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Pink Floyd 11/16/74
Empire Pool, London, England
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Set I
Speak To Me >
Breathe
On The Run
Time
Breathe (Reprise)
The Great Gig In The Sky
Money
Us And Them
Any Colour You Like
Brain Damage
Eclipse

E: Echoes
Set II
 
Set III
 
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Last Changed By macandal
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User (active/rating) Media / # Show Sound Details DB Source User Source
Matthew Kupchinsky (1/0) CDR-FLAC / 1 View   Matrix (60% SBD and 40% AUD): SBD: Pre FM Master Reel (SBD) > DAT > ? > SHN AUD:...
Doug EB (1/5) CDR / 1 View  
Notes: "BBC Archives 1974" (HRV 033)
antelope72 (1/0) / 0 View   Chuckness remaster
antelope72 (1/0) / 0 View   We Meet Again sbd/aud matrix
Paul Russell (1/4.6) cdr / 2 A A- View   aud
Rhythmdevil (1/4.7) Flac / 1 View  
MAS (1/0) CD / 2 View  
miky (1/4.8) DVDA / 1 View   Flac/WAV SBD BBC Archives
Notes: 1 DVD_Audio with Falc/Wav or 1CDR with Wav only
Phil (1/5) CD/R / 3 View  
Notes: "The Great Gig in the Sky"
Scott Shaw (1/5) shn cd / 1 A A View   BBC Radio Broadcast.
Notes: Liberated RoIO "Brain Damage". 1 aud cd. Some cover art. http://www.pf-roio.de/roio/roio-cd/brain_damage_cap.cd.html
Dene Wright (1/5) DAT 60m / 1 View   SBD
Notes: All
Minor Hibbs (1/5) CDR / 1 A+ View   Harvested Records (HRV CDR 033)
Notes: In the spirit of our previous "BBC Archives" series (after "BBC Archives 1967-1969" and "BBC Archives 1970-1971"), Harvested is proud to finally present "BBC Archives 1974"! In 1974, the BBC taped the second set (The Dark Side On The Moon) and the encore (Echoes) of the Floyd performance at Wembley Empire Pool, on November 16. However, Echoes was never broadcast, and for many years only the DSOTM set was circulating from broadcast sources. In recent years, recordings taken from the BBC pre-FM tapes began to circulate, some of them including the long lost soundboard version of Echoes. However, none of these RoIOs are fully sonically satisfactory in our opinion. Most of them are processed and used some kind of noise reduction, sometimes very slightly (the Sirene releases), and other times more heavily (the Winston remasters, "Time In London") The rare, unprocessed versions currently circulating, like the "FM Pre-Master" Russian bootleg, are pleasant but not without a certain amount of hiss, which reveals that the lineage was not without some generational loss. The hiss from the unprocessed versions available until now is probably one of the reasons why so much NR was used on the various remaster projects. After much research, Harvested found a superior source, totally unprocessed, with much less hiss than the other unprocessed versions circulating until now. A spectral analysis of the audio file showed that this source was very pure and could be the result of direct transfer from the BBC masters. However, it is well known that the BBC mastering of that concert sounds rather dry and flat, especially the DSOTM set and our source was no exception. Therefore, we felt this new source needed the "Harvested treatment," in order to make this recording really shine, with good dynamics. The remastering was done very carefully in an attempt to leave the music intact, avoiding NR, dehissing, or any other processing that would generate artifacts. The majority of the remastering work consisted of adjusting the audio levels, balancing the recording when needed, and bringing more clarity and depth by applying specific EQ settings here and there. The final result sounds great to our ears and this version boasts excellent dynamics and a well defined high end without the flaws present on most of the other sources. This CD is free from all NR artifacts, the amount of hiss is minimal, and the low frequency noise that can be clearly heard on all of the currently circulating versions of Echoes (especially during the quiet parts) is not present here. "BBC Archives 1974" brings you this famous BBC recording in its most complete form (the lines,"I've been mad for f*cking years...," as well as the applause and tuning between Eclipse and Echoes are present), offering the best possible quality for your listening pleasure! " For those of you who'd like to know how this Harvested version compares with other pre-FM RoIOs from the same concert, comparative analysis is detailed here after. Enjoy! The Harvested Team.
