Pink Floyd: "We Meet Again" DVD-Audio (6ch x 24/96) 5.1 Mix

[itsjustme2.0]

Empire Pool
Wembley, London, UK

November 16, 1974

- 3 Source Mix -


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]

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

Source Info

SBD
Pre FM Master Reel (SBD) > DAT > ? > FLAC
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.

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

Tech Notes

FLAC/SHNs decoded to wave and Wavmerge was used to reassemble
tracks back to 1 long wave. CEP2.0 was used to align & synch
all three sources (time compress and expand). SF8.0 was used
for the EQ setting on the LFE, CTR channels and the AUD1 (rec1)
for the patch source "Any Colour" and "Echoes". CEP2.0 was
used to preform the multitrack mixdown for the front and rear
channels. SF8.0 used to adjust the volume for the center,
surround and LFE channels. SF8.0 was used to perform the hard
limiting on the LFE channel. Surcode MLP was used to encode
all six channels utilizing a lossless compression scheme. Disc
Welder was used to author and create the DVD-Audio in 5.1 and
created the ISO image file. This incorporates 6 channels of
24/96 wave files.
- 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 7mm single DVD case.
- Special thanks to unknown artists that helped with lots
of the images used for this artwork and the slide show.

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

DVD-Audio 5.1 Info

Front
Left Channel Matrix Mix - 85%/SBD + 15%/AUD1
Right Channel Matrix Mix - 85%/SBD + 15%/AUD1

Center
Mono Mixdown Left/Right -5db D'EQ SBD

Surround
Left Channel -3db Matrix Mix - 70%/AUD2 + 30%/AUD1
Right Channel -3db Matrix Mix - 70%/AUD2 + 30%/AUD1

Sub/LFE
Mono -3db D'EQ Matrix Mix - 65%/SBD + 20%/AUD1 + 15%/AUD2

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

Multitrack Mixdown Settings

SET ONE

Front Matrix
SBD -1db
AUD1 -9db

Rear Matrix
AUD2 -4db
AUD1 -6db

Sub/LFE Matrix
SBD -3db
AUD1 -9db
AUD2 -11db

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

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.

The mixdown of the rear AUD1+AUD2 matrix mix was done a few
db's lower than the front SBD+AUD1 matrix mix. In my experience
louder rear channels is an undiserable effect.

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

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.

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

Notes on High Resolution

A fair question can and should be asked - "How do you get a
multichannel 24/96 high resolution DVD-A derived from three
16/44 sources?"

I am in the habit of archiving all multitrack mixdown matrix
mixes in 24 bit even though the source material was 16 bit. I
do hear a difference and I know all 24 bits are being used
(unlike a 16 bit that is upsampled to 24 bit, that only adds
0000's to the end of the data stream).

I have a real hard time figuring out - A 16/44 recording in
a multitrack mixdown with another 16/44 source, the resulting
24 bit file is where in the terms of resolution?

Two things I know for sure.

1. The entire data stream is in fact utilized.
2. The resulting 24 bit file does have an increased dynamic
range (frequency range stays the same) and allows me to juice
the levels and utilize the full headroom 24 bit offers. This
in turn also means I am utilizing more of bits.

This represents the 24 bit files that are the result of all
my editing and the multitrack mixdown. It is unclear exactly
what we have in the way of high resolution. However it seems
there is agreement that what we have will not be represented
accurately downsampled to 16/44. Data (resolution) will in
fact be discarded. What you are getting is the full result
of the matrix mix process. How much different does this sound?
is this better? A little and yes. This is more accurate and
has more dynamic range. 24/96 resolution versus a 16/44 of
the same material will usually result in very subtle but
important differences. Most of it relying on the quality of
the DVD-A player and the D to A conversion. With that in
mind, this 24 bit copy is no different. Small but important
gains over the same material in 16/44. This is just one
man's take. Take it or leave it.

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

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.

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

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.

Sample_6

Here you get to hear a clip of all 6 channels represented
in the 5.1 surround sound, multichannel mix.

