NY |
A | Pink Floyd - (1975-06-17) A Generation's Legacy
Sigma 063 (2010)
Lineage: My Original Silver --> EAC --> WAV --> THL --> Flac8 --> You |
2 flac
|
|
| 223. |
06/18/75 |
Boston Garden - Boston,
MA |
A | Recorder 1
Master audience recording taped by Dan Lampinski
Speed corrected
-------------------------------------------------------------------------------------------------------
Original source lineage:
Sony TC-152SD Tape Recorder
Sony ECM-99 Stereo Microphone
Maxell cassettes
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) ->
FLAC Front End (FLAC 8) |
2 flac
|
|
| 224. |
06/20/75 |
Three Rivers Stadium - Pittsburgh,
PA |
7.5 | Lineage: Master - three TDK C60 normal position cassettes > recording equipment unknown > Nakamichi DR-3 > Roland Tri-Capture > Audacity > WAV (24bit/96kHz) > neonknight > Reaper v4.76 > FLAC (16bit/44.1kHz)
|
2 Flac
|
|
| 225. |
06/22/75 |
County Stadium - Milwaukee,
WI |
a- | Lineage: 1st gen TDK SA90 cassette (1982-1984 type) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Reaper v4.61 > FLAC (16bit/44.1kHz)
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
xACT used to create FFP |
2 flac
|
|
| 226. |
06/24/75 |
Olympia Stadium - Detroit,
MI |
A | source/lineage: 8-Track[M] > DAT[c] > cdr(1) > EAC > wav > shn
new source/lineage: 8-Track[M] > DAT[c] > cdr(1) > EAC > wav > shn > TLH > wav > cd wav (tracking) > TLH > flac
----
Recorded by: Jared Houser
Master 8-track
Recorder 1 |
2 flac
|
|
| 227. |
06/24/75 |
Olympia Stadium - Detroit,
MI |
A | Sources:
Recorder 1 (Set 1) - Pink Floyd 1975-06-24 Olympia Stadium Detroit, MI JEMS 8-Track Master Series Vol. 5 (Found here: https://ravinganddrooling.com/forum/archives/pink-floyd-and-pf-solo-member-audio-torrents/229548-)
Recorder 1 (Set 2 and Encore) - Detroit 1975 2nd Night Sigma 200 (Found here: https://ravinganddrooling.com/forum/archives/liberated-bootlegs-aa/260916-)
Recorder 2 - Pink Floyd 1975-06-24 Olympia Stadium, Detroit recorder 2, no processing (Found here: https://ravinganddrooling.com/forum/archives/pink-floyd-and-pf-solo-member-audio-torrents/168428-)
Lineage - Source Files to RX8 (Recorder 2 only - De-flutter plugin) to REAPER (Syncing and Mastering) to 32 bit WAV (Untracked) to REAPER to 24-96 (Set 1) and 16-44.1 (Set 2 and Encore) FLAC (Tracked)
--------------------------------------------------------------------------------------------------------------------------------------------
Notes:
Happy new year all! To kick off 2024, here is one of my latest projects I have worked on for you all to enjoy: "Warble On You Crazy Diamond", named after the amount of flutter Recorder 2 has during this song (which I have fortunately mitigated!)
Rec 2 is the Primary source. It has been de-fluttered (with RX8's plugin), EQ'd as well as de-clicked, with gain changes applied in each channel for balancing, as well as in the overall mix to not overpower sections where Recorder 2 compromises the quality (e.g. fluttering in Shine On You Crazy Diamond Parts V and VI). There was also a brief left channel dropout during Have A Cigar which I have restored.
Rec 1 is speed corrected to Rec 2 with values between -7 and 55 cents. It has been EQ'd with gain changes between -1.30dB (Shine On You Crazy Diamond Suite) and +1.50dB (You've Got To Be Crazy).
Once done, I then applied speed correction to each song by referencing Sigma 200's speed. For the rest of the show, this was the source used due to the speed correction as well as balancing and level adjustment, with my EQ then applied on top.
Finally, I would like to say a huge thank you to everyone behind these recordings and this project, including but not limited to:
- Jared Houser (Recorder 1)
- JEMS and berlin (The people behind the release of the recordings)
- WorldmanOne (Creating the cover)
- Atomicgamer400 (Providing extras)
As always, share freely, don't convert to MP3 unless for personal use, DON'T CHARGE ANYONE FOR FREE MUSIC, etc.
Enjoy and Cheerio!
Ello_Guvner
2024-01-09 |
2 flac
|
|
| 228. |
06/28/75 |
Ivor Wynne Stadium - Hamilton,
ON |
A | Source: Master Reel>DAT>Sony TCD-D7>Hard Drive>WAV>CDR>FLAC - Source #2
Rating: SUP- |
2 flac
|
|
| 229. |
06/28/75 |
Ivor Wynne Stadium - Hamilton,
ON |
A+ | Source Lineage: Master Reel > DAT(4)(48kHz) > Tascam DA-20mkII > Coax > Edirol UA-1D > CD wave Editor 1.98 > FLAC 48kHz (level 5)
Source Updated Lineage: (taper: Henry Boc) Sony TC-124 with ECM-99 1-point stereo mic > Cass(M) (Maxell UD - Dolby off) > Reel 1st (TEAC 15ips on maxell UD blanks) > DAT(4)(48Khz) > Tascam DA-20mkII > Coax > Edirol UA-1D > CD wave Editor 1.98 > FLAC 48kHz (level 5)
Added Lineage: (Source) > WAV 48Khz 32bit float > restorations (*) > dither to 24bit > WAV 48Khz 24bit > track splits > FLAC 48Khz 24bit
(*) restorations :
- removed a couple digital clicks;
- 0.5sec silent gap on Time and a few seconds of the tunings before Echoes patched from the "Master Reel > DAT > Sony TCD-D7 > HD > WAV > FLAC";
- raised the gain on the whole recording by 1.75dB; |
2 flac
|
|
| 230. |
07/05/75 |
Knebworth Park - Knebworth,
UK |
A- | "Yesterday's Triumph"
Pinkroioshn CDR-010 (PRS-CDR-010)
Master Audience Cassette - Recorder 1
Recorded in 1975 by
and DAT Transfer in 2006 by
"Old Grumpy Bastard"
aka "lordsnooty"
ITT Studio 73 Sony Microphones > BASF Chrome and Agfa Cassette Masters >
HP DDS-1 Data Cartridge 4GB DAT Master > digital coaxial > Audigy 2 ZS Platinum >
Soundforge 8.0 > 16 bit 48 wav > Soundforge 8.0 > CD Wave 1.95 (tracking) > Flac
Frontend (level 7, align sector boundaries) > flac
*Soundforge was used to extract, set fades, boost levels (100%) and resample to 16/44.1.
The 16/48 wav is available upon request.
And here we finally have it, the actual MASTER of Knebworth, transferred in 2006 to DAT directly from
the Master Cassettes by the recorder himself, a self-proclaimed "grumpy old bastard" who is actually
a supremely generous individual--and to whom we owe much gratitude not only for providing the master
DAT, but for recording the concert 31 years ago. Additional kudos to fatoldpig who communicated with
the recorder and received the DAT from England for release by Pinkroioshn.
Unfortunately, the DAT was recorded at fairly low volume, so that a significant boost of the levels was
necessary. As a result, there is a bit more hiss in these 31 year old cassettes than there should be.
No noise reduction was performed, however, in order to maintain the recording in its purest form.
Additionally, absolutely no edits were done, so that this flac file contains all the lengthy tune-ups, stage
chatter, and indeed the entire event as it was captured by the recorder that day. The Floyd surely took
their time at this concert. This is the final performance of the Dark Side of the Moon suite by the
four-man Pink Floyd.
DAT Master acquired for Pinkroioshn label by fatoldpig.
Produced by danlynch 2006-09-30
Further notes from the Recorder as posted at Dimeadozen:
"The taper and friends are not heard on this recording. People nearby are heard
chatting. 'More music and less audience' hmm... I only missed 30 secs while I turned
the tape over. Not bad for a show that was 160 odd minutes, but we are talking about
the Floyd community here and they seem to moan about just about everything.
BTW the original master tape has no cut in DSOTM"
|
3 flac
|
|
| 231. |
01/23/77 |
Westfalenhalle - Dortmund,
West Germany |
A | Wish the Animals Were Here (Raving&Drooling - R&D)
Date: Westfalenhalle, Dortmund, Germany 1/23/77 (secondary audience source)
Benbecula LP > Technics SL-D20 turntable > Adobe Audition (48000Hz-24bit WAV / normalize / manual declick / downsample 46100Hz/16bit) > Exact Audio Copy (CD-R/0) > EAC WAV RIP > Traders Little Helper (FLAC level 8) > YOU
|
1 flac
|
|
| 232. |
01/23/77 |
Westfalenhalle - Dortmund,
West Germany |
a- | Source: Audience (recorder 1)
Lineage: M[CASS] > CDR[2] > SHN
Source: Audience (recorder 3)
Lineage: Cass[claimed Master] > CDR(4) > FLAC
Remaster - Each source
1. Correct channel balance
2. Re-balance frequencies / EQ
3. Correct channel frequency separation
4. Repair audible dropouts
5. Attenuate frequent whistles
6. Remove many claps during music
7. Repair microphone bumps, clicks and pops
8. Correct pitch and speed
Remaster - Sync and Mix
1. Sync sources
2. Patch all 15 gaps/cuts/missing sections
3. Mix sources using 2-source stereo technique
4. Attenuate excessive peaks
5. Dynamic adjustments
6. Re-track
|
2 flac
|
|
| 233. |
01/24/77 |
Westfalenhalle - Dortmund,
West Germany |
A+ | 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 ..
Godfather box set |
2 flac
|
|
| 234. |
01/24/77 |
Westfalenhalle - Dortmund,
West Germany |
A | Pink Floyd
'Animals Fly Again From Battersea To Europe' Box Set 9LPs
LIMITED EDITION 9 LP 180 Gram COLOR VINYL
PART I
January 24, 1977
Westfallenhalle
Dortmund, Germany
Digitized at 24/96. 24/192 is too big to share.
PART I Westfallenhalle, Dortmund, West Germany, January 24, 1977
PART II Deutschlandhalle, Berlin, West Germany, January 30, 1977
PART III Hallenstadion, Zurich, Switzerland. February 3, 1977
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
*******************************************************************************************
|
2 flac
|
|
| 235. |
01/27/77 |
Festhalle - Frankfurt,
West Germany |
A+ | AUDIENCE ANALOG MASTER>DAT(CLONE)>CDR>EAC>FLAC
|
2 flac
|
|
| 236. |
01/27/77 |
Festhalle - Frankfurt,
West Germany |
A | 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.
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
Comment: Eac'd by sydb sydb@optonline.net
Complete show with encore. The source is mono |
2 Flac
|
|
| 237. |
01/29/77 |
Deutschlandhalle - West Berlin,
West Germany |
A | GENERATION:
ANA(1) -> MD(0) -> CDR(0) -> WAV(M) [16bit/44.1kHz] -> WAV(1) [16bit/44.1kHz] -> FLAC [Level 8]
TRANSFERS:
early 2000s cas>md>cdr xfers, Oct-2013 cdr>flac
unknown cassette->md equipment
EDITING/ENCODING:
Adobe Audition 3.0 -> CD Wave 1.95.1 -> Trader's Little Helper 2.6.0
|
2 flac
|
|
| 238. |
01/29/77 |
Deutschlandhalle - West Berlin,
West Germany |
A- | Animals From Soundboard
Just Animals not the full show |
1 Flac
|
|
| 239. |
01/30/77 |
Deutschlandhalle - Berlin,
Germany |
A+ | 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 ...
