Another fantastic 1970 show (especially when both recorders are matrixed together), featuring an Atom Heart Mother with a choir and orchestra, now in the best quality on YouTube :)
I hope you all enjoy this bootleg, and if you have any requests (years, eras, specific dates, etc.) let me know and I will try to upload it!
Thanks to all those involved! Stay tuned ;)
O.
Chapters:
00:00 - Astronomy Domine (Recorder 1)
10:32 - Green Is the Colour (Recorder 1)
14:27 - Careful With That Axe, Eugene (Recorder 1)
27:25 - Fat Old Sun (Matrix)
40:52 - Set the Controls for the Heart of the Sun (Recorder 1)
53:41 - Cymbaline (Matrix)
1:06:10 - A Saucerful of Secrets (Matrix)
1:30:00 - Atom Heart Mother (Matrix)
1:59:45 - Interstellar Overdrive (Recorder 1)
Sources:
Recorder 1 - Pink Floyd - 1970-10-23 - Santa Monica Civic Auditorium (cleaned up) by Flying M Productions
Recorder 1 Information:
Sourced from: Pink Floyd-1970 10 23 Santa Monica, CA TMS gen2 24-96 (JFE)
This is CD friendly at 16-44 with many of the scrapes, pops, snaps, bumps, thumps, gaps and loudest near microphone claps repaired.
Lineage:
Master source:
1 Sennheiser 805 shotgun microphone to Uher 4000 1/2 track R2R Recorder @ 7 1/2 ips on 5" diameter 3M Scotch tapes (recorded by Dub Taylor)
R2R copy 1st generation:
Tandberg 9000X (playback) to Teac AN-180 Dolby to Revox B77 7" reel @ 3.75 ips (copied by Mike Martin)
Cassette copy 2nd generation:
Playback Teac A-2300 no Dolby to Maxell XLII in unknown cassette deck no Dolby (copied by Rick Sheehy)
Transfer:
Nakamichi MR-1 (balanced) no Dolby to Apogee PSX-100SE at 24 bit 96KHz Mastering in ProTools HD2 (by JFE)
2013
Audacity and Adobe Audition 3.0 (clean up & 16-44)
2015
iZotope RX4 Advanced (minimize tape squeaks and microphone bumps) & Adobe Audition 3.0 (combine all tracks) to CD Wav to TLC (Flac Level 8)
Clean up notes:
These edits attempt to clean up the many technical blemishes found on this tape.
I've made 4 different transfers of this recording over the years but I like JFE's transfer of Rick's cassette the best so far. The un-decoded Dolby sure makes for some clear sounding cymbals and in this case without a big hiss problem.
This blemish clean-up was performed on each of my previous transfers. Finally became motivated to spend the time to do it again to this version. The tape flip patch in AHM was done this time by JFE and it is transparent (great job). The patch was created from earlier passages combined to fill the missing piece.
Even though hundreds of small glitches were repaired there are still numerous audio disturbances remaining on this tape.
In addition to the clean up the low frequencies have been increased to make this sound more like the R2R.
There was some tape squeal in a few places that has been minimized using Izotope RX 4 advanced spectral repair tools (August 2015). Tried to get it all but a few squeaks are still in there if you listen close. Got some practice using the iZotope software.
If you would like this recorder in FLAC, you can download it here: http://yeeshkul.com/forum/showthread.php?35726-Pink-Floyd-1970-10-23-Santa-Monica-Civic-Auditorium-(cleaned-up)
Matrix: 1970-10-23 Santa Monica R1 + R2 [Mid/Side Stereo Mix 24-96] by jmr
Using the same source the cleaned up recorder 1 here used (JFE 2nd gen cassette) and the "Live" - Dittolino Discs bootleg vinyl transfer by jmr for Recorder 2.
Recorder 2 Lineage:
vinyl to Pro-Ject Debut Carbon + Speedbox S + Ortofon 2M Blue to Mies i100 to Focusrite Scarlett 18i8 to Wave (Stereo 24bit/96kHz)
Recorder 2 Restoration (all steps @ floating point / 96kHz, using Adobe Audition, and izotope RX):
stereo centering to notch filter + hpf to click reduction to noise reduction to Wave (Stereo float/96kHz)
Matrix Mix:
Recorder 1: -3db amplitude reduction (for headroom during mix) and normalization to Wave (Stereo 24bit/96kHz) to FLAC level 8.
Recorder 2: speed correction, edits & patches from Recorder 1, sum to mono, eq and stereo image processing.
Notes:
This is a "mid/side" composite mix of the two recorders of the show. R1 is used as the "mid" signal, and R2 is used as the "side" signal. This technique allows the two recordings to compliment each other in stereo without letting the low fidelity of R2 compromise the high quality of R1. While this does not reveal much true stereo content, it does restore some of the room ambiance in a natural sounding, satisfying way.
R2 needed a lot of tiny speed corrections to sync tightly to R1. Where possible, I used drum transients every few seconds to align the two recordings. Sections without drums or where the drums were not clearly audible (or visible in the waveform view) were aligned by ear, listening at half-speed or slower.
If you would like the matrix in FLAC, you can download it here: http://yeeshkul.com/forum/showthread.php?47855-1970-10-23-Santa-Monica-R1-R2-Mid-Side-Stereo-Mix-24-96
4:53
3:48
1:00
3:46
