Pink Floyd - 9th December 1972 (Live at Zurich) - Definitive Edition

One of the best late 1972 shows in terms of fidelity as well as performance, now available on YouTube in the best current shape :)

I hope you all enjoy this bootleg, and if you have any requests (years, eras, specific dates, etc.) let me know and I will try to upload it!

Thanks to all others involved! Stay tuned ;)

O.

Setlist:

0:00 - Speak To Me
2:00 - Breathe
4:43 - The Travel Sequence
11:45 - Time
17:21 - Breathe (Reprise)
18:26 - The Mortality Sequence
23:01 - Money
29:54 - Us And Them
36:52 - Any Colour You Like
43:29 - Brain Damage
47:21 - Eclipse
49:15 - One Of These Days
59:14 - Careful With That Axe, Eugene
1:13:03 - Echoes
1:39:08 - Childhood's End

Notes (edited to fit character limit):

This is another case where we have a very good fidelity recording from close to the stage with a 2nd also good sounding recorder further back in the room. By themselves, the recorders are both reasonably good sounding but the combination of the two reenforcing each other raises this to a new level as well as offering remains of the original live surround presentation.

Both recordings are stereo and capture some of the live surround panning motion as mixed that night. Both recordings sound centralized (left/right) in the venue and thus far away from any of the surround speaker stacks. You hear some remains of the left/right very discrete surround fx (eg. the cash register fx for Money) as well as front/back (eg. the laugh in the back speaker for "The lunatic is in my head"). The scream in CWTAE is mixed live to sound out of every speaker in the room and you hear that in this master. So while you do not get a perfect studio experience with fully discrete directed sounds as if we could have recorded the direct speaker feeds from the wires, you get a lot of the remains in addition to the two recordings simply reenforcing each other.

Any azimuth error offsets in the stereo sources were identified and corrected. Both recorders synchronized together to the correct speed. Recorder 2 in the front speakers and recorder 1 in the rear. The stereo perspective of R2 seemed correct with guitar on the left. I reversed the channels of R1 to match.

Of uncommon note: R1 appears to be a mid-side recording as opposed to left-right. Perhaps a MS configured microphone (a mic with 2 elements wired for MS) was used? There is direct reverse polarity content between the channels and the recording seems to sit in the left speaker (like you might expect from a system with the right speaker wired reverse polarity, for example). A polarity flip of the R channel however, makes it worse sounding, clearly cancelling out content. So there must also be in-polarity content at the same time as the reverse polarity content between channels. This would be the case with a MS recording. Treating this as MS and decoding to stereo centers the image and produces a fuller sounding recording.

I removed many mic bumping sounds from R2. There are probably still a few left. I corrected for levels as well as possible. The originals seemed to have their levels ridden throughout (and/or possibly altered in later gen copies) in addition to the recording devices compressing on the loud parts. I retained all between song audience sounds. Sometimes one recorder would capture more or different between song time than the other. I let the alternate recorders drop out between songs where they do to show the perspective of the tapers running their decks (rather than disguising it with production). I did however fold one into the other channels for balance for the opening notes of Eugene where R2 comes in late and the other direction for Money where R1 cuts out.

I placed the rear source slightly delayed vs the front. Just enough to anchor the stage firmly in front of the room and retain the proper perspective of main vs reflected sound front to back but not enough to create annoying slap echos with the drum transients. In actuality the sound delay between the recorders would have been greater. This comes up because with Pink Floyd we ALSO have speakers firing from the back of the room to the front. This would give you the same delay between recorders but in the other direction. This means that if I decide to shorten that delay from front to back for listening convenience, the delay from any sounds coming out of the back to the front recorder would be increased by that amount. This is the slap echo you hear in front on the laugh sample sounding out of the back of the room during the line "The lunatic is in my head".

This could use some more tinkering. The sound is a bit edgy in spots and there is a fair amount of hiss left in. There will likely be a revision down the line but you should hear this now as is.

Jimfisheye, February 9, 2018

[rb]

Great to hear this early live performance of PinkFloyd with this little dirty sound that contrasts from the perfect sound of the albums ❤❤!! Somewhere, it's more truthful ❤❤!!

[christophetourniaire]

Excellente géniale çà c’est du concert ROCK. THANK A LOT

[blackcat-zwim]

The live performance of Childhoods end is such a groovy jam. I wish they'd perform obscured from clouds entirely.

[christophetourniaire]

Ils sont 4 pour faire ça, absolument grandiose. Des génies

[MarcoUrbina-bkjt]

Este concierto me trae muchos recuerdos, en los días lluviosos de prepa, muchas gracias OaksMa 🎉

[kempfand]

Thank you very much for sharing here. Actually, even with the YT audio codec, it sounds so good, that I will head out to get the 2496.

[calliopivogiatzis]

Early Floyd is the best! In fact, there was a nice melodic JAM from the COMMITTEE LP, right after the CHIRPING BIRDS that reminded me of a long lost Floyd song I heard on the radio 31 years ago. It was around 5 minutes long, had a baroque-like keyboard melody and a trippy guitar solo with few lyrics. Does anyone know what this song's title might be?

[jesse]

Are you able to post March 10th 1973 please