Godfather Records box set From Battersea to Europe |
2 flac
|
|
| 240. |
01/30/77 |
Deutschlandhalle - Berlin,
Germany |
A | Pink Floyd
'Animals Fly Again From Battersea To Europe' Box Set 9LPs
LIMITED EDITION 9 LP 180 Gram COLOR VINYL
Part II
January 30, 1977
Deutschlandhalle
Berlin
West Germany
Digitized at 24/96. 24/192 is too big to share.
PART I Westfallenhalle, Dortmund, West Germany, January 24, 1977
PART II Deutschlandhalle, Berlin, West Germany, January 30, 1977
PART III Hallenstadion, Zurich, Switzerland. February 3, 1977
This is the Part II
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 11.2db, 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
*******************************************************************************************
|
2 flac
|
|
| 241. |
01/30/77 |
Deutschlandhalle - Berlin,
Germany |
8.5 | Animals fly again from Battersea to Europe Box Set 9 LP Box Set
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
Remastered by Oldneumanntapr
|
2 Flac
|
|
| 242. |
02/01/77 |
Stadthalle - Vienna,
Austria |
A | Silver>cdripper>flac>davidestrada>flac
|
2 flac
|
|
| 243. |
02/03/77 |
Hallenstadion - Zürich,
Switzerland |
A+ | 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 ...
Godfather Records box set From Battersea to Europe |
2 flac
|
|
| 244. |
02/03/77 |
Hallenstadion - Zürich,
Switzerland |
A | Pink Floyd
'Animals Fly Again From Battersea To Europe' Box Set 9LPs
LIMITED EDITION 9 LP 180 Gram COLOR VINYL
PART III
February 3, 1977
Hallenstadion
Zurich, Switzerland
Digitized at 24/96. 24/192 is too big to share.
PART I Westfallenhalle, Dortmund, Germany, January 24, 1977
PART II Deutschlandhalle, Berlin, Germany, January 30, 1977
PART III Hallenstadion, Zurich, Switzerland. February 3, 1977
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
*******************************************************************************************
|
2 flac
|
|
| 245. |
02/04/77 |
Hallenstadion - Zürich,
Switzerland |
a- | Reeling in Pink Floyd CD source DVD 2
"Off Master"
Lineage (most likely): Cass(master or 1st gen) > DAT(?) > CDR > shn > wav > Flac Frontend > flac 8
Quality: EX/EX-
|
2 flac
|
|
| 246. |
02/17/77 |
Sportpalais Ahoy - Rotterdam,
Netherlands |
a- | Recorder 2 cassette [master]
|
2 flac
|
|
| 247. |
02/18/77 |
Sportpalais Ahoy - Rotterdam,
Netherlands |
A- | LINEAGE>TASCAM DR40>AUDACITY>YOU |
2 flac
|
|
| 248. |
02/20/77 |
Sportpaleis - Antwerpen,
Belgium |
a- | very good audience |
2 flac
|
|
| 249. |
02/22/77 |
Pavillon de Paris - Paris,
France |
A+ | Lineage:
The lineage for this recording is: Analog Master>DAT(?)>CDR(0)>SHN
|
2 flac
|
|
| 250. |
02/23/77 |
Pavillon de Paris - Paris,
France |
a- | DISC QTY: 2CD
CATALOG #: pp1960
PRODUCED: 1999 Pigeon Productions
SOURCE(S): Paris France, Pavillion, February 23, 1977
QUALITY: VG Audience Recording
DATE: February 23, 1977 |
2 flac
|
|
| 251. |
02/24/77 |
Pavillon de Paris - Paris,
France |
A | Sigma 265
Annoying announcer at beginning of tracks
FM broadcast of an audience recording
Original bootleg discs -> EZ CD Audio Converter -> FLAC level 5
Ripped and shared by Gullveig.org
|
2 flac
|
|
| 252. |
02/25/77 |
Pavillon de Paris - Paris,
France |
A | PINK FLOYD
Animals aux Abattoirs (HRV CDR 038)
(16bit/44.1kHz)
Paris, Porte de Pantin, Pavillon de Paris, 25Feb77
Recorded by GD
1st gen cassette provided by Finkployd49
Transfer by Neonknight
Remastering by MOB
Quality Control by RonToon
Artwork by Ediskrad Studios
Produced by Harvested Records |
2 flac
|
|
| 253. |
02/25/77 |
Pavillon de Paris - Paris,
France |
A | 24-96 version
PINK FLOYD
Animals aux Abattoirs (HRV CDR 038)
(16bit/44.1kHz)
Paris, Porte de Pantin, Pavillon de Paris, 25Feb77
Recorded by GD
1st gen cassette provided by Finkployd49
Transfer by Neonknight
Remastering by MOB
Quality Control by RonToon
Artwork by Ediskrad Studios
Produced by Harvested Records |
2 flac
|
|
| 254. |
02/27/77 |
Olympiahalle - Munich,
Germany |
A | Sound Quality: Ex (if you can ignore the right channel problem)
Lineage: Master>dat>cd-r(2)>EAC (secure with C2)>CDWave>CEP 2.1>WAV>TLH (with Align)>FLAC(7)
Taped by: ??
Transferred by: mesquite |
2 flac
|
|
| 255. |
02/28/77 |
Olympiahalle - Munich,
Germany |
a- | GENERATION:
ANA(M) -> DAT(?) -> WAV(M) [16bit/48kHz] -> FLAC [Level 8]
TRANSFERS:
*late 1990s(?) CAS>DAT xfer
unknown ana>dat equipment
*Feb 2007 DAT>HD xfer for FTP trade
Tascam DA20mkII -> coax -> Soundblaster X-Fi Elite Pro
*Oct 2015 torrent prepared for Y!
EDITING/ENCODING:
Cool Edit Pro v.2.x -> CD Wave -> Trader's Little Helper
Has some tape drops |
2 flac
|
|
| 256. |
03/15/77 |
Empire Pool, Wembley - London,
England |
A | original source/lineage: audience Recorder 2 / ITT Studio 60 Recorder > Memorex C-120 cass[M]
> Nakamichi 700 (pitch up) > DAT@48khz > wav
> shn@48khz
new source/lineage: audience Recorder 2 / ITT Studio 60 Recorder > Memorex C-120 cass[M]
> Nakamichi 700 (pitch up) > DAT@48khz > wav
> shn@48khz > wav > Adobe Audition 1.5 > TLH
> flac@48khz
|
2 flac
|
|
| 257. |
03/18/77 |
Empire Pool, Wembley - London,
England |
a- | Recorder 1, unknown gen (16bit/44.1kHz)
Pink Floyd
Empire Pool, Wembley, London, England
18 March 1977
Lineage: Unknown gen cassettes (Maxell XLII) > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 2.0.3 > WAV (24bit/96kHz) > Reaper v4.52 > FLAC (16bit/44.1kHz)
A cue file is included in the folder
xACT used to create FFP
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net |
2 flac
|
|
| 258. |
03/30/77 |
New Bingley Hall - Stafford,
England |
a- | Livestock Market Pigs And Sheeps (Godfather Records GR 625/626)
there are 2 vers this is the good one |
2 flac
|
|
| 259. |
03/31/77 |
New Bingley Hall - Stafford,
England |
a- | Name: Flesh Animalization
Release: Blue Cafe 24 A/B |
2 flac
|
|
| 260. |
04/22/77 |
Miami Baseball Stadium - Miami,
FL |
AA | Bootleg Title: First Generation
Source: AUD[1] -> CDR[?] -> SHN
Quality: EX-
Length: 123 mins 32 secs |
2 flac
|
|
| 261. |
04/24/77 |
Tampa Stadium - Tampa,
FL |
A | Original lineage: cass[M] > DAT(0) > CDR(2) > shn
Additional lineage: shn > TLH > wav > Adobe Audition 3.0.1/CD Wave > wav > TLH > wav > Flac Frontend > flac 8
Revisions:
- Speed corrected -1.75% (0.9825 stretch with Adobe Audition 3.0.1, resampled with high precision)
- Retracked
- Removed small silent gaps at the end of Sheep, in the middle of Pigs (3DO), at the beginning of SOYCD 1-5 and at the end of WYWH
- Joined the two split parts of Pigs together (small cut remaining)
- Removed a total of 39 secs of repeated sections at the end of SOYCD 1-5
- Removed 23 secs of silence at the end of Disc 2
- Corrected sector boundary errors
Revised by Bert13 at June 28, 2009 |
2 flac
|
|
| 262. |
04/26/77 |
Omni Coliseum - Atlanta,
GA |
A | Original source lineage: Cass (1) > CDR > shn
Label: Digital Floyd Project
Additional source lineage: shn > wav > Adobe Audition 3.0.1* > wav > TLH (sbe fix) > wav > Flac Frontend > flac 8 tagged and verified
* - removed a few index clicks / micro gaps
- speed corrected 102.84 stretch
- phase corrected, left channel clip restored
|
2 flac
|
|
| 263. |
04/28/77 |
Assembly Center - Baton Rouge,
LA |
B++ | source: audience / cass[3]>cdr[0] >EAC>WAV>archived in shn
tot length: 109:57
close to not making it or just listenable |
2 flac
|
|
| 264. |
04/28/77 |
Assembly Center - Baton Rouge,
LA |
B++ | source: audience / cass[3]>cdr[0] >EAC>WAV>archived in shn
tot length: 109:57
close to not making it or just listenable |
2 flac
|
|
| 265. |
04/30/77 |
Jeppesen Stadium - Houston,
TX |
A- | Original source lineage: Cass(1)> DAT > CDR > Bias Peak Pro 5.2.1 > Xact > flac
Additional source lineage: flac > TLH > wav > Adobe Audition 3.0.1* > wav
Tracked with CD Wave, encoded to flac 8 with Flac Frontend, tagged and verified
* 97.4 shrink up to Money (Money and Us And Them not changed)
Smoothed out a few cuts and bumps
|
2 flac
|
|
| 266. |
05/01/77 |
Tarrant County Convention Center - Fort Worth,
TX |
AA |
Mics: 2 Sony ECM 19B >
Recorder: Sony TC-152 >
Tape: Sony Chrome CRO-90 cassettes
the Original Analog 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
|
2 flac
|
|
| 267. |
05/06/77 |
Anaheim Stadium - Anaheim,
CA |
A | LINEAGE>LP > Cool Edit Pro > flac
|
1 flac
|
|
| 268. |
05/07/77 |
Anaheim Stadium - Anaheim,
CA |
a- | This is a Fixed (resampled) version.
