(DVD audio)
DVDA1
set 1
01. intro
02. Sheep
03. Pigs on the Wing (part 1)
04. Dogs
05. Pigs on the Wing (part 2)
06. Pigs (3 Different Ones)
DVDA2
set 2
07. Shine On false start (technical difficulties)
08. Shine On You Crazy Diamond (Parts I-V)
09. Welcome To The Machine
10. Have A Cigar
11. Wish You Were Here
12. Shine On You Crazy Diamond (Parts VI-IX)
encore
13. Money
This show was mixed live in quadraphonic (4.0 surround), captured by 3 strategically located tapers and mastered in 5.1 surround sound. This is the actual surround mix as heard at the show with nothing simulated or remixed.
Recorder 1:
is closest to the stage and to the left. Stereo with 1 mic aimed at the stage and the other aimed at the left surround speaker stack.
Recorder 2:
is closer to the right surround stack than the stage.
Recorder 3:
is in the back directly in front of the rear surround speaker stack.
Sources:
Recorder 1
title: Zurich Master Speedcorrected (Recorder 1), source: cass(master) > cdr(?), stereo
Lineage is missing speed correction info.
Recorder 2
title: Zurich rec2/gen1, source: cass[1]>DAT[1]>CDR[2], mono but with stereo cassette transfer artifacts
Recorder 3
Dsto0-Pacco stereo master (BASF CrO2) > Nakamichi ZX-7 > Tascam HDP2 > 24 bit 96KHz wav
5.1 Master:
Protools HD2 for mastering
Serato Pitch n' Time plugin used for speed correction.
WAV -> MLP compression (SurCode MLP) -> DVDA disc image (DiscWelder Chrome)
DVDA is 24 bit 96KHz 5.1 surround sound
Sound quality: A- (Half of Dogs thru Pigs is B-)
General notes:
This project started when I first heard the 3rd recorder that Pacco posted. It was the most distant sounding recording possible punctuated with the most upfront bursts of tape effects and bits of solos that would suddenly fade up from the distance and back again. Obviously a recording from the back of the room and directly in front of the rear surround speaker stack. The 1st digital transfer of this was poor (distorted & mono). Neonknight was able to arrange a professional transfer of Pacco's tape and this project was on.
Tape Notes:
Recorder 1
This is well recorded and the creative mic positioning worked well. The louder parts and louder guitar leads start to distort the mics and/or tape. This copy has been digitized at only 16 bit, 44.1KHz and had further processing done (digital speed correction and possibly more) at that lower resolution. This exaggerates the distortion and makes for piercing painful listening. There are also artifacts from CD disc errors.
Recorder 2
This is poorly recorded. It is distant enough to be challenging in the first place. The recording is low fidelity with almost no capture of cymbals and other higher frequency details. There are wild speed fluctuations from a failing tape drive. This was digitized at 16 bit, 44.1KHz which does a poor job capturing the remains of sound quality this buried.
Recorder 3
This is well recorded and professionally digitized at 24 bit, 96KHz. You might have to study it for a moment to realize that because it's a recording of the very back of the venue. This captured the ambient sound along with a very discreet recording of the real surround speaker stack. The loudest parts distort the mic/tape a little or maybe the level was set too high for the direct surround parts which were quite loud compared to the ambience here in the back.
All 3 tapes are incomplete and rec1 is missing the entire 2nd half of the 1st set. Rec3 is missing the encore. The performance is complete between all 3 recorders.
