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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
  • 1975-04-08
  • Rec1 (24-96)
  • Pacific National Exhibition Park
  • Town / City
  • State / Prov.
  • Country
  • File Format
  • Vancouver
  • B.C.
  • Canada
  • FLAC
  • Recorder Number
  • Sound Quality
  • Entered By
  • Date Entered
  • Rec 1
  • Fair
  • davebowman
  • 25th of January 2011
					
  • Pink Floyd 8 April 1975 Vancouver, British Columbia SET I 01 Raving And Drooling 02 You've Gotta Be Crazy 03 Shine On You Crazy Diamond (including Have A Cigar) SET II 04 The Dark Side Of The Moon ENCORE 05 Echoes Lineage: Rick Sheehy's unknown generation Maxell UD XLII cassettes -> Nakamichi MR-1 (balanced) -> Apogee PSX-100SE at 24 bit 96KHz Mastering in ProToolsHD2 Files are stereo 24 bit, 96KHz FLAC (level 8 with internal checksum). Tags include lineage comment. patches from: Master2ndSource Man of Leisure Music (MoLM) Issued February, 2004 Sound quality B- 2 additional versions are available: Raw Files: This is the raw transfer with absolutely no digital manipulations. Files are stereo 24 bit, 96KHz FLAC (level 8 with internal checksum). Tags include lineage comment. CD Files: These files were reduced to CD quality (44.1k with ProtoolsHD v8 highest quality and reduced to 16 bit with Waves L2) from the 24/96 master. No additional compression or limiting was applied. Files are stereo 16 bit, 44.1KHz FLAC (level 8 with internal checksum). Tags include lineage comment. Note: The CD format sounds good on the surface but does a poor job capturing/preserving subtle details and extreme dynamics in a recording. As a result, recordings that are lower quality to begin with can degrade that much more when captured with only CD quality resolution. This version still befits from the 24/96 capture and mastering and sounds much better than any previous CD version. NOTES: This is the opening night of the 1975 North American Tour. It sounds like there were technical challenges for the sound crew this night. There are some very rough spots along with moments of brilliance. The band may have had trouble hearing at times due to monitor issues. The extended jams at the end of SOYCD, ACYL and Echoes are the real deal. TAPE NOTES: This is recorder 1. This is a stereo audience recording of a concert mixed in surround sound. This tape ultimately comes from the same master as the MoLM copy and The Azimuth Coordinator, part 1. The trader Rick got the tape from claimed that his copies came directly from the master (which would make this tape a 2nd gen if true). The MoLM tape notes state: "Speed corrected and remastered from tapes given to Danalog by Roy in Canada from what we believe with reasonable certainty to be second generation." Rick's tape is identical to the tape MoLM used in completeness with one exception. There is a section in ACYL missing due to the introduction of an additional tape flip on this copy. This is intact on the MolM copy. This tape however, sounds much lower generation than the MoLM tape. There's such a variation in quality between different tape decks that there's no way to tell the exact generation of this copy from sonic clues but both this tape and the MoLM copy sound higher than 2nd gen. All I can say is Rick's tape is the lowest generation and best sounding copy I've heard so far. I'd speculate that there is a tape claimed to be 1st gen that was the ultimate source for all of these but in reality it was higher gen. MASTERING NOTES: Speed, azimuth and level were set in the analog world on the MR-1. There were a couple of level changes, can't really give numbers - "from 'here' to 'here' on the knob". No digital speed correction was done. The tape was played with correct tape type and eq settings for CrO2 high bias tape. The main goal was to get this show all in one piece and smooth over the really ridiculous distractions. Stuff like epic microphone bumps, comments from a parent to a small child directly into the mic, drunk girl, etc. These mics seemed to be in motion quite a lot. I corrected some of the wilder moves. Some of the panning heard is truly from the live surround mix (captured in stereo here) but there are certainly motion artifacts from the recording mics being moved during the show as well. Another 100 hours could be spent but I think this is a good stopping point. More time would be worth it if a lower gen tape surfaced. The tape hiss is really strong and broad band. Can't remove it without taking a lot of music with it. At the same time the high end is noticeably subdued from generation loss. I was able to bring the highs back just a little without increasing the hiss so the music has more weight than the noise. There were a few spots where LOUD comments were made directly into 1 of the recording mics. These were very over the top distracting. Heavy-handed editing was needed for these spots. The simulated stereo on just a single channel for a few seconds is far less distracting than hearing a parent talking to their child during a quiet moment of music! There were 4 small cuts during music due to tape changes during the recording as well as during subsequent dubs. The 1st missing part is during ACYL. This is intact on the master tape and the tape copy presented by MoLM. This is the only part that is missing from this tape compared to the MoLM copy so it is clearly the result of sloppy dubbing. The MoLM transfer had a lot of high end cut off with NR and/or eq to remove the tape hiss. I restored the patch as well as possible. The other 3 cuts are identical on the MoLM version and likely from the original master. These were patched from recorder 2. Recorder 2 is a very high generation tape very poorly transferred to low res digital. All the high end had been cut off likely to remove tape hiss. It is also mono. This restores the 2nd cut in ACYL, the end of Eclipse, the cut in Echoes and extra audience bits. It was not possible to make the patches seamless as they are significantly poorer sounding. This is still less distracting than a dropout and lets you hear the complete unedited performance. Please consider keeping and sharing the high res 24/96 files (not just the CD). Someone down the line will thank you. 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' and then write 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? JFE 2011 md5: ef4a184f45482a1fadf22d1a80cc61a2 - PF19750408-01-RAD.flac aca06159f901da0bf927cd8f654bb0d0 - PF19750408-02-YGBC.flac 826577ef99bf9986de529055ddda0fd4 - PF19750408-03-SOYCD-HAC.flac 7b9fd36b90ed047aa21cfc6810d61b2a - PF19750408-04-TDSOTM.flac 15909050aab8ba47fa8b2000440dc1a7 - PF19750408-05-Echoes.flac ffp: PF19750408-01-RAD.flac:edac00caccc3c9fe2af6d784478ce982 PF19750408-02-YGBC.flac:baf14ca0784b672ab084850098980132 PF19750408-03-SOYCD-HAC.flac:59156e8ce61c46c6d94361c8c88f9617 PF19750408-04-TDSOTM.flac:f5164808c3aa5666e79d590d1f320408 PF19750408-05-Echoes.flac:1468b3f4f37eb0a226acc5df3f203e97