Source : Realistic Minisette – 18 > Cassette Master (Maxell UDC 120) Taper: Michael Cariola
Transfer : Sony TC-WE475 (Azimuth Adjusted) > PC (Line In Creative SB Audigy Fx)
Editing : Audacity (Mastering) > Sound Forge (volume) > Wave > TLH (sbe aligned) Flac 8
Traders Den - September 5, 2020
posted by kingrue upload #2680 |
2 flac
|
|
| 269. |
05/09/77 |
Oakland Coliseum - Oakland,
CA |
A | Analog Audience Source: FOB Master Cassettes (MAC)
Medium Stock Brands: MAC = 2 x TDK SA90
Analog Lineage: 2 x sony ECM 280 => Sony SD158 >> MAC
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]
Taped By: Reinhart Holhwein
Transfer By: Bob Menke
Mastering By: Derek McCabe
|
2 flac
|
|
| 270. |
05/09/77 |
Oakland Coliseum - Oakland,
CA |
9 | Source: "Welcome To The Machine" (Cannonball)
Lineage: My Silver>CDWave>Flac6
Extraoridinary SQ on this recording. IMO, the SQ on this rates essentially the same as Animal Instincts RevB and the Master RtR but the type of sound is a bit different on each. |
2 Flac
|
|
| 271. |
05/10/77 |
Oakland Coliseum - Oakland,
CA |
8.5 | Lineage: Cass Master to HIFI > DAT(0)(48kHz) > Sony SDT-9000 > DAT2WAV > WAV > TLH > FLAC (level 5)
No encores. DAT2WAV didn't detect any errors.
Neon
Recorder 1 (Secondary Source - Encores) - Wotjek (https://ravinganddrooling.com/forum/archives/pink-floyd-and-pf-solo-member-audio-torrents/43640-)
Recorder 2 - Roughcut's Incomplete 1st Gen (https://ravinganddrooling.com/forum/archives/pink-floyd-and-pf-solo-member-audio-torrents/106217-)
Lineage - Source Files > REAPER (Syncing and Mastering) > 24 bit WAV (Untracked) > 16-48 FLAC 8
------------------------------------------------------------------------------------------
Notes:
Ello there, and welcome to one of my latest projects I have worked on for you all to enjoy: "A Greater Set". This is the name of the release after the infamous bootleg title of the night before this show in Oakland. In my opinion, where this one lacks the quality of the other Oakland show, it makes up for in performance; hence the title for this release.
------------------------------------------------------------------------------------------
Mastering Notes:
Rec 2 is the Primary source. It has been speed corrected by 57 cents, EQ'd with a gain decrease of -4.2dB and panned 80% left where matrixed.
Rec 1 is speed corrected to Rec 2 with values between -15 and -78 cents. It has been EQ'd with a gain increase of 2.5dB (6.7dB louder than Rec 2) and panned 50% right where matrixed.
For set 2 onwards, Rec 1's mastered channel is panned right, whereas the raw is panned left with a gain increase (0.8dB for Set 2, 1.6dB for Encores). Speed correction was then applied, with Set 2 by -55 cents, Money by -35 cents, and Us And Them by -36 cents.
------------------------------------------------------------------------------------------
Final Notes:
Included in this upload are some bonus files including ticket scans from Atomicgamer400, a fantastic cover by WorldmanOne, and other goodies sourced from the internet such as Roger Ressmeyer's photos.
Finally, I would like to say a huge thank you to everyone behind these recordings and this project, including but not limited to:
- The tapers
- neonknight (Providing a new and improved R1 source for this release)
- Wotjek and Roughcut (Providing the other sources for R1 and R2)
- Atomicgamer400 (Providing ticket scans)
- WorldmanOne (Providing a cover for this release)
As always, share freely, don't convert to MP3 unless for personal use, DON'T CHARGE ANYONE FOR FREE MUSIC, etc.
Enjoy and Cheerio!
Ello_Guvner
2023-11-26 |
2 Flac
|
|
| 272. |
06/17/77 |
Freedom Hall - Louisville,
KY |
A | Lineage: Master transfer to CDR > FLAC > iZotope RX4 & Reaper v4.61 > FLAC (16bit/44.1kHz)
|
2 flac
|
|
| 273. |
06/19/77 |
Soldier Field - Chicago,
IL |
a- | source: audience - recorder 2 / cass[low]>cdr[?] >EAC>WAV>archived in shn
tot length: 116:29
overall: VG+/EX- |
2 flac
|
|
| 274. |
06/25/77 |
Municipal Stadium - Cleveland,
OH |
A | Mastering Notes:
Recorder 1 was used as my primary source, except for SOYCD I-V and Us And Them due to Recorder 2 cutting in before; opting for that one in those cases.
For Recorder 1, I did not get rid of either channel because as said previously by neonknight, although the left channel is stronger throughout this
recording, both channels are contributing in the primary source. Also, for the Master DAT, I EQ'd this to roll off some low end and bring out more highs
and panned this in the right channel, with the raw being panned to the left.
Recorder 1 was EQ'd to bring the bass/low end out of this recording more as well as certain parts of the mids to compliment Recorder 2's mids and high ends.
This source is also the louder one of the two in this matrix most of the time as it is more direct and clear in comparison to Recorder 2.
For Recorder 2, both channels were EQ'd individually as it is stereo, both getting rid of some boxiness in the recorder at around the 400Hz range and
bringing out more of the recording elsewhere in the lows, mids and highs. Furthermore, a de-click from RX8 was used as this was quite frequent in the
higher frequencies.
Finally for the mix, a maximiser was applied to stop clipping at points with loud fireworks (a given for a late June 1977 show!)
Final Notes:
Finally, I would like to say a huge thank you to everyone behind these recordings and this project, including but not limited to:
Roscoe59 and Eric S. (The people behind the release of Recorder 2)
neonknight (Transferring 2 of the 3 sources used for Recorder 1)
stratcat58 (Providing one of the superior sources of Recorder 1 for the community)
buffalofloyd (Providing the other superior source of Recorder 1 for the community)
kbrubaker and Bert13 (Providing another one of the sources of Recorder 1 for the community)
WorldmanOne (Creating the cover as well as helping sync the 8mm video)
Atomicgamer400 (Providing ticket scans and helping sync the 8mm video)
This is an incredible capture for the time era |
2 flac
|
|
| 275. |
06/27/77 |
Boston Garden - Boston,
MA |
AA | Taper 1: Steve Hopkins
Location: FOB
Lineage : Sony ECM-99a > Sony TC-158SD > cass[master] >
DAT[?] > cdr[?] > EAC > WAV > archived in shn
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 >
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
|
2 flac
|
|
| 276. |
06/29/77 |
The Spectrum - Philadelphia,
PA |
a- | Sigma 296 (2022)
Lineage: My Original Silver --> EAC --> WAV --> THL --> Flac8 --> You
|
2 flac
|
|
| 277. |
07/01/77 |
Madison Square Garden - New York,
NY |
a- | recorder 1
transferred by pinkrudy (2008)
Generation: cass[low] > Sony CFD-G500 > SB X-Fi Xtrememusic > WAV 24/48 > FLAC 24/48
Sound Quality: around VG
Total Time 130:06m |
2 flac
|
|
| 278. |
07/01/77 |
Madison Square Garden - New York,
NY |
A- | recorder 1
transferred by pinkrudy (2008)
Generation: cass[low] > Sony CFD-G500 > SB X-Fi Xtrememusic > WAV 24/48 > FLAC 24/48
Sound Quality: around VG
Total Time 130:06m
|
2 flac
|
|
| 279. |
07/02/77 |
Madison Square Garden - New York,
NY |
AA | Analog Audience Source: FOB Master Cassettes (MAC)
Medium Stock Brands: Maxell UD C60 and a UD C90
Analog Lineage: unknown mics => Sony 152 >> MAC
Taped By: Louis Falanga
Transfer By: Bb Menke
Mastering By: Derek McCabe |
2 flac
|
|
| 280. |
07/02/77 |
Madison Square Garden - New York,
NY |
8 | Definitive MSG 1977 / 2CD / Sigma 192
Lineage:
Boot CD Silvers>EAC>WAV>TLH>FLAC>You
|
2 Flac
|
|
| 281. |
07/03/77 |
Madison Square Garden - New York,
NY |
AA | title: PIGS MIGHT FLY ? [STTP 128/129]
date/venue:1977 July 3 - Madison Square Garden, New York City, New York
audience - recorder 2
cass(master) > CDR(?) > CDR ---> SHN
|
2 flac
|
|
| 282. |
07/03/77 |
Madison Square Garden - New York,
NY |
A | Lineage:
Boot CD Silvers>EAC>WAV>TLH>FLAC>You
Taken from the Japanese 4CD Bootleg 'Animal Cops' (Sigma 30) |
2 flac
|
|
| 283. |
07/04/77 |
Madison Square Garden - New York,
NY |
AA | source: audience - recorder 1 / cass(1) > CDR(1)
tot length: 125:59
overall: EX+
at last a version not sourced from the second generation cassette :)
that second gen was around under any sorta title and release, poor thing.
this is sourced from the 1st generation cassette the taper kept as backup, the master is lost.
the taper used Nakamichi equipment (he's the same taper of the show in Philly 87.9.19 - recorder 1)
This version has a different speed than the other ones, is a bit slower (but it's semi-perceptible); the actual difference in length is due to more pieces of recording here included, audience parts though, cause Pigs has still a gap in the middle and Money is still missing the very beginning; the cuts provoked by the taper are here quite evident so I guess it was on the master as well.
Sound quality is not better than the versions around from the 2nd Gen.s; this is a bit longer but also more rough, probably cause is was copied sevaral times .
Waters yells 19/54 on Pigs (3DO) min 1:52/53 (3rd verse - on track 8 of CD1)
|
2 flac
|
|
| 284. |
07/04/77 |
Madison Square Garden - New York,
NY |
A | Lineage:
Boot CD Silvers>EAC>WAV>TLH>FLAC>You
Taken from the Japanese 4CD Bootleg 'Animal Cops' (Sigma 30) |
2 flac
|
|
| 285. |
07/06/77 |
Stade du Parc Olympique - Montreal,
QC |
AA | Source: Audience recording
Lineage: Master > DAT(2) > Amadeus > MacFlac > Flac
|
2 flac
|
|
| 286. |
07/06/77 |
Stade du Parc Olympique - Montreal,
QC |
A | Generation Reel[Master] > DAT(2) > MacFlac > FLAC |
2 flac
|
|
| 287. |
07/06/77 |
Stade du Parc Olympique - Montreal,
QC |
A | Pink Floyd 1977-07-06 Montreal Recorder 1, unknown gen (24bit/96kHz) - speed corrected by Jimfisheye
Lineage: Maxell XLII Cassettes x 2 > *Technics RS-B965-M > Focusrite Saffire Pro 14 > Audacity 1.3 > FLAC (24bit/96kHz) > speed correction by Jimfisheye with Serato in Protools HD9 > FLAC (24bit/96kHz)
xACT used to create FFP
*The Technics RS-B965-M is a modified deck - for details see the Tapeheads.net forum
|
2 flac
|
|
| 288. |
??/??/79 |
Britannia Row / Super Bear - London,
UK |
A+ | COMPLETE DEMO TRACKS OF "THE WALL" ALBUM
Recorded at The Floyd's Britannia Row Studios
(Sept-Dec, 1978 & Late 1979)
& Super Bear Studio(April-Aug 1979)
in France. |
2 flac
|
|
| 289. |
02/07/80 |
Sports Arena - Los Angeles,
CA |
AA | 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!
