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.

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Notes on the Sound Samples

Sample_1

This is just a clip of the matrix mix to give you an idea of what to expect. Note the subtle changes in sound over the straight SBD. The extra warmth and lingering notes from the guitar and the additional "thump" to the bass.

Sample_2

This sample gives you a quick A/B comparison to the straight SBD. You'll hear a 10 second clip of the SBD followed by a 10 second clip of the Matrix. 10 seconds SBD, 10 seconds Matrix and so on. Four 10 second clips of each for a total 80 second clip. I gave you a portion that gives the most drastic sound difference btwn the 2 sources. This quiet portion allows for more of the AUD to get into the mix. This is also a spot where the crowd gets into the song and has a "clap along" going. (There are no crossfades and transitions are abrupt.)

Again, this clip was used b/c the sound difference is the most apparent during this particular portion. The majority of the recording you will only hear more subtle sound differences btwn the SBD and the Matrix. The difference in tone and the overall "size" of the recording being the most noticeable differences to the PreFM (SBD) source. The Matrix has a much bigger feel to it. This is even more obvious on the 5.1 Surround Sound version.

Sample_3

Here you will find the 3 second edit I made between The Great Gig In The Sky and Money. The original PreFM master edit was so transparent and seamless on the SBD source that I opted to duplicate the edit on the AUD sources rather than patch the 3 seconds missing on the SBD source with one or both AUD recordings. That patch could only result in a jarring source change and be very distracting in my opinion. So what we have here is the pleasurable listening version versus the 3 second longer, complete version. I would bet that I am the first person in 33 years to even know that 3.875 seconds is missing from the SBD.

Sample_4

Here you will find the edit preformed to patch the 1:36.33 missing from Any Colour You Like in the AUD2 recording. What you have here is a SBD+AUD1, 2 source matrix mix. Unlike the majority of this Matrix which is a 3 source SBD+AUD1+AUD2 mix.

Sample_5

This sample was provided to give you an idea of what the Matrix mix will sound like as a SBD+AUD2, 2 source mix. What's cool is between the patch on Any Colour and the entire Echoes the listener really ends up hearing 3 different Matrix mixes. You get the main body of the matrix as a 3 source SBD+AUD1+AUD2 mix. Plus you get the 1:36.33 during Any Colour as a 2 source SBD+AUD1 mix. And finally you get all of Echoes as another 2 source SBD+AUD2 mix. There is really 3 uniquely different Matrix mixes found in this one recording. However quiet a bit of editing was done to make sure all 3 mixes sound damn close to the same.

Sample_6

The 30 second clip of the SBD is followed by the same 30 second clip of the AUD1 source. Listen to the reverb on Roger Water's vocals and how it is missing on the SBD source. This is easily identified on the vocals but is true throughout the recording. The BBC recording is much different in how the vocals from the female backup singers sounded live too. This is a big factor in why the tone is so different on Gilmour's guitar on the SBD versus how he sounds on the Matrix mix or both of the AUD recordings.

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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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FLAC fingerprint

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pinkfloyd1974-11-16-haugh-mtx-t02.flac:b1e1ff96a679cdcd06e586351c4146f9
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pinkfloyd1974-11-16-haugh-mtx-t04.flac:bd2fadea619ba46d59a2439541214486
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pinkfloyd1974-11-16-haugh-mtx-t11.flac:882ef603c99f87dba02272fd16d831bd

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MD5

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