PINK FLOYD - SHEFFIELD 1970

June 8, 2021 – 6:21 am

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PINK FLOYD
Sheffield 1970 [1st gen JFE master, 2CD]

Live at the City Hall, Sheffield, UK; December 22, 1970. Very good mono audience recording.

Thanks to original uploader Jimfisheye; and to frogster for sharing the show at Dime.

Jimfisheye’s notes:

This is an amazing upgrade to previous higher generation copies! CWTAE is intact here! Sadly, STCFTHOTS is still not. This was always an interesting artifact with not only rare material but an excellent performance throughout. What you could make out from it, anyway. Now we have rare material, excellent performance, and strong good sound!

This is a mono recording of a live performance that was mixed in quadrophonic surround sound that was captured in close proximity to one of the surround speaker stacks in the room. I’m guessing a side surround speaker as opposed to the rear one. If this was closer to the stage, you’d hear more natural live drums and cymbals. If it was near the rear surround, the band would be further away sounding.

The mono capture of this performance and live mix with sound in motion gives you a perspective that alternates from the perimeter of a surround soundstage to half way across a room from a band, to immersed in sound from all directions in a whole room used as a performance space.

A characteristic of lower fidelity recording devices and microphones is that the sound pickup diminishes quicker with distance. Sounds close to the mic may retain surprising fidelity but far away sounds degrade more. Tape effects to instruments panned directly to this close proximity surround speaker come through with immediate up front fidelity.

There are moments throughout the show where guitar, keys, or voices are panned to the surround speakers and you hear the proximity and these moments jumping out at you. The moments when the band is more boosted in the PA in general increase the overall brightness in this recording and sound fuller and closer. You can hear in AHM that between adding the (naturally loud) orchestra and the excitement of the finale and the piece, the band is amplified more in the PA and it hits this recording stronger.

Of course the loudest moments like the scream push the recording technology too far and are degraded as is often the case. However, the damage in this 1st gen copy is far less than in previously circulating higher generation copies. Distortion damage can really get exponential in generational copies.

You hear evidence of just how wild this show was with the surround sound mix due to the recording perspective even though this is a mono recording. You hear this clearly during the DJ Jimmy Young tape in APB. It sounds like he is being panned around the room in a big circle. You hear it right on top of you when it’s in the close speaker. You hear room reflections from sound from a further speaker to the recorder hit the recording mic before the direct sound from that far speaker. That’s where that almost reverse reverb effect is coming from.

In STC and ASOS especially you can hear the keyboards pulsing from this effect. These were originally sounds that were spinning fast 360 deg around the room. The mono perspective next to the speaker turns into pulsing every time the rotation of the pan hits that speaker. The motorcycle sound foley in AHM is right in this speaker and especially pronounced for it.

The applause from those nearest the recording device is the most well recorded and dynamic content on the tape. Turning the volume up on the recording to try to focus on the music with the applause at this level would cause hearing damage if it didn’t blow out a speaker first!

The tape speed varies throughout the recording with longer sections running at unique speeds and many isolated fluctuations. Most of the isolated speed artifacts consist of the tape suddenly slowing down and returning to (a sometimes different) speed a moment later, consistent with a tape that was physically snagging in the transport. That the effect on the recording would be the opposite if this had been happening on the original recording deck suggests this happened with a playback deck used on a later transfer of the original or earlier generation copy.

The taper stopped the recording between songs to conserve tape. There are a few times that he would restart the recording only to stop it again a moment later - the result of trying to anticipate the start of the next song to not miss it but then realizing they weren’t quite ready to start playing yet and stopping the recording again. Every stop/start resulted in a loud mechanical clank that was the loudest element of the recording.

The tape has a very high level of broadband noise. This is exaggerated from either this copy or an earlier generation being encoded in Dolby but not decoded on playback. Accurate decoding of the Dolby is not possible from this copy as it will no longer track the pre-emphasis correctly. In the long and short of things, while the Dolby system will not decode the tape correctly, the pre-emphasis probably helps offset some of the high end attenuation caused by various other factors. At the same time, however, the noise is boosted in the quieter parts.

