Seems like guitar amps were mic, not direct, on some songs

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steve6884
Is it just me or does it sound like they never rehearsed You Gotta Move and just decided to play it out of the blue?

The one song i really dislike on LA 75 and on SF as well, if i might add.

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crumbling_mice
Having now downloaded and burnt the flac files...I'm even more impressed with this...the only thing which annoys the hell out of me is the weird noises which occaionally appear throughout Sympathy, I'm pretty sure it's Bobby's keyboard but it sounds like a swirling/whistleing noise and just doesn't fit in well at all. Otherwise, no complaints from me, although after so many decades of listening to Love You Live I'm having to adjust for the slight variations on some songs - my brain is expecting all the Love You Live nuances!

Clearmountain has done a competent job on this and I'm sure some of you have raised some relevant points about 'brickwalling' etc it sounds fantastic to me and after all it is supposed to be a bootleg.

Ready for the next one now!!!!

Someone was complaining on the static noise on some tracks, esp. the second part of TD and the band introduction and IORR. I can hear this noise, too. I think it is not the copy but the noise is on the master tape.

Just Wow! This has been cranking in my car since Monday. What a fun show! My favorite of this series so far mainly because I was just kind of out to lunch regarding this tour. Sure, Brussels is superior in every way (IMHO), but the very similar original boot was already etched in my brain. This one is a real discovery for me.

And to think, we have 3 more of these babies to look forward too! Can't wait!

Ross

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RobertJohnson

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crumbling_mice
Having now downloaded and burnt the flac files...I'm even more impressed with this...the only thing which annoys the hell out of me is the weird noises which occaionally appear throughout Sympathy, I'm pretty sure it's Bobby's keyboard but it sounds like a swirling/whistleing noise and just doesn't fit in well at all. Otherwise, no complaints from me, although after so many decades of listening to Love You Live I'm having to adjust for the slight variations on some songs - my brain is expecting all the Love You Live nuances!

Clearmountain has done a competent job on this and I'm sure some of you have raised some relevant points about 'brickwalling' etc it sounds fantastic to me and after all it is supposed to be a bootleg.

Ready for the next one now!!!!

Someone was complaining on the static noise on some tracks, esp. the second part of TD and the band introduction and IORR. I can hear this noise, too. I think it is not the copy but the noise is on the master tape.

There is some crackling noise here and there, and I actually suspect Jagger's wireless microphone.

Mathijs

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gimme_shelter

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R
OK, I'm sorry to keep coming back to this but no one seems to be addressing the source tape issue.

How can Bob Clearmountain "remaster" a recording that has never been mastered or released to begin with UNLESS he's doing so with the audience recording that has comprised this beloved bootleg for all of these years?

I have yet to play this on my 'big boy' system but on my after-market car system it seems to lack a bit depth and detail.

I'll leave it to more patient and educated ears than mine to determine if LA FRIDAY is indeed derived from unreleased, multi-track board tapes. Surely there are 'markers' or other indicators spelling out the differences, if there are any.

LA FRIDAY is indeed derived from unreleased, multi-track board tapes, NOT the wellknown audience tape. It could well be that the reordings on multitrack were made and were to be used (eventually) on the Love You Live album. However, from LA, only SFTD from july 9, 1975 was used on LYL, if i'm correct...
So R, a remaster could well be made by Clearmountain if the master existed as a contender for the LYL album.

Technically, this would be an original master, since it's doubtful the concert was mixed and mastereed prior to this campain. But that's just semantics, really. I am not sure why "R" is so incredulous that this is a multi-track recording.

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kowalski

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WeLoveYou

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kowalski

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WeLoveYou
You can't change the dynamics once they're already squashed.

I listened to Captain Acid's Hampton81 "remaster" and there was no change

Because he almost hadn't anything changed. If I remember well he only had the sound lowered and did some slight EQ adjustements.

So what was changed with the GS track you heard?

Well balanced sound, less compressed and with no harshness, guitars that don't sound "metallic", drums that kick and full fat bass sound - not squashed like on the original release, and piano notes! I don't know how Mr. Kamphuis achieved this little miracle but it really sounds good.

? It just sounds exactly the same, only lower in volume. I prefer Clearmountains version by a mile.

Mathijs

It's clear why Mick decided to lessen how bad his vocals were on this tour for Love You Live. His "singing" on Street Fighting Man is hilarious! There was another one that was just as bizarre.

