September 12, 2014 – 3:04 pm
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Copenhagen 1967 [Marbal’s Tape, 1CD]
Live at The Star Club, Copenhagen, Denmark; September 13, 1967. Good to fairly good audience recording. Speed-corrected version.
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.
Thanks Marbal, Neonknight, Littlepieces, and to the person who shared this at Dime.
Thanks also to Moonwall for the artwork.
Grolsch kindly assisted us with the background to this recording. Copenhagen ‘67 was taped by a local musician called Carsten V. Michael K borrowed his master and made a copy. Marbal’s cassette is likely in turn to have been copied from a 7.5 ips open reel transfer of Michael K’s reel. There are no digital clones from the master or first gen Michael K reel but both still exist and remain in the hands of the owners. Perhaps we can look forward to one or both of them surfacing one day.
A 3rd gen reel from the collection of the late Bernard White is often considered to be the best source for this concert. A friend has Bernard’s reel and a 2001 transfer was sent to Eskimospy in August 2005 for the ‘What Syd Wants’ release. The lineage for Bernard’s reel went something like Carsten V > Michael K > UK collector > Bernard in the mid 1970s.
Marbal’s 3rd gen cassette has been transferred before by other collectors and they were not able to bring out the best in the recording. Marbal’s copy, like his Rotterdam tape, is much cleaner with a tighter top end, and a fuller, more natural sound when compared to Bernard’s.
Listen carefully to Littlepieces’ re-master and you you can distinguish each instrument and follow it if you care to. You will also hear subtle details such as the clink of a glass at 11.39 and Reaction in G being counted in, that you probably will have not noticed before. I believe it’s also possible to appreciate the ambience of the venue.
There is no getting away from the fact that the quality of this recording varies. However, Littlepieces has done an excellent job smoothing the imperfections out on the LPP version, particularly the many distortions that often contribute to burying the sound.
This is a strong, loud performance by the band which was sometimes too much for Carsten V’s recorder to cope with. Listen out for Matilda Mother, which reminds me of the Underground Scene Special UFO version, and a lively Scream Thy Last Scream. Thank you Marbal for entrusting me with your tape!
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.
3rd Gen Cassette (Maxell XLII90)(Dolby On) > *Technics RS-B965-M (Dolby Off) > Focusrite Saffire Pro 14 > Audacity 1.3 > Wav (24bit/96kHz) > DAW (32bit float/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC (16bit/44kHz)
*The Technics RS-B965-M is a deck modified by expert tapehead A.N.T. - for details see the Tapeheads.net forum.
Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.
Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at email@example.com if you encounter persistent problems downloading the files.
Track 01. Reaction in G 6:34 (11.0MB)
Track 02. Arnold Layne 3:57 (6.6MB)
Track 03. One in a Million 6:28 (10.9MB)
Track 04. Matilda Mother 6:51 (11.5MB)
Track 05. Scream Thy Last Scream 5:33 (9.3MB)
Track 06. Astronomy Domine 7:30 (12.6MB)
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