Chile Músicos

Pink Floyd - The Best of Tour 72 Completed and Restored -

Live at the Rainbow Theatre, Finsbury Park, London UK, 1972-02-20

Set List (in brackets the position on the original first issue LP, side a, side b)

01 (a). Heart Beat Intro (complete) 2:51
02 (a). Breathe 2:46
03 (a). The Travel Sequence 6:08
04 (a). Time (complete) 6:51
05 (a). Home Again 1:02
06 (a). The Mortality Sequence 4:23
07 (b). Money 7:45
08 (b). Us and Them (complete) 6:51
09 (b). Dave's Scat Section 4:36
10 (b). The Lunatic Song 3:51
11 (b). Eclipsed (complete) 2:58

We made this operation more than one year ago with the release of "In Rainbow Light".
This release goes even further and upgrades, restores and completes the content of the original LP version of The Best of Tour 72 only, primarily for those older collectors who have had it for many years.
A sort of emotional commemoration of another famous and time honored bootleg LP.

The first edition was released on black vinyl in 1972 in Europe by the Tour 72 label.
Pink Floyd were excited to be able to develop new material on the road but were horrified to learn of a bootleg album that was released containing a complete performance of the piece recorded in February of 1972 at the Rainbow Theatre.
The bootleg was issued a mere six weeks after the concert, about a full year prior to an official release.
Professionally packaged, the unit reportedly sold in excess of 100,000 copies, many thinking it was the real thing.
Trivia note: around this same time the Omayyad LP was released in USA.

The Best of Tour 72 had large success and was reissued and re-bootlegged many, many times due to the stunning sound quality and the full presence of unissued songs.
Four songs were shorted: Heart Beat Intro, Time, Us and Them and Eclipsed.
We don't know why. May be the reason was the tape length or some problems on it or the capability of the LP to support the whole suite.
Here you can AT LAST listen to the whole Dark Side suite in the best Sound Quality ever, without having to be "traumatized" as we were for more than 30 years by the cuts.

The Rainbow Theatre was booked for three shows for press introduction to Dark Side of the Moon but soon a fourth show was set due to the big response.
This extra show was to be played on Sunday 20th February 1972 at 8:00 p.m.
For the first time the title Dark Side of the Moon was used.
In "The Free Program of Rainbow Theatre, n.13" we can read: "The Dark Side of the Moon - A Piece for Assorted Lunatics"
A month before they were in this theatre to rehearse for three days, to try the new suite together with the new mixer, the new quadrophonic system and the new light show.
The suite was performed ten times around England before the Rainbow' nights.
It already changed a little from first couple of nights in Brighton and Portsmouth.
Eclipsed was added. More changes would occur before the end of the year.
A generation and more of fans thought this album was recorded on the 17th of February, but many years later we all learned that it was the 20th, the fourth Rainbow show.

- Titles and Songs -
The title of the boot refers to the whole small British tour of January and February 1972.
The names of the songs reflect the names used on the studio track sheets early in the recording of the DSotM album.
We didn't dare to be totally philologic so we didn't call The Mortality Sequence ...Religious Section (!) and Eclipsed simply End.
For the Intro we used "Heart Beat" to tribute the first time that it was used by Pink Floyd, during the Zabriskie Point Sessions.
For what its worth, we didn't like the simple "Scat" title for Any Colour You Like, so we mixed together all those we saw around in more than 30 years.

- Artwork - by WRomanus
I have derived the artwork from the first release with an eye to the one of "In Rainbow Light".
The first LP release artwork was clearly derived from Atom Heart Mother, pigs instead cows both in the grass, with nothing else than the title and the venues of the tour.
I took some parts of the original artwork and the "rainbow light" from IRL.
The title writing comes from the original as well.
The front has the big sow only. Note what a "human face she has" !
The back is made by four(!) little pigs. The one on the left comes for another part of the original artwork.
The CD label comes from the original first LP release.
The picture of the "inside back" is really the dark side of the moon.
Inside the booklet you can see pictures of the original parts of the first release and some orphants of those days.
A no coommon pic of Rick is under the first page of notes.
You can see croppings of the studio sheets with the basic titles as well.
As you can see you have many possibilities to make your favourite artwork.