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kowalski

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René
Does STU play on this release? If yes, which songs?

Thanx!

René

From Stones Archive website : "The lineup for the show is Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood, Bill Wyman, Ian "Stu" Stewart, Billy Preston, Ollie E. Brown and Trevor Lawrence."

They miss a couple of people: Bobby Keys and Steve Madaio, and Jesse Ed Davis.

Mathijs

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Mathijs

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RobertJohnson

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crumbling_mice
Having now downloaded and burnt the flac files...I'm even more impressed with this...the only thing which annoys the hell out of me is the weird noises which occaionally appear throughout Sympathy, I'm pretty sure it's Bobby's keyboard but it sounds like a swirling/whistleing noise and just doesn't fit in well at all. Otherwise, no complaints from me, although after so many decades of listening to Love You Live I'm having to adjust for the slight variations on some songs - my brain is expecting all the Love You Live nuances!

Clearmountain has done a competent job on this and I'm sure some of you have raised some relevant points about 'brickwalling' etc it sounds fantastic to me and after all it is supposed to be a bootleg.

Ready for the next one now!!!!

Someone was complaining on the static noise on some tracks, esp. the second part of TD and the band introduction and IORR. I can hear this noise, too. I think it is not the copy but the noise is on the master tape.

There is some crackling noise here and there, and I actually suspect Jagger's wireless microphone.

Mathijs

And Jagger was obviously too wasted to notice!

I just bought it now .FLAC was I right ?

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tkl7

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gimme_shelter

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R
OK, I'm sorry to keep coming back to this but no one seems to be addressing the source tape issue.

How can Bob Clearmountain "remaster" a recording that has never been mastered or released to begin with UNLESS he's doing so with the audience recording that has comprised this beloved bootleg for all of these years?

I have yet to play this on my 'big boy' system but on my after-market car system it seems to lack a bit depth and detail.

I'll leave it to more patient and educated ears than mine to determine if LA FRIDAY is indeed derived from unreleased, multi-track board tapes. Surely there are 'markers' or other indicators spelling out the differences, if there are any.

LA FRIDAY is indeed derived from unreleased, multi-track board tapes, NOT the wellknown audience tape. It could well be that the reordings on multitrack were made and were to be used (eventually) on the Love You Live album. However, from LA, only SFTD from july 9, 1975 was used on LYL, if i'm correct...
So R, a remaster could well be made by Clearmountain if the master existed as a contender for the LYL album.

Technically, this would be an original master, since it's doubtful the concert was mixed and mastereed prior to this campain. But that's just semantics, really. I am not sure why "R" is so incredulous that this is a multi-track recording.

I'm not incredulous that it is from UNRELEASED, UNHEARD MULTI-TRACK BOARD TAPES as I I'm glad that it is. Why not make this fact clearer in the hype, however. Technically this is a completely unheard recording.

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RobertJohnson
Someone was complaining on the static noise on some tracks, esp. the second part of TD and the band introduction and IORR. I can hear this noise, too. I think it is not the copy but the noise is on the master tape.

That was me. And yeah, it wasn't just my copy. I got my hands on the FLAC files and it's there too. It pops up at various other places in the concert too.

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R

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tkl7

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gimme_shelter

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R
OK, I'm sorry to keep coming back to this but no one seems to be addressing the source tape issue.

How can Bob Clearmountain "remaster" a recording that has never been mastered or released to begin with UNLESS he's doing so with the audience recording that has comprised this beloved bootleg for all of these years?

I have yet to play this on my 'big boy' system but on my after-market car system it seems to lack a bit depth and detail.

I'll leave it to more patient and educated ears than mine to determine if LA FRIDAY is indeed derived from unreleased, multi-track board tapes. Surely there are 'markers' or other indicators spelling out the differences, if there are any.

LA FRIDAY is indeed derived from unreleased, multi-track board tapes, NOT the wellknown audience tape. It could well be that the reordings on multitrack were made and were to be used (eventually) on the Love You Live album. However, from LA, only SFTD from july 9, 1975 was used on LYL, if i'm correct...
So R, a remaster could well be made by Clearmountain if the master existed as a contender for the LYL album.

Technically, this would be an original master, since it's doubtful the concert was mixed and mastereed prior to this campain. But that's just semantics, really. I am not sure why "R" is so incredulous that this is a multi-track recording.