The order is as follows: (15 Second clips of each)

Front Left > Front Right > Center > Sub/LFE >
Surround Left > Surround Right

These are stereo MP3 files of the six mono 24/96 individual
tracks, take it for what they are. Also please note that
you will not hear much difference when going from Front Left
to Front Right.

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

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. But it plays just fine on my
cheaper Yamaha - so go figure. Whether the slide show will
play properly or not has no effect on actually playback or
the sound. Only the visual portion as you may end up stuck
on a single image. Anyway, I listen with the TV off.

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

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)

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

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 MLP Encoded
(6 channels of 24/96)

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

More On DVD-Audio 5.1

Today's audio standards are moving towards multi-channel
sound, like DTS, Dolby Digital, SACD and DVD-A. You will
need a DVD-A compatible DVD player to listen to this 5.1
mix.

Burning Instructions
Use DVD Decryptor, Nero or similar program to burn as an
image file (ISO) onto a DVDR. Enjoy.

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

MLP Encode Data

Encoder channel assignment: 20 ((Group 1) Lf, Rf, Ls, Rs / (Group 2) C, LFE)
Encoder input: Lf - F:\shn\pinkfloyd1974-11-16-1FL-96.wav (24 bits, 96000 samples/sec)
Encoder input: Rf - F:\shn\pinkfloyd1974-11-16-2FR-96.wav (24 bits, 96000 samples/sec)
Encoder input: Ls - F:\shn\pinkfloyd1974-11-16-5SL-96.wav (24 bits, 96000 samples/sec)
Encoder input: Rs - F:\shn\pinkfloyd1974-11-16-6SR-96.wav (24 bits, 96000 samples/sec)
Encoder input: C - F:\shn\pinkfloyd1974-11-16-3CTR-96.wav (24 bits, 96000 samples/sec)
Encoder input: LFE - F:\shn\pinkfloyd1974-11-16-4LFE-96.wav (24 bits, 96000 samples/sec)
Encoder downmix: left channel - Lf = -6.0 dB (0.501187)
Encoder downmix: left channel - Rf = off (0.501187)
Encoder downmix: left channel - Ls = -12.0 dB (0.251189)
Encoder downmix: left channel - Rs = off (0.251189)
Encoder downmix: left channel - C = -9.0 dB (0.354813)
Encoder downmix: left channel - LFE = -15.0 dB (0.177828)
Encoder downmix: right channel - Lf = off (0.177828) (slot 0/0)
Encoder downmix: right channel - Rf = -6.0 dB (0.501187) (slot 1/1)
Encoder downmix: right channel - Ls = off (0.501187) (slot 2/2)
Encoder downmix: right channel - Rs = -12.0 dB (0.251189) (slot 3/3)
Encoder downmix: right channel - C = -9.0 dB (0.354813) (slot 4/4)
Encoder downmix: right channel - LFE = -15.0 dB (0.177828) (slot 5/5)
Encoder output: F:\DTS\pinkfloyd1974-11-16-mlp-d2.mlp
Encoder range: start - 0.000000 seconds (0 samples) / stop - 4552.122823 seconds (437003791 samples)
Encoder peak bits-per-sample: 100.000000
Encoder data rate: variable rate
Encoder IEC61937: not IEC61937-compliant (information only)
Encoder restart gap: every 8 access units
Encoder Auto BDR: Step #0 Lf=0 Rf=0 Ls=0 Rs=0 C=0 LFE=0
Encoder initialization: succeeded

Verify: version 4123200
Verify: verifying stream "F:\DTS\pinkfloyd1974-11-16-mlp-d2.mlp".
Verify: stream "F:\DTS\pinkfloyd1974-11-16-mlp-d2.mlp" passed.

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[soulusbass]

Thank you very much for this!!!!!!!!

[ispf34]

Thank you.
Sorry to inform, but 37.rar has been temporarily unavailable since Monday. Could you please repost it?

[Bozo D. Klown]

Holy crap! I dig boots where there are several sources mixed together!

[ispf34]

File 37 is still unavailable. Can anyone help please?

[EdiSchwager]

Links don't work anymore. Does anybody else had the same or other experiences?