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King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44 FLAC8

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Description

Music : Rock : Lossless
King Crimson - Absent
Lovers
Live in Montreal Quebec July 11, 1984
Label: Poverty Records (5) ? RED
Format: Vinyl, LP,
Unofficial Release
Country: Canada
Released: ? 
Genre: Rock
Style: Prog Rock

HiRes rip
ReMastered @ 24bit / 96khz resolution
phase corrected, declicked, speed corrected, equalized, and enhanced
downsampled and dithered to 16bit / 44.1khz CD redbook ready resolution


http://www.discogs.com/King-Crimson-Absent-Lovers/release/4129802


 

Tracklist: 48:32

A1 Red 5:50
A2 Matte Kudasai
3:43
A3 Three Of A Perfect Pair 4:17
A4 Indiscipline 8:13
A5 Satori In Tangier 4:17
B1 Frame By
Frame 3:54
B2 Man With An Open Heart 3:37
B3 Sleepless 6:00
B4 Heartbeat 4:05
B5 Elephant Talk
4:36

Credits

Bass, Chapman Stick [Stick], Backing Vocals [Background Voice] ? Tony Levin
Drums [Acoustic Drum Kit] ? Adrian Belew (tracks: A5)
Drums [Drumming] ? Bill Bruford
Guitar ? Robert
Fripp
Voice, Guitar ? Adrian Belew (tracks: A1 to A4, B1 to B5)
 
Notes:
"Recorded at Le Spectrum, Montreal, Canada in July,
1984. This is one of the very last shows the band ever played.

All pictures from Tony Levin's book Road
Photos

Distributed by Beta, Bate & Abet, Toronto

Made in Canada

For Sale As An
Export Only." (from the notes on the back sleeve)

The back sleeve includes an interview with Robert
Fripp "Severely edited from Guitar Player magazine Jan. `86".

The labels are fake, they show a
different artist as with the other bootlegs from Elvis Costello and Ozzy Osbourne on Poverty Records, "Buddy Love
Sings About Girls" including 7 fake titles on both label sides of the record.

The music plays slightly
too fast and is pitched a little bit too high - it needs to be slowed down for proper playback speed.

Barcode
and Other Identifiers:
Matrix / Runout (Side 1): RED - Side I
Matrix / Runout (Side 2): RED - Side 2

 

lineage:
My vinyl vg+ condition
> Nagaoka roller record cleaner + Last record preservative cleaning brushes in a scrub and lift type of operation
> Technics SL-1900 turntable stacked on hockey pucks and large rubber stoppers from Walter White?s chemistry lab as a
noise and vibration isolation and dampening mechanism on a very heavy solid wooden dresser with drawers full of CD?s for
extra damping weight all on a solid concrete floor > Eon Research & Development Tri-Pad platter mat (3 layers:
cork, acrylic, and elastomer ? designed to use with a clamp / weight) > large heavy old-school glass telephone pole
electrical insulator cap used as record clamp > Stanton 681EEE cartridge > modified heavy-duty shielded output
cables with Monster Cable phono plugs > Marantz SR670 receiver used as pre-amp (grounded) > tape one line out >
played in the dead of night monitored on headphones for minimal external vibrational noise > Radio Shack modified
heavy-duty shielded output cables with gold rca phono plugs to 1/8? stereo gold jack > Zoom H2 3.5mm stereo line in
@100 record level 24bit 96khz > SDHC card / USB transfer / Hard Drives > Acer Aspire Win XP > ClickRepair 3.4.1
(Reverse Wavelet x3 DeClick 25 done on automatic after several trial runs to monitor the process) > Adobe Audition 3
Automatic Phase Correction Tool > Wavelab 5.01b (mastering plug-in host, editing, fades)[effects used: ToolsOne for
slight balance correction and level reduction to allow headroom; Waves Q10 Paragraphic EQ for high end ramp and some low
re-enforcement; Waves S1 Shuffler for some stereo field widening; BBE D82 Sonic Maximizer for enhancement; PeakMaster
for limiting some possible stray peak levels] > iZotope RX Advanced 2 DeClick (applied manually to several stubborn
pops missed in ClickRepair)> A fork in the road. Choose one making you feel better?:)

for Full High
Resolution 24/96 files:
> Trader?s Little Helper > FLAC8 > FooBar2000 for FLAC tagging with Discogs tagger
> mystery file transport mechanisms > YOU!

