Audience

CDR

2

DVD 986; lineage: Audience recording. Low Gen Cassette (TDK SA90) > Revox B710 > Edirol UA-1EX > Audacity 1.3 > Wav (24bit/96kHz) ----> Samplitude10 (32bit float/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC. Neonknight Tape / Little Pieces Production (LPP)

***Neonknight's Notes***
Described by Melody Maker at the time as one of their most spectacular sets ever, this concert featured fireworks, coloured smoke rising from the lake opposite the stage, a 60 foot inflatable octopus that rose out of the water and a storm. It must have been great. Listen out for the taper's discussions with his friend about the rain, concerns about his recording equipment getting wet and the debate about taking cover in a tent! They'll probably make you laugh. I have always particularly enjoyed "Yeah, well don't keep talkin' - it's all going down on the tape". That said we should all be grateful for this guy braving the elements and capturing the performance.

I received my cassettes in 2000 from one of my German collector friends who was also the source of the Plumpton and Croydon recordings recently shared on Yeeshkul.

***Littlepieces' Mastering Notes***
This is a mono recording that was processed as two channel stereo as is often the case. It has a slight variable phase shift and the channels output level and quality varied as well. Given this is a mono recording, the best solution for these issues is to utilize only the best channel. This eliminates the phase shift, the channel level differences, and improves the S/N ratio (content-to-noise ratio).

I removed about 50 pops that occurred during musical passages but left almost all of the pops and noises created by the taper during audience segments as part of the document.

I made perhaps a dozen modest gain adjustments on short segments where the level dropped a little. None of these were more than 2db and all were of short duration. Repaired a couple dropouts that were also in the ACR source. All the same pops, dropouts, etc. that exist in this source are in the ACR source as well.

There is a whistle artifact for a short time about two-thirds into AHM that I moderated by bringing it down to the level of the surrounding signal.

After trimming the dead air from the ends of the transfers, I adjusted the speed.

The first two tracks of this recording are muffled at times because the tapers are trying to manage the rain and protect themselves as well as the tape recorder and microphone. The first four minutes of AHM and CWTAE illustrate this the most but by FOS, IMO, the recording becomes more consistent and improves with each track. This recording contains the first available version of RoTSoN (Echoes) and though at times the source shows its age, IMHO, overall this version is a bit better than the ACR version.

986

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