Minor Hibbs (1/5) CDR / 1 A+ View   DTS Audio 5.1 Mix: 3 Source Merge
Notes: Source Info SBD Pre FM Master Reel (SBD) > DAT > ? > FLAC Title: Harvested HRV CDR 033 Recorded by BBC Radio One broadcasted on the Alan Freeman Show on 11th January 1975. This is taken from the original pre-broadcast master Reel to Reel tapes. AUD1 (a.k.a - Recorder 1) Unknown AUD Recording > cass[M] > DAT[1] > CDR[2] Title: Black Holes In The Sky - This derives from the same boot source (no label) but is slightly less hissy but also less amplified. This recorder is missing Echoes. AUD2 (a.k.a - Recorder 2) Unknown AUD Recording > Cassette Master Title: No Room Upon the Hill 1st Generation copy of the master discs > SHN This is sourced from the cassette masters. No sound alteration, noise reduction or speed correction preformed. Notes on the Sound The PreFM (or SBD) source sounds great. Conceptually all I was trying to do here is to add some dimension to the SBD, which is dry but very crisp, by using the ambience of the AUDs. The PreFM sounds much more like a studio recording than a live recording. I have a hunch that a completely different feed was setup for the BBC recording than the mix that was sent over the PA. Evidence for that is found on sound "Sample_6". On that sample you can clearly hear that reverb has been added to the vocals on the PA mix but is not present on the BBC recording. Not just reverb but other effects are lacking throughout, leaving an unnatural tone to Gilmour's guitar among other shortcomings. His sound is noticeably flat and completely lacking that warm, wonderful tone that is the trademark of Gilmour. This is a huge reason why I find this matrix mix to not only be a much better representation of this live show but also a more pleasant listening experience than the dry BBC mix. Your mileage may vary.
George W. Burrows (1/5) FLAC / 1 View  
Brian Hedden (1/0) / 1 View   Soundboard
Jeff (1/5) FLAC / 1 View   Harvested Records (HRV CDR 033)
Notes: AT202 Pink Floyd "BBC Archives 1974" Harvested Records (HRV CDR 033) London, Wembley Empire Pool, November 16, 1974 01. Speak To Me 02. Breathe 03. On The Run 04. Time 05. The Great Gig In The Sky 06. Money 07. Us And Them 08. Any Colour You Like 09. Brain Damage 10. Eclipse 11. Echoes Liner notes: ------------ In the spirit of our previous "BBC Archives" series (after "BBC Archives 1967-1969" and "BBC Archives 1970-1971"), Harvested is proud to finally present "BBC Archives 1974"! In 1974, the BBC taped the second set (The Dark Side On The Moon) and the encore (Echoes) of the Floyd performance at Wembley Empire Pool, on November 16. However, Echoes was never broadcast, and for many years only the DSOTM set was circulating from broadcast sources. In recent years, recordings taken from the BBC pre-FM tapes began to circulate, some of them including the long lost soundboard version of Echoes. However, none of these RoIOs are fully sonically satisfactory in our opinion. Most of them are processed and used some kind of noise reduction, sometimes very slightly (the Sirene releases), and other times more heavily (the Winston remasters, "Time In London") The rare, unprocessed versions currently circulating, like the "FM Pre-Master" Russian bootleg, are pleasant but not without a certain amount of hiss, which reveals that the lineage was not without some generational loss. The hiss from the unprocessed versions available until now is probably one of the reasons why so much NR was used on the various remaster projects. After much research, Harvested found a superior source, totally unprocessed, with much less hiss than the other unprocessed versions circulating until now. A spectral analysis of the audio file showed that this source was very pure and could be the result of direct transfer from the BBC masters. However, it is well known that the BBC mastering of that concert sounds rather dry and flat, especially the DSOTM set and our source was no exception. Therefore, we felt this new source needed the "Harvested treatment," in order to make this recording really shine, with good dynamics. The remastering was done very carefully in an attempt to leave the music intact, avoiding NR, dehissing, or any other processing that would generate artifacts. The majority of the remastering work consisted of adjusting the audio levels, balancing the recording when needed, and bringing more clarity and depth by applying specific EQ settings here and there. The final result sounds great to our ears and this version boasts excellent dynamics and a well defined high end without the flaws present on most of the other sources. This CD is free from all NR artifacts, the amount of hiss is minimal, and the low frequency noise that can be clearly heard on all of the currently circulating versions of Echoes (especially during the quiet parts) is not