I'm not incredulous that it is from UNRELEASED, UNHEARD MULTI-TRACK BOARD TAPES as I I'm glad that it is. Why not make this fact clearer in the hype, however. Technically this is a completely unheard recording.

Technically, you are correct, although the majority of the targeted audience have no idea about whether the previous bootlegs are audience, soundboard, radio broadcasts, etc. Plus saying something is "remastered" is kind of a hook to get people to buy it, even if it was never mastered before, and in this case, unreleased and unheard. Technically all of these official bootlegs were "unreleased."

Just listened to I never talked to chuck berry, mmmmmm

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Mathijs

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kowalski

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WeLoveYou

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kowalski

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WeLoveYou
You can't change the dynamics once they're already squashed.

I listened to Captain Acid's Hampton81 "remaster" and there was no change

Because he almost hadn't anything changed. If I remember well he only had the sound lowered and did some slight EQ adjustements.

So what was changed with the GS track you heard?

Well balanced sound, less compressed and with no harshness, guitars that don't sound "metallic", drums that kick and full fat bass sound - not squashed like on the original release, and piano notes! I don't know how Mr. Kamphuis achieved this little miracle but it really sounds good.

? It just sounds exactly the same, only lower in volume. I prefer Clearmountains version by a mile.

Mathijs

Isn't that weird? You said no difference only lower volume, and still preferring a LOUD and Brickwalled version

There are lot's of differences; Drumsound, drums & vocals slightly higher in the mix. Warmer sound. Bass adjustments etc.

Please Check with TT Dynamic Range Meter and you'll see the difference...
Lowering the volume (-3db) don't adjust the dynamic Range



Edited 1 time(s). Last edit at 2012-04-04 19:19 by kevinkamphuis.

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tkl7

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R

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tkl7

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gimme_shelter

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R
OK, I'm sorry to keep coming back to this but no one seems to be addressing the source tape issue.

How can Bob Clearmountain "remaster" a recording that has never been mastered or released to begin with UNLESS he's doing so with the audience recording that has comprised this beloved bootleg for all of these years?

I have yet to play this on my 'big boy' system but on my after-market car system it seems to lack a bit depth and detail.

I'll leave it to more patient and educated ears than mine to determine if LA FRIDAY is indeed derived from unreleased, multi-track board tapes. Surely there are 'markers' or other indicators spelling out the differences, if there are any.

LA FRIDAY is indeed derived from unreleased, multi-track board tapes, NOT the wellknown audience tape. It could well be that the reordings on multitrack were made and were to be used (eventually) on the Love You Live album. However, from LA, only SFTD from july 9, 1975 was used on LYL, if i'm correct...
So R, a remaster could well be made by Clearmountain if the master existed as a contender for the LYL album.

Technically, this would be an original master, since it's doubtful the concert was mixed and mastereed prior to this campain. But that's just semantics, really. I am not sure why "R" is so incredulous that this is a multi-track recording.

I'm not incredulous that it is from UNRELEASED, UNHEARD MULTI-TRACK BOARD TAPES as I I'm glad that it is. Why not make this fact clearer in the hype, however. Technically this is a completely unheard recording.

Technically, you are correct, although the majority of the targeted audience have no idea about whether the previous bootlegs are audience, soundboard, radio broadcasts, etc. Plus saying something is "remastered" is kind of a hook to get people to buy it, even if it was never mastered before, and in this case, unreleased and unheard. Technically all of these official bootlegs were "unreleased."

Going by the pics of the multitrack boxes at stonesarchives - it's a pretty safe bet that's where the tracks come from.
I would also assume that the recording engineer of the event would make a rough-mix of the multi-track-tapes while they're fresh and the original machine was at hand just to know what's on the darn multitracks and to have it on a manageable 2-track media.
so to say it's a re-mix and re-master makes perfectly sense, imo.

i wonder if they save it to dat in the 90's ?

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vancouver
i wonder if they save it to dat in the 90's ?

they probably did. I believe the Voodoo Brew, Voodoo residue and Voodoo Stew sets were from stolen or misplaced (grin) dat-tapes. So i would imagine they used it for live shows as well...

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kevinkamphuis

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Mathijs

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kowalski

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WeLoveYou

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kowalski

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WeLoveYou
You can't change the dynamics once they're already squashed.