-Sources and Assembling- by }{eywood
I assembled this with multiple master tapes provided to me by WRomanus.
I've seen versions of the first set fixed (Best And The Rest Of Tour 72) but I was never happy with the segues.
As far as it goes this is the most complete this album is going to get.

The abbreviations for the master tapes are as follows:
BOT72 = Best Of Tour 72. 1st pressing pristine vinyl.
MC = Master Clone - A Copy of the Master (?) of what I believe to be taper 2. Not that tonally brilliant, but a good clean recording.
JB = 1st gen incomplete source of 20th Feb recorded by John Baxter, provided to us by LordSnooty.

The only thing I didn't include was the first 20 seconds of the beginning, as this is just mic noise as the taper sets up his gear.
These tapes are of varying qualities and generations, but I've done my best to make the transitions painless.
I used NR and hiss reduction sparingly, mostly to get the patches to sound as clean as the main album material.
I stereo spatialized everything not from Best Of Tour 72 so it would sound more like that does.
The BOT72 (and all subsequent versions) slows down gradually during the second half of Money and continues until the break in Us and Them where the piece is missing. I speed corrected this.
Heart Beat Intro, the bulk of Us And Them and the ending of Eclipse are from JB.
I filled the missing portion in Time with MC.

We hope this pleases everyone out there.

Thanks to:
- Lord Snooty for the new source
- The 2 or 3 tapers and Prof. Stoned that made it possible
- Yesshkul and the Pink Floyd Hubs
- Floyder with his big LP bootlegs collection
- The Pink Floyd Vinyl Bootleg Guide - http://floydboots.com/index.html
- Hubble Space Telescope Project.

Conceived, produced and released by WRomanus & }{eywood
WRomanus & }{eywood - Roma and Lockport, 16 April 2009

http://www.sendspace.com/filegroup/RMf57...EeV7neUX5Q

This historical recording captures Dark side of the
moon in its earliest stage.
No other recording available from the jan/feb 72
tour (in which dsotm was first performed)
sounds as good as this.
It has one ugly flaw (still) with the
annoying cuts in Tr. 4, 8 & 11 but the music &
sound is just too good to leave.
This upgrade is by far the best sounding version
of this recording of the few I have ever heard.
Includes artwork, made with great care.
You need this, average fan or diehard.

Enjoy,
Menno

PINK FLOYD -
Rainbow Theatre, 2-20-1972
"The Best Of Tour '72 - Restored"
Remastered From Original 1st LP Pressing

01. Speak to me (cuts in, only last 8 secs left)
02. Breathe
03. Travel Sequence
04. Time (cut within)
05. Home again
06. Religious Theme
07. Money
08. Us & Them (cut within, misses most)
09. Dave's Scat Section
10. The Lunatic Song
11. Eclipse (cuts off)

Time: 40:52:66

-------------------------------------------
Sound: A

Source Info:
High Quality Condensator Stereo Mics -> Reel-to-Reel Master ->
Mastering -> Mastered source (likely recorded on Hi-Speed
Reel-to-Reel) -> 1st Pressing Vinyl Bootleg (16-421/422) ->
Technics 1210mk2 with -881mk2s stylus -> Tascam DA20mk2
(A-D conversion 16 bit, 48kHz) -> PC -> Cubase SX 2.0
-> Wave (downsampled to 44.1k) -> FLAC -> Torrent

See below for clarification.

Re-Mastered @ the Soundhouse by Prof. Stoned, February 2006.