|
2 flac
|
|
| 290. |
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 |
2 flac
|
|
| 291. |
02/26/80 |
Nassau Veterans Memorial Coliseum - Uniondale,
NY |
A | Recorded by Daspyknows
Front Row Orchestra Terrace Dead Center
Schoeps MK4 BabyNBox Tascam DR-2D 24 Bit 48K
Processed using Soundforge 13, resample, to 16bit 44.1K
TLH to convert to Flac
Master 2022.039
Has some hiss but pretty good |
2 flac
|
|
| 292. |
08/04/80 |
Earls Court Exhibition Hall - London,
England |
7.5 | Recorder 2 [16-44] *
Cassette (master) > DAT(0) 48kHz > Edirol UA-5 > Audacity > WAV > CD Wave > FLAC 16 bit / 44.1kHz
|
2 Flac
|
|
| 293. |
08/05/80 |
Earls Court Exhibition Hall - London,
England |
8 | Recorder 3 [16-44] *
Cassette (2)>DAT(0) > DAT(0) 48kHz > Edirol UA-5 > Audacity > WAV > CD Wave > FLAC 16 bit / 44.1kHz
Cassettes borrowed from Marbal and transferred by deepcreatures to DAT using a Nakamichi RX-505 |
2 Flac
|
|
| 294. |
08/06/80 |
Earls Court Exhibition Hall - London,
England |
A | The Show Must Go On
Highland Limited Special Edition HL001 SEX
Matrix Disc 1: HL 673 DISC 1
Matrix Disc 2: HL 674 DISC 2
(P) 2005 Made In Japan |
2 flac
|
|
| 295. |
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. |
2 flac
|
|
| 296. |
08/09/80 |
Earls Court Exhibition Hall - London,
England |
9 | Original bootleg discs -> EZ CD Audio Converter -> FLAC level 5
Ripped and shared by Gullveig.org |
2 Flac
|
|
| 297. |
02/13/81 |
Westfalenhalle - Dortmund,
West Germany |
8 | Recorder 2 [16-44] *
Cassette (1)>DAT(0) > DAT(0) 48kHz > Edirol UA-5 > Audacity > WAV > CD Wave > FLAC 16 bit / 44.1kHz
Cassettes borrowed from Marbal and transferred by deepcreatures to DAT using a Nakamichi RX-505 |
2 Flac
|
|
| 298. |
02/17/81 |
Westfalenhalle - Dortmund,
West Germany |
8 | Source 1 [16-44] *
Cassette (1)>DAT(0) > DAT(0) 48kHz > > Edirol UA-5 > Audacity > WAV > CD Wave > FLAC 16 bit / 44.1kHz |
2 Flac
|
|
| 299. |
02/18/81 |
Westfalenhalle - Dortmund,
West Germany |
8 | Recorder 2 [16-44] *
Cassette (1)>DAT(0) > DAT(0) 48kHz > Edirol UA-5 > Audacity > WAV > CD Wave > FLAC 16 bit / 44.1kHz
Cassettes borrowed from Marbal and transferred by deepcreatures to DAT using a Nakamichi RX-505 |
2 Flac
|
|
| 300. |
06/17/81 |
Earls Court Exhibition Hall - London,
UK |
A | Audience; 'The Last Few Bricks' (Sirene- 074)
(Roger Water's Last Show As A Member Of Pink Floyd)
Matrix Disc 1: Sirene - 074 Disc1
Matrix Disc 2: Sirene - 074 Disc2
(P) 2005 Made In Japan
*************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr |
2 flac
|
|
| 301. |
09/09/87 |
Lansdowne Park - Ottawa,
ON |
A | Notes: This is the premiere show on the 1987 Momentary Lapse Of Reason World Tour.
The first few tracks are faded in or out. Possibly the same on the LP that it was mastered from, but after LTF the recording is in tact. Some clipping, more obvious in some places than other (Like the end of RLH).
Plenty of audience participation to enjoy, but not really in the harsh way. More like the crowd is having a good time type of way.
Digitally Remastered from the LP- World Tour, except this source is complete. All in all a nice recording. Enjoy.
|
2 Flac
|
|
| 302. |
09/12/87 |
Forum - Montreal,
QC |
A | Lineage: Unknown gen. cassette -> Sony HCD-EH26 -> Creative SB Audigy SE -> wave 96/24 -> AdobeAudition and NeroWaveEditor (44/16 and split only) -> TLH -> flac
|
2 flac
|
|
| 303. |
09/13/87 |
Forum - Montreal,
QC |
a- | Album notes:
A part of north american „A Momentary Lapse Of Reason” 1987 tour. Complete show
from one, unique source.
Recording mastered from very low generation analog tape. Discs' division compatible with the course of the show. Carefuly indexed. Revised copy.
Great "Echoes". The second of only 6 encore performances of SOYCD during this tour.
Lineage: A Cass[Low]>AIWA TapeDeck>SBLive>WAV>EAC>SHN.
|
3 flac
|
|
| 304. |
09/14/87 |
Forum - Montreal,
QC |
a- | Lineage: unknown gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.4 -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 305. |
09/16/87 |
Municipal Stadium - Cleveland,
OH |
a- | Info from the PF ROIO site @: http://www.pf-roio.de/roio/roio-cd/echoes_by_lake.cd.html
Quality: * EX
Comments: Another good recording from the Momentary Lapse tour. I'm having difficulty determining where the taper was, as the sound is a bit distant. My best guess is that he was a pretty good distance from the stage and his mic was aimed at the main PA (stage), but ended up getting some inherent reverb (the "stadium" effect), which is VERY noticeable on "Round And Around", and a few other places. Some of the sound effects are clear and can be heard quite easily, while others are distant. Maybe the taper was located near one of the rear PA stacks? Some of the louder volumes (during A New Machine, Dogs Of War, Sorrow) cause a slight overdriven distortion, which is a little annoying, but nothing to worry about. On several songs, the instruments are slightly murky (probably due to the distance), and the bass needs a slight boost, but it's nothing that a few tweaks of the 'ol EQ can't fix.
The crowd is active (and at times, pretty damn loud) but is not too obtrusive, making you feel that you are at the show! In my opinion, this recording is a notch below A Clear View and comparable to Prism, which still makes this a very good ROIO. Plus, you get a GREAT (complete) version of ECHOES!!!
The Floyd's playing seemed to be "on" that night.
Rick takes some creative keyboard liberties during the intro to OTTA, doodling about while holding the main chord. During the keyboard intro, Gilmour: "Thank you very much... Good Evening... We're gonna take on one more song here, then we're gonna take a few minutes break, and we'll be back, again. Thank You. Take her away guys..." After OTTA, "Thank you, we'll be back in a few minutes."
At the end of Money, Floyd plays the 4-bar into to ABITW2, stops for a few seconds, and then begins with "We don't need no ed-u-ca-tion". Great jam session!
After ABITW2, Gilmour: "Thank you! Wow. What fun, eh? That's right, do it. There is always a way . . . All right, thank you very much for coming, all you people! Woooo! This is a big place isn't it? We haven't been here in a few years. Anyway, one more, and, it will be time to go."
Dave: "Hello! Thank you! Well we have time for one more. (???) We hope you remember this one."
From what I can tell, it's the ONLY Momentary Lapse-tour disc to contain both Echoes and One Slip!!! A great performance by The Floyd and a very good recording make this essential Gilmour-era Floyd material. A solid addition to any collection!!! -SUNDOG
|
2 flac
|
|
| 306. |
09/17/87 |
Municipal Stadium - Cleveland,
OH |
a- | Lineage: low gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.4 -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 307. |
09/19/87 |
John F. Kennedy Stadium - Philadelphia,
PA |
A | source/lineage: 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
|
2 flac
|
|
| 308. |
09/21/87 |
C.N.E. Stadium - Toronto,
ON |
A | Audience Rec 1 (first generation)
Cass[1]>PC (edited with sound forge and CD Architect)>My Master CD>EAC>FLAC
Walkman D-6,mics unknown |
2 flac
|
|
| 309. |
09/22/87 |
C.N.E. Stadium - Toronto,
ON |
a- | Digitized from master cassette audience recording made with Sony WA-55 stereo cassette-corder & 2 SONY mics, from Section 44, Row 6, Seat 14.
Source: Master Cassette> CD Spin Doctor (iMac G5)> MacFlac
|
2 flac
|
|
| 310. |
09/23/87 |
C.N.E. Stadium - Toronto,
ON |
a- | Lineage: A[Low]>SBLive>WAV>CoolEditPro>EAC>SHN
|
2 flac
|
|
| 311. |
09/25/87 |
Rosemont Horizon - Rosemont,
IL |
a- | Lineage: low gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.4 -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 312. |
09/28/87 |
Rosemont Horizon - Rosemont,
IL |
a- | Sec 3 Row 29 seat 16 Jam Presents (Main Floor)
Recorder: Sony TC-D5M ANALOG
Tape: Maxell XL-II-S C-90 Dolby Off
Mics: AKG 460 B w/ ULS 61 capsules w/Elbows at 90 degrees
Played back on TC-D5M machine (Not Exact Unit, but calibrated)>
Chord Co. Cables
Pre-amp: Naim 52
CDR Recorder (Stand Alone): Marantz CDR-600 (Philips CDR-101)
CDR: Taiyo Yuden Gold 74-ZY
Master CDR>
PC Drive: UltraPlex40max SCSI
EAC>FLAC>To You Guys, enjoy, RB
|
2 flac
|
|
| 313. |
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
****************************************************************************************
|
2 flac
|
|
| 314. |
10/03/87 |
Carrier Dome - Syracuse,
NY |
A | Master Audience Recorded By Seremetcc, Transfer By Keo!
ElectroVoice EV757 > Marantz PMD-430
Tapes:Sets 1 + 2 Maxell MX 90's, Encores Maxell MX 60
DFC, 30’ From Stage, Standing On Folding Chair, Hand-Held
Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz
Tracking/Sample Rate Conversion With AudioGate V.3.02 To 32/96 kHz Wave
Dithered/Flacked With Korg Aqua To 16/44
SBE's Checked/Fixed With Trader's Little Helper
Metadata Tagging With Tag&Rename |
2 flac
|
|
| 315. |
10/05/87 |
Madison Square Garden - New York,
NY |
a- | Master Audience Recording
Taper: Mike Hatler
Seat: Section 12C Row C Seat 2
Equipment: Sony TCD-6M/Nacamichi CM-300 |
2 flac
|
|
| 316. |
10/06/87 |
Madison Square Garden - New York,
NY |
a- | Lineage: low gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.4 -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 317. |
10/07/87 |
Madison Square Garden - New York,
NY |
A | cass[?] > CDR(?) > SHN >Flac |
2 flac
|
|
| 318. |
10/07/87 |
Madison Square Garden - New York,
NY |
8 | The Lost New York Tapes
Free Range Pigs (FRP CDR-010/011)
-In association with Get It On Productions (GIO)
Release Notes: An interesting set of circumstances led up to the release of this recording. To my knowledge, no other audio sources of this show have surfaced before today, however, according to some trading lists we've seen, there are two(!) audience-shot video tapes of this show.