I listened to Captain Acid's Hampton81 "remaster" and there was no change

Because he almost hadn't anything changed. If I remember well he only had the sound lowered and did some slight EQ adjustements.

So what was changed with the GS track you heard?

Well balanced sound, less compressed and with no harshness, guitars that don't sound "metallic", drums that kick and full fat bass sound - not squashed like on the original release, and piano notes! I don't know how Mr. Kamphuis achieved this little miracle but it really sounds good.

? It just sounds exactly the same, only lower in volume. I prefer Clearmountains version by a mile.

Mathijs

Isn't that weird? You said no difference only lower volume, and still preferring a LOUD and Brickwalled version

There are lot's of differences; Drumsound, drums & vocals slightly higher in the mix. Warmer sound. Bass adjustments etc.

Please Check with TT Dynamic Range Meter and you'll see the difference...
Lowering the volume (-3db) don't adjust the dynamic Range

No, it's not weird. I don't find the mastering to be overly compressed and limited, and certainly not 'brickwalled'. It isn't lacking in dynamics or frequency response in my opinion.

I do find though that it is mastered very modern, and you have to get used to this. We've been listening to the 75 tour for 25 years when it still sounded old fashioned, and now it suddenly sounds very modern. I guess te main reason for this is that they didn't want to spend too much time and money on the mixing. To my ears it has a tad too much loudness, it is a bit too hot for my ears. this is easily fixed by adjusting the gain, just as turning up the gain a bit helps with old vinyl records.

When something is mastered very hot, with quite a lot of limiting and compression, there's no way to revert that back. There's tricks you can apply, like taking out the midrange a bit, or a small change in the stereo image, and some less gain, but it doesn't really makes it sound better. You can even concert it to a non lossless format and back, and that will take the compression out...

Mathijs

Interesting that they kept the same version of Happy and didn't go for another night. There's a few moments where Keiths singing then playing is off tempo and It sounds like the song is going to de-rail.



Edited 1 time(s). Last edit at 2012-04-04 22:16 by ryanpow.

I thought the opening chords to "Wild Horses" was very eerie. With the Flanger effect it almost sounded Led Zeppelin-ish to me.

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Justin
I thought the opening chords to "Wild Horses" was very eerie. With the Flanger effect it almost sounded Led Zeppelin-ish to me.

I find this version dirge-like and unbearable to listen to.

Really loving what I'm hearing with this. Best SFTD ever imo - what a bloody travesty that's been in recent years! (I know that's not news but it took hearing this to realise just how bad!)

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71Tele

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Justin
I thought the opening chords to "Wild Horses" was very eerie. With the Flanger effect it almost sounded Led Zeppelin-ish to me.

I find this version dirge-like and unbearable to listen to.

Yup, I admit I skipped over it without even listening past the first opening chords. I thought there were many other great moments to move on to.

As I said before, - since first hearing them on vinyl I especially liked these 75 versions of Wild Horses and Gimme Shelter.

I'm no expert for guitars and amps. But to my knowledge never before of after they played them that way.
Apart from electric guitar (W.Horses) and use of Flange what makes them so different? Did they use special/unusual guitars or was it just a mix of much flang and the way of playing them here?

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NoCode0680

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RobertJohnson
Someone was complaining on the static noise on some tracks, esp. the second part of TD and the band introduction and IORR. I can hear this noise, too. I think it is not the copy but the noise is on the master tape.

That was me. And yeah, it wasn't just my copy. I got my hands on the FLAC files and it's there too. It pops up at various other places in the concert too.

On one hand the noise is really disturbing but on the other I'm glad that they left the whole show intact instead of replacing It's Only Rock'n'Roll or Sympathy with versions from other dates. I really would love to have all other 75-shows in this quality as well, no matter if the tapes/recordings are flawless or not

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GOO
Just listened to I never talked to chuck berry, mmmmmm

I always love a good joke ... thanks

Keep On Rolling

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Justin

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71Tele

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Justin
I thought the opening chords to "Wild Horses" was very eerie. With the Flanger effect it almost sounded Led Zeppelin-ish to me.

I find this version dirge-like and unbearable to listen to.

Yup, I admit I skipped over it without even listening past the first opening chords. I thought there were many other great moments to move on to.

You should listen to WH -great guitar by Wood, fantastic solo, great wurly by Preston.

Mathijs

This boot is the f*cking bomb!!! I'm ecstatic.