Pink Floyd
Empire Pool
Wembley, London, UK
"We Meet Again"
November 16, 1974
- 3 Source Mix -
SBD + AUD1 + AUD2 Matrix Mix
(60%/SBD + 25%/AUD1 + 15%/AUD2)
01 [02:29] Speak To Me
02 [03:00] Breathe
03 [05:03] On the Run
04 [06:32] Time
05 [06:42] The Great Gig In The Sky
06 [08:05] Money
07 [07:50] Us And Them
08 [07:31] Any Colour You Like
09 [03:39] Brain Damage
10 [01:49] Eclipse
Encore
11 [23:13] Echoes
TT [75:52]
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Source Info
Source Info
SBD
Pre FM Master Reel (SBD) > DAT > ? > SHN
Title: Harvested HRV CDR 033
Recorded by BBC Radio One broadcasted on the Alan Freeman
Show on 11th January 1975. This is taken from the original
pre-broadcast master Reel to Reel tapes.
AUD1 (a.k.a - Recorder 1)
Unknown AUD Recording > cass[M] > DAT[1] > CDR[2]
Title: Black Holes In The Sky - This derives from the same
boot source (no label) but is slightly less hissy but also
less amplified. This recorder is missing Echoes.
AUD2 (a.k.a - Recorder 2)
Unknown AUD Recording > Cassette Master
Title: No Room Upon the Hill
1st Generation copy of the master discs > SHN
This is sourced from the cassette masters. No sound
alteration, noise reduction or speed correction preformed.
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Tech Notes
SHNs decoded to wave and Wavmerge was used to reassemble the
tracks back to 1 long wave. CEP2.0 was used to align & synch
all three sources (time compress and expand). CEP2.0 was
used to preform the multitrack mixdown of all three sources.
This is a 60% SBD, 25% AUD1, 15% AUD2 mix.
- Mixed by dan@am-dig.com
- FLAC conversion 01-DEC-2007
- Artwork by dan@am-dig.com 300dpi - For best results
print at the highest resolution onto glossy photo paper.
Design for use with a clear slim single DVD case.
- Special thanks to unknown artists that helped with lots
of the images used for this artwork and the slide show.
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Multitrack Mixdown Settings
Stereo Matrix
SBD -1.5db
AUD1 -8db
AUD2 -11db
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Notes
A relatively dry PreFM (SBD) and two nice sounding AUD sources
were all recorded on this magical night. The result is an
excellent mix, justifying the blending of the three sources to
breathe some life back into this very famous show.
All three sources were pitched differently, the SBD being the
sharpest while both AUDs where somewhat flat. I used the SBD
as my master timeline and synched both AUDs to it. AUD1 on
average had to be pitched up about .24 (24 cents) to achieve
pitch correction. AUD2 on average had to be pitched up about
.21 (21 cents) to achieve pitch correction - 1.00 being 100
cents which is a semitone. I did not reference A=440 as I
wanted to leave the speed of the SBD alone. It is very close
to A=440 though.
d1t05 The PreFM (SBD) source was missing 3.875 seconds between
The Great Gig In The Sky and Money. Both AUDs were trimmed
accordingly to match. Some volume adjustments and quick cross
fades were preformed making these edits completely smooth and
most likely totally undetectable. What was missing was one
cha-ching of the cash register sound effect.
d1t08 The AUD2 source cuts at 41:07.515 and is missing 1:36.330
of Any Colour You Like. I used the AUD1 source to fill this
hole. The patch source was EQed, volume adjusted with a small
amount of limiting. All in an effort to try and closely match
the sonic properties of the missing AUD2 source. These edits
are smooth and most likely undetectable.
d1t10 The PreFM (SBD) has a long portion of cheering and
tuning prior to the encore Echoes. Unfortunately this was
missing from both AUD sources. The SBD was trimmed to match
and all 3 sources have multiple edits, mixing and crossfades
to keep the flow between the last song and the encore sounding
as natural as possible. The result was good and this is smooth
and natural sounding edit. Although it is left sounding like
Echoes was preformed very soon after the DSOTM potion instead
of as the encore.
