Roger Waters 1999-08-14 Darien Lake, NY FLAC/AUD (5 Source MTX) (24Bit/96Khz)

Roger Waters
Performing Arts Center
Darien Lake
Darien Center, NY
August 14, 1999

5.1 SURROUND MIX
as presented by }{eywood

Recorder 2 – Buffalofloyd (center channel):

Recorder 3 – James H.(patches): TDK SA90 cassettes (M) > SB > WAV @ 48KHZ > MKWACT > SHN @ 48KHZ

Recorder 4 – Chunga (rear channels): Mic unknown/destroyed by drunks > SONY D3 Pro Cassette Recorder > Maxell XLIIS Cassette (M) > Soundforge > Flac frontend

Recorder 6 (front channels): Sony mics > Sony MD > MD (M) > ? > wav > cdr(?) > wav > flac (sort of a guess by the OP)

I’d like to tell you a story.

Both my friend Rob and I saw Roger Waters in both 1985 and 1987. After the KAOS show we talked about making a true stereo recording by purchasing tickets on either side of the arena near the side quad speakers the next time Roger came around, taping the show, and compositing the two tapes in either channel of a stereo mix. So we waited for the announcement of the next tour…and time kept on ticking…and no announcement came. In 1994 a new album came out…and still no tour dates.

Flash forward 12 years. Finally Roger decided to tour again. When the In The Flesh tour was originally scheduled it was planned to be ans intimate, low tech tour with slides instead of films, and in smaller outdoor venues. The ticket demad was so high, however, that they moved many shows into bigger indoor arenas. There also wasn’t a Buffalo date on the schedule, so my son, my friend Lance, my mom and I all went to Cleveland to see the show. Luckily, between the announcement of the tour dates and the day of the Cleveland show Buffalo was added to the itinerary.

This brought back discussions of the multi-taper recording we had planned oh so many years ago. With improvements in technology we thought we could do even better than we had conceived of years before.

The plan was to get a team of four people together. Three (Rob, myself and my friend Bryon) would go in the venue with seats strategically located in close vicinity to the quad speakers (I purchased a ticket on each side and one in the center back) and wireless microphones. The fourth (my fellow bandmate and recording production wizard Justin) would be out in the lot with the receivers in a van and a 4-track recorder (Justin had an AC converter in his van and could run any gear). He and I rented the mics from Unistage the day before, tested the range on them and went to the show. The plan was for Bryon to get one side speaker, Rob the other, and me to sit with two mics, one facing the main PA speaker (there’s a mono mix PA speaker at Darien Lake for the general admission section) and the other facing the rear quad speaker behind me. The end result would be a 4 channel tape where I could place the FX speakers properly in the mix.

Unfortunately the minute the three of us went through the gate the signal from the mics was lost. I’ve never found a reasonable explanation for this since we were well within range. It’s like a science-fiction damping field was over the place. Perhaps all the radio frequency crosstalk in the venue cancelled us out. Dunno.

Fortunately all of us brought cassette recorders as a backup plan. But the gods of fortune were against us. All three recordings came out with some sort of error. Mine just sounded like crap. I had bought a recorder on the way to the show and it turned out to be fairly lo-fi. I got a mono recording that was all midrange. Rob somehow put the pause button on when flipping the tape and missed a whole tape side. Bryon missed a few songs because I told him where to flip the tape (after Welcome to the Machine) based on the setlist at the Cleveland show. Well Roger had changed the setlist around, moving Happiest Days and ABitW 2 from the end of set 1 into the first set, and because of this Bryon’s tapeflip was late and he missed some of it. Everything had gone horribly wrong. I eventually maqnaged to get about an hour of the show synced up with all three tapes, but with the incomplete recordings it wasn’t worth doing anything with. Eventually all the tapes ended up being discarded.

Flash forward another 16 years to the end of 2015.

I decided to make a 5.1 (which didn’t exist when we did this originally; only Dolby Pro-Logic) mix of this using some of the better recordings from this show. Besides the recordings documented above there are six known tapers for this show. This mix was made using 4 of them (I’ve never been able to track down a copy of taper 1). The front and center tapes use the buffalofloyd and recorder 6 tapes respectively because they were the best sounding and were both nearly complete. I chose the speaker designations based on the characteristics of the recordings. Buffalofloyd’s was clearly the best of them and immediately was originally immediately designated front L&R (but things can change). The next best was Taper 6, a minidisc master, and it was the only complete one. The only thing edited out was the encore break. It had a lot more audience and distant ambiance, so it made an excellent choice for the rear L&R (which also later changed). This MD was recorded a bit oversaturated. It was distorted in loud or bassy spots but I got rid of the worst of it. The remaining tape used was the Chunga tape, because it was the next best in quality, but it was incomplete due to tapeflips and because it began halfway through The Thin Ice.