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Jimfisheye’s mastering notes:

This is originally a mono recording that was played back on a stereo deck for later generation copies. This makes two copies of the original mono track from two different areas of the physical tape into the two stereo channels. This can either result in one of the two channels being clearly the better copy or sometimes different elements of the recording better in each channel. The left channel alone ultimately has the better preserved recording.

The speed was corrected using iZotopeRZ v8 wow and flutter correction and Elastique Pro 3 integrated in Reaper. Sections in ASOS and AHM had some severe wow and flutter problems on top of the speed coasting around that was beyond repair in the past and rendered these pieces nearly unlistenable. The new correction in iZotopeRX v8 is the first software to deliver results with this that aren’t mutilated! This went better than expected! The results still coasted around in the base pitch/speed but now these sections along with the rest could be corrected by ear in Reaper. There are still spots throughout the recording with mild speed warbles but the overall speed repair was a success.

The mechanical sounds from the start/stops (the loudest content in the recording) were removed. I kept all the short fragments from the parts where multiple stop/starts were made in anticipation of the song starting and let them segue with no alteration simply to preserve the ambient content. Some of the segues were seamless sounding as the ambience was similar enough sounding while others are obvious cuts. I removed the most obvious microphone clanking and rustling artifacts throughout. I probably missed some. I heavily dynamic eq’d the applause after songs to preserve the ambience as possible while dialing back the hearing damage potential.

Broadband noise was reduced with iZotopeRX v8. The more recent sounding layer of noise in the recording responded well to noise reduction. Older sounding layers of noise that extend well down into the midrange did not. Reducing all hiss to lower levels than the music at all times was not possible. 50Hz hum and the harmonic at 100Hz were removed spectrally with iZotopeRX v8.

There was some level of compression in the recording during the louder parts and then the original recording was likely turned down throughout as the show got louder. I normalized this as well as possible. The parts where you get louder moments of some instruments and sounds from the perspective next to the surround speaker were left alone. Ultimately this is an element as heard from this spot in the audience. You could say this is an example of what it was like to be a little too close to one of the surrounds at an old Pink Floyd show!

You actually get an interesting mix between moments of a live band across a room, an amplified band boosted with a PA filling a room, and discrete moments of live surround sound play peppered throughout and really filling the room. In a strange way, this mono recording delivers more of their surround mix than it should! EQ balanced throughout to restore as much original balance as possible from the recording without introducing other artifacts or distortions.

Tools used include: Reaper v6.15, iZotopeRX v8, Waves linear phase multiband comp, Universal Audio multiband comp, ReaEQ, SOX in XLD for 44.1k downsample copy

Reviewing my mastering of the previous 2nd gen (as labeled) copy of this recording I hear a desparate struggle to focus content throughout the recording with an overall harsh processed quality to show for it. It was a way to at least acknowledge this performance. This copy may actually let you enjoy the performance!

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Neonknight’s notes:

Tape 2 was recorded hotter than tape 1 so I reduced the gain on my Tascam. Note how the songs are in the wrong order so as to achieve a good fit for the cassettes.

Tape 1 D-C120
Side A: Alan’s Psychedelic Breakfast / The Embryo / Fat Old Sun
Side B: Atom Heart Mother / Atom Heart Mother Reprise

Tape 2 AD-C60
Side A: Careful With That Axe, Eugene / Set The Controls For The Heart Of The Sun
Side B: A Saucerful Of Secrets

It quickly became obvious when Haze sent me his tapes to transfer that we were onto something very special. Along with a major leap in sound quality compared to the previous best version supplied by petef451, for the first time there is no cut in Roger’s scream and we have more tuning up and Roger’s introduction. ASOS also features Roger introducing the song.

Haze is the Founder and CEO ‘Woolly Hat Recordings’, est. 1979. He is known as coolcats58 on Yeeshkul.

Haze recalls: “I started selling tapes and vinyl to supplement my student grant in about 1979 and “retired” in 1981. During that time I wasn’t the only person selling bootlegs to Sheffield University students but I was the only one with a tape of the Floyd show from 1970.

