Source C ReMaster CD ready 16 44.1 FLAC8
Vancouver, British Columbia, Canada
B.C. Place Stadium
Saturday, June 25, 1994
The first night - The third source
00 pre PF soundscapes (5:22)
01 Astronomy Domine (4:52)
02 Learning To Fly (5:46)
03 What Do You Want From Me (4:18)
04 On The Turning Away (7:29)
05 Take It Back (5:54)
06 Coming Back To Life (7:09)
07 Sorrow (11:01)
08 Keep Talking (7:19)
09 One Of These Days (8:49)
10 Shine On You Crazy Diamond (11:45)
11 Breathe (3:02)
12 Time (6:38)
13 High Hopes (7:59)
14 The Great Gig In The Sky (5:09)
15 Wish You Were Here (5:40)
16 Us And Them (6:46)
17 Money (9:12)
18 Another Brick In The Wall (7:43)
19 Comfortably Numb (12:45)
20 Hey You (6:00)
21 Run Like Hell (12:59)
22 end show - totally fer shur done now right (6:53)
Capture (Source 3): Sony PC-62 stereo condenser mic in hat > Radio Shack 6 foot gold end 3.5mm stereo extension cord > Sony WM DC3 Professional Recording Walkman (Dolby B on, CrO2 / Metal bias) > Denon MG-X 100 Metal master cassettes
Location: B.C. Place Upper Level 4 Sec 49 Row ZZ Seat 102
These seats were literally the last row of the upper far "corner" of the farthest reaches of the stadium - touching the concrete and the roof, way up in the back. Somehow being this distant from Pink Floyd's brilliant 5.1 array surround P.A. system managed to focus or funnel the sound up to me very well! Hard to believe I was so far away when you listen to this! Oh boy was I far! I don't think there was anyplace in the building that was as far away from the stage as I was.
Transfer: Denon MG-X 100 Metal master cassettes (felt spring pads extra flexed) > Tascam 202mkII playback deck (Dolby off, normal bias PB, azimuth adjusted for each tape side) > Radio Shack gold end 3.5mm to stereo rca cord > Shack 6 foot gold end 3.5mm stereo extension cord > Soundblaster Audigy @ 24 bit 96 khz > Wavelab 5.01b (recording, tracking, and mastering)
Quality: I can't tell you! maybe VG +, maybe ex- you be the judge... Distant, yes, but bright and detailed for being so far away. It is a master on excellent quality cassettes with known lineage, and it is completely new to circulation (I think)... How bad can it be?
It is widely discussed that sound is generally notoriously horrible at BC Place with one or two huge exceptions: Pink Floyd and maybe U2 have got the sound right in that room. This recording lets you hear how good it must've been, considering my location!
More OU Comments: I recorded these shows, so many years ago now, really! I used ultra high grade tapes for my recording, but had pretty crappy seats. As a testament to the Pink Floyd sound system, I guess, even in this up up and away recording location, the recording isn't too bad! Relatively speaking, that is. These masters sat in a box or on a shelf or in a drawer for years, basically un-traded and un-copied for anyone. A few years ago I became aware of a version of this show circulating online. I eagerly snatched a copy and plugged in to listen, thinking I would be blown away. I was glad to hear a version of the show was out for the fans, but (no offense to the taper) but it was a poor transfer of a badly copied rough sounding master. I thought that my tapes were maybe even better than this version that everyone was getting...
Fast forward to last week. A fellow taper buddy of mine entrusted me with the idea of "mastering" some of his tapes to eventually post his recordings. In the first small batch were HIS Pink Floyd Vancouver 1994 masters. Wow. He was down somewhere on the floor in the middle with a D6 and an ECM-909 capturing a wide ultra-stereo pseudo-surround recording from the middle of the bowl. I transferred his tapes and was inspired to do my own recording at the same time. His recording (Source 2) will surface soon, but I will let him post it himself in due time. I figured that any source is a good source, so I've decided to post mine too. All three sources (Source 1 is already circulatingfrom someone somewhere...) all seem to have their own "sonic signature" so it can be interesting to hear the same show from a radically different perspective...
I was originally going to make this release complete, with crossfaded patches for missing bits due to tape flips, etc, but when I realized that the source 2 and source 3 tapes were flipped at the same time between "High Hopes" and "Great Gig In The Sky", which would force me to use source 1 as a patch for this small part, I decided not to tamper with each version's integrity. Yikes what a sound shift that would be cutting between either of these sources and that first available one! So, I'm giving you each source solo and pure, glitches, tape flips and gaps intact! Dig that tape print-through before and after each side start and stop! haha. Other than the 10 seconds or so missing at the staer of TGGITS, I don't think I missed anything other than some crowd noise on this show. I'm even giving you some pre-show and post-show sound to extend the experience for you a bit! haha.
I've messed around a bit with some gentle EQ setting to ramp up the low end (which the PC-62 Sony mic was sorely lacking in response) and tweak up the highs a bit more. These were awesome master tapes to use - damned expensive though! I believe they were $25 for the pair of tapes. They're ceramic composite cassette shells, and ultra high grade metal tape. They really capture more depth and reality with a huge lack of noise. They left me with very detailed masters, so I haven't needed to do much to it. I think it sounds like it did for me the night I was there...
I will release this CD ready 16 bit 44.1 khz "ReMastered" version first. Later on, I plan to post the 24 bit 96 khz master clone files without any post-processing, for the audio fidelity purists or those who want to tackle a more thorough "ReMaster" of their own. Other than some "basic" EQ and balance issues I've addressed on this version I've worked on, I haven't fixed the minor live recording level adjustments I made on the masters when I recorded them. Also, I have not looked into any time / pitch correction. I noticed that my source and my friend's forthcoming source seem to be different pitch-wise just a bit. I played them back all on the same deck that consistently plays tapes with semi-accurate results, so there must've been some speed issues with one (or both) of our recorders at the show. So, I can see that a 3-source crossfaded and time-corrected matrix would be cool eventually to see, but I don't think I'm gonna be the guy to do it anymore! I just ask that if you're up for making such a monster a reality that you wait for the original 24 bit 96 khz sources to come out before you try. This one should run just as it is, please!
This fileset is meant to be shared freely - do not buy or sell it. Don't mess with these files - share them as they are! All of them. Only pervert to eMPty3 for your own personal use, and destroy after using! Do not circulate lossy versions of this show! Friends don't let friends listen lossy! If you burn audio CDR's for friends that's great, but if they're gonna share it forward, give them the lossless original fileset as well to use. Don't rip the audio CDR's of it!
I'm including some scans of my tapes and tickets and the J-card covers for the tapes. Even my receipts for the ferry from Victoria and the receipt for the blank tapes bought right before the show! Not exactly cover art, but its a start! I'd love to see someone with graphic design skills come up with some CD covers for my version of the show. If you do, please share them, and maybe could you email me copies of them? Thanks. For that matter, if anyone has any photos from these shows (this was before everyone with a digital camera in their cellphone, right?) - please share any pictures you have with us! Anything at all. Post a comment with a link or an attachment, or, email me a copy and I will get it out there for everyone to enjoy!
audioarchivist
rar files packed with a (winrar) recovery record -
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