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Notes on the Source Material
I love the fact that all 3 sources were raw. It doesn't
sound or look like any noise reduction, EQing or any other
DSP (digital sound processing) was done. It was an honor
and a privilege to work on this project. It was also very
very cool to be sitting at my workstation, working on 3
impressive recordings, in such beautiful condition, 33 years
after the fact. Incredible.
SBD
Very clear, well balanced and a clean PreFM source. However,
this is much more like a straight SBD feed than a PreFM.
Many PreFM sources I have heard have some element of a live
feel. Either b/c there is a "live mic" feed (a microphone
used to capture the sound of the room) or a similar technique
where a microphone is used to capture the crowd, i.e. cheers,
etc. On this recording the only way the room or crowd is
heard at all is b/c it is being picked up thru the mics set
up for the vocals. The result is an extremely dry and flat
sound making this an ideal source to use in a mix with an
AUD recording(s).
AUD1
I find this to be the better of the two AUD recordings used
in this mix. Without a doubt this recording is made much
closer to the PA stacks than the AUD2 recording. This
recording is very well balanced with good dynamic range
and little to no hiss. The low hiss and limited speed
fluctuations tells me that this is indeed a digital recording
made off the masters. A very interesting note is I could not
find any evidence of a tape flip. Was a quick flip done and
a small patch used from AUD2? Maybe. Was this recording on
a 120 min cassette or possible a 60 min Reel? Maybe. The
only disappointment with the AUD1 recording is that it is
missing the encore, Echoes.
AUD2
Although not as punchy and clear an audience recording as
the AUD1 source, this is still a very good recording. Made
from further back in the venue this recording also has low
hiss and limited speed fluctuations and tells me that this
is digital transcription made off the masters. A long tape
flip lasting 1 min and 36.33 seconds in Any Colour You Like
is the only missing portion.
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Notes on the Sound
The PreFM (or SBD) source sounds great. Conceptually all I
was trying to do here is to add some dimension to the SBD,
which is dry but very crisp, by using the ambience of the AUDs.
The PreFM sounds much more like a studio recording than a live
recording. I have a hunch that a completely different feed was
setup for the BBC recording than the mix that was sent over the
PA. Evidence for that is found on sound "Sample_6". On that
sample you can clearly hear that reverb has been added to the
vocals on the PA mix but is not present on the BBC recording.
Not just reverb but other effects are lacking throughout, leaving
an unnatural tone to Gilmour's guitar among other shortcomings.
His sound is noticeably flat and completely lacking that warm,
wonderful tone that is the trademark of Gilmour. This is a huge
reason why I find this matrix mix to not only be a much better
representation of this live show but also a more pleasant
listening experience than the dry BBC mix. Your mileage may vary.
Notes on the Artwork
Included you will find a folder with 58 different pieces of
CD covert art that was made over the years. The artwork
for this Matrix version are the separate JPEGs found in the
main folder and not with the 58 JPEGs in the folder that is
marked "misc artwork". I would like to thank floydart.org
for their wonderful database of Pink Floyd CD covers. I
would also like to thank the "Time In London" version for
the artwork that is the basis for what is included with
this release.
Both DVD-Audio versions (the 5.1 Surround Sound and the
24/96 Stereo) utilize a slide show of all the different
artwork made for this same show over the years. I love
all the old artwork, some with the wrongs dates and funny
bootleg names. Please note that the DVD-Audio slide show
may or may not be functional with your DVD-A player. This
is the case with my Dennon, which does the slide show for
about 10 mins and the stops. This has no effect on the
playback or the sound, only the visual portion.
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Lineup
David Gilmour (guitar, vocals)
Roger Waters (bass, vocals)
Richard Wright (keyboards, vocals)
Nick Mason (drums, percussions)
Dick Perry (saxophone)
Vanetta Fields (backing vocals)
Carlena Williams (backing vocals)
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Additional Formats
This show is available in the following formats:
1. The PreFM (SBD) and both AUD sources listed above.
2. CD-Audio SBD+AUD1+AUD2 Matrix Mix at 16/44
3. CD-Audio 5.1 Surround Sound DTS-Audio-CD at 16/44
4. DVD-Audio SBD+AUD1+AUD2 Matrix Mix at 24/96
5. DVD-Audio 5.1 Surround Sound at 24/96
(6 Channels of 24/96 - MLP Encoded)
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