Many thanks are owed to David Dyte (Get It On Productions) who made this tape available to Free Range Pigs for remastering and release. David's story follows:
"I was visiting a friend who is more or less of an ex-Floyd fan. He still likes the music, but much prefers the Indie stuff nowadays. But in years gone by, it turns out he was quite a taper. He handed me a drawer full of assorted tapes to look through, mostly traded for, but a few of his own making. Lo and behold, here's a tape of Pink Floyd at Madison Square Garden in 1987."
"He said, 'Did I do that? Wow! I forgot all about this. I'll look for the master tape. It should be in another drawer with the rest.' Well, he could not locate the box full of masters from his arena gig taping days, but this tape was made from the master immediately - the first and only time the master was played."
This recording was taped with a walkman recorder with a small stereo "bug-eye" type microphone, brand long since forgotten. The taper was sitting second tier, about half way back from the stage.
This release of this recording is very nice. The bass floor is sweet, with great acoustics in the hall. It's been in production for over 3 months and alot of effort has gone into making this release a worthy representation of what must have been an incredible night at MSG almost 14 years ago.
Credits: Jim Canale (bigpig@freerangepigs.com) and Free Range Pigs would like to thank the following people for their contributions to this effort:
David Dyte for graciously providing the source.
The Taper, whoever he is and where ever he may be.
Mark Gunzinger for providing Quality Assurance services.
Doug Collins for providing Quality Assurance services.
Kevin Jowers for providing Artwork services.
Without these guys, none of this would have been possible.
|
2 Flac
|
|
| 319. |
10/10/87 |
Brendan Byrne Arena - East Rutherford,
NJ |
a- | Lineage: Sony TCS-470 Recorder (w/ optional stereo power mic) > 2 Maxell XLII90 Epitaxial cassettes
Transfer: Master Cassettes > Pioneer-CT500 tapedeck > Dell PC via stereo Y-cable (Realtek HD soundcard) > Audacity 1.2.6 (44100/16) > WAV(44100/16 w/Audacity 1.2.6) > Tracking(cd wave) > Flac (level 8, SBE's aligned)
Taper: Drgiggles1 from Section 119 Row 21 Seat 5
Transfer: Drgiggles1
|
2 flac
|
|
| 320. |
10/11/87 |
Brendan Byrne Arena - East Rutherford,
NJ |
A | soundboard |
2 flac
|
|
| 321. |
10/12/87 |
Brendan Byrne Arena - East Rutherford,
NJ |
a- | source: audience / SonyD-3 Walkman using stock external stereo mic >cass[Master]-TDK-HX-S90>cdr[0]>EAC>WAV>CD-Wave(indexing) > flac(level8)
tot length: 144:58
overall: EX |
2 flac
|
|
| 322. |
10/15/87 |
Hartford Civic Center - Hartford,
CT |
8.5 | AUD Recording
Mastertape>sony cassette Deck>Sb Audigy2 24/96 >PC>Soundforge Izotope 64 BIT downsample, Waves L316>
>TLH>torrent>you
Taped by Steve H.
transferred by Raymond Morelli JR.
Mastered by Raymond Morelli JR. |
|
|
| 323. |
10/15/87 |
Hartford Civic Center - Hartford,
CT |
8.5 | AUD Recording
Mastertape>sony cassette Deck>Sb Audigy2 24/96 >PC>Soundforge Izotope 64 BIT downsample, Waves L316>
>TLH>torrent>you
Taped by Steve H.
transferred by Raymond Morelli JR.
Mastered by Raymond Morelli JR. |
|
|
| 324. |
11/01/87 |
Orange Bowl - Miami,
FL |
A+ | Soundboard; Cassette >CDR >FLAC
(Complete)
**********************************************************************
FLAC Tags Via xACT 2.50 By OldNeumanntapr
********************************************************************** |
2 flac
|
|
| 325. |
11/03/87 |
The Omni - Atlanta,
GA |
AA | DVD Player > Sony AV Control Integrated Amplifier > Sony RCD-W500C Compact Disc Recorder > EAC (secured) > Traders Little Helper Flac Level 8 (aligning sector boundaries)
|
2 flac
|
|
| 326. |
11/15/87 |
The Arena - St. Louis,
MO |
a- | Aiwa CM-S20 Mic > Aiwa HS-J380 > Maxell XLII 90 Masters > WAV > Cool Edit Pro > Wav > Flac (sector aligned - level 7)
|
2 flac
|
|
| 327. |
11/16/87 |
The Arena - St. Louis,
MO |
a- | Lineage: A[Low]>SBLive>WAV>CoolEditPro>EAC>SHN |
2 flac
|
|
| 328. |
11/21/87 |
Reunion Arena - Dallas,
TX |
a- | Sound Quality: EX
Source: Audience (recorder 1)
Generation: ECM-33F mics > Marantz PMD-430 > cass[M] > Playback on Akai GX-R60EX
> PC > CEPro > CDR(2) > WAV > TLH > FLAC (level 5)
|
2 flac
|
|
| 329. |
11/27/87 |
Sports Arena - Los Angeles,
CA |
8.5 | ineage: Unknown gen. cassette -> Sony HCD-EH26 -> wav -> NeroWaveEditor -> TLH -> flac
Transfered and artwork by Nipote
This release was first shared on IN FLOYD WE TRUST hub
http://www.infloydwetrust.com
|
2 Flac
|
|
| 330. |
11/28/87 |
Sports Arena - Los Angeles,
CA |
a- | source/lineage: Recorder 1 / cass[M]>HiFi>DAT(2)>cdr>DAT(0)@16bit/48khz>Tascam DA-302>
Audigy 2 Platinum>wav>cd wav(track splitting)>mkwact>shn
|
2 flac
|
|
| 331. |
12/03/87 |
Oakland-Alameda Coliseum - Oakland,
CA |
A | Source:audience
Quality:Very good+ to Ex-
Gen:1st gen
Lineage:ANALOG CASSETTE>DAT>CDR>EAC>TLH FLAC 8>DIME
Transfered by/Uploaded by:sunvenusmoon
Recorded by:Kevin Cogan
Recording Gear:NAKamichi CM 300's>Sony D-6
|
2 flac
|
|
| 332. |
12/04/87 |
Oakland-Alameda County Coliseum Arena - Oakland,
CA |
a- | Modified Nakamichi 700's cardiod capsules>custom dbx with
Sony TC D5M
Section 2 Row O Seat 2
Maxell MX 90 nr dbx II
Master>Nak CR-3A>dbx224>HD>Audacity>CDWave>TLH
Recorded by Tazuo Yamaguchi
Transferred by Russ Cansler |
2 flac
|
|
| 333. |
01/27/88 |
Entertainment's Center - Sydney,
Australia |
a- | Lineage: Unknown gen. cassette -> Sony HCD-EH26 -> wav -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 334. |
02/19/88 |
Tennis Center - Melbourne,
Australia |
A+ | SBD recording
***********
original info:
Silver Sea Label SSR41919
Factory Pressing as above>EAC>wav>you
Excellent SB recording! (probably the best available from 1988)
|
2 flac
|
|
| 335. |
03/02/88 |
Budokan Grand Hall, Chiyoda-Ku - Tokyo,
Japan |
AA | Matrix Disc 1: Sigma 108 Disc-1 1A31800916 IFPILT029
Matrix Disc 2: Sigma 108 Disc-2 1A31800917 IFPILT029 |
2 flac
|
|
| 336. |
03/03/88 |
Budokan Grand Hall, Chiyoda-Ku - Tokyo,
Japan |
AA | Matrix Disc 3: Sigma 108 Disc-3 1A31800918 IFPILT029
Matrix Disc 4: Sigma 108 Disc-4 1A31800919 IFPILT029 |
2 flac
|
|
| 337. |
03/04/88 |
Yoyogi Olympic Pool - Tokyo,
Japan |
A | silvers sigma 54 Signs of Life |
3 flac
|
|
| 338. |
03/05/88 |
Yoyogi Olympic Pool - Tokyo,
Japan |
A | silvers Sigma 54 Signs of Life |
3 flac
|
|
| 339. |
03/06/88 |
Yoyogi Olympic Pool - Tokyo,
Japan |
AA | Matrix Disc 5: Sigma 108 Disc-5 1A31800920 IFPILT029
Matrix Disc 6: Sigma 108 Disc-6 1A31800921 IFPILT029
|
2 flac
|
|
| 340. |
03/08/88 |
Joh Hall - Osaka,
Japan |
8.5 | PINK FLOYD - Osaka Castle Nights
6 Pro - CDR - Matrix Disc 1-6: NO
(P) 2014 Made In Japan
Pink Floyd “A MOMENTARY LAPSE IN OSAKA”, Diff-master and press platen, 2 Days Osaka performance in 1988 of the same day as the press platen more, 6-Disc bonus title must for fans of that high sound quality and complete recording of each “OSAKA CASTLE NIGHTS” is, will be attached specially.
PINK FLOYD – OSAKA CASTLE NIGHTS (Bonus 6CDR) Osaka-Jo Hall, Osaka, Japan 8th & 9th March 1988 TRULY AMAZING SOUND than Japan tour with in 1988 in “A Momentary Lapse Of Reason”, Osaka of the 9th and March 8th 6 pieces of fan indispensable neither complete recording with high-quality sound recording audience, 2 Days castle hall performances. Both performances with full Diff-master board and press “A MOMENTARY LAPSE IN OSAKA”. Number of sound sources is very low, as a valuable record of performance in Osaka ’88, the collector must-have in the press platen same.
Never ever booted on CD, sound source of March 8 is valuable take first. “A MOMENTARY LAPSE IN OSAKA” sound source is too good too, you might not wiped the sober impression by all means, but this is recording a very good quality in this.
Feel of the sound soft, unlike the press platen to be able to enjoy clear and that is sparkling, the whole picture of the show you can enjoy an analog-style sound of nostalgic feeling.
Will it better if you expressed as sound mild warm friendly feeling of the ear.
That amount, without even clapping sticks to ear, I can listen comfortably.
Natural low-frequency sound is attractive one. You may receive a modest impression, but this is now, I can assert that a very valuable record.
Sound source of the 9th was remastered recording had been released from Amity in the past the “Night Castle.”
To increase volume by reducing hiss, this place delivers a more robust sound.
Is there a turbidity in sound compared to the press board sound source is here, but the high frequency because out in clear, for enough, some great Gotae listen to the entire sound pressure. High quality sound that is well organized indeed, there is a sharp sound in the press board, but some powerful sound of this place hard to throw away.
As for the source of this 9th, cheers One Slip front of Angkor has been recorded more than two minutes, you can be made ??to the press, to confirm the advantage of as a record of only this board.
Whatever the case may be, Osaka 2 Days present time, in ’88, there is always has been confirmed only four sound source, including two press new sound source, the fan of a must-have, must-listen all of them no doubt.
Live at Osaka-Jo Hall, Osaka, Japan 8th March 1988
|
3 Flac
|
|
| 341. |
03/09/88 |
Joh Hall - Osaka,
Japan |
8.5 | PINK FLOYD - Osaka Castle Nights
6 Pro - CDR - Matrix Disc 1-6: NO
(P) 2014 Made In Japan
Pink Floyd “A MOMENTARY LAPSE IN OSAKA”, Diff-master and press platen, 2 Days Osaka performance in 1988 of the same day as the press platen more, 6-Disc bonus title must for fans of that high sound quality and complete recording of each “OSAKA CASTLE NIGHTS” is, will be attached specially.
