Pink Floyd - 1972-05-21 - Germersheim, DE (AUD/FLAC)

(Audience FLAC)

Island Green 1972-05-21 (16bit/44kHz)

** Recorder 2 - Marbal **

2nd British Rock Meeting

Insel Grün,

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

01 Atom Heart Mother [16:07]

02 Set The Controls For The Heart Of The Sun [11:30]

03 One Of These Days [08:31]

04 Careful With That Axe, Eugene [11:03]

05 Echoes [23:37]

06 A Saucerful Of Secrets [13:14]

Total running time: 84:05

*** Beechwoods' Transfer Notes ***

Marbal kindly lent me a number of his tapes and reels, and this is the first new transfer from those. The master reel has deteriorated with time and is now lost, but Marbal's 1st generation ¼" reel and 1st generation cassette survive. After many comparisons and a number of reel transfers on different machines it was agreed that the cassette offered the best basis for a definitive release.

The tape was a 1980-82 vintage European Maxell UDXLII 'Type II' / High Bias cassette, and the tape inlay and label confirmed that Dolby Noise Reduction had been used at the time of recording. Playback azimuth was checked and aligned. A number of transfers were made using different settings of Dolby and Bias to determine the combination necessary to achieve a natural playback EQ. Playback with Dolby On and the cassette's Bias of 'Type II' 70µs EQ produced a very weak result. This is often the case when playing back a Dolby encoded recording on a different deck than the one that it was encoded with. Playback with Dolby Off resulted in an exaggerated level of hiss and a unusual EQ. Playing back with 'Type I' 120µs EQ, with Dolby On, was determined to be the best combination resulting in the most natural EQ.

Once these basics were established, a set of transfers at different levels were then done, to allow use of segments with optimal recording levels at different points (the original recording was very dynamic, with very high transients during crowd-noise, and at points during OoTD and the start of AHM).