present here. "BBC Archives 1974" brings you this famous BBC recording in its most complete form (the lines,"I've been mad for f*cking years...," as well as the applause and tuning between Eclipse and Echoes are present), offering the best possible quality for your listening pleasure! " For those of you who'd like to know how this Harvested version compares with other pre-FM RoIOs from the same concert, comparative analysis is detailed here after. Enjoy! The Harvested Team. "BBC 74 Remastered" (Winston Remaster #1) ----------------------------------------- It includes only DSOTM, with the lines "mad for f* years" during Speak To Me. During the loud parts, this remaster sounds really good, however some dynamic NR was used, which affects all the parts where the music is quieter. A typical example can be heard just before David sings the 1st verse of Breathe, or during the lines "home, home again" of Breathe Reprise: there's a sudden drop of clarity, with cymbals muffled, when the level of the music is lower than a certain treshold. This annoying effect is also disturbing during the intro of Time, the second half of TGGITS, the central part of ACYL, the verses of BD, ... Harvested's "BBc Archives 1974" does not have all these artefacts and has a better defined clarity, even during the loud parts. "BBC Completely Revisited" (Winston Remaster #2) ------------------------------------------------ This 2CD RoIO includes an audience recording for the 1st set and a pre-FM master source for the 2nd set and encore. DSOTM is very similar to the previous remaster ("BBC 74 Remastered"), with all the quiet parts altered by NR. The 2nd CD includes Echoes, as well as the tuning and applause between Eclipse and Echoes. Echoes suffers from a constant low frequency noise, not too disturbing, but noticeable anyway during the intro and the seagull part (this is the case for all the versions of Echoes on the other pre-FM RoIOs). It seems that less NR was used for Echoes, compared to DSOTM, as there is no obvious artifact. However, a spectral analysis shows that some processing was used for frequencies around 18kHz. Harvested's "BBC Archives 1974" has a better sound, especially during the quiet parts (the beginning of the reprise after the seagull part is a perfect example). And on Harvested's version, the low frequency noise is not present. "Time In London" (TSPDP09) -------------------------- Complete DSOTM and Echoes, with the "mad for f* years" line in Speak To Me, but the tuning between Eclipse and Echoes is slightly shorter than on other RoIOs. Same remarks as for the Winston remasters: the NR process that was applied ruins the quiet parts. The effect is even worse on "Time In London", as the NR was used more heavily. For instance, the high frequencies are cut as soon as their level is below a treshold. As a result, the end of the cymbals sound (during the sustain) is often cut abruptly. A spectacular example can be heard around the "staying home to watch the rain" lines: on any unprocessed source, one can hear that Nick is using a ride cymbal, but on "Time In London", it's as if Nick was playing the hi-hat! Also, the process to "dynamise" the recording makes the recording sound too artificial, even if at first impression it's very punchy. A direct comparison between "Time In London" and an unprocessed source clearly shows that "Time In London" sounds rather un-natural. And again, Echoes has the low frequency noise, present on the other RoIOs. These flaws and artefacts are not present on Harvested's "BBC Archives 1974", which sounds much more natural. "Wembley 1974 Pre-FM Master" (Sirene-009) ----------------------------------------- This RoIO includes DSOTM and Echoes (with the low frequency noise again), as well as the applause and tuning between Eclipse and Echoes. However, on that version the lines "mad for f* years" are edited out. As usual, Sirene used some processing during remastering, but compared with the other remasters above, this version was processed rather carefully. The sound is really good despite the processing, although Harvested's "BBC Archives 1974" sounds brighter. On the Sirene release, Echoes is apparently from mp3 origin. "Wembley 1974 FM Premaster" (Russian bootleg) --------------------------------------------- This obscure bootleg, remastered by Pink Robert, contains only DSOTM (with the "mad for f* years" lines), but shows no sign of heavy processing. The sound is bright and clear, very natural, without artifact. However, there's a certain amount of hiss, probably revealing some gens in the lineage. Harvested's "BBC Archives 1974" offers slightly better clarity in terms of sound definition (due to lower gen), with much less hiss. length expanded size cdr WAVE problems fmt ratio filename 2:33.23 25.79 MB --- -- ---xx flac 0.4276 01 Speak To Me.flac 3:01.28 