PINK FLOYD – OSAKA CASTLE NIGHTS (Bonus 6CDR) Osaka-Jo Hall, Osaka, Japan 8th & 9th March 1988 TRULY AMAZING SOUND than Japan tour with in 1988 in “A Momentary Lapse Of Reason”, Osaka of the 9th and March 8th 6 pieces of fan indispensable neither complete recording with high-quality sound recording audience, 2 Days castle hall performances. Both performances with full Diff-master board and press “A MOMENTARY LAPSE IN OSAKA”. Number of sound sources is very low, as a valuable record of performance in Osaka ’88, the collector must-have in the press platen same.
Never ever booted on CD, sound source of March 8 is valuable take first. “A MOMENTARY LAPSE IN OSAKA” sound source is too good too, you might not wiped the sober impression by all means, but this is recording a very good quality in this.
Feel of the sound soft, unlike the press platen to be able to enjoy clear and that is sparkling, the whole picture of the show you can enjoy an analog-style sound of nostalgic feeling.
Will it better if you expressed as sound mild warm friendly feeling of the ear.
That amount, without even clapping sticks to ear, I can listen comfortably.
Natural low-frequency sound is attractive one. You may receive a modest impression, but this is now, I can assert that a very valuable record.
Sound source of the 9th was remastered recording had been released from Amity in the past the “Night Castle.”
To increase volume by reducing hiss, this place delivers a more robust sound.
Is there a turbidity in sound compared to the press board sound source is here, but the high frequency because out in clear, for enough, some great Gotae listen to the entire sound pressure. High quality sound that is well organized indeed, there is a sharp sound in the press board, but some powerful sound of this place hard to throw away.
As for the source of this 9th, cheers One Slip front of Angkor has been recorded more than two minutes, you can be made ??to the press, to confirm the advantage of as a record of only this board.
Whatever the case may be, Osaka 2 Days present time, in ’88, there is always has been confirmed only four sound source, including two press new sound source, the fan of a must-have, must-listen all of them no doubt.
Live at Osaka-Jo Hall, Osaka, Japan 8th March 1988
|
3 Flac
|
|
| 342. |
03/23/88 |
Budokan - Tokyo,
Japan |
A | Info by Hoka:
http://www.hokafloyd.com/CD4/Another_Lapse_In_Japan/Another_Lapse_In_Japan.htm
PINK FLOYD - Another Lapse In Japan
Godfatherecords G.R.823/824
Matrix Disc 1: G.R. 823/824 CD1
Matrix Disc 2: G.R. 823/824 CD2
(P) 2012 Made In Japan
|
2 flac
|
|
| 343. |
04/15/88 |
Memorial Coliseum - Los Angeles,
CA |
8 | Recording Location: Set 1 was done in center section of the field about 12 rows from the stage. Set 2 was on the field in
the first row in front of left PA near Gilmour. (See back story below for more info).
Lineage:
Master Audience Recording by Michael Cariola using a Sony Walkman WM-R2 using onboard microphones on (2) TDK-SA C90 tapes >
Tascam 302 > Sony PCM M-10 at 96/24 Wave files edited with CD Wave Editor V. 1.98 > 96/24 and converted to FLAC using
Trader's Little Helper V2.8.3.182. Tape and covertion and editing by Michael Cariola.
(Courtesy of InnerEar) |
2 Flac
|
|
| 344. |
05/18/88 |
UNI Dome, University of Northern Iowa - Cedar Falls,
IA |
a- | Lineage: MasterCass-Maxell MX90/Denon DRS-610/Focusrite Scarlett 2i2/Audition/16-44flac
Recorder: Sony tcd5m w/custom stereo pzm in hat.
|
2 flac
|
|
| 345. |
05/18/88 |
UNI Dome, University of Northern Iowa - Cedar Falls,
IA |
A+ | Legnth: 2:26:14
Quality: A++ Aud excellent, no audience noise
Lineage: MasterCass>Sonytcd5m>STAudio 24/96 card>16bit.wav>.shn
Recorder: Sonytcd5m w/custom stereo pzm in hat.
Release Date: 2-04. New digitaly remastered release.
Copies of this recording, given to a few close friends spread like a virus
back in 88. Someone sold it in some quanity with a xerox cover locally.
All those copies had serious flaws. Gaps, multi-gen hiss and tape flip errors.
This version is fully intact for the first time, remastered from the MasterCass.
Amazing sound quality. Intermission crossfaded between trk7-8.
Enjoy...
Bootray
**************************************************************************************************
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
**************************************************************************************************
|
2 flac
|
|
| 346. |
06/10/88 |
Stade de la Beaujoire - Nantes,
France |
A | Lineage: Tape(Master) > CD-R(1) > EAC > Wave (44.1kHz / 16bit) > Audition CC (Mastering+Track Splitting) > Wave (44.1kHz / 16bit) > Flac (Level 8, SBE OK)
Length: 2:20:32
|
2 flac
|
|
| 347. |
06/16/88 |
Reichstagsgelände - West Berlin,
West Germany |
AA | Transfer info: Analog 1st Gen Chrome Bias (Type II) Cassette > SONY TC-WE635 Cassette Deck (w/Manual Azmuith Adjust) > TASCAM CD-RW900mkII Professional CD Recorder > CDR
CDR>EAC>WAV>TLH>FLAC>DIME
|
2 flac
|
|
| 348. |
06/18/88 |
Maimarketgelaende - Mannheim,
West Germany |
A | the music is excellent but the crowd is noisy |
2 flac
|
|
| 349. |
07/01/88 |
Praterstadion - Vienna,
Austria |
A | Unknown Microphones >Sony D6 Analog >WAV >SHN >WAV >FLAC
*************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************* |
2 flac
|
|
| 350. |
07/24/88 |
Espace Richter - Montpelier,
France |
AA | From 2nd gen cassettes.
Nakamichi 700> Cakewalk UA-1G (16/44.1k)>Audacity>CD Wave Editor>Flac 8
|
2 flac
|
|
| 351. |
07/31/88 |
Gentofte Stadium - Gentofte,
Denmark |
A | Just one person ruins this recording
Source: Sony ECM-150 -> Sony TCD-D5
Transfer: Master Casette -> B&O Beocord 9000 -> Sony pcm-a1 (96/24) -> audition -> cdwav -> flac
Taper: G. [2022-06-02 transfer by Willer [light EQ + levels + normalizing - Downsampled to 44,1/16]
|
2 flac
|
|
| 352. |
08/08/88 |
Maine Road Football Ground, Moss Side - Manchester,
UK |
A | Note: Digitally remastered by PB Bootlegs. Special thanks to Stuart W. for providing the source tape
Wave (16bit) > TLH8 > Flac > Dime |
2 flac
|
|
| 353. |
08/20/88 |
Nassau Coliseum - Uniondale,
NY |
A+ | Pink Floyd ?– Nassau Coliseum 1988 (Sigma 120) 4CD
2nd half of 08-21-1988 |
3 flac
|
|
| 354. |
05/16/89 |
Roman Arena - Verona,
Italy |
8.5 | Album notes:
A part of european „Another Lapse” 1989 tour, promoting album „A Momentary Lapse Of Reason”. Recording mastered from genuine low generation analog tape. Discs' division compatible with the course of the show. Carefuly indexed. Revised copy. Balanced. Speed corrected.
Lineage: A[Low]>SBLive>WAV>CoolEditPro>EAC>SHN |
3 Flac
|
|
| 355. |
05/17/89 |
Roman Arena - Verona,
Italy |
8.5 | Album notes:
A part of european „Another Lapse” 1989 tour, promoting album „A Momentary Lapse Of Reason”. Recording mastered from genuine low generation analog tape. Discs' division compatible with the course of the show. Carefuly indexed. Revised copy. Balanced. Speed corrected.
Lineage: A[Low]>SBLive>WAV>CoolEditPro>EAC>SHN |
3 Flac
|
|
| 356. |
05/18/89 |
Roman Arena - Verona,
Italy |
9 | Release/cat.: OC9X7-X5B CDR
date/venue: 1989 May 18 - Arena di Verona, Italy
source audience - gen: ? (Low)
your source: ripped from the original OC9X7-X5B "Live in Verona 18 May 89" LP > ?? > APE |
2 Flac
|
|
| 357. |
05/31/89 |
Olympic Stadium - Athens,
Greece |
a- | Lineage: Cassette(0) -> CDR(2) -> EAC -> WAV -> SHN ->TLH -> wave -> NeroWaveEditor -> TLH -> flac
|
1 flac
|
|
| 358. |
06/12/89 |
Globe Arena - Stockholm,
Sweden |
A | Recorded by; PER-ERIK, Transfered by; JONTEBUS
Recording Info; SONY WM-D6C > AIWA CM 30 > Cassette Tape.
Transfer Info; Cassette Tape > Nakamichi Dragon Cassette Deck > SONY PCM-M10 (24bit/44,1kHz) > Audacity for Mac > iZotope RX (for hissreduction and minor eq).
WAV>TLH>FLAC>DIME |
2 flac
|
|
| 359. |
06/13/89 |
Globe Arena - Stockholm,
Sweden |
A | Recorded by; PER-ERIK, Transfered by; JONTEBUS
Recording Info; SONY WM-D6C > MARANTZ EM-8 > Cassette Tape.
Transfer Info; Cassette Tape > Nakamichi Dragon Cassette Deck > SONY PCM-M10 (24bit/44,1kHz) > Audacity for Mac > iZotope RX (for hissreduction and minor eq).
WAV>TLH>FLAC>DIME |
2 flac
|
|
| 360. |
06/14/89 |
Globe Arena - Stockholm,
Sweden |
a- | Recorder, mics and media unknown >
Original tape >
Sony UX-Pro C-90 Cassettes >
Playback: Tascam 130 >
ADS Tech Instant Music RDX-150 input SPDIF
output USB to computer 16 bit 48 Khz >
Audacity > FLAC |
2 flac
|
|
| 361. |
06/18/89 |
Müngersdorfer Stadion - Köln,
West Germany |
a- | AUD > ? > CDR > EAC > WAV > mkwACT > SHN
|
2 flac
|
|
| 362. |
06/21/89 |
Festhalle - Frankfurt,
West Germany |
A | Unknown Microphones >Sony D6 Analog >WAV >SHN >WAV >FLAC
*************************************************************
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumanntapr
************************************************************* |
2 flac
|
|
| 363. |
06/27/89 |
Palais Omnisport de Paris Bercy - Paris,
France |
a- | SOURCE: EX- stereo master audience tape recorded by my friend 'thves'
PLEASE: this new source for the first time on the web. It is NOT the existing 'Paris Bercy 1st night' Wojtek's CDs.
LINEAGE:
Aiwa CM30 -> Sony D6 cassette recorder Dolby C on.
