Saturday, 8 August 2015

Pink Floyd [1967.09.13] Marbal’s Copenhagen '67 Tape

Pink Floyd
'Marbal’s Copenhagen '67 Tape'
The Star Club, Copenhagen, Denmark
Wednesday September 13th, 1967

Audience Recording
Speed-corrected version.
Playing Time: 37 minutes.
Encoded: 224 Kbps MP3

Track List: (Artwork Included)
01. Reaction in G
02. Arnold Layne
03. One In A Million
04. Matilda Mother
05. Scream Thy Last Scream
06. Astronomy Domine

This show has circulated in the past and Marbal’s tape is considered by fans to have the better sound. This is the speed-corrected version. Given the “rough” sound, this is one for the hardcore fans.

Littlepieces’ Mastering Notes for - Marbal’s Copenhagen ‘67 Tape - Speed Corrected Only version:

To accompany the ‘Speed Corrected Only’ version I have produced a LPP version in an attempt to provide a copy with less interference from artifacts, more detail, and more overall SQ continuity.
After testing each channel by itself and with the channels manually aligned, I decided to use only the left channel for approximately the 1st minute and then retain both channels and manually align through Arnold Layne, and use only the left channel from that point until the end of the recording. Using only the left channel should provide a bit more detail as the recording quality lessens after AL by including more high end and improved phasing.
The most time consuming part of this project was definitely the manual spectral cleaning. I removed many of the usual tics, pops, bumps, etc, but more importantly I was able to remove most of the distortions that interfered with the recording.
I utilized and varied moderate noise reduction settings working mostly above 8kHz-10khZ and only slightly lower on some audience sections while being diligent not to encroach on the harmonics. I could have worked the entire spectrum and squeezed most of the hiss out, but I generally don’t like what this does to the nature of the sound. As with Marbal’s Rotterdam recording, I think more aggressive NR, among other things, would have eliminated a sense of the acoustics of the small venue they are playing in.
As with Rotterdam, the EQ increases I used were applied to only the upper half which as the recording progresses and weakens is even more buried than Rotterdam. The quality of this source and transfer allowed me to use an increasingly aggressive EQ profile and lessen the degree of difference between the best and worst parts of the recording. The EQ curve was adjusted at times throughout the recording but mostly did not exceed ~8kHz. In addition I used a multiband enhancer to increase the bass output by reducing the base width (mono) in the lower portion of the low end and increasing the gain when it was left channel only.
There were many micro drop outs/downs, mostly ~20ms, and I either removed a short piece of damage or was able to use the other channel to repair the damaged segment. A few minor ones still remain as does some very short pieces of tape damage.
I selectively reduced some low frequency hums during the audience/tuning segments and near the end of AD. These seem to be present and prominent in all unprocessed sources. -Original

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