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The Who - The 1969 Soundboard Tapes Vol. 1
Restored & Remastered - EX SDB's

The Who - The 1969 Soundboard Tapes Vol. 1 - Restored & Remastered

01. Heaven and Hell
02. Can't Explain
03. Fortune Teller
04. Summertime Blues
05. Shakin' All Over
06. My Generation
07. Overture
08. It's a Boy
09. 1921
10. Amazing Journey
11. Sparks (some tape flaws)
12. Young Man Blues

Time: 49m32s

Tr. 1-6: McDonough Gymnasium, Georgetown University,
Washington D.C. - 2 November 1969

Tr. 7-11: State University of New York,
Long Island (Stonybrook), NY - 18 October 1969

Tr. 12: Venue/date unknown
However, this is certainly not any of the officially available versions:
Leeds University, London Coliseum 14 Dec 1969 or Isle of Wight 1970.

Line up:

Roger Daltrey: Vocals, Harp
Pete Townshend: Vocals, Gibson SG
John Entwistle: Vocals, Bass
Keith Moon: The Loon

The sleeve gives no credits, but this collection is taken from various
dates (if not more).

1) The majority comes from Capitol Theater, Ottawa, 1969/10/15
2) Three tracks are from Leeds University, England, 1970/02/14
(The well-known Live at Leeds concert)
3) The five Tracks that can be found on this compilation from
State University of New York, Long Island 1969/10/18
4) One track from Theatre des Champs Elysees, Paris 1970/01/16

The sound quality on this bootleg is quite clean on most of
the tracks, which implies that they come from low generation
tape sources, though it's has some Noise reduction.

*** About The Restoration

--- Georgetown University, 1969/11/02

After studying this material for a while, I decided to make my own
corrected versions of these two boots.

Thus, I assembled the five tracks version of this show
together in the correct order.
I corrected the speed with -1.03 semitones, which is quite
a difference, after comparing them very precisely to
generated E (660 Hz) and G (792 Hz) tones.
Except 'Fortune Teller", which came from the misslabelled
"Hull" portion got a SC of -0.43.

I swopped the channels, so that Pete's guitar was on the right.

Then, I painstakingly compared the two different sources of the
first two tracks. In the end, I became convinced that the so-called
"Hull" versions originate from a lower generation tape source, and so
I used those.

I corrected the speed of these two tracks too (I forgot the exact
level of semitones already...), with the same precision.
These version ran significantly slower, and therefore demanded
a less drastical speed change.

Because the 'Hull' versions were faded out/in, I used
the rejected versions to reconstruct the missing seconds before
and after "Heaven and Hell".
Then, I amplified the right channel everything after "fortune teller"
considerately to get the bass guitar a bit less loud in the mix

--- State University of New York, Long Island 1969/10/18

This one was a lot easier to do.
Unlike any other source found on the two aforementioned
bootlegs, the speed was actually precisely correct on these tracks.
Channels were already in the correct order as well.

The (very important) opening chord of Overture was missing.
I found this so annoying that I decided to borrow
the opening chord of Overture from the 1969/10/22 recording
and edit it seamlessly to this recording.
I think it works quite well. A lot better than without.

This source has about ten seconds of the beginning of
"Eyesight to the blind" before you hear the Reel-to-Reel
machine being turned off.
A very dramatic moment, that I didn't wanna omit.

--- The mystery track from "1969: Winter Time Trip"

I added this track too (Tr. 12).
I gave it a slight speed correction of -0.05 semitones.
Unlike everything else on this comp, YMB is in mono, and of a little
lesser sonic quality.

*** About The Mastering

I attempted to get a 'natural' sounding remaster.
Not the kind that makes your ears bleed, nor that
kind that sounds heavily processed.

I didn't use Noise Reduction for this recording. Hate it.
But unfortunately some severe NR was used in the original
mastering of both "Pure Rock Theatre" & "Winter Time Trip".
So if you hear it, that's where it comes from...

I gave the whole thing a treatment with multiband compression.
Because of the rough nature of the mixes, this made the vocals
and bass guitar sound a lot more coherent in the mix.
I used seven (!) different mastering settings for the whole compilation,
to make the overall sound as good and similair as possible.
I also did some very slightly EQ-ing with the Pultec & the EX-1.
Then I used the L2 for some more volume, but very carefully.
No macho mastering.


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A Big Thanks!!!
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