30.51 MB --- -- ---xx flac 0.5553 02 Breathe.flac 4:56.26 49.85 MB --- -- ---xx flac 0.5210 03 On The Run.flac 6:30.00 65.61 MB --- -- ---xx flac 0.5577 04 Time.flac 6:44.18 68.00 MB --- -- ---xx flac 0.5450 05 The Great Gig In The Sky.flac 7:58.67 80.56 MB --- -- ---xx flac 0.5642 06 Money.flac 7:53.38 79.66 MB --- -- ---xx flac 0.5485 07 Us And Them.flac 7:34.71 76.53 MB --- -- ---xx flac 0.5233 08 Any Colour You Like.flac 3:42.08 37.36 MB --- -- ---xx flac 0.5036 09 Brain Damage.flac 5:12.22 52.54 MB --- -- ---xx flac 0.5281 10 Eclipse.flac 23:29.17 237.07 MB --- -- ---xx flac 0.5211 11 Echoes.flac 79:36.18 842529220 B 0.5313 (11 files) 04 Time.flac:f201a6756b1aed19e3f5140ef951baf7 05 The Great Gig In The Sky.flac:12d15b8eddf15ed343e485c650e02972 06 Money.flac:8de34ae49b3c275a6516d3dc1326da49 07 Us And Them.flac:4ac264df1b2c7fd154696731e3ee024c 08 Any Colour You Like.flac:6e18744a303c0bad16c1ff081716d40a 09 Brain Damage.flac:72259ca62e36b24e99a1c78521d970b2 10 Eclipse.flac:57b235bd0a45ff5b76442eccea23000d 11 Echoes.flac:c839755b9c5ea5c8e4620fbb55b3dae0 01 Speak To Me.flac:95678ad1436e485b8eef4a4bf658e7e2 02 Breathe.flac:c1e16a4ddc66e31eedf0d7672842094a 03 On The Run.flac:3feb0c83c21c05c850f0973e226b523c Size: 429 MB
Jeff (1/5) FLAC / 1 View   Harvested Records (HRV CDR 033)
Notes: AT575 Pink Floyd "BBC Archives 1974" Harvested Records (HRV CDR 033) London, Wembley Empire Pool, November 16, 1974 01. Speak To Me 02. Breathe 03. On The Run 04. Time 05. The Great Gig In The Sky 06. Money 07. Us And Them 08. Any Colour You Like 09. Brain Damage 10. Eclipse 11. Echoes Liner notes: ------------ In the spirit of our previous "BBC Archives" series (after "BBC Archives 1967-1969" and "BBC Archives 1970-1971"), Harvested is proud to finally present "BBC Archives 1974"! In 1974, the BBC taped the second set (The Dark Side On The Moon) and the encore (Echoes) of the Floyd performance at Wembley Empire Pool, on November 16. However, Echoes was never broadcast, and for many years only the DSOTM set was circulating from broadcast sources. In recent years, recordings taken from the BBC pre-FM tapes began to circulate, some of them including the long lost soundboard version of Echoes. However, none of these RoIOs are fully sonically satisfactory in our opinion. Most of them are processed and used some kind of noise reduction, sometimes very slightly (the Sirene releases), and other times more heavily (the Winston remasters, "Time In London") The rare, unprocessed versions currently circulating, like the "FM Pre-Master" Russian bootleg, are pleasant but not without a certain amount of hiss, which reveals that the lineage was not without some generational loss. The hiss from the unprocessed versions available until now is probably one of the reasons why so much NR was used on the various remaster projects. After much research, Harvested found a superior source, totally unprocessed, with much less hiss than the other unprocessed versions circulating until now. A spectral analysis of the audio file showed that this source was very pure and could be the result of direct transfer from the BBC masters. However, it is well known that the BBC mastering of that concert sounds rather dry and flat, especially the DSOTM set and our source was no exception. Therefore, we felt this new source needed the "Harvested treatment," in order to make this recording really shine, with good dynamics. The remastering was done very carefully in an attempt to leave the music intact, avoiding NR, dehissing, or any other processing that would generate artifacts. The majority of the remastering work consisted of adjusting the audio levels, balancing the recording when needed, and bringing more clarity and depth by applying specific EQ settings here and there. The final result sounds great to our ears and this version boasts excellent dynamics and a well defined high end without the flaws present on most of the other sources. This CD is free from all NR artifacts, the amount of hiss is minimal, and the low frequency noise that can be clearly heard on all of the currently circulating versions of Echoes (especially during the quiet parts) is not present here. "BBC Archives 1974" brings you this famous BBC recording in its most complete form (the lines,"I've been mad for f*cking years...," as well as the applause and tuning between Eclipse and Echoes are present), offering the best possible quality for your listening pleasure! " For those of you who'd like to know how this Harvested version compares with other pre-FM RoIOs from the same concert, comparative analysis is detailed here after. Enjoy! The Harvested Team. "BBC 74 Remastered" (Winston Remaster #1) ----------------------------------------- It includes only DSOTM, with the lines "mad for f* years" during Speak To Me. During the loud parts, this remaster