2nd set in quad
Pink Floyd master folder
Outlook account one drive

QUAD SURROUND

1

Pink Floyd - 1972-11-15 Boblingen [2nd set R1+R2 Quad master 24-96]

01 Careful With That Axe, Eugene
02 Echoes
03 One Of These Days

*** Notes:

The goal here was to present the amazing Boblingen recorder 1 in its full potential. This quad master features the 3 songs captured in amazing fidelity by recorder 1 from close to the stage. A second recorder further back in the room allows for a quadraphonic surround mastering of these 3 songs.

The keyboards and some of Roger's bass are really brought into balance with R2. I can't really speculate if they had some of the keys firing out of the quad system in the room or if it's just how the sounds traveled in the room and into the recording devices. I don't hear any discreet panning from the quad system. Probably partly due to centralized locations (and thus far away from the surround speakers) with the recorders. Both recorders 1 & 2 are stereo though and there is plenty of stereo imaged sound to hear in addition to the depth added from the further back recorder.

The surround presentation puts you into the room in front of the stage. Turn this up loud!

*** Sources:

Recorder 1:
Reel(M) -> Reel(1) (Hans-Jürgen U) -> Cass (Rolf Ossenberg) -> Cass (Marbal) ->
Technics RS-B965-M (Dolby Off) -> Focusrite Saffire Pro 14 -> Wav (24bit/96kHz)

Recorder 2 released as: The Great Gig in Boblingen REV AK
from original notes:
The Complete show from a 1st gen source. Has speed correction--the original source was slow. No noise reduction was used and a little EQ. JFG 2002.
from the REV AK notes:
I did clip restoration to the whole ROIO and balanced the channels a little better.
Also did various declicking and what not. All modifications were done using Cool Edit Pro.



*** Mastering notes:

I used the dolby off transfer of recorder 1. The dolby copy is appealing to me with the high end eq boosts from the dolby expander hardware. The recording is lacking high end content due to attenuation at every step of the chain as any audience recording made with a tape device and further copied does. The dolby eq boost brings some of that in focus. It also does many unwanted things of course! But now the choice we have is either turn down the high end on the tape with a hardware dolby decoder circuit on autopilot and then try to turn the result of that back up, or work with the tape with the dolby boost as is from this point on. The artifacts have already been introduced by the original dolby recording. Now it's a choice of how we decode them. There's less generational loss working from the recording as is.

I didn't hear an obvious reason to use the original copy of R2. There was some original speed correction work done in that which would have been the most potentially damaging thing anyway. So REV AK. I only used the R2 content (It was patched with an older copy of R1 for continuity.)

I used a couple snippets of R4 in the between song audience segues just because it was there. It would not have been possible to build a complete continuous segue from one song to the next because every recorder switched off at some point between every song. There is a long chunk of tuning between Eugene and Echoes that can be constructed between R2 & R4 but there are still breaks both directly after Eugene and before the Echoes announcement.

Audio tools used include Reaper for the main DAW, iZotope RX, Universal Audio and Waves plugins. Speed correction and sync work was done in Reaper using the lossless Elastique Pro 3 algorithm. Sources with sample rates lower than 96k were upsampled with SOX.
The master is 24 bit 96k 4.0 quadraphonic in a 5.1 container with digital zero C & Lfe channels to insure compatibility in all media players. In addition to the quad master, I produced a 24 bit 96k stereo mix with proper balances of the sources (not just a straight fold down). Although a compromise, it still retains the fidelity and completeness of the presentation.

*** Excuses:

This could use some more tinkering. The sound is a bit edgy in spots and there is a fair amount of hiss left in. There are still artifacts from the dolby circuit eq boosts. There is an "air" or "presence" preserved in this recording that is very fragile and I erred on the side of not losing any content to noise reduction. There will likely be a revision down the line but you should hear this now as is now.

*** Release formats:

24 bit 96k 5.1 FLAC with the 4.0 quadraphonic master

24 bit 96k FLAC with the stereo mix

16 bit 44.1k FLAC files with a copy of the stereo mix for burning to CD

Jimfisheye, February 2, 2018

A

Firewalkwithme41@gma

0