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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
Glenn (3/0) SHN / 1 View   Pre FM SBD
crabacus (3/0) SHN / 1 View   Soundboard
Rob (3/0) / 1 View   BBC Radio Broadcast
Ned Pike (3/0) CD/SHN / 1 View  
Notes: Brain Damage
Tim Settle (3/0) / 2 View   FADSBD
Notes: Pre-FM Master Reels>DAT (Full Darkside w/ Echoes)
mccoy (3/0) shn / 1 View  
James Kinney (3/0) CDR / 1 A++ View  
James Kinney (3/0) CDR / 1 A++ View  
Dave (3/0) cdr / 1 B View  
Dave (3/0) cdr / 1 B View  
David L. (2/4.8) CDR / 1 A+ View   pre-fm
adam (2/0) cd / 1 A+ View   BBC Radio Broadcast
Notes: Reportedly, copies of this may circulate incorrectly dated 9/24/73, due to a mislabeled bootleg. 11/16/74 is correct date. BBC Radio Broadcast
JimG (2/4.9) 1CDR / 0 A View   SBD
prologue_99 (2/5) FLAC / 1 A A View   Pre-FM
Notes: Pre-FM. From superior Harvested release. Includes Shine, Crazy, Raving and Echoes.
Joe Blow From Idaho (2/0) shn/cdr / 0 View  
Notes: DSOTM only
CMFrolio (2/5) flac / 1 View  
Notes: BBC radio
Moonstroke (2/4.8) SHN / 2 A A View   Pre FM-Master >
Moonstroke (2/4.8) FLAC / 1 A A View   DTS-Audio-CD 5.1 Mix
Dave (2/3) / 2 A- View  
King of the Gypsies (2/5) / 0 View  
zosa (2/4.9) CDR / 1 A A View   SBD>??>TSPDP09 Remaster> FLAC
Notes: Dark Side of the Moon set
Ray LaChance (2/5) CDR / 1 A View   Soundboard
Notes: Partial: Set II Only "Dark Side of The Moon"
Rich (2/5) CDR, FLAC / 2 View  
EddieTandy (2/0) CDR / 1 View  
Mike Langen (2/4.9) cdr / 1 A View   sbrd
Notes: The Swingin'Pig presents 'The Swingin'Pig Digital ProjeKct #09' Pink Floyd ‘Time In London’ - Live in London Empire Pool, Wembley, November 16 1974 30th Anniversary Edition Source : PreFM Master (DC - PiNkRoIoShN) > Remastered (Adobe Audition 1.5) Digitally Restored, Remastered, Re-Edited and Packaged by The Swingin'Pig www.swinginpig.freeurl.com ________________________________________________________ 01. Speak To Me 2:36.146 02. Breathe 2:55.880 03. On The Run 5:05.760 04. Time 6:40.986 05. The Great Gig In The Sky 6:51.280 06. Money 8:03.320 07 Us And Them 7:57.813 08. Any Colour You Like 7:40.173 09. Brain Damage 3:40.093 10. Eclipse 1:52.160 11. tune up 1:57.613 12. Echoes 23:48.573 Total running time: 1:19:09.800 About the TSPDP09 ProjeKct: Why a new version of the November 16, 1974 Pink Floyd concert at the Empire Pool, Wembley? Despite the fact that a great number of different audio sources exist for this concert, none of them seems to be as good as required. Although the 'PreFM Master' source is, to my knowledge, the best one available, it suffers from various audio flaws like: - presence of noise (hiss and clicks) and saturation, - wrong speed, - signal drop-out and stereo image losses, - ‘parasite’ signal on ‘On The Run’ (end) and ‘Time’ (beginning), - wrong equalisation and dynamics of the audio signal. The restored version proposed here, mainly based on the 'PreFM Master' source, is an attempt to correct, as far as possible, these different flaws. First, all the kind of noises have been removed and a correction of the speed, based on the BBC6 2003 broadcast, has been applied. Then, most of the signal drop-out and saturation have been attenuated. Concerning the so-called ‘parasite’ audio source (that you can still hear at 04:08 from the beginning of ‘On The Run’) this one has eventually been masked by the add of the clock 'tick-tock' that is listenable on the BBC6 2003 broadcast previously mentioned. The crowd noise has been added at the beginning of the show by reference to what you can ear on the ‘Completely Brain Damaged Vol.3’ bootleg. During the making off this project, another source containing a very good audio quality of ‘Echoes’ emerged from sharing communities, I decided to include this number in this project. Although a doubt remains concerning the origin of this source (mp3 sourced?), I chose to preserve this piece because of the historical nature of the performance (sax and female voices). Finally, an equalisation and a modification of the dynamics were applied to the whole of the project in order to obtain a good final mix. The best efforts were produced in order to obtain similar sounds for ‘DSotM’ and 'Echoes'. Because of the lack of source of equivalent audio quality for the other played titles on this day ('Shine On You Crazy Diamond', 'Raving and Drooling' and 'You've Gotta Be Crazy'), these ones were not included in this project. If someone could provide a very good recording of these tittles I would be delighted to provide an add-on for the TSPDP09. Although this anniversary edition is not totally flawless (is an official release will surface some day?), I hope that you will enjoy this new remastered version of this Pink Floyd performance. Acknowledgements: I would wish to thank the ‘Sharing The Groove’ (www.sharingthegroove.org) and ‘EzTorrent’ (www.easytree.org) communities as well as the Direct Connect one ‘PiNkRoIoShN’ (pinkroioshn.myftp.org) for sharing all the sources used in this project. Last but not least, I would like to specially thank ‘Tattieboggle’ for providing the BBC6 2003 broadcast of this show. Shine On. The Swingin’Pig, November 16, 2004. (www.swinginpig.freeurl.com)
Mike Langen (2/4.9) cdr / 1 A View   mtrx
Notes: *************************** Mike's notes - I think "Time In London" sounds a little better than this . I've stored it in the Burned boots section of my hard drive. and removed tags to free up room on my Sonos . ***************************************************** 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) ---------------------------------------------------------
Mike Langen (2/4.9) cdr / 1 A View   sbrd
Notes: *************************** Mike's notes - I think "Time In London" sounds a little better than this . I've stored it in the Burned boots section of my hard drive. and removed tags to free up room on my Sonos . ***************************************************** 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.
Lost Sailor (2/0) Cdr / 2 Fm View  
Lost Sailor (2/0) Flac / 0 View  
Lost Sailor (2/0) Flac Dts 5.1 / 0 View