sounds really good, however some dynamic NR was used, which affects all the parts where the music is quieter. A typical example can be heard just before David sings the 1st verse of Breathe, or during the lines "home, home again" of Breathe Reprise: there's a sudden drop of clarity, with cymbals muffled, when the level of the music is lower than a certain treshold. This annoying effect is also disturbing during the intro of Time, the second half of TGGITS, the central part of ACYL, the verses of BD, ... Harvested's "BBc Archives 1974" does not have all these artefacts and has a better defined clarity, even during the loud parts. "BBC Completely Revisited" (Winston Remaster #2) ------------------------------------------------ This 2CD RoIO includes an audience recording for the 1st set and a pre-FM master source for the 2nd set and encore. DSOTM is very similar to the previous remaster ("BBC 74 Remastered"), with all the quiet parts altered by NR. The 2nd CD includes Echoes, as well as the tuning and applause between Eclipse and Echoes. Echoes suffers from a constant low frequency noise, not too disturbing, but noticeable anyway during the intro and the seagull part (this is the case for all the versions of Echoes on the other pre-FM RoIOs). It seems that less NR was used for Echoes, compared to DSOTM, as there is no obvious artifact. However, a spectral analysis shows that some processing was used for frequencies around 18kHz. Harvested's "BBC Archives 1974" has a better sound, especially during the quiet parts (the beginning of the reprise after the seagull part is a perfect example). And on Harvested's version, the low frequency noise is not present. "Time In London" (TSPDP09) -------------------------- Complete DSOTM and Echoes, with the "mad for f* years" line in Speak To Me, but the tuning between Eclipse and Echoes is slightly shorter than on other RoIOs. Same remarks as for the Winston remasters: the NR process that was applied ruins the quiet parts. The effect is even worse on "Time In London", as the NR was used more heavily. For instance, the high frequencies are cut as soon as their level is below a treshold. As a result, the end of the cymbals sound (during the sustain) is often cut abruptly. A spectacular example can be heard around the "staying home to watch the rain" lines: on any unprocessed source, one can hear that Nick is using a ride cymbal, but on "Time In London", it's as if Nick was playing the hi-hat! Also, the process to "dynamise" the recording makes the recording sound too artificial, even if at first impression it's very punchy. A direct comparison between "Time In London" and an unprocessed source clearly shows that "Time In London" sounds rather un-natural. And again, Echoes has the low frequency noise, present on the other RoIOs. These flaws and artefacts are not present on Harvested's "BBC Archives 1974", which sounds much more natural. "Wembley 1974 Pre-FM Master" (Sirene-009) ----------------------------------------- This RoIO includes DSOTM and Echoes (with the low frequency noise again), as well as the applause and tuning between Eclipse and Echoes. However, on that version the lines "mad for f* years" are edited out. As usual, Sirene used some processing during remastering, but compared with the other remasters above, this version was processed rather carefully. The sound is really good despite the processing, although Harvested's "BBC Archives 1974" sounds brighter. On the Sirene release, Echoes is apparently from mp3 origin. "Wembley 1974 FM Premaster" (Russian bootleg) --------------------------------------------- This obscure bootleg, remastered by Pink Robert, contains only DSOTM (with the "mad for f* years" lines), but shows no sign of heavy processing. The sound is bright and clear, very natural, without artifact. However, there's a certain amount of hiss, probably revealing some gens in the lineage. Harvested's "BBC Archives 1974" offers slightly better clarity in terms of sound definition (due to lower gen), with much less hiss. f84618630654b2b2a8ec534086e652dd *01 Speak To Me.flac 2f6296ef5d3f5974a9c8cdd82ea96728 *02 Breathe.flac f4b05381de13bf87845006234e893922 *03 On The Run.flac 5b3b2952b796168581deea671c43f6d0 *04 Time.flac 7b39f4fc682a2e25140a1d3fdbbeb619 *05 The Great Gig In The Sky.flac 2f84e9996d27ce1efacf429b560af484 *06 Money.flac 7bee90686d3aa8e82603a019f2387de1 *07 Us And Them.flac 9d4bb1142e270290db7da61f853c620f *08 Any Colour You Like.flac 2ed21660815b511d0dd5062ad8fd2187 *09 Brain Damage.flac 98aa0f079e4730f80a5c82342b514188 *10 Eclipse.flac d5fc3d5f97d982deec84656b6c29ef92 *11 Echoes.flac Size: 429 MB
Jeff (1/5) FLAC / 1 View   SBD + AUD1 + AUD2 Matrix Mix