-> Maxell UDXL IIs cassettes
-> Nakamichi CR1-E (with manually adjusted azimuth) Dolby C on
-> Zoom H2 -> Goldwave v.5.08 for edits, fades, tracks, channel balance, maximization at 90%
-> TLH 2.4.1 (build 160)-> FLAC level 8 align on sector boundaries, md5s
Tags with Mp3tag
too much crowd yelling on this |
2 flac
|
|
| 364. |
07/05/89 |
London Arena, Isle of Dogs - London,
UK |
AA | Lineage: A[Low]>SBLive>WAV>CoolEditPro>EAC>SHN
|
2 flac
|
|
| 365. |
07/10/89 |
Goffert Park - Nijmegen,
Holland |
a- |
Source Audience (recorder 2)
Generation cass[low] > SBLive > WAV > CoolEditPro > EAC > SHN
|
2 flac
|
|
| 366. |
06/30/90 |
Knebworth Park - Knebworth,
England |
AA | |
1 flac
|
|
| 367. |
06/30/90 |
Knebworth Park - Knebworth,
England |
A | BBC FM Broadcast 'Of Promises Broken' Bootleg CD (Harvested HRV CDR 006)
SHN >WAV >FLAC (Level 8) + Tags Via xACT 2.50 By OldNeumantapr |
2 flac
|
|
| 368. |
03/04/94 |
De Kuip - Dreamscapes - Rotterdam,
Netherlands |
8 | Bootleg: The Live Bell
Publisher: Kiss The Stone
KTS 294/95
Lineage: my silvers>EAC secure>WAV>TLH>FLAC Level 8 |
2 Flac
|
|
| 369. |
04/16/94 |
Rose Bowl - Pasadena,
CA |
AA | Lineage: DAT(M)>DAT(1)>WAV [48kHz/16bit]>WAV [44.1kHz/16bit]>FLAC [Level 8]
Transfer: Tascam DA-20 MKII>PreSonus FireStudio Project>Adobe Audition 3.0>Cdwave editor>FLAC frontend 1.7.1
Taping Gear: Sonic Studios DSM-6P>Sony TCD-D7
Taped By: M.H. in association with JEMS
Transferred By: Mike Ziegler
|
2 flac
|
|
| 370. |
04/16/94 |
Rose Bowl - Pasadena,
CA |
A+ | Recorded by "Flex" Hamilton
with support from Patrick, Eric, Martin and Julie
Floor, B-3, Row 9, Seat 9 (about 60 feet back left of center)
Source:
Sonic Studios DSM-6P > Sony WM TCD-D3 @ 16-48 using a TDK DC4-90 Data Cartridge
Transfer: (March 29, 2022)
Otari DTR-8s > Korg MR2000-s @ 16-48 (via spdif)
Har-Bal 3.7 & iZotope RX8 advanced (prep) > CD Wave > Korg Aqua (16-44) > TLH
Thanks to my friend "Flex" for recording and loaning me his master tapes
Jewel box artwork by ethiessen1, many thanks for the beautiful covers on this and so many other shows
For historical reference only and not intended for resale or any commercial use
Support the artists and the venues that host live music
Buy the official releases and go to a concert
Enjoy…
-M- (October 2022) |
2 flac
|
|
| 371. |
04/20/94 |
Oakland Coliseum Stadium - Oakland,
CA |
AA | DAT clone from master tranferred on
Panasonic SV3800 to Tascam CD-RW700->Wav->Flac
|
3 flac
|
|
| 372. |
04/22/94 |
Oakland Coliseum Stadium - Oakland,
CA |
A | Panasonic SV250 DAT master tranferred on
Panasonic SV3800 to Tascam CD-RW700->Wav->Flac
|
3 flac
|
|
| 373. |
04/28/94 |
Texas Stadium - Irving,
TX |
A | LINEAGE AUDIENCE ANALOG MASTER>ANALOG 2nd GENERATION>NAKAMICHI DR-1 (W/MANUAL AZIMUTH ADJUSTMENT)>
CREATIVE SOUNDBLASTER X-FI HD MODEL #SB1240 WAV (24/96KHZ)>MAGIX AUDIO CLEANING LAB FOR KRW
TRACK MARKS VOLUME ADJUSTMENT AND EDITS>WAV 16/44.1>TRADERS LITTLE HELPER FLAC (LEVEL 8)
|
2 flac
|
|
| 374. |
05/06/94 |
Tampa Stadium - Tampa,
FL |
8 | Recorded by noscms from 13th row in front of left stack with
Sonic Studios DSM-6P->Sony TCD-D7
Master DAT digitally transfered to computer via
Sony PCM-M1->Sound Blaster X-Fi HD->Wavelab->Traders Little Helper->FLAC Level 8
|
3 Flac
|
|
| 375. |
05/12/94 |
Death Valley Stadium - Clemson,
SC |
A | CDR>WAV>SHN |
2 flac
|
|
| 376. |
05/19/94 |
Foxboro Stadium - Foxboro,
MA |
AA | CDR>WAV>SHN |
2 flac
|
|
| 377. |
05/22/94 |
Olympic Stadium - Montreal,
QC |
B++ | |
3 flac
|
|
| 378. |
05/24/94 |
Olympic Stadium - Montreal,
QC |
8 | silvers Montreal 1994 released in 1997 |
2 Flac
|
|
| 379. |
05/26/94 |
Municipal Stadium - Cleveland,
OH |
B++ | not stellar |
2 flac
|
|
| 380. |
06/03/94 |
Veterans Stadium - Philadelphia,
PA |
A | All three volumes come from 1st gen tapes that I archived to DAT.They were all done by the same taper and I would guess in the same location for every night.The sound itself is surprisingly good considering but the recorder doesnt always handle some frequencies very well and other times the speed will flux for a moment probably due to bumping or something.The second night starts out the roughest in that respect but seems to smooth out by the end.There are cuts here and there for each night.Mainly tape flips between songs and nothing major so I wont bother listing specific details here.Overall,not a bad set to have especially if you attended the shows.Enjoy.
|
2 flac
|
|
| 381. |
06/04/94 |
Veterans Stadium - Philadelphia,
PA |
A | Source:
Some pocket recorder w/built in mic.>CASS[1]>DAT>CDR
Philly Vol.3
All three volumes come from 1st gen tapes that I archived to DAT.They were all done by the same taper and I would guess in the same location for every night.The sound itself is surprisingly good considering but the recorder doesnt always handle some frequencies very well and other times the speed will flux for a moment probably due to bumping or something.The second night starts out the roughest in that respect but seems to smooth out by the end.There are cuts here and there for each night.Mainly tape flips between songs and nothing major so I wont bother listing specific details here.Overall,not a bad set to have especially if you attended the shows.Enjoy.
|
2 flac
|
|
| 382. |
06/10/94 |
Yankee Stadium - New York,
NY |
AA | |
2 flac
|
|
| 383. |
06/11/94 |
Yankee Stadium - New York,
NY |
8 | The Bell Gets Louder |
2 Flac
|
|
| 384. |
06/20/94 |
Arrowhead Stadium - Kansas City,
MO |
AA | Source: Core Sound {CSB} (Field/ Row 51/ Seat 2) > Sony D7 {Binaural} @48
Taped by: M. Darby
Transfer: TASCAM DA-20 > TASCAM CD-RW 2000 > CDR (master) > Roxio Toast 5.1.3 >
CDR (1st gen) > EAC (offsets corrected, secure mode) >
Cool Edit Pro (retracking, fades) > CDWave (tracking) > Flac Frontend (level 8)
|
2 flac
|
|
| 385. |
06/22/94 |
H.H.H. Metrodome - Minneapolis,
MN |
AA | 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)
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)
|
3 flac
|
|
| 386. |
06/25/94 |
B.C. Place Stadium - Vancouver,
BC |
8 | Taper: Kevin Davie
[recording source 2]
Sony ECM-909 stereo condenser mic in hat > Sony WM D6C Professional Recording Walkman (Dolby off) > Maxell XL-II S 90 master cassettes
Location:
B.C. Place Lower Level left side???
Transfer:
Maxell XL-II S 90 master cassettes (felt spring pads extra flexed) > Tascam 202mkII playback deck (Dolby off, normal bias PB, azimuth adjusted for each tape side) > Radio Shack gold end 3.5mm to stereo rca cord > Shack 6 foot gold end 3.5mm stereo extension cord > Soundblaster Audigy @ 24 bit 96 khz
Transfer Notes:
tape flip at the beginning of "Keep Talking", no 'real' music lost
tape flip at the beginning of "Great Gig In The Sky", some music lost
tape flip during encore break, minimal crowd noise lost
Tape flip silences are left intact to represent how much time it usually takes to flip tapes. You can sometimes hear pre-echo or post-echo of tape print through before and after the recorder starts and stops! The empty spaces are the time missing from the recording, approximately...
Mastering:
Wavelab 5.01b (recording, tracking, and mastering) > Waves Q10 Paragraphic EQ used as a Wavelab plug-in to smooth out some mid sharpness, enhance the low end, and find the highs that are buried on the master tapes. PeakMaster applied to limit any stray peaks. No compression. > SoX ReSampler via Foobar2000 for resampling from 96 khz to 44.1 khz (passband 95.2% disabled aliasing 25% phase response very high quality) > iZotope RX for dithering from 24 bit to 16 bit (noise shaping MBIT+) > Trader's Little Helper > FLAC8
|
2 Flac
|
|
| 387. |
06/26/94 |
B.C. Place Stadium - Vancouver,
BC |
7.5 | Capture (Source 2) :
Sony ECM-909 stereo condenser mic in hat > Sony WM D6C Professional Recording Walkman (Dolby off) > Maxell XL-II S 90 master cassettes
Transfer playback :
Maxell XL-II S 90 master cassettes (felt pads spring extra flexed) > Tascam 202mkII playback deck (Dolby off, normal bias PB, azimuth adjusted for each tape side) > Radio Shack gold end 3.5mm to stereo rca cord > Shack 6 foot gold end 3.5mm stereo extension cord > Soundblaster Audigy @ 24 bit 96 khz > Wavelab 5.01b (recording, tracking, and mastering)
Mastering plug-ins :
ToolOne used to re-process the Mid-Side mic pattern in the microphone that didn't seem to get processed correctly by the onboard electronics in the mic > Waves S1 Shuffler used to widen the stereo spread > Waves Q10 Paragraphic EQ used to smooth out some mid sharpness, enhance the low end, and find the highs that are buried on the master tapes > Open Ambience Project SHEPPi Spatial Enhancer used sparingly to enhance the immersive effect of sound that surrounds the listener > BBE D82 Sonic Maximizer to strengthen the impact of the sound > Peak Master used for hard limiting any stray peaks
Downsample and Dither:
24/96 wav > Foobar2000 (SoX resampler to 24/44.1, 95.2% passband 25% phase response no aliasing) > iZotope RX Advanced 2 (mBit+ dither to 16/44.1, ultra noise shaping high dither) > TLH > flac8 > Foobar2000 (tagging)
Talking by the taper |
2 Flac
|
|
| 388. |
07/01/94 |
Winnipeg Stadium - Winnipeg,
MB |
A | |
2 flac
|
|
| 389. |
07/05/94 |
C.N.E. Stadium - Toronto,
ON |
8 | Title: CNE1
Label: #ROIO Records ROIO CDR 019 |
2 Flac
|
|
| 390. |
07/07/94 |
C.N.E. Stadium - Toronto,
ON |
A | James' notes:
Equipment used to record was a Sony Walkman Pro with Sonic Studio's mics. Sony UX Pro Casette 90 tapes. Burnt to CD with a Pioneer PDR-509 CD-R. Tape deck used to burn onto pioneer cdr was a Nakamichi BX 100 Uploaded to Guvner by Carson.
