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GENESIS - LIVE IN SHEFFIELD

City Hall, Sheffield, 17th April 1980
FM-broadcast recording (HallamFM Sheffield).
Restoration/Mastering/Cover design by tom 2006
A TM Production. GEN800417TM

CD1 (65:07):
01. DEEP IN THE MOTHERLODE 5:56
02. DANCING WITH THE MOONLIT KNIGHT (opening section) 1:53
03. THE CARPET CRAWLERS 5:44
04. SQUONK 6:48
05. ONE FOR THE VINE 11:30
06. BEHIND THE LINES 5:21
07. DUCHESS 6:56
08. GUIDE VOCAL 1:46
09. TURN IT ON AGAIN 4:38
10. DUKE�S TRAVELS 7:14
11. DUKE�S END 2:18

CD2 (70:41):
01. Introduction 1:04
02. SAY IT'S ALRIGHT JOE 7:53
03. THE LADY LIES 6:11
04. RIPPLES 10:16
05. IN THE CAGE 7:27
06. THE COLONY OF SLIPPERMEN (instrumental excerpt) 1:12
07. AFTERGLOW 4:25
08. FOLLOW YOU FOLLOW ME 4:28
09. DANCE ON A VOLCANO 4:46
10. DRUM DUET 0.53
11. LOS ENDOS 6:09
12. I KNOW WHAT I LIKE 9:16

(Times show the actual music without intros*)

Main audio source provided by Andy Hill, some fills by Tony Ryan.
Tape transfer and CEDAR Cambridge restoration by tom.
Ticket stub and band photos courtesy of genesismuseum.com.
Special thanks to: Andy Hill, Alessandro Vasserot, Steve Sussman,
David Dunnington, Dan Lore.

*The producer strongly recommends the use of the freeware EAC
(www.exactaudiocopy.de) for perfect copies of the original CD
images with special mastering feature.
For further information see the notes in the
"Readme - how to use the CUE-files.txt"-file!

Free trade - never buy or sell!
Do not trade without CUE-files, graphics and textfiles!


THE STORY:

On 07.02.06 at 18:08:46, Andy Hill aka "broadway" wrote on the official forum:
"I came across two old tapes of the Genesis Sheffield City Hall 17th April '80
and just had a quick listen. The sound quality is excellent and the tapes are
in good condition. I was wondering if anyone had the time or inclination to
attempt transferring and remastering (if necessary). This source is low gen
(1st or second). I realise there are several great versions of this already
but you can't have enough Genesis boots eh?
Thanks
Andy"

So he sent the tapes to Speedy - he made a quick transfer by himself and sent
the tapes together with a DVD containing his transfer files and another raw
source (the famous Tony Ryan tapes that were used for SAB12) that he thought
could be useful to fill the gaps on Andy's tapes.

I was lucky to get the original tapes - I always prefer to do the transfer by
myself just because of two reasons: it will be done by professional equipment
and it's possible to align the azimuth of the cassette player's head to the
tape. So thanks again Andy for providing me with your masters!

The tapes turned out to be awesome - very clean, almost without FM statics and
well balanced. Only few minor dropouts and clicks could be noticed. The sad
thing was that the songs were faded in and out at the beginning and the end of
each tape side, sometimes by overlapping for some seconds but some bits were
missing. So it was pretty clear that the tapes were 1st gen at least and it was
obvious that I would need the other source to fill the gaps.

Andy's tapes were encoded with Dolby B and the STUDER A721 could decode it
properly, so I gained some dBs in signal-to-noise ratio in this way. There was
still a huge amount of hissing left - so I decided to do a slight broadband de-
hissing by Cedar Cambridge's Dehiss-3 module first, which meant that I would
have to do another de-noise processing - after the EQ stage. This operation is
usually more successful on high hissing levels than a single de-noising stage
because it produces less artifacts.

Next step was speed correction - all Sheffield recordings suffer from being too
slow - sadly the A721 has no varispeed so I had to do this in the digital
world. - Then came EQing. Very important! I'm always trying to use official
released tracks as sound references which usually helps a lot, so I used Deep
In The Motherlode from Drury Lane 1980 (Archive 2 box) which worked fine (great
sound, Nick! ;)). - For the final de-noising I went back to Cedar, now the
NR4 module did it's best. SIAJ was the most critical challenge of this
remaster, as music and hissing floor almost had the same level. There are some
other similar parts but this one was the worst. So I worked on these particular
parts for hours, always trying out different settings and making recalls in-
between to make sure I'm dealing with a compromise I can live with (last minute
I decided to use the Tony Ryan source for the low level parts of SIAJ, it
turned out that it produced less artifacts than the new source).

Next step was to build up a four track session to mix the different sources.
This was not the easiest part because they were not only different soundwise
but in the stereo image spreading too. And it's complicated anyway to set
longer cross-fades between different sources of the same performance because
it always causes audible phasing effects. For the last stage I added slight
bits of overtones from the Retro Exciter to get back some brilliance in the
upper frequency range and I set the overall volume level.

I did some recalls in-between and so I decided to improve the sound balance
especially for the quieter sections of the show. It was obvious that the noise
reduction had muffled the sound a bit, so it was necessary to add some
brilliance here. As a side effect the noise floor rised again, but that was not
bad at all.

After the mixdown I had to listen two or three times to the whole show under
headphones to notice and eliminate all clicks, dropouts and minor flaws of the
recording. This was the most time-consuming part. AV and Speedy helped a lot
here by spotting even the tinyest flaws.

tom 3.9.2006

Firewalkwithme41@gma

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