Notes: AT575 Pink Floyd Empire Pool Wembley, London, UK "We Meet Again" November 16, 1974 - 3 Source Mix - SBD + AUD1 + AUD2 Matrix Mix (60%/SBD + 25%/AUD1 + 15%/AUD2) 01 [02:29] Speak To Me 02 [03:00] Breathe 03 [05:03] On the Run 04 [06:32] Time 05 [06:42] The Great Gig In The Sky 06 [08:05] Money 07 [07:50] Us And Them 08 [07:31] Any Colour You Like 09 [03:39] Brain Damage 10 [01:49] Eclipse Encore 11 [23:13] Echoes TT [75:52] --------------------------------------------------------- Source Info Source Info SBD Pre FM Master Reel (SBD) > DAT > ? > SHN Title: Harvested HRV CDR 033 Recorded by BBC Radio One broadcasted on the Alan Freeman Show on 11th January 1975. This is taken from the original pre-broadcast master Reel to Reel tapes. AUD1 (a.k.a - Recorder 1) Unknown AUD Recording > cass[M] > DAT[1] > CDR[2] Title: Black Holes In The Sky - This derives from the same boot source (no label) but is slightly less hissy but also less amplified. This recorder is missing Echoes. AUD2 (a.k.a - Recorder 2) Unknown AUD Recording > Cassette Master Title: No Room Upon the Hill 1st Generation copy of the master discs > SHN This is sourced from the cassette masters. No sound alteration, noise reduction or speed correction preformed. --------------------------------------------------------- Tech Notes SHNs decoded to wave and Wavmerge was used to reassemble the tracks back to 1 long wave. CEP2.0 was used to align & synch all three sources (time compress and expand). CEP2.0 was used to preform the multitrack mixdown of all three sources. This is a 60% SBD, 25% AUD1, 15% AUD2 mix. - Mixed by [email protected] - FLAC conversion 01-DEC-2007 - Artwork by [email protected] 300dpi - For best results print at the highest resolution onto glossy photo paper. Design for use with a clear slim single DVD case. - Special thanks to unknown artists that helped with lots of the images used for this artwork and the slide show. --------------------------------------------------------- Multitrack Mixdown Settings Stereo Matrix SBD -1.5db AUD1 -8db AUD2 -11db --------------------------------------------------------- Notes A relatively dry PreFM (SBD) and two nice sounding AUD sources were all recorded on this magical night. The result is an excellent mix, justifying the blending of the three sources to breathe some life back into this very famous show. All three sources were pitched differently, the SBD being the sharpest while both AUDs where somewhat flat. I used the SBD as my master timeline and synched both AUDs to it. AUD1 on average had to be pitched up about .24 (24 cents) to achieve pitch correction. AUD2 on average had to be pitched up about .21 (21 cents) to achieve pitch correction - 1.00 being 100 cents which is a semitone. I did not reference A=440 as I wanted to leave the speed of the SBD alone. It is very close to A=440 though. d1t05 The PreFM (SBD) source was missing 3.875 seconds between The Great Gig In The Sky and Money. Both AUDs were trimmed accordingly to match. Some volume adjustments and quick cross fades were preformed making these edits completely smooth and most likely totally undetectable. What was missing was one cha-ching of the cash register sound effect. d1t08 The AUD2 source cuts at 41:07.515 and is missing 1:36.330 of Any Colour You Like. I used the AUD1 source to fill this hole. The patch source was EQed, volume adjusted with a small amount of limiting. All in an effort to try and closely match the sonic properties of the missing AUD2 source. These edits are smooth and most likely undetectable. d1t10 The PreFM (SBD) has a long portion of cheering and tuning prior to the encore Echoes. Unfortunately this was missing from both AUD sources. The SBD was trimmed to match and all 3 sources have multiple edits, mixing and crossfades to keep the flow between the last song and the encore sounding as natural as possible. The result was good and this is smooth and natural sounding edit. Although it is left sounding like Echoes was preformed very soon after the DSOTM potion instead of as the encore. --------------------------------------------------------- Notes on the Source Material I love the fact that all 3 sources were raw. It doesn't sound or look like any noise reduction, EQing or any other DSP (digital sound processing) was done. It was an honor and a privilege to work on this project. It was also very very cool to be sitting at my workstation, working on 3 impressive recordings, in such beautiful condition, 33 years after the fact. Incredible. SBD Very clear, well balanced and a clean PreFM source. However, this is much more like a straight SBD feed than a PreFM. Many PreFM sources I have heard have some element of a live feel. Either b/c there is a "live mic" feed (a microphone used to capture the sound of the room) or a similar technique where a microphone is used to capture the crowd, i.e. cheers, etc. On this recording the only way the room or crowd is heard at all is b/c it is being picked up thru