Pink Floyd - 1977-06-27 - Boston, MA (AUD/FLAC) Tapers: Steve Hopkins + Dan Lampinski

(Audience FLAC)

Pink Floyd - 1977-06-27 Boston Garden, Boston, MA, USA (PRRPSAE009) 2 source stereo

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

Band:
David Gilmour - guitar, vocals
Roger Waters - bass, vocals
Richard Wright - keyboards, vocals
Nick Mason - drums, percussion
Dick Parry - saxophone
Snowy White - guitar

Set I
01 Sheep 11:29
02 Pigs On The Wing (Part 1) 1:26
03 Dogs 18:58
04 Pigs On The Wing (Part 2) 2:19
05 Pigs (Three Different Ones) 19:28
Total Time 53:40

Set 2
01 Shine On You Crazy Diamond (I-V) 13:17
02 Welcome To The Machine 8:34
03 Have A Cigar 5:06
04 Wish You Were Here 6:57
05 Shine On You Crazy Diamond (VI-IX) 22:10
06 Money 12:16
07 Us and Them 8:11
Total Time: 76:31

Remaster
1. Correct clicks, pops and tape imperfections of each source
2. Match EQ and verify pitch in each source
3. Dynamics differed between sources so channels balanced, clipping repaired.
4. Sync sources and correct speed
5. Repair missing sections using material from alternate source to complete each recording.
7 gaps repaired in Hopkins restoring 6 minutes and 41 seconds to the recording.
7 gaps repaired in Lampinski restoring 1 minute and 18 seconds to the recording.
6. Create stereo field
7. Correct phasing and center sound
8. Adjust dynamics
9. Track

Notes:
Limited stereo field noted in each source. This is improved by the 2-source blending process "As the Fear Grows" stated by one of the tapers at 5:15 of Sheep, Roger shouts '48' at 12:26 during 'Pigs (Three Different Ones).
In Lampinski source a strong whistle can be heard just before the beginning of Wish You Were Here. It is heard faintly in Hopkins.
Money guitar solo differs from typical performance, using interesting effects.
Roger announces "Us and Them"
Roger says "The perfect end to a perfect day" at the end of the performance

As The Fear Grows

Well, it's that time of the year again. Time to rejoice and celebrate another fruitful year in the life of the PRRP remastering group. Once more, our dedicated staff has made every possible effort to offer a good variety of exciting material to the ever growing progressive rock fan base. Over the years, the Special Anniversary Edition release has always been very special to us, its content carefully chosen to stand out from our regular programme of releases. This ninth edition of the anniversary special will be no exception to that rule. It features, for the first time in this instance, one of the most iconic bands in the history of rock music, the mighty Pink Floyd.

Pink Floyd is one of the most bootlegged bands in history, most of its tours widely documented in terms of high quality recordings, be it from radio or audience sources, and fans have been collecting these for over 40 years now. 'Most' is the key word here. Throughout these years, fans have desperately been searching for a high quality recording from the 1977 'Animals' tour. None of the shows from this tour was ever broadcast, and if Pink Floyd themselves have recorded some of them along the way, those must be surely kept under lock and key because no trace of such a recording has ever appeared anywhere, officially or not.

It is a well-known fact that this particular era in the band's life was not their favorite by far. Internal tensions were building up slowly, and although the 'Animals'album was a fine one in the end, it does however suggest that Roger Waters had already begun to take over as the main driving force behind the band. Shades of things to come. This new album was the beginning of a new phase in the band's existence, one that eventually drove Gilmour, Wright and Mason away from the Waters-driven Floyd. Even years later, when David Gilmour had resurrected the Pink Floyd name for two great albums and tours, it came as no surprise to see that none of the tracks from the 'Animals' album were ever included in the band's live sets.

Back in 1977, however, the band did embark on a long an gruelling tour to promote the album. Being the consummate perfectionists they always were, the band gave all that they had to offer fantastic and memorable live performances. Sadly, only a handful of the audience recordings that were made over the course of this turned out well, and those could only be granted a 'B' rating at best.

A short while ago, however, it was discovered that two young men from the Boston area, Dan Lampinski and Steve Hopkins, both known for the high quality of their audience recordings from the seventies, were at The Garden on June 27th, 1977, as Pink Floyd performed the 'Animals' show. Dan and Steve always used the best portable equipment available at the time, so both men achieved amazing results that night. After laying dormant for many years, these recordings were recently made available, and both received rave reviews from the fans.

Now here's the PRRP twist. Both of these recordings are truly good, separately. Each has its own merits, but is limited to a rather narrow acoustic field. Since the two tapers were sitting on opposite sides of the Garden, the PRRP sound engineer decided to combine the two recordings to try and increase the acoustic field. What you hold in your hands is the result of this meticulous and time-consuming process. This true labor of love was no waste of time by any means. The joining of the two recordings has not only widened the acoustic field, but also improved the overall sound and created a surprising stereo effect, which makes for a stunning listening experience. Only you, the fans, will be able to pass an unbiased judgment on this, but I personally believe this combined remaster to be the very best sounding 'Animals' tour recording EVER. Enjoy !

RH

Notes from the Re-Master
What a great opportunity! Two high quality audience recordings of Pink Floyd during their wonderful 1977 tour. The Dan Lampinski team has provided us with his high quality source. The Steve Hopkins source has been available in various forms for a number of years. There has been some debate regarding the best source for the Hopkins recording. A presumed, master DAT clone was available on Yeeshkul as was a version called "Have a Cigar". Both showed some signs of probable high-frequency processing but the Cigar version frequency response drops close to zero while the master clone does not. For this reason, the master clone was used for this project.

Both recordings captured the full show but a number of gaps occurred in each. The largest gap was close to 5 minutes in the Hopkins recording during Shine On You Crazy Diamond part 6-9. Mr. Hopkins may have had to hide his equipment for security personnel at that time. Of course, for each gap, only one source was available but fortunately, all gaps were staggered so they were all filled using the other source. Since this is a two source stereo remaster, during the single source, gap filled segments, there is a noticeable change in the stereo field. This is particularly true during the long Hopkins gap. For the other smaller gaps, the change is brief.

Each recording was separately remastered. During the process, non-destructive repairs were made to clicks, pops and other tape imperfections. Pitch and frequency response/EQ were then compared and matched as close as possible. The dynamics of the two recordings differed greatly so calculations were made to match average and total power for each. The two recordings were then synchronized to the exact same run time. A stereo field was then created by blending the two sources together.

The individual recordings were each high quality but both had limited stereo field characteristics on their own. By combining the recordings, the overall stereo field was greatly expanded and better reproduced the experience that must have existed in the venue that night. Phasing was corrected and routines were used to center the sound in the stereo field. The final recording was then tracked using traditional tracking points.

PRRP Staff