“In 1979 a friend of mine asked if I’d like to borrow some more tapes to add to the catalogue “for a few beers”. He had an older brother who taped a lot of radio shows and some gigs at the City Hall in the early ’70s. The first batch of tapes included Captain Beefheart and this Floyd show. I copied them onto TDK tapes using a Sony deck for playback and a JVC deck to record. It was from these copies that I duplicated the tapes for sale. I can’t remember for sure what brand of tape the masters were but I think they were Philips.”

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Lineage:
TDK D-C120 and TDK AD AD-C60 1st gen normal position cassettes recorded with Dolby on (1979) > Technics RS-B565-MH (Dolby off) > Tascam SD-20M > Reaper v5.983 (trimming off dead air) > FLAC (24bit/96kHz) > Reaper v6.15 (JFE mastering) > FLAC (24bit/96kHz)

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These tracks are no longer available for sharing.

Disc 1
Track 101. Alan’s Psychedelic Breakfast 28:50
Track 102. The Embryo 14:47
Track 103. Fat Old Sun 16:08
Track 104. Careful With That Axe, Eugene 16:36
77 mins

Disc 2
Track 201. Set The Controls For The Heart Of The Sun 12:36
Track 202. A Saucerful Of Secrets (with Celestial power loss) 20:53
Track 203. Celestial Voices 6:09
Track 204. Atom Heart Mother 33:26
Track 205. Atom Heart Mother Reprise 3:08
77 mins

Click here to order Pink Floyd’s Discovery boxset.

  1. 15 Responses to “PINK FLOYD - SHEFFIELD 1970”

  2. I sucked Floyd’s pink Un.

    By U L E on Jun 8, 2021

  3. Twernt me above. I never even met Floyd

    By U L E on Jun 8, 2021

  4. Interesting that they’d re-perform the “Remergence” section of “Atom Heart Mother” as an encore instead of a blues jam as they sometimes would around that era.

    Really cool to get some pre-DSotM Floyd as well. A lesser-appreciated era.

    Speaking of, it’s great that Nick Mason put together his band to tour early PF music. I saw him in Detroit in 2019 and it was a hell of a show! I highly recommend going to see his band if you like this sort of stuff. They may not have done a couple of my favorites (”Echoes” and “Cymbaline”), but I have no complaints of what they did, and I have no complaints about this excellent recording either!

    By Actually Talking About the Fucking Music on Jun 8, 2021

  5. Hello ‘Actually Talking About the Fucking Music’,

    I respectfully must smack your fingers here dear boy. Whoever heard of talking about music on a porn site. How Preposterous!

    You really are a silly billy aren’t you?

    And I must say, whatever happened to our dear friend Sausages, I do miss him so! Terribly bright chappie!

    By Rupert on Jun 8, 2021

  6. Thank you very much BigO.

    By Derrick and the Dominos on Jun 8, 2021

  7. The last one was a name highjacker bastard . I never get pizza from Dominoes

    By Derrick on Jun 8, 2021

  8. They need to get what Joe Pesci gets at the Casino

    By Derrick eats at Dominos on Jun 9, 2021

  9. What was that Derrick eats… money to play the slots and to buy chips for betting purposes?

    By Madame Phoot on Jun 9, 2021

  10. Rupert’s gayer than DD.

    By U L E on Jun 9, 2021

  11. Thank you Big O Amigos. This will help me de-stress after the Young Famers Tractor Pull.
    Be well. James

    By James on Jun 10, 2021

  12. Thanking you U L E! You old smoothie you!

    Go on, pucker up sweet cheeks!

    By Rupert on Jun 10, 2021

  13. Twernt me on any above. All fakes

    By U L E on Jun 10, 2021

  14. Rumor has it this was a band of two Big Uns, one Lil Un and one Average Un

    By U L E on Jun 10, 2021

  15. With Roger and David being the Big Uns, Nick the Lil Un and Richard the Average Un

    By U L E on Jun 10, 2021

  16. Twernt me on any of the above. All fakes

    By U L E on Jun 10, 2021

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