Quicksilver Messenger Service qms1967-03-19.sbd.flac16
1967-03-19 The Matrix
Title
Quicksilver Messenger Service Live at The Matrix on 1967-03-19
description
Quicksilver Messenger Service March 19, 1967  The Matrix San Francisco, California CD#1 First set 31:38 01 intro talk before first song 0:34 02 Susie Q 3:43 03 I Hear You Knocking 3:34 04 talk : intro to Little Dandelion 0:22 05 Little Dandelion 2:08 06 talk : intro to Gold And Silver 0:25 07 Gold And Silver 2:42 08 You Don't Love Me 2:44 09 Codine 4:58 10 talk: intro to I'm Backwords 0:36 11 I'm Backwords [instrumental] 2:53 12 Smokestack Lightning 6:52 13 talk: set outro 0:07 CD#2 Second set 59:48 01 talk before first song of set 0:25 02 [cuts in] Dino's Song 3:05 03 > Walking Blues 2:56 04 Too Long 3:54 05 Duncan And Brady 3:00 06 talk: intro to Babe I'm Gonna Leave You 1:17 07 Babe I'm Gonna Leave You 4:40 08 If You Live 6:20 09 Hoochie Coochie Man 4:40 10 All Night Worker 4:03 11 Pride Of Man 3:47 12 Mona 10:58 encores: 13 Got My Mojo Working 4:16 14 Who Do You Love? [cuts on last notes] 6:27 This recording sounds to me like one channel soundboard and one channel audience, as do other circulating tapes from this club. It's definitely got an ambient sound with quite a bit of tape hiss but sounds fairly decent - especially after the speed correction. Pitch-adjustment - slowed by 4.2% (minus 1 semitone plus 25 cents in Pro Tools). Evened out some level changes. Channel dropouts eliminated when possible or improved by pasting in from the good channel with crossfades between the stereo and mono sections. Also seamlessly removed transient noises in a few spots and retracked with one set on each CD. No additional equalization beyond the minor EQ that was done before the previous upload (see below). New Flac files created with xACT (sector boundaries verified). md5 file created with checkSUM+. Because questions often come up, here is some info about the pitch adjustment process: When a recording is noticeably off pitch or when 2 sources of a recording don't match in speed, first gather together released or other pitch-verified versions of as many of the songs in the set that you can find. Then import them all along with the tape to be adjusted into a music editing software program that can edit more than 2 channels at a time. Keep varying the speed adjustment around until all comparisons sound correct. Usually the key of a song will not change even if it is a different artist doing the song or with a completely different tempo and arrangement. You just will probably find the comparing easier when it is the same artist and arrangement. The tuning can be also verified with a keyboard that has a pitch-bend wheel. When the pitch has to be "bent" to sound correct it is still off-speed. I should mention that this process is especially easy in Pro Tools, because the songs can be put right next to each other and you can preview your adjustment and then hit the space bar to hear the "reference version" right after it. That way the correct speed can be decided upon before finally adjusting the complete recording. To avoid sector boundary errors, the entire recording must be speed-corrected together and then retracked.
| Files (download all files) |
|---|
| QMS1967Mar19PitchAdj.txt (download) |
| QMS1967March19PitchAdjFLAC.ffp (download) |
| QMS1967Mar19PitchAdj.md5 (download) |