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MD5 Record Set:    Disc 1    -    Disc 2 -    Disc 3 -    Disc 4 -    Disc 5 -    Disc 6
  • Band / Artist
  • Concert Date
  • RoIO Title
  • Venue
  • Pink Floyd
  • 1970-09-26
  • Electric Factory remaster 16bit
  • Electric Factory
  • Town / City
  • State / Prov.
  • Country
  • File Format
  • Philadelphia
  • PA
  • USA
  • FLAC
  • Recorder Number
  • Sound Quality
  • Entered By
  • Date Entered
  • Rec 1
  • Excellent
  • themadchemist
  • 3rd of September 2008
  • Pink Floyd Electric Factory, Philadelphia, PA September 26, 1970. Early show. 16 BIT 44.1kHz DITHERED COPY of the 24 bit remaster of "1970-09-26 MasterClone" roio (not a new analog to digital transfer) intended for the audio CD format. Speed correction, level correction and digital glitch removal. Dithered to 16 bit with Apogee UV-22 Technically this is a lossy copy of the 24 bit version. Since the source material was 16 bit to begin with, one could think of this as "24 bit mastering for CD". This is a common technique in studios actually. The difference between the 24 and 16 bit versions is very minimal in this case. Still, you ONLY want this if you have no way of listening to the 24 bit version. This copy is intended for burning to CD. TRACKS: 01. Astronomy Domine 02. Green Is The Colour/Careful With That Axe, Eugene 03. Fat Old Sun 04. Set The Controls For The Heart Of The Sun (incomplete-fades out) 05. Cymbaline (incomplete-1st few measures missing) 06. A Saucerful Of Secrets 07. Interstellar Overdrive SOURCE/NOTES: from original notes: "Reel to Reel > dat > hhb 850 > cdr > nero > wav > flac I recieved this in a trade. The quality is excellent for an audience recording from this era." I agree with that assessment but there's more to this story. At some point the running order was resequenced. A CD was made by one of those programs that puts 2 second silent gaps between songs and was not verified as there are some errors (a couple pauses, a few clicks and chirps and some dropped samples - all classic CD errors). The analog source was digitized with the tape running slow (pitch was 27 cents flat). There were a number of level changes. I corrected all this. All level correction was in the positive direction. There was digital headroom for this - no compression was used. I lost a little fidelity (I only hear it on the big speakers) due to the digital speed/pitch correction (which is similar to sample rate conversion - which works very poorly IMO - that's why). However, listening to the performance running at 27 cents flat was far more distracting. While not possible here, the best fix would be to re-digitize the analog source with good converters at higher resolution and with the tape deck calibrated to the tape. I made two guesses in correcting the sequence. What is certain is: AD>GITC>CWTAE and Cym>ASOS. IO was always the encore around this period. I can only guess that FOS>STCFTHOTS is correct. There wasn't enough between song material to go by. I actually jacked up the volume on the fadeouts to undo them a little. Not a moment's more audio was lost in the reassembly of the sequence. This is a little shorter now because of the speed/pitch correction. Sound quality is now B- (Source was C) An enjoyable listen. A good enough recording that you can hear the dynamics and all the instruments although the drums get a bit washed out when Dave's guitar goes up to 11. Everything else comes through really nice. An average/good show with some great moments. ***ATTENTION*** This is NOT the original analog to digital transfer. This is a remaster of an existing digital roio. That means that even though it may sound fantastically better now, it is still technically a generation higher. THIS MEANS THAT IF YOU ARE ONLY INTERESTED IN 1ST GEN DIGITAL TRANSFERS THAT HAVE NOT BEEN FURTHER DIGITALLY MANIPULATED (for good or bad) , YOU WILL NOT WANT THIS! Don't have a studio and hate Floyd at the wrong speed with the levels jumping around? Then you might be interested. MASTERING INFO: "1970-09-26 MasterClone" roio CD > ProTools This recording has been mastered 24bit to enable 24bit speed correction (it sounded better at 24 bit) and leave room for level adjustment and eq. 24 bit resolution allows 16 bit material to be processed with much less fidelity loss than keeping it in 16 bit. (The initial transfer to 24 bit is a clone.) The fragile nature of these live recordings actually demands the best to preserve them. Dithered to 16 bit with Apogee UV-22. Do not sell. Do not compress to mp3. Do upgrade to the 24 bit master as soon as you can. Do trade freely with everyone!