-----------------------------------------------------------------------------------------------------------------------------------
A note from the Prof.:

Today, 34 years and a couple of days after this was first recorded,
I present to you all a significant digital upgrade -maybe even
the definitive version- of the legendary "The Best of Tour 72" boot.
It KILLS both the "Swinging Pig" and the "Original Masters Series"
bootleg CD's of this album that most of you all know.
These two boots were both taken from the same inferior source
which is ruined by a heavy NoNoise treatment.
This is a trueful reproduction of the original vinyl bootleg and will
make you hear details in the recording that you never heard before.

***About the Original Bootleg***

The content of this CDR has been carefully mastered from a rare
vintage (1972) vinyl copy (strictly rated: EX), the very 1st
pressing of this classic floyd bootleg, and therefore the closest
source to the (unfindable) original tape.
The recorded content of the original LP was handled professionally
from start to finish (not counting the cuts in the recording).
The sound is beautiful. A very wide stereo image with clear
separation of instruments & voices. There is little hiss or distortion.
The unmastered source that the bootleggers used must have been
0th or maybe 1st generation tape.
The original pre-vinyl tape has had a mastering treatment with a
compressor, Dolby(A) and likely some EQ-ing.

The vinyl itself is nice and thick, made to last.
This could very well have been pressed at a pressing plant which
was used by major record company's as well.
As you can read in Clinton Heylin's excellent book
"Bootleg! The Rise and Fall of the Secret recording industry"
this used to happen a lot in the early 70"s, and it would explain
why the bootleggers were so keen to hide the name Pink Floyd,
even on the record label itself.

Although the pre-vinyl part in the source info chain is speculated,
it's 100% certain that this is NOT a soundboard and/or FM.
Ever since this came out, the SQ has led people to believe it is.
Even the above mentioned book, erroneously stated this was
taken from a BBC radio broadcast.
And even to this day, this recording is way more often labelled
as "radio" or "soundboard" than as what it is: "EX audience".

Have a look here to learn more about the countless vinyl
pressings of this legendary bootleg:

http://backtrax-records.co.uk/floydboots/pages/b8.html

(NB: A few more details to identify the first pressing:
The record label is dark blue with silver characters and edge.
The matrix number on Side 1 is 16-421 and can be seen both
on the label and also in small characters between the running
grooves. The label says: "We did it for you".
Same goes for Side 2 but the number is 16-422 instead and
the label says: "We did it for you too"
On both sides you can see: "composed and arranged by TOUR 72".
There's no mention of Pink Floyd anywhere.
The only direct sign referring to PF are the tour dates on the
back of the laminated sleeve.
This LP or the 2nd pressing are very much worth the hunt.)

***About the Mastering***

The vinyl was cleaned carefully one hour long using anti-stat.
Because both the SQ of the original recording and the mastering
of the LP are so outstanding, I felt it would be a waste to correct
anything in that aspect.
This means that no further eq-ing or compression has been applied
by me. ObviousIy, I did not use any noise reduction;
the big sin that made the previous (and unfortunately) common
cd® versions of this recording sound like poop.

There is a little bit of vinyl distortion hearable, most notably in the
gentle parts during the last 11 min. of Side 2 on the left channel.
It's nothing to write home about but still.
I picked out the biggest clicks by hand and handled the rest
with the excellent 'Waves' Click & Crackle plug-ins.

I corrected the speed of the recording with +0.15 semitones.
I tuned Rick Wright's organ with great precision to an exact A
(440 Hz), bringing down the playing time from 41:13 to 40:52.
I also swapped the channels as heard on the LP to match the
stereo image as much as possible with PF's then stage order;
Dave's guitar & vocal are clearly on the left, the toms are coming
from the left to the floor-tom on the right, (as if you are standing
in front of the drums).

An edit was done to make side 1 run seamlessly into Side 2.
The point where the edit was made can be heard on
both sides of the LP, so not a millisecond got lost.

