| Identifier | 9041038 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Note |
Lineage: Original master tapes of the highest caliber for 1976 > possibly a very high quality first generation tape copy > CDR [transfer equipment and protocol unknown but obviously professional] > EAC > CEP 2.0 > Ray Gun 3.0 > FLAC Frontend > Bit Torrent to Dime Setlist Vol. 1: 01Siberian Khatru, 02Sound Chaser, 03All Good People, 04The Gates of Delirium, 05Long Distance Runaround, 06Patrick Moraz Solo, 07Steve Howe Solo, 08Jon Anderson Solo [harp, accompanied], Heart of the Sunrise Setlist Vol. 2: 01Ritual-First Movement, 02Ritual-Second Movement* [includes Chris Squire and Alan White Solos], 03Roundabout, 04I'm Down [Beatles cover] *Suffers the entire AR's only break - roughly 15 seconds and likely due to a cassette change by taper. High frequencies in all their many layers were already in the raw master, but needed extensive 'polishing' to sound more completely as the audience heard them. My approach to EQ work involves many hours of very small, compounded passes of settings designed to avoid distortion and any change in the frequencies' natural sound or balance. A cymbal, guitar, voice or a Moog tone should sound like one, not like something else. This is especially true in Yes' case, whose concert sound was as detailed as their studio sound. All too often such things become nearly unrecognizable in remastered ARs no matter what their source quality. In B76 we can distinguish each sound from every other, and it even comes closer than most 1970s Yes ARs to delivering undistorted detail from things like crash cymbals we most often hear in ARs made after 1990."Thicker" crash cymbal sounds are actually very distinguishable in this AR now, and they keep ringing just as they would right in front of us. Other high frequency sounds enjoy similar detail. Tape hiss - the strongest evidence for a first generation source - did become quite fierce after high frequency work completed. In fact, together with a miscalculation in the EQ work itself hiss actually forced a scratch restart of the whole project at one point [it was really worth it:]. Even in the complete new remaster hiss volume exceeded that of the very highs so painstakingly revealed. Thankfully it was possible to reduce hiss to tolerable levels using some experimental noise reduction settings without ANY perceptible damage to signal and without ANY perceptible digital artifact insertion where signal occurs. In the isolated samples used for nr profiling hiss was largely replaced by artifact, but it has not been detected anywhere in the desired recording. To achieve this kind of side effect-free noise reduction work the settings had to be extremely subtle, thus more than 500 passes of them were ultimately needed. Weirdnesses: Vol. 1 and Vol. 2 had and still have some very interesting sound property differences. Vol. 1 had more bass but less high end going in. Vol. 2 at the start had poorer low frequency distribution but much brighter highs. Weaknesses: ARs all have them, and despite its overall superior nature so does B76. Some are irreversible. Among them in B76' case counts a certain degree of high frequency oscillation. One of the last year's remastering challenges has been getting the most out of what was good without making oscillation worse. It's most audible in very high frequency sounds like percussive metals, and slightly more noticeable in Vol. 1. Hypotheses: tape wear/ageing in masters, single generation master tapes and/or ageing/wearing in them, or [least likely] the original sound capture. Other weaknesses include some dropout but it's miraculously infrequent for such an old AR. In Vol. 2 certain midrange percussion may not be quite as defined as in Vol. 1 due to the as-yet unidentified differences in source files. Tape hiss remains noticeable despite hard nr work. Its volume is now well below that of highs it had been obscuring at one time, but it's still there. A few final attempts to get more of it out without damaging desired sound were unsuccessful - they both attacked signal and inserted artifact over signal. Hopefully some new technology I don't have yet will effect further success later on. If it does I'll be reuploading it forthwith. For now I had to go with the option of giving everyone an undiluted sound capture, and remaining hiss seems quite tolerable. Vol. 2 has slightly stronger hiss - there were no isolated hiss samples long enough in it to dehiss its material as effectively. Hum appeared in Vol. 2 after low frequencies treated to match venue levels and Vol. 1's better original low frequency capture. I was able to get rid of most of it using a setting in Ray Gun Pro 3.0, but a trace remains. It's only noticeable in a few short, quiet passages thankfully. Miscellaneous sound quality issues include a bit of sibilance in Vol. 1 at high playback volume |
| Trades Allowed |
Performance
| Yes 1976-06-18 Boston Garden, Boston, MA | |
|---|---|
| Set 1 | Apocalypse, Siberian Khatru, Sound Chaser, I've Seen All Good People, Gates Of Delirium, Long Distance Runaround, Moraz Solo, Clap, Harp Solo, Heart Of The Sunrise, Ritual, Roundabout, I'm Down |
| Set 2 | |
| Set 3 | |
| Comment | Lineup: Anderson, Howe, Moraz, Squire, White, Unofficial Recordings: Audio: Audience - 125 min |