for RedBook CD Ready 16/44.1 files:
> SoX ReSampler
via Foobar2000 for resampling from 96 khz to 44.1 khz (passband 95.2% disabled aliasing 25% phase response very high
quality) > iZotope RX for dithering from 24 bit to 16 bit (MBIT+ ultra noise shaping high dither) > Trader?s
Little Helper > FLAC8 > FooBar2000 for FLAC tagging with Discogs tagger > mystery file transport mechanisms
> YOU!


Notes about ReMaster:
I originally noticed some problems with this record the first time
I played it. The speed / pitch of the record is kind of fast - the band was hot, some would say smoking hot, but they
weren't smoking crystal meth that night! Speedy! To prepare my setup for this rip, I manually adjusted the speed / pitch
on my turntable while simultaneously synchronously playing the CD version. The song transitions are mixed differently /
are longer / more natural on the CD (the vinyl mix is edited to be shorter for broadcast), but for each song I
re-synched the two sources until I was sure that my turntable was playing the music from the record at exactly the same
speed as the officially remixed from the master tapes version.

The raw rip files @ 24/96 were first processed
with ClickRepair, then through Adobe Audition's automatic phase correction tool. Then, the declicked phase corrected
files were pulled into Wavelab for EQ and other enhancement, and file splitting. The remastered split files were then
brought into iZotope RX Advanced 2 one by one for final manual stray pop click removal of approximately 20 anomalies
that were missed in the earlier ClickRepair cleaning.

The vinyl is fairly well pressed, considering that it
is a bootleg. It's still very flat and centered, and when I was scanning my custom made labels, I noticed that the vinyl
is translucent dark brown instead of black you can't see through, which I believe is a sign that it's pressed on virgin
vinyl. No post-consumer recycled materials like old records and pocket combs and toothbrushes in this vinyl! hehe Nice!
My copy does have a flaw / damage on side 2 during "Man With An Open Heart" there is a nick / itty bitty
scratch that caused a recurring tick for  about 4 or 5 revolutions of the record. Thankfully, automatic ClickRepair and
some manual iZotope RX2 took care of that set of clicks and almost all the rest of them. I listened hard, but I didn't
perform microsurgical miracles! There are still a few reminders that the sound comes from a record, but, for a bootleg
record - no, a King Crimson bootleg record, it's pretty good! hahaha!

It is a bootleg, though, and like most
bootlegs, the source audio is a little less than perfect! As a concert taper for more than 25 years, I'm more than
familiar with live recordings and their sometimes slightly less than audiophile sound! I am quite used to tweaking sound
of a recording that's harshly flawed to make it sound more generally pleasing even if it still isn't perfect. Sometimes,
though, there are slightly flawed bootlegs and live recordings that can sound surprisingly good if they are treated the
way any un-mastered studio recording would be treated by being mastered correctly. I know that my turntable setup is not
the best, but I know that the sound coming from this record in the raw was not what it could or should be - even for my
meager setup! It was extra midrange-y with little low end and very little in the highs. I'm not sure if they cut the
record with proper RIAA eq applied.

The concert was remixed and released complete as a 2 CD set, but the
mixes on this record are different. I've read something about these being "the Bruford mixes" supervised by
Bill Bruford for the broadcast version of the concert that this record is made from, and how, when Robert Fripp heard it
he was "deeply offended" if I remember it correctly. The CD set is very tightly compressed and very very
bright to my ears, but it does emphasize the urgency of the energetic performance. There are elements of Bill's kit that
sound a little different on this record - things mixed way differently (missing!) in the cymbals on a couple tracks
stood out to my ears. Some drum sounds are maybe a little bit different tonally, perhaps? It just sounds different. But,
as a bootleg source, it was a little lackluster, so I fixed it up a bit!