Enjoy,

Prof. Stoned

http://www.mediafire.com/?wyekz28118qjenl
http://www.mediafire.com/?45yegb18n0paa46

Berlin 1972-05-18 (REC 2 - Master - rev A)


Label -.-
Date & Place Deutschlandhalle, Berlin, Germany, May 18th 1972
Sound Quality EX/EX-
Source Audience (recorder 2 + recorder 1 for fills)
Generation cass[Master] > CDR(4) > SHN > WAV > Cool Edit Pro (remaster + 2nd source fills) > SHN

Additional lineage: SHN > SBE fix > FLAC level 8

Disc 1 (48:56)
1. SPEAK TO ME (2:18)
2. BREATHE (2:47)
3. ON THE RUN (jam) (5:24)
4. TIME / BREATHE (reprise) (6:54)
5. THE MORTALITY SEQUENCE (3:54)
6. MONEY (7:14)
7. US & THEM (7:29)
8. ANY COLOUR YOU LIKE (6:28)
9. BRAIN DAMAGE (4:00)
10. ECLIPSE (2:25)

Disc 2 (68:11)
1. ONE OF THESE DAYS (10:53)
2. CAREFUL WITH THAT AXE, EUGENE (13:24)
3. ECHOES (29:32)
4. SET THE CONTROLS FOR THE HEART OF THE SUN (14:21)


I came across this killer Dark Side concert recording, labeled simply (MASTER rec2) as an alternate to another lower quality source I already had (Lord of the Universe.) What an upgrade! Nice clear EQ, and mostly intact with few faults overall (rated at Ex/Ex-, and I think I'd agree.) However, this source did have a few annoying issues which tended to detract from the overall enjoyment of such a fiery show. Some of this faults included odd indexing, a few missing pieces, a number...a very, very _large_ number, actually...of mic taps, the odd electrical/digital crackle and spots of distortion here and there.

The quality of the recording nonetheless inspired me to put some time into whatever restoration plans I could muster. Here are some notes on the changes I've made:

- "MASTER rec2" source used for the main body, with "The Lord of the Universe" (rec 1) source serving to fill in gaps
- properly re-indexed the entire Dark Side show
- shifted the lead-in to the partial recording of One of These Days from the end of disc 1 to the beginning of disc 2, where it belongs
- joined the two parts of Any Colour You Like and two parts of Careful... seamlessly, deleting and smoothing out any gaps
- combined and re-indexed the 2nd disc titles, so as to include the intros with the title tracks for smoother flow
- used rec 1 source to fill missing sections of Us and Them, Echoes (small gaps), Set the Controls... and One of These Days (big gaps); concert now complete
- deleted several repetitions of the last minute or so of what was recorded during Set the Controls... on rec 2 source, hence the final time is not much longer than the original, but most of the end from rec 2 was just repeated filler, anyway
- attenuated and filtered a huge number mic taps/bumps, crackle, and odd noise incidents
- patched a fair number of drop-outs by amplification or cross-channel filling
- performed heavy EQ on filler source to brighten the sound for smoother transitions
- filtered rec 2 source very, very lightly for hiss
- faded in and out the start and end of disc 2 instead of abrupt cuts (disc 1 already had acceptable fades)

A few words about the show itself. Awesome pre-LP Dark Side gig. Early versions of the "Eclipse" suite, but well-rehearsed at this point, after having played the set for several months. On the Run being the guitar "jam" thing, and the Mortality Sequence the funeral dirge style bridge. Nice, long, relaxed and funky Any Colour... here. Then, on to the next CD, I’ve brought in the tune-ups and opening of One of These Days from rec 1. The rec 2 taper missed the opening first few minutes, but with some EQ and exact timing, you get to hear the whole track now, alternating between head-banging intensity and spacey-tripped out excursions. You can hear the fade-in just after the 5:10 mark, but the better source stays in play for most of this half. Next, one of the finest Careful... versions ever put down on recorder. Rick's strained, haunting, mellotron-like strings fade up like a ghostly veil over Nick's gentle cymbal-tapping, Dave's Arabesque guitar drones filling in as Roger whispers, groans, and clicks into an echo-soaked microphone. Absolutely chilling. The track swells with Dave's eerie non-Western scale chants and blistering axe-work, and Rog hadn't even started thinking about screaming yet. One of the finest incarnations I've ever heard, and probably why I was convinced to put all the restoration work in to the whole show. They follow with an equally-stunning Echoes, tightly performed and another gem track. Their last number, Set the Controls... was cut several minutes short on the original tape, which is too bad since it was another fine rendition. The ending came courtesy of the "Lord of the Universe" source, as I feel it is always better to tolerate a drop in quality over complete discontinuity.

