Related Music question-dark

Versions - Different performances of the song by the same artist

Compilations - Other albums which feature this performance of the song

Covers - Performances of a song with the same name by different artists

Song Title	Versions	Compilations	Covers
Tuning
Touch of Grey
Greatest Story Ever Told
Tuning
Row Jimmy
New Minglewood Blues
Tuning
So Many Roads
Masterpiece
Bird Song
Tuning
China Cat Sunflower >
I Know You Rider
Samson & Delilah
Uncle John's Band >
Playin' In the Band >
Drums >
Space >
Attics of My Life >
Throwing Stones >
Good Lovin'
Crowd

Notes

General Notes:


- Thanks go to everyone who worked on and made available the sources used in this matrix. Obviously, this project would have been impossible without their efforts.


- Both sets are seamless.


- So Many Roads. Seriously. Listen to it -- loud.




Technical Notes:


- The sources were remastered and mixed in Logic Pro 9. They were split in WaveLab LE 7. SBE's were fixed using Trader's Little Helper. Final mastering was done in iZotope RX 2 Advanced.


- Speed correction (using the iZotope Radius algorithm in Logic Pro 9):

Pujol AUD: -0.075% (speed) / -1 cent (pitch)
Larsen AUD: -0.037% (speed)

More fine-grained syncing was done manually.


- I cleaned up a few imperfections in the SBD source using iZotope RX 2 Advanced.


- I lowered the gain of the Larsen source by 4dB, from the beginning of Set 1 through the opening of "Greatest Story," at which point it seems that the taper turned the input down.


- During "Throwing Stones," two seconds are missing from the Pujol source. There is no break; the source simply skips ahead two seconds. I fixed the problem.


- There are several spots during the show at which the SBD and the AUD sources differ in more or less dramatic ways. It seems that some processing was done to the signal coming from the SBD after it was sent to the tape but before it was sent to the speakers. These include: the exploding bass drums at the end of "Touch of Grey" and the beginning of "Greatest Story" on the AUD copies. The most significant spot occurs toward the end of "Row Jimmy": on both of the AUD sources, some sort of reverb is suddenly applied to the vocals, or perhaps the entire mix. (You can hear the crowd react to it.) This change is not on the SBD. The result, as far as this matrix goes, is that it sounds as though the SBD and one or more of the AUD sources have gone out of sync. But they have not. In other words, the matrix is in places more echo-y than I would like, but I know of no way to get rid of the problem, short of cutting the AUD sources entirely, which would obviously defeat my purpose.



Roger Eichorn
reichorn@gmail.com
August 16, 2013