PINK FLOYD - Live In Zurich (JFE Stereo Matrix) - Hallenstadion, Zurich, Switzerland, 1972-12-09 скачать в хорошем качестве

PINK FLOYD - Live In Zurich (JFE Stereo Matrix) - Hallenstadion, Zurich, Switzerland, 1972-12-09

Pink Floyd live at the Hallenstadion in Zurich, Switzerland on December 9th, 1972. This is a quad-to-stereo folddown of another excellent matrix release by Jimfisheye, this time of the legendary Zurich '72 show. The artwork used is from the Sigma 212 release of the exact same matrix, but the audio used is directly from Jimfisheye's release, not the Sigma release. Track listing: 0:00 - Speak To Me 2:00 - Breathe 4:42 - The Travel Sequence 11:46 - Time / Breathe (Reprise) 18:25 - The Great Gig In The Sky 23:03 - Money 29:10 - Us And Them 36:53 - Any Colour You Like 43:29 - Brain Damage / Eclipse 49:15 - One Of These Days 59:17 - Careful With That Axe, Eugene 1:13:05 - Echoes 1:37:23 - Childhood's End Information about the audio and its source(s): Sources: Recorder 1: Pink Floyd 1972-12-09 Zurich, Recorder 1, Kbrubaker [24-96] Lineage: Maxell UD C-90 and C-60 cassettes - Technics RS-B565 - Focusrite Saffire Pro 14 - Audacity 1.3 - Wav (24bit/96kHz) Recorder 2: Pink Floyd - 1972-12-09 - untitled second source Lineage: Reel - unknown - CDR - unknown - SHN Mastering notes: Any azimuth error offsets in the stereo sources were identified and corrected. Both recorders synchronized together to the correct speed. Recorder 2 in the front speakers and recorder 1 in the rear. The stereo perspective of R2 seemed correct with guitar on the left. I reversed the channels of R1 to match. Of uncommon note: R1 appears to be a mid-side recording as opposed to left-right. Perhaps a MS configured microphone (a mic with 2 elements wired for MS) was used? There is direct reverse polarity content between the channels and the recording seems to sit in the left speaker (like you might expect from a system with the right speaker wired reverse polarity, for example). A polarity flip of the R channel however, makes it worse sounding, clearly cancelling out content. So there must also be in-polarity content at the same time as the reverse polarity content between channels. This would be the case with a MS recording. Treating this as MS and decoding to stereo centers the image and produces a fuller sounding recording. I removed many mic bumping sounds from R2. There are probably still a few left. I corrected for levels as well as possible. The originals seemed to have their levels ridden throughout (and/or possibly altered in later gen copies) in addition to the recording devices compressing on the loud parts. I retained all between song audience sounds. Sometimes one recorder would capture more or different between song time than the other. I let the alternate recorders drop out between songs where they do to show the perspective of the tapers running their decks (rather than disguising it with production). I did however fold one into the other channels for balance for the opening notes of Eugene where R2 comes in late and the other direction for Money where R1 cuts out. CE only exists on R2 so this is an upmix with some of the pre high boost eq source folded into the rear. I placed the rear source slightly delayed vs the front. Just enough to anchor the stage firmly in front of the room and retain the proper perspective of main vs reflected sound front to back but not enough to create annoying slap echos with the drum transients. In actuality the sound delay between the recorders would have been greater. This comes up because with Pink Floyd we ALSO have speakers firing from the back of the room to the front. This would give you the same delay between recorders but in the other direction. This means that if I decide to shorten that delay from front to back for listening convenience, the delay from any sounds coming out of the back to the front recorder would be increased by that amount. This is the slap echo you hear in front on the laugh sample sounding out of the back of the room during the line "The lunatic is in my head". 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 matrix mix with proper balances of the sources (not just a straight fold down). Although a compromise, it still retains some of the fidelity and completeness of the presentation. Jimfisheye, February 9, 2018