A lot of work went into all the mods, precisely-timed fills, and especially for the removal of those taps and crackles. A majority of the bumps to the mic undoubtedly came from the taper's deliberate activities, tapping or air-drumming away to the show. I might have found myself doing that if I had been in another place and time to see what must have been a phenomenal concert experience. However, those booms certainly didn't make for an enjoyable listening experience! You can still hear the defects, but the original was really so much worse in those few spots. I hope to have done the sources used here some justice, as well as the tapers kind enough to be there with mics at the ready, and the seeders and traders as well. Sit back, relax as you may choose to do so, and enjoy the complete version of a fantastic show.

JMK



original version notes (primary source):


MASTER rec2

Label -.-
Date & Place Deutschlandhalle, Berlin, Germany, May 18th 1972
Sound Quality EX/EX-
Source Audience (recorder 2)
Generation cass[Master] > CDR(4) > SHN


Disc 1 (48:46m)
1. SPEAK TO ME
2. BREATHE
3. ON THE RUN (jam)
4. TIME / BREATHE (reprise) / THE MORTALITY SEQUENCE
5. MONEY
6. US & THEM / ANY COLOUR YOU LIKE
7. ANY COLOUR YOU LIKE (continued)
8. BRAIN DAMAGE
9. ECLIPSE

Disc 2 (62:26m)
1. ONE OF THESE DAYS (missing 1st part)
2. CAREFUL WITH THAT AXE, EUGENE
3. CAREFUL WITH THAT AXE, EUGENE (continued)
4. tunings
5. ECHOES
6. tunings
7. SET THE CONTROLS FOR THE HEART OF THE SUN (cut)

Comments nice nice... great upgrade, the sound is damn good!!! this recorder 2 sounds very good. There's an inner cut in U&T and Echoes, the first part of OoTD is missing, and Set The Controls cuts out at 11 minutes. Performance is very good too, some mistakes but lots of jams, really good. recommended, i guess this one will became one of my favourites 1972 shows...


from YGBC Web Site:

notes:

I can't believe it yet, this is a superupgrade to the versions I had before and is from a different recorder.

both recorders hit/move the mic several times during the recording sometimes in the same point (see the begining of CWTAE) but they are actually different 'bumps' and chatting around the taper is different of course (here there's a lady talking here and there).

it has more stuff too that are missing in the other recorder: STM(!); the end of Eclipse; more tune ups here and there.
but it's unfortunately missing the beginning of OOTD and the end of STC.



original version notes (filler source):

title: LORD OF THE UNIVERSE
disc/s: 2
release: DFA-027 - Digital Floyd Archives
date/venue: 1972 May 18 - Deutschlandhalle, Berlin, Germany

source: audience / recorder 1 / cass[low]>cdr[?] >EAC>WAV>archived in shn
tot length: 111:22
overall: VG-


CD1

01. Breathe [2:38]
02. On The Run [5:34]
03. Time [5:35]
04. Breathe (reprise) [1:06]
05. The Mortality Sequence [4:09]
06. Money [6:33]
07. Us And Them [7:15]
08. Any Colour You Like [6:23]
09. Brain Damage [3:55]
10. Eclipse [2:09]
11. One Of These Days [9:18]