The auto phase correction tool in
Audition3 helps with the improperly adjusted azimuth of one of the tape heads in their bootlegger lineage that was
slightly mis-aligned which caused the sound to be muffled and swirly in certain places. I used a series if high shelf eq
settings to gradually increase the highs by about 10 decibels, and also to re-enforce the guts of the low end by just a
couple db with some low shelf eq boost. The stereo soundstage was very narrow, so I widened a little bit like many
mastering engineers will do when given flat unmastered tapes that sound poor (sorry Bill but your mix sucks! haha) and
them ran it through the BBE sonic maximizer for a little extra bite and oomph that it was missing.

I tried to
treat the raw vinyl rip as a raw mixdown recording, and I gently "mastered" it. I could have probably done
even more. I could have pushed what I did do a lot harder, but I would like to think that I've done what needed to be
done and no more. The original was kind of dull sounding - flat and sort of lifeless, even though it's a great
performance. I think my "mastering" work on this source now has more of the life and light that the CD version
has, but nowhere near the brittle brightness and brashness of that CD mix. It's a little noisier from all the eq but it
needed the help to compromise the noisefloor a little bit. It probably couldn't have been equalized like I did if it
wasn't for the apparent quality of the noiseless virgin vinyl that it's pressed into! I've heard some gritty and nasty
"pocket comb" vinyl pressings from the eighties where you can hear the swish of the dirty crap melted into
that recycled vinyl, but, even with all the high end boosting and other enhancement the final noise level of the sound
of this record is minimal. There's more noise audible from the tape used to cut the record than there is audible noise
from the actual record... So, good, right?

I've been trying to make decent HiRes album artwork scans to match
the HiRes audio files, but still so far I seem to lack the skills and software to produce good solid clear pictures of
the full covers. For this release, I had help from rodney, who took my multiple partial scans of my record jacket that I
emailed to him and processed them to stitch them together to make the finished nice covers for me. So, thanks again,
rodney, for putting up with my coverart scans spamming up your email! LOL The covers look good.

The record
label artwork scans here are special. The original labels are posted on Discogs, and I've included them in this package,
because I can't scan mine - my record has special hand-drawn picture labels with hologram edges! I had some large white
stickers that almost fit over the original record labels, and some cool hologram foil stickers that could be added to
the plain paper to fully cover the original labels. My friend was an artist and graphic designer, and she hand coloured
her drawings from other album art. She made some very beautiful one of a kind record labels for me, to hide some pretty
offensively humorous bogus original bootleg labels. Later, when it was time to make them stick on to the record, I found
out just how hard it is to cut a curved line and make a circle in thick paper with dull straight blade scissors! The
labels aren't so much circular anymore as they are more like a 69 sided polygon. Hahaha! Still, they look nice. I'd
rather look at them than what's underneath! Buddy Love? Please!!!









A01 Red.wav:  successfully encoded to 'A01 Red.flac' (ratio = 0.652; no need for sector alignment).
A02
Matte Kudasai.wav:  successfully encoded to 'A02 Matte Kudasai.flac' (ratio = 0.579; no need for sector alignment).
A03 Three Of A Perfect Pair.wav:  successfully encoded to 'A03 Three Of A Perfect Pair.flac' (ratio = 0.608; no need
for sector alignment).
A04 Indiscipline.wav:  successfully encoded to 'A04 Indiscipline.flac' (ratio = 0.561; no
need for sector alignment).
A05 Sartori In Tangier.wav:  successfully encoded to 'A05 Sartori In Tangier.flac'
(ratio = 0.597; no need for sector alignment).
B01 Frame By Frame.wav:  successfully encoded to 'B01 Frame By
Frame.flac' (ratio = 0.598; no need for sector alignment).
B02 Man With An Open Heart.wav:  successfully encoded to
'B02 Man With An Open Heart.flac' (ratio = 0.604; no need for sector alignment).
B03 Sleepless.wav:  successfully
encoded to 'B03 Sleepless.flac' (ratio = 0.610; no need for sector alignment).
B04 Heartbeat.wav:  successfully
encoded to 'B04 Heartbeat.flac' (ratio = 0.610; no need for sector alignment).
B05 Elephant Talk.wav:  successfully
encoded to 'B05 Elephant Talk.flac' (ratio = 0.607; no need for sector alignment).