All recordings were remastered by me prior to compositing into this matrix. This remastering ranges from simple EQ to more advanced steps like speed correction, peak restoration, crackle filtering, stereo simulation and/or spatialization, high frequency synthesis and minor noise reduction. All work was done with Adobe Audition 1.5 (I prefer the old Cool Edit interface to the newer versions) featuring a few plugins.

Several patches were made in the tapes as the only really complete one was the MD recording. The buffalofloyd tape was missing the last verse of Shine On. The Chunga tape began considerably late, so the beginning of the show is patched in from the James H. tape, which was the only other ITF I had (although most of the song was recorded as James entered the seating from the hallway of the venue). This also starts a bit late, but not a song and a half late. The James H. tape was also used to patch the missing part of Shine on in the buffalofloyd tape and many small cuts in between songs on the Chunga tape. For the start of set 2 the stereo version of the buffalofloyd tape was used to fill in the rear channels because no other taper had caught Speak to Me besides the minidisc. The applause for the encore break was missing from all but the James H. and buffalofloyd tapes (and the break was shortened on every recording except James’), so these were used to fill in the other two. The buffalofloyd stereo mix was used to fill in the MD and the James H. tape was used to fill in the gap in Chunga like the rest of the patches, but with the channels staggered to maintain the stereo field.

Two of the recordings used here were on cassette and have the tight dynamics associated with that medium, and the MD recording was similar because of how it was recorded too loud. Consequently the buffalofloyd tape had dynamic compression applied to make it match better to the other tapes.

As I said earlier, the buffalofloyd tape was originally designated for the front L&R, but the amount of audience noise present in the three tapes made me reconsider how the placement would be mapped out. I eventually made a difficult decision and reluctantly mixed the buffalofloyd tape down to mono and use it as the center channel because it was the clearest and had the least audience. I therefore worked best as the center focal point. The MD tape, which had more audience noise, became the front L&R, and the Chunga tape, which had less fidelity and the most audience noise, including a bunch of rowdy drunks, became the rear L&R.

The subwoofer channel was created by putting an 80hz lowpass filter on a mono reduction of the MD recording. I chose to use only this recorder for the low end because it had the best bottom end. The remaining channels had the low end reduced below 80hz.

Because of the near impossibility of chasing out the flutter in the speed of the cassettes perfectly there may still be some perceptible variation in the rear channels, but I did my best to make it as tight as possible.

I hope this satisfies all the Floydophiles out there, recreating the sound of the concert for those who weren’t there, and helping those like myself who were to relive the moment.

set 1:

01 In The Flesh
02 The Thin Ice
03 Another Brick In The Wall Part 1
04 The Happiest Days Of Our Lives
05 Another Brick In The Wall Part 2
06 Mother
07 Get Your Filthy Hands Off My Desert
08 Southampton Dock
09 Pigs On The Wing Part 1
10 Dogs
11 Welcome To The Machine
12 Wish You Were Here
13 Shine On You Crazy Diamond

Set 2:

14 Breathe
15 Time
16 Breathe (Reprise)/The Great Gig In The Sky teaser
17 Money
18 5:06AM (Every Stranger’s Eyes)
19 The Powers That Be
20 What God Wants Part 1
21 Perfect Sense Part 1
22 Perfect Sense Part 2
23 It’s A Miracle
24 Amused To Death
25 Band Intros
26 Brain Damage
27 Eclipse

28 Comfortably Numb

The band:

Roger Waters: bass, acoustic guitar and vocals
Doyle Bramhall: guitar and vocals
Snowy White: guitar
Andy Fairweather Low: guitar and bass
Graham Broad: drums
Andy Wallace: organ
Jon Carin: keyboards, guitar & vocals
Katie Kissoon, P.P. Arnold: backing vocals

Note: I do not myself actually own a 5.1 system, so I have no way to really check the balance of the channels on one. When I sync these things I play one taper in the left channel and one in the right and listen for variations, then do that again with the third taper. This mix was made so the channels were all the same percieved volume when toggled between, then the rear reduced 3dB. I’m certain that with a little experimentation the listener can find a suitable balance on their system.

https://mega.nz/#F!u2xEBKxL!120oUVyxRhKzVt9CHathrQ