Source #	17025
Entered by	dr.unclear
Checksums	shn-md5 , st5
Disc Counts	1 / 1
Media Size
Date Circulated Date Added	05/04/2003 05/04/2003

Download Text | Download Zip

Other Sources

• (5250) AUD MR (poss. Uher Reel Machine at 4.75...
• (17026) SBD>MR>??>DAT>CDR via Raoul Duke. Pitched and...
• (18523) SBD Source: MSR*>R>R>C>DAT>WAV>SHN (* Possibly...
• (32877) This is a remaster of shnid 17026 by Sir Mick
• (98401)  flac16 ; Matrix SBD Source: SBD > MR > ?? >...
• (125888)  flac16 ; Recording Info: SBD -> Master Reel...
• (126010)  flac16 ; 2 Source Matrix by dusborne;...
• (141886)  flac16 ; Source: Unknown mics > Uher 4400 >...

Source Summary
SBD/AUD Matrix of the Set 2 Jam via Matt Vernon from etree aud and sbd sources

Show Date: 04/29/72
Venue: Musikhalle
City: Hamburg
State: Germany

AUD/SBD Matrix of the Set 2 Jam

SBD Source: SBD>MR>??>DAT>CDR
Aud Patch Source: MR*>cass>SB Live!>.wav>.shn>CD-R. (* believed to be Uher Reel Machine at 4.75 cm/sec).
Aud seed disks provided by eurodead.net mastered by Bernd Weiskircher
SBD Seed disks from Raoul Duke

Pitch correction, aud patches, "matrixing" and SHN Conversion by mvernon54@home.com

Part of The Music Never Stopped Project 2003.

--------------------------------------------------------------------
Disk 1 [58:36]
Set 2 Jam
01. Dark Star->
02. Sugar Magnolia->
03. Caution (Do Not Stop on Tracks)-> Who Do You Love %

--------------------------------------------------------------------

Comments:

I created this "sbd/aud" matrix while matching the pitch of the circulating sbd to the audience tape.  
The results I think are very good.  The audience tape is excellent but lacking mostly in bass while
the sbd has little above 8kHz, some distortion, generally "flat", colorless sound.  Simply put, the
deficiences in either source individually are compensated in the other so the matrix sounds significantly
better than the individual aud or sbd.

The main technical difficulty I experienced was matching the pitch of the sbd to the aud tape because it fluctuates
throughout.  I eventually divided the set 3 jam into intervals of 30 to 60 seconds in length and then pitch
adjusted each individually to match as best as possible using isolated audio events present in both sources.

After the sbd was pitched to the aud, the gaps from the reel flips or gaps were crossfaded from the aud.

Finally, the sub/aud matrix was created by lowering the volume of the aud by about 3db relative to the sbd and
applying no time shift of the aud relative to the sbd. Clearly one can play around with the mix ratios and
fixed time offsets. I looked for a combination that to my listening on headphones sounded like I was "on stage".

There are still some artifacts that you will notice if you are listening for them:
1. Small errors in the pitch matching will produce different amounts of echo.
2. The main artifact is the slight pitch difference in the audience cross-fades in the sbd in Sugar Magnolia.
This creates a "Moire effect" when matrixed with the aud source whose pitch was unchanged.  Bascially, the "noise"
is coherent in both sources so as the cross fade occurs, you detect a linear frequency ramp.

Despite these errors, this is a great jam and hopefully you will be as stunned as apparently the audience was
that night.

--------------------------------------------------------------------
shntool track length check
--------------------------------------------------------------------

    length     expanded size   cdr  WAVE  probs   filename
    30:01.13     317727020     ---   --    ---    gd72-04-29d3matrixt01.wav
     6:28.64      68593772     ---   --    ---    gd72-04-29d3matrixt02.wav
    22:06.57     234040508     ---   --    ---    gd72-04-29d3matrixt03.wav
    58:36.59     620361300 B                      (totals for 3 files)