CD2

01. Careful With That Axe, Eugene [13:13]
02. Echoes [30:16]
03. Set The Controls For The Heart Of The Sun [13:14]

notes:
more or less like the 1st Gen. (even same index/length of track on CD2).
the performance is really enjoyable and the sound is bright even, but there's a constant rustle all along the first part of the Dark Side Set that's really annoying ... what's strange is that it's more pleasurable to listen to with headphones, the rustle seems concentrated in the left channel.
Stand up to it … then all goes very good.
Speak To Me is missing.
Money has a skip near to the end.
Us & Them has an inside cut.

http://www.mediafire.com/?5c4bfy3q73rizck
http://www.mediafire.com/?vi8rgd73xp6brun
http://www.mediafire.com/?82jjjr3xsn4jva5
http://www.mediafire.com/?uee6q41ffe1m23f

PINK FLOYD (Maloney > KRW_CO > TomP Remaster)
=============================================
BOSTON MUSIC HALL
BOSTON, MA
1973-03-14
Analog Master > WAV > FLAC


Another Joe Maloney master recording on DIME. Presented to you un-altered. No EQ.

AUD > Sony TC-110A with built-in mono microphone > cass[M]

Fresh Maloney master rip posted on Dime in 2007 (by KRW_CO) but deleted. Kingjolly kindly pointed me to this active source.

Contrast clause:
This is an improved source to the two remasters which came from an earlier KRW_CO transfer ~2005, prior to a fresh KRW_CO
transfer from the original Maloney Master in 2007:



Changes made (Nero 8)
- Converted to true mono, using better sounding right channel (disk 1) and left channel (disk 2)
- Fixed the tape flip at 10:27 on Track03 seamlessly joined original Track04 (at 10.27 if you're interested)
- Fixed the rough transition between tracks 04 & 05
- Fixed the applause cut between tracks 13 & 14
- Fixed more than 2000 volume fluctuations
- Very slight EQ, +1dB bass & +2dB treble, much less than you can do with amp tone controls
- Added flac tags for digital streamer replay, note altering files in any way will destroy these
- Minor re-tracking

Quality: Worth an "historic" A+ as (IMHO) possibly the best sounding recording from 1973
========================================================================================

The PRRP from the 2005 rip remaster was recently posted here on Dime and I was surprised it sounded inferior compared to
the raw new 2007 rip (check mp3 samples to compare). PRRP omitted removed the Dime info credit plus crucially the fact that
the recording is mono so the only audio information they were remastering.

A with many old recordings on this tape deck, the left and right channels extracted on a stereo deck sound slightly
different, so I've restored it back to true mono using the better sounding of the channels (right on CD1 and left on CD2)
and then fixed the constantly varying volume level plus a few other fixes.

For me now, this is IMHO the very best quality recording from the 1973 tour, so do check out the samples.

TomP post on Dime, August 2011

Disc one (68.25)

01 - Careful with that Axe, Eugene (16.52)
02 - Obscured By Clouds > When You're In (14.13)
03 - Set the Controls for the Heart of the Sun (15.02)
04 - Echoes (22.15)

Disc two (66.03)

05 - Speak to me (2.18)
06 - Breathe (2.56)
07 - On the Run (5.28)
08 - Time > Breathe Reprise (6.31)
09 - Great Gig in the Sky (6.02)
10 - Money (6.15)
11 - Us and Them (7.28)
12 - Any color you like (8.25)
13 - Brain Damage > Eclipse > Applause > Encore Tuning (10.11)
14 - One of these Days (10.25)

Great artworks by fastone are included, many thanks !!

http://www.mediafire.com/?57utdfamxpoa9ov
http://www.mediafire.com/?so57u0q3h2k3w8q
http://www.mediafire.com/?dou8m8fwydd46ar

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.

http://www.mediafire.com/?x90r9p6bd100rdq
http://www.mediafire.com/?8l9vovp22y43hn4
http://www.mediafire.com/?7hh5jqbjmg5rj4i