set 1
00:00.000 R3 starts
00:26.960 R1 starts
01:23.050 - 01:29.746 R1 dropout
01:30.891 R2 starts
23:15.817 - 23:16.551 R1 dropout
23:24.894 R1 ends
32:45.564 - 33:07.342 R3 dropout
36:49.293 - 36:56.790 R2 dropout
47:32.328 - 48:17.412 R3 dropout
49:46.718 - 50:32.496 R2 dropout
52:26.208 - 52:33.458 R3 violent mic handling noises removed
55:20.967 R3 ends
55:21.318 R2 ends
set 2
00:00.000 R3 starts
01:15.409 R2 starts
01:22.309 R1 starts
08:07.325 - 08:13.746 R1 dropout
23:05.622 - 23:43.773 R1 dropout
43:59.363 - 45:01.403 R2 dropout
47:49.010 - 49:07.868 R1 dropout
52:20.268 R1 ends
52:28.466 R2 ends
53:07.545 R3 ends
encore
00:00.000 R2 starts
00:02.507 R1 starts
08:40.082 R1 ends
08:41.287 R2 ends
Mastering Notes:
The Serato Pitch n' Time plugin was used for speed adjustment in syncing these multiple sources together. This is the 1st digital speed/pitch adjustment to come along that is transparent, artifact free and sample accurate and is the core technology that made this project possible. The goal for positioning the sources in the speakers was to keep the source tracks in discreet speakers when possible while trying to arrange them to the correct perspective from the show. If the sync between sources was theoretically perfect there would be no harm from imaging the sources in any combination of speakers. These sources are synced together with a high degree of accuracy but are not theoretically perfect as the quality of the recordings and the current technology available to me simply doesn't allow 100% perfection. Keeping the different sources in separate speakers eliminates the possibility of any of the phase anomalies that could come up by the added complexity of mixing the sources together. Fortunately these sources fall into position very nicely in separate speakers. L - rec1(R), C - rec1(L), R - rec2(L*), Ls - rec3(L), Rs - rec3(R). *The L channel was best till the very end of HAC where it's overdriven for the remainder. The R channel was best for the rest. Recorder 1 was the sync reference for most of the show. Since this source was already digitally speed corrected accurately enough there was no reason to subject it to further digital speed processing. I kept rec3 in 24/96 and upsampled rec1 and rec2 from 16/44.1 to 24/96. There are a number of reasons for this choice with the ultimate goal being to preserve the integrity of the sources and present this master in a standardized format. Working with rec1 and rec2 in 24/96 allowed some necessary digital restoration work with a higher degree of precision than is possible at 16/44.1 (even though they were only recorded at 16/44.1). Keeping the master at 24/96 then insures no further harm however small from lossy digital compression techniques (eg. downsampling, bit reduction) and allows for lower dynamic levels to be accurately preserved without sacrificing the bit depth of the source.
Analog tape machines at their best have a lot of speed variation, much of which is imperceptible unless you look at it under a microscope. Sync reference points (ie. identical points in time in all 3 tapes) had to be identified on average every 2 to 8 seconds. In other words you could not use the same speed correction factor for more than 2 to 8 seconds at a time throughout the show. Recorder 2 had some wild speed fluctuations that were impossible to perfectly repair. The accuracy is very high but I expect there are a few slips that got past me.
Recorder 1 was very saturated at 5KHz. The louder the band and/or lead guitar, the more saturated this frequency band got. I attenuated this with dynamic eqing with the Universal Audio precision multiband compressor and manual automation. I was able to get a little high end balance back in recorder 2 so it didn't sound so unnatural (UA precision eq). I made one exception to the discreet source/speaker rule here and added some of the highest frequency band from rec1 (Lf) to rec2's channel (Rf) to help better center the image in front (so the cymbals aren't way over to the left). Rec2 had a lot of tape hiss that I reduced with broadband dynamic noise reduction. Rec3 was in good shape. The bass end was a little weak overall so instead of turning everything else down to make room I put the range I wanted to boost in the lfe channel.
Short dropouts in any recorder were edited/fixed with whatever manor of cheating was needed to authentically restore the spot in question. Imperfections in sound were kept whenever authentic repairs were not possible. Epic smacks of microphones and any loud claps and screams made inches from the mics have been edited out. When the recording is presented in full form, these sounds are no longer 'authentic' sounding but end up being exaggeratedly loud (like someone suddenly screaming full force right into your ear).
The goal was to present the music authentically as heard that night. The focus here is on the music of Pink Floyd as captured by the recorders and not on any audible non-PF events (eg. mic noises, screams, talking) happening to or around the recorders. Any sonic enhancements are limited to what can be done with no adverse effects. Most of the work was to smooth over the many distracting spots where one of the 3 tapes drops out.
Disclaimers:
Don't even consider selling this. This is a fan made recording of copyright material made for free trade among fans. And if you're one of those roio "labels" that, swear to Floyd, never sell anything but then grab only the reduced CD version (instead of the high res) to 'reissue', writing up new notes that omit all lineage and mastering info but claim 'new transfer' and 'best sounding' and read like a used car salesman script… Honestly, what's up with that?
A multichannel 5.1 home theater system with either a DVD player that plays DVD Audio or a computer and audio interface setup is required for playback of 5.1 surround sound.
Please do not convert to lossy formats like standard DTS, Dolby or MP3 to redistribute. Someone down the line will thank you.
If you want to transfer this to DTS HD Master Audio (the new lossless format) or Blu-ray lossless audio, please make sure the transfer is perfectly lossless and remains in discreet 5.1.
JFE 2011
md5:
ae334b356f647f44ccf31ac3f39ab339 *PF7723d1.iso
4ed7ba9633ee7931af4d9fbd4f1fae60 *PF7723d2.iso
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