My mics were stealthily placed under a shirt with 2 small holes cut for each mic to just poke through.
We had the best seats for sound 28 rows back (which were the highest price tickets from 28th to 40th rows) to be able to catch the quad sound.
There were 8 of us in the row so at least there was no talking on both sides of me.
This should be dedicated to Dean Taylor as he really wanted a great copy of his all time fav band.
He went on to see them a further 40 times all across the United States. I have waited to unearth these tapes to the right person and place.
I never gave people copies no matter how many times they asked. That went for all my recordings. Only a few people knew I had a collection of shows.
Most didn't think they were any good. That was their loss. One just asked me about them the other day as he was with me at a Tom Petty show and had to tell him to shut up on more than one occasion.
Then they didn't take it seriously but today they do.
I took it very seriously as once I got the equipment past security I had to go into the washroom stall and transform myself ready to record as I needed the privacy to tape the mics under my shirt.
I even brought a pen with duct tape wrapped around so I had my supply.
It was nerve wracking. It was a mission. I used to take pictures prior to 85 but i saw a friend taping and put the camera down and bought a great deck. This way i could relive the show and not just look at it.
This recording is from my collection. It is the collection of James Geller. Now all the people and more who asked me for copies can now experience the quality of what i did for my own personal enjoyment.
So sit back put on some good headphones or simply crank it up and enjoy oneself.
The show is from the C.N.E. TORONTO THURSDAY JULY 7TH 1994. (Canadian National Exhibition) the final night of the 3.
Other notes:
For the first time ever, a new and superior recorder for this show is being released to the public.
A subscriber called James Geller reached out to me and gave me the honour of sharing his collection publicly, being the first time anyone other than him will be listening to it.
High Hopes is cut due to a tape flip and there are minor tape flips at the end of Sorrow, One Of These Days, Time, and Comfortably Numb.
Enjoy this raw transfer of James' tape. I will upload my speed corrected, patched and de-peaked version of this show soon also.
Cheerio,
Ello_Guvner
|
2 flac
|
|
| 391. |
07/09/94 |
Robert F. Kennedy Stadium - Washington,
DC |
a- | Lineage: unknow gen. cassette -> Sony HCD-EH26 -> Creative SB Audigy SE -> wave -> NeroWaveEditor and AdobeAudition -> TLH -> flac
|
2 flac
|
|
| 392. |
07/09/94 |
Robert F. Kennedy Stadium - Washington,
DC |
A | Recorded by R. Jones & wklitz
Source: Schoeps MK4's>Rbox>Sony TCD-D10 Pro (Mod)
|
2 flac
|
|
| 393. |
07/12/94 |
Soldier Field - Chicago,
IL |
A | Main floor centre about 30 rows front of mixing board.
Recorder: Sony TC-D5M analog cassette:
Tape: Sony UX-Pro 100 minute tape recorded side A only!
Mics: AKG 414 ULS-B (cardioid) Using AKG B-18 48-volt Phantom Power boxes
**Played back on identical machine>**
Pre-amp: Naim NAC 52
CDR Recorder: Marantz CDR-600 (original Philips).
CDR: Taiyo Yuden Gold Satin 74-ZY
PC Drive: UltraPlex40max SCSI
EAC (1.8X speed extract OR slower)> FLAC> To You Guys, enjoy, RB
|
2 flac
|
|
| 394. |
07/14/94 |
Pontiac Silverdome - Pontiac,
MI |
B++ | |
2 flac
|
|
| 395. |
07/22/94 |
Estadio Jose Alvalade - Lisbon,
Portugal |
a- | Lineage: very low gen. cassette -> Sony HCD-EH26 -> Creative SB Audigy SE -> wave -> NeroWaveEditor and AdobeAudition -> TLH -> flac
|
3 flac
|
|
| 396. |
08/07/94 |
Fussballstadion St. Jakob - Basel,
Switzerland |
AA | Lineage: low gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.2 -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 397. |
08/09/94 |
Amphitheatre du Château de Grammont - Montpellier,
France |
AA | Lineage: low gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.4 -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 398. |
08/23/94 |
Parkstadion - Gelsenkirchen,
Germany |
A | Lineage: Hi8-Master -> SONY ES60 -> Digital-in -> WAV -> FLAC -> YOU
|
3 flac
|
|
| 399. |
08/25/94 |
Idrætsparken - København,
Denmark |
AA | DAT Denon DCP-80,Panasonic costum (MCA-2000) microphones.
|
2 flac
|
|
| 400. |
08/29/94 |
Valle Hovin Stadion - Oslo,
Norway |
a- | "Olso, Norway"
Very good audience recording (SHN)
Recording: Sony ECM-921 > D8 > Harmon Cardon DAT Deck
Transfer: CD-R (received in trade) > EAC > WAV > mkwACT > SHN |
2 flac
|
|
| 401. |
08/30/94 |
Valle Hovin Stadion - Oslo,
Norway |
A | very solid audience capture |
2 flac
|
|
| 402. |
09/03/94 |
Feyenoord Stadion - Rotterdam,
Netherlands |
A | 1st bell in Rotterdeam |
2 flac
|
|
| 403. |
09/05/94 |
Feyenoord Stadion - Rotterdam,
Netherlands |
8.5 | Ten19 Productions #114
Source: 1st Generation Cassettes > DAT(0)
Transfer: DAT(0) > Tascam DA-30 MKII > M-Audio Audiophile > PC > Adobe Audition > 16/48 WAV > CD Wave > TLH > FLAC
lot of crowd participation at 1st
|
2 Flac
|
|
| 404. |
09/09/94 |
Stade de la Meinau, Strasbourg, Bas-Rhin, France - Strasbourg,
France |
8.5 | Ten19 Productions #117
Source: 1st Generation Cassettes > DAT(0)
Transfer: DAT(0) > Tascam DA-30 MKII > M-Audio Audiophile > PC > Adobe Audition > 16/48 WAV > CD Wave > TLH > FLAC
Third Taper
Length: 147:42
|
2 Flac
|
|
| 405. |
09/11/94 |
Stade de Gerland - Lyon,
France |
AA | |
2 flac
|
|
| 406. |
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 |
2 flac
|
|
| 407. |
09/13/94 |
Stadio Della Alpi - Torino,
Italy |
9.5 | The Italian Bell
Label: Campana Records (Ref. : CR94) |
2 Flac
|
|
| 408. |
09/17/94 |
Festa Nazionale del Unita - Modena,
Italy |
A | Mutinae records 1001/1002
Lineage: Silver CDs > XLD (secure and accurate ripper) > FLAC |
2 flac
|
|
| 409. |
09/17/94 |
Festa Nazionale del Unita - Modena,
Italy |
9 | The Italian Bell
Label: Campana Records (Ref. : CR94) |
2 Flac
|
|
| 410. |
09/19/94 |
Cinecitta - Rome,
Italy |
A | The Nights Of Wonder
ARC 013-014 Alternative Recording Company
Matrix Disc 1: F.Disc ARC 013 1442-B
Matrix Disc 2: F.Disc ARC 014 1442-B
(P) 1994 Made in Italy
Audience Recording with Sony TCD-D3 Digital Studio Mobile
LIMITED EDITION OF 1000 COPIES
|
2 flac
|
|
| 411. |
09/21/94 |
Cinecitta - Rome,
Italy |
A | Lineage: low gen. cassette -> Sony HCD-EH26 -> Creative SB Audigy SE -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 412. |
09/21/94 |
Cinecitta - Rome,
Italy |
A | The Nights Of Wonder
ARC 013-014 Alternative Recording Company
Matrix Disc 1: F.Disc ARC 013 1442-B
Matrix Disc 2: F.Disc ARC 014 1442-B
(P) 1994 Made in Italy
Audience Recording with Sony TCD-D3 Digital Studio Mobile
LIMITED EDITION OF 1000 COPIES
|
2 flac
|
|
| 413. |
09/23/94 |
Stade Gerland - Lyon,
France |
A | master dat > tdk sa-x90 (type II) > Nero Wave Editor [48KHz/16] > TLH > flac 8
I got this one from the taper, Stanislas, who said he only captured the 1st set.
I don't think this one has circulated before.
IMHO it's an upgrade from the []
(Red Lines RL CD 32004) that i find a little muffled. But of course, Stan's source is incomplete.
Side A [45:26]: SOYCD, Learning To Fly, High Hopes, Take It Back, Coming Back To Life, Sorrow (fades before solo)
Side B [34:10]: Sorrow, Keep Talking, ABITW, One Of These Days
|
2 flac
|
|
| 414. |
10/17/94 |
Earls Court Exhibition Hall - London,
England |
A | |
2 flac
|
|
| 415. |
10/20/94 |
Earl's Court Exhibition Hall - London,
England |
A | Soundboard recording
Original bootleg discs -> EZ CD Audio Converter -> FLAC level 5
Ripped and shared by Gullveig.org |
3 flac
|
|
| 416. |
10/21/94 |
Earls Court Exhibition Hall - London,
England |
AA | |
3 flac
|
|
| 417. |
10/23/94 |
Earls Court Exhibition Hall - London,
England |
a- | Complete Earls Court Volume 11
#ROIO Records (#ROIO CDR-017-XI)
some mic bumps |
3 flac
|
|
| 418. |
10/26/94 |
Earls Court Exhibition Hall - London,
England |
A | Lineage: low gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.4 -> wave -> NeroWaveEditor and AdobeAudition -> TLH -> flac
|
3 flac
|
|
| 419. |
10/27/94 |
Earls Court Exhibition Hall - London,
England |
A | Complete Earls Court Volume 13
#ROIO Records (#ROIO CDR-017-XIII)
Audience Recording |
3 flac
|
|
| 420. |
10/28/94 |
Earls Court Exhibition Hall - London,
England |
B++ | Lineage: unknow gen. cassette -> Sony HCD-EH26 + Creative SB Audigy SE + Audacity 2.0.2 -> wave -> NeroWaveEditor -> TLH -> flac
|
2 flac
|
|
| 421. |
10/29/94 |
Earls Court Exhibition Hall - London,
England |
A | Lineage:
The exact lineage for this recording is: Aiwa Cassette>Aiwa Mic>Master Cassette>CDR>EAC>CEPro>CDWav>SHN.
|
3 flac
|
|
| 422. |
10/29/94 |
Earls Court Exhibition Hall - London,
England |
9 | Source: Sonic Studios DSM-6P & Denon DTR-80P
Transfer: DAT Master > wav file > Adobe Audition > Normalize > EQ >CD Wave Cut > TLH > FLAC level 8 & Align on SB
Recording Location: Stage Left in stands 20 floor rows back
Recorded by: Datfly |
2 Flac
|
|
| 423. |
07/02/05 |
Hyde Park - London,
England |
A+ | FLAC Tags Via xACT 2.50 By OldNeumanntapr
*****************************************************************
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 flac
|
|