the mics set up for the vocals. The result is an extremely dry and flat sound making this an ideal source to use in a mix with an AUD recording(s). AUD1 I find this to be the better of the two AUD recordings used in this mix. Without a doubt this recording is made much closer to the PA stacks than the AUD2 recording. This recording is very well balanced with good dynamic range and little to no hiss. The low hiss and limited speed fluctuations tells me that this is indeed a digital recording made off the masters. A very interesting note is I could not find any evidence of a tape flip. Was a quick flip done and a small patch used from AUD2? Maybe. Was this recording on a 120 min cassette or possible a 60 min Reel? Maybe. The only disappointment with the AUD1 recording is that it is missing the encore, Echoes. AUD2 Although not as punchy and clear an audience recording as the AUD1 source, this is still a very good recording. Made from further back in the venue this recording also has low hiss and limited speed fluctuations and tells me that this is digital transcription made off the masters. A long tape flip lasting 1 min and 36.33 seconds in Any Colour You Like is the only missing portion. --------------------------------------------------------- Notes on the Sound The PreFM (or SBD) source sounds great. Conceptually all I was trying to do here is to add some dimension to the SBD, which is dry but very crisp, by using the ambience of the AUDs. The PreFM sounds much more like a studio recording than a live recording. I have a hunch that a completely different feed was setup for the BBC recording than the mix that was sent over the PA. Evidence for that is found on sound "Sample_6". On that sample you can clearly hear that reverb has been added to the vocals on the PA mix but is not present on the BBC recording. Not just reverb but other effects are lacking throughout, leaving an unnatural tone to Gilmour's guitar among other shortcomings. His sound is noticeably flat and completely lacking that warm, wonderful tone that is the trademark of Gilmour. This is a huge reason why I find this matrix mix to not only be a much better representation of this live show but also a more pleasant listening experience than the dry BBC mix. Your mileage may vary. --------------------------------------------------------- Notes on the Sound Samples Sample_1 This is just a clip of the matrix mix to give you an idea of what to expect. Note the subtle changes in sound over the straight SBD. The extra warmth and lingering notes from the guitar and the additional "thump" to the bass. Sample_2 This sample gives you a quick A/B comparison to the straight SBD. You'll hear a 10 second clip of the SBD followed by a 10 second clip of the Matrix. 10 seconds SBD, 10 seconds Matrix and so on. Four 10 second clips of each for a total 80 second clip. I gave you a portion that gives the most drastic sound difference btwn the 2 sources. This quiet portion allows for more of the AUD to get into the mix. This is also a spot where the crowd gets into the song and has a "clap along" going. (There are no crossfades and transitions are abrupt.) Again, this clip was used b/c the sound difference is the most apparent during this particular portion. The majority of the recording you will only hear more subtle sound differences btwn the SBD and the Matrix. The difference in tone and the overall "size" of the recording being the most noticeable differences to the PreFM (SBD) source. The Matrix has a much bigger feel to it. This is even more obvious on the 5.1 Surround Sound version. Sample_3 Here you will find the 3 second edit I made between The Great Gig In The Sky and Money. The original PreFM master edit was so transparent and seamless on the SBD source that I opted to duplicate the edit on the AUD sources rather than patch the 3 seconds missing on the SBD source with one or both AUD recordings. That patch could only result in a jarring source change and be very distracting in my opinion. So what we have here is the pleasurable listening version versus the 3 second longer, complete version. I would bet that I am the first person in 33 years to even know that 3.875 seconds is missing from the SBD. Sample_4 Here you will find the edit preformed to patch the 1:36.33 missing from Any Colour You Like in the AUD2 recording. What you have here is a SBD+AUD1, 2 source matrix mix. Unlike the majority of this Matrix which is a 3 source SBD+AUD1+AUD2 mix. Sample_5 This sample was provided to give you an idea of what the Matrix mix will sound like as a SBD+AUD2, 2 source mix. What's cool is between the patch on Any Colour and the entire Echoes the listener really ends up hearing 3 different Matrix mixes. You get the main body of the matrix as a 3 source SBD+AUD1+AUD2 mix. Plus you get the 1:36.33 during Any Colour as a 2 