Pink Floyd
Boston Garden
Boston, MA
June 18, 1975

Steve Hopkins master via JEMS

Taping Gear: Sony ECM-99A > Sony TC-152SD

JEMS 2012 transfer: SH master cassettes > Nakamichi CR-7A (azimuth-adjusted, Dolby B decode) > Sound Devices USBPre2 (24/96 Audacity 2.0 capture) > Peak 6.0 with iZotope Ozone > .wav (24/96) > FLAC

16/44.1 downsample via iZotope MBIT+

Presented two ways:
16/44.1 Speed Corrected and MASTERED
24/96 Speed Corrected and UNMASTERED (FORTHCOMING)

01 Raving And Drooling
02 You’ve Gotta Be Crazy
03 Shine On You Crazy Diamond (Part 1-5)
04 Have A Cigar
05 Shine On You Crazy Diamond (Part 6-9)
06 Speak To Me
07 Breathe
08 On The Run
09 Time / Breathe (Reprise)
10 The Great Gig In The Sky
11 Money
12 Us And Them
13 Any Colour You Like
14 Brain Damage
15 Eclipse
16 Echoes

Again!?!? Yes again. Steve Hopkins' excellent recording of Pink Floyd at the Boston Garden has circulated for many years and appeared on a few bootlegs. It's been tormented before, too, most recently, synced with Dan Lampinski's recording from the same show (incidentally, both tapers used the exact same tape deck and slight variations of the same microphone) to create a two-source "matrix" or composite recording of the show titled A Saucerful of Treasures. The latter work, a Herculean effort to be sure, was done by the good folks at PRRP, the Progressive Rock Remaster Project.

So why torrent Hopkins' recording yet again? Well, the primary reason is that this torrent marks the first time Hopkins' master tapes were digitally transferred without a media generation in the lineage and in high resolution. There was an innocent mistake made in the info file and metadata around the PRRP release (since corrected on the DIME torrent page) that attributed the transfer lineage as:

"Master Cassettes > 2005 Digital transfer by BR > Nakamichi BX-300 > Digigram VXPocket V2 > WAV"

Turns out that lineage attribution was copied and pasted from another release. The actual transfer of the Hopkins masters used for the PRRP release was done by Steve himself a few years ago and was:

master cassettes > DAT > CD-R > CD-R > extracted .wav

I'm not here to say any of those generations make a lick of difference, but if you're a known lineage type--and I know there are a lot of you out there--this is a purer digital transfer.

The second issue has to do with pitch. When JEMS pitch tested the recording (as we do for all our analog-sourced releases) we found it ran ever so slightly fast. Steve Hopkins, independently, came to the same conclusion, and our corrected sample conformed to the adjustment he had made for his own safety copy. So this version corrects the pitch down slightly to play in tune.

However, those familiar with the PRRP release will likely notice that title is pitched marginally higher. JEMS exchanged emails with the PRRP folks and we agreed that no one can declare one version "right." To be fair, to sync the Hopkins and Lampinski sources together, some pitch adjusting was inevitable.

Given that this show seems an endless source of remasters, we thought it was only sporting that we issue a newly mastered version in 16/44.1 AND an unmastered, raw (but speed corrected) hi-res 24/96 transfer. The option is yours. 24/96 will follow in the next few days.

This 16/44.1 release takes a different mastering approach than previous editions in that we attempted to (odd as this sounds) reset the soundstage to better balance the instruments. It is not as bright as some previous versions but perhaps more full. Mastered samples provided. If you don't like it, there's always the 24/96 virgin transfer coming soon.

Thanks yet again to Steve Hopkins for allowing JEMS to present his outstanding audience recordings in a fresh light. He also threw in scans of his ticket stub and the Boston Garden seating chart from the era.

BK for JEMS

http://www.sendspace.com/filegroup/d6Pru...q8GNBP3qXP