O lendário episódio dos concertos de Wembley no Empire Pool em Londres nos dias 15 e 16 de novembro 1974. O responsável pelo excelente processo de tratamento do registro destes concertos é Andy Jackson, engenheiro de gravação indicado ao Grammy, cujo o relacionamento com "Pink Floyd" já vêm de longa data, desde a década de 80. Com o grupo ele projetou "A Momentary Lapse of Reason", "The Division Bell", sendo ainda co-engenheiro na produção "The Final Cut" com James Guthrie, e também, o engenheiro de som durante a turnê "The Division Bell" em 1994. Além disso, projetos de obras solo dos músicos. Com "Roger Waters", o álbum "The Pros and Cons of Hitchhiking", e com "David Gilmour", os álbuns "About Face" de 1984, e "On an Island" de 2006.
Mais recentemente, ele foi responsável pela mixagem e masterização de áudio de grande parte do material bônus em "The Dark Side of the Moon" e em "Wish You Were Here". Neste caso às 13 faixas ao vivo em Wembley, onde buscando obter o melhor resultado possível, mesclou os dois shows (15/16), extraindo o melhor de cada um. Abaixo se segue uma entrevista promovida pela Super Deluxe Edition, (site especializado em cobrir edições de alta qualidade), onde o engenheiro Andy Jackson fala sobre os desafios da masterização e mixagem do "Pink Floyd live at Wembley 1974". Boa audição!
You have spoken about the ‘missing’ kick drum on the live Wembley recording of The Dark Side of the Moon. Apart from fixing that, what was the biggest challenge in terms of getting this audio recording into shape for inclusion on the Immersion box?
Andy Jackson: Spill was a major problem. There was a lot of everything on the vocals, but this is only to be expected with a gig recording. What was not expected was the amount of guitar on the drums, and most problematically, the bass and keyboard stacks were right next to each other and the spill between them was dreadful. On the final mix you can hear it on the bass, the imaging is rather vague. It should be in the middle, but gets pulled over to the right where I’d placed Rick’s keyboards. It actually wanders around a bit, the louder I had the keyboards, the more it drifts right.
SDE: Drums apart, were any bits of new performance ‘flown in’ to this live recording at any point to correct a mistake, for instance?
AJ: We used two different nights recording for the album. Essentially it splits as ‘side one’ and ‘side two’, we switch nights at Money. I did occasionally use bits & pieces from the other night for fixes, vocals mostly. If you accept that in order to make a compelling record, it needs to be free from things that will break the spell too much, and a sour note would do. With current technology we can re-pitch things, but the spill problem meant that if we did, you’d hear the re-pitched spill on the vocal, and that spill would be out of tune. Consequently, it was better to use the other night as an insert. The only addition was on the intro of Time where we added in the heartbeat. They hadn’t played it on the night, and it is so much part of the fundamental rhythm I thought it was a liberty that was justified. I mixed it quite a bit quieter than the balance on the original album, enough to do the job but not drawing attention to itself.
SDE: The concert in the box is actually from two nights – could you be more specific in terms of which songs were from which nights?
AJ: Side one was from the 16th [November 1974], side two the 15th.
SDE: The “early mix” on disc 6 of The Dark Side of the MoonImmersion box is a fascinating listen. Is this mix presented exactly as it was when the band took it home over Christmas 1972? i.e. have any tweaks or enhancements been applied?
AJ: Only a pass for mastering. Played the original 1/4″ tapes into my workstation via my mastering equaliser, giving it a tweak on the way. This is normal procedure for any record. Otherwise it’s exactly the same.
SDE: In your opinion is the hi-res Blu-ray stereo / 5.1 2011 remaster of The Dark Side of the Moon now the definitive audiophile version of the album? Is there any reason to hold on to the 2003 SACD?
AJ: Hi-def PCM & DSD sound different, you pays your money you takes your choice on that, I like DSD, very analogue sounding. I believe that the BD is not new mastering, it is derived from the same source as the SACD [this is the case].
SDE: What has been your favourite or most satisfying aspect of working on the audio for the Immersion Box release of The Dark Side of the Moon
AJ: Oddly I’m going to say it was the early versions of Sheep and Dogs that are on Wish You Were Here [Immersion and Experience editions], not The Dark Side of the Moon. I loved seeing the writing process of those revealed. The best single moment was finding the tape that gives us the Easter Egg of Roger the Hat [Pink Floyd roadie whose spoken voice is heard on On The Run]. I’d hoped that the tapes of the interviews would turn up, but it seems to be gone. Fortunately Nick had taken a copy of Roger the Hat’s one at the time, as it is so funny.
The Dark Side Of The Moon
Live at The Empire Pool,
Wembley, London - 1974
Digital Remaster - 2011
Pink Floyd Music Ltda.
01. Speak To Me
02. Breathe (In The Air)
03. On The Run
05. The Great Gig In The Sky
07. Us And Them
08. Any Colour You Like
09. Brain Damage
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