source SBD+AUD1 mix. And finally you get all of Echoes as another 2 source SBD+AUD2 mix. There is really 3 uniquely different Matrix mixes found in this one recording. However quiet a bit of editing was done to make sure all 3 mixes sound damn close to the same. Sample_6 The 30 second clip of the SBD is followed by the same 30 second clip of the AUD1 source. Listen to the reverb on Roger Water's vocals and how it is missing on the SBD source. This is easily identified on the vocals but is true throughout the recording. The BBC recording is much different in how the vocals from the female backup singers sounded live too. This is a big factor in why the tone is so different on Gilmour's guitar on the SBD versus how he sounds on the Matrix mix or both of the AUD recordings. --------------------------------------------------------- Notes on the Artwork Included you will find a folder with 58 different pieces of CD covert art that was made over the years. The artwork for this Matrix version are the separate JPEGs found in the main folder and not with the 58 JPEGs in the folder that is marked "misc artwork". I would like to thank floydart.org for their wonderful database of Pink Floyd CD covers. I would also like to thank the "Time In London" version for the artwork that is the basis for what is included with this release. Both DVD-Audio versions (the 5.1 Surround Sound and the 24/96 Stereo) utilize a slide show of all the different artwork made for this same show over the years. I love all the old artwork, some with the wrongs dates and funny bootleg names. Please note that the DVD-Audio slide show may or may not be functional with your DVD-A player. This is the case with my Dennon, which does the slide show for about 10 mins and the stops. This has no effect on the playback or the sound, only the visual portion. --------------------------------------------------------- Lineup David Gilmour (guitar, vocals) Roger Waters (bass, vocals) Richard Wright (keyboards, vocals) Nick Mason (drums, percussions) Dick Perry (saxophone) Vanetta Fields (backing vocals) Carlena Williams (backing vocals) --------------------------------------------------------- Additional Formats This show is available in the following formats: 1. The PreFM (SBD) and both AUD sources listed above. 2. CD-Audio SBD+AUD1+AUD2 Matrix Mix at 16/44 3. CD-Audio 5.1 Surround Sound DTS-Audio-CD at 16/44 4. DVD-Audio SBD+AUD1+AUD2 Matrix Mix at 24/96 5. DVD-Audio 5.1 Surround Sound at 24/96 (6 Channels of 24/96 - MLP Encoded) --------------------------------------------------------- FLAC fingerprint pinkfloyd1974-11-16-haugh-mtx-t01.flac:a6779b9bed079be1bf76db90956ee1df pinkfloyd1974-11-16-haugh-mtx-t02.flac:b1e1ff96a679cdcd06e586351c4146f9 pinkfloyd1974-11-16-haugh-mtx-t03.flac:c112ab50395e578c125742964e2540f5 pinkfloyd1974-11-16-haugh-mtx-t04.flac:bd2fadea619ba46d59a2439541214486 pinkfloyd1974-11-16-haugh-mtx-t05.flac:e8484f6f9c891edee2a678ccce73a20c pinkfloyd1974-11-16-haugh-mtx-t06.flac:948bcd58d05cec54a4dc683fd335fe3b pinkfloyd1974-11-16-haugh-mtx-t07.flac:157e6e45635ea7a270c769b0d34a7111 pinkfloyd1974-11-16-haugh-mtx-t08.flac:377c77c03d1cf3c8649b3b12ae9265ff pinkfloyd1974-11-16-haugh-mtx-t09.flac:5fcc51619e94f5b230570a624719d0c1 pinkfloyd1974-11-16-haugh-mtx-t10.flac:3a6c8e05813b9d51cc26b4b8c3d0a1c4 pinkfloyd1974-11-16-haugh-mtx-t11.flac:882ef603c99f87dba02272fd16d831bd --------------------------------------------------------- MD5 0e688937f4a994c82f82c56865ee1d9d *pinkfloyd1974-11-16-haugh-mtx-t01.flac 8b25e29f7a49bcbc9cafad7752e5336b *pinkfloyd1974-11-16-haugh-mtx-t02.flac cd9f98a6456c40b36261f2338089841a *pinkfloyd1974-11-16-haugh-mtx-t03.flac 1b2201796b0a24f6769cbf1878663921 *pinkfloyd1974-11-16-haugh-mtx-t04.flac e01d3cb84449e0d2d2ec2012afd7512f *pinkfloyd1974-11-16-haugh-mtx-t05.flac c9dc8077c80c1e00ea8ca8c958333487 *pinkfloyd1974-11-16-haugh-mtx-t06.flac 38131f5a66b02e1ff067adbd6b3603d3 *pinkfloyd1974-11-16-haugh-mtx-t07.flac af694dfce3e213f7a3d42fe524c735c4 *pinkfloyd1974-11-16-haugh-mtx-t08.flac e98c00108cb5aca3182b99f9b5aee82c *pinkfloyd1974-11-16-haugh-mtx-t09.flac e48b6d04c81cd9778508185467c3b8c9 *pinkfloyd1974-11-16-haugh-mtx-t10.flac 31e3dc2356bf4d53250ec3d811ead3fb *pinkfloyd1974-11-16-haugh-mtx-t11.flac Size: 520 MB
raincooker (1/0) / 1 A+ View   SOUNDBOARD
Notes: "Dark Side Of The Moon" section only. Slight gaps.
Helder Luis (1/0) cdr / 2 View  
Mike (1/0) CD / 1 View  
Mike (1/0) CD / 2 View  
Drumpelstiltzken (1/5) CDR / 2 A A View   SBD>??>CD
Notes: SBD
taperBWeed (1/5) / 1 View  
Sandy Cook (1/5) SHN / 1 View  
Notes: pre-FM SBD reel
R Lewis (1/5) CDR / 2 A- View  
fossilcat (1/5) 1CDR / 1 View   FM BBC Recording
Victor Pianello (1/5) CD-R / 1 View  
Brian (1/5) CDFM / 2 View   PRE-FM MASTER>SHN>WAV>CDR
Notes: taken from the original pre-broadcast master
Sigmund BoPs (1/5) CDR / 1 View