No errors occured.


A01 Red.flac:  tested ok (file is decodable without error).
A02 Matte Kudasai.flac:  tested ok (file
is decodable without error).
A03 Three Of A Perfect Pair.flac:  tested ok (file is decodable without error).
A04 Indiscipline.flac:  tested ok (file is decodable without error).
A05 Sartori In Tangier.flac:  tested ok
(file is decodable without error).
B01 Frame By Frame.flac:  tested ok (file is decodable without error).
B02
Man With An Open Heart.flac:  tested ok (file is decodable without error).
B03 Sleepless.flac:  tested ok (file is
decodable without error).
B04 Heartbeat.flac:  tested ok (file is decodable without error).
B05 Elephant
Talk.flac:  tested ok (file is decodable without error).

No errors occured.


A01
Red.flac:a20de34aefdfe176d52290087161d01d
A02 Matte Kudasai.flac:8356d585f681b7ebefc21746d7be1991
A03 Three Of
A Perfect Pair.flac:0241a68bcd7d140a7162ab4734edb72a
A04 Indiscipline.flac:7f29f4c3c76835d5813e211e4ca3a038
A05 Sartori In Tangier.flac:28fcc24d05e3b080ee18cf3816fdd12b
B01 Frame By
Frame.flac:54245188da268ce8b4a18aa78e382ce7
B02 Man With An Open Heart.flac:7e572da451fc07022c3f8caf4c48829f
B03 Sleepless.flac:0ee8c808561cdf851e734e60888abe07
B04 Heartbeat.flac:381b5f87e34c9faf3e20c806e0260dd3
B05
Elephant Talk.flac:ab390f84901ffbb21a2e1e969b478348

Checksum file saved to disk.

No errors
occured.


N:King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44 FLAC8A01 Red.wav: 
successfully deleted.
N:King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44 FLAC8A02 Matte
Kudasai.wav:  successfully deleted.
N:King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44
FLAC8A03 Three Of A Perfect Pair.wav:  successfully deleted.
N:King Crimson - Absent Lovers Montreal 1984 vinyl
bootleg ReMastered 16 44 FLAC8A04 Indiscipline.wav:  successfully deleted.
N:King Crimson - Absent Lovers Montreal
1984 vinyl bootleg ReMastered 16 44 FLAC8A05 Sartori In Tangier.wav:  successfully deleted.
N:King Crimson - Absent
Lovers Montreal 1984 vinyl bootleg ReMastered 16 44 FLAC8B01 Frame By Frame.wav:  successfully deleted.
N:King
Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44 FLAC8B02 Man With An Open Heart.wav:  successfully
deleted.
N:King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44 FLAC8B03 Sleepless.wav: 
successfully deleted.
N:King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44 FLAC8B04
Heartbeat.wav:  successfully deleted.
N:King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 16 44
FLAC8B05 Elephant Talk.wav:  successfully deleted.

No errors occured.
foobar2000 1.3.7 / Dynamic Range
Meter 1.1.1
log date: 2015-03-09 21:06:15

--------------------------------------------------------------------------------
Analyzed: King Crimson / Absent
Lovers
--------------------------------------------------------------------------------

DR         Peak 
       RMS     Duration Track
--------------------------------------------------------------------------------
DR11      -1.72 dB   -15.34 dB      5:50 01-A01 Red
DR11      -6.30 dB   -19.56 dB      3:43 02-A02 Matte
Kudasai
DR12      -3.93 dB   -17.44 dB      4:17 03-A03 Three Of A Perfect Pair
DR12      -4.43 dB   -20.22 dB
     8:13 04-A04 Indiscipline
DR12      -3.85 dB   -19.02 dB      4:17 05-A05 Sartori In Tangier
DR11     
-3.18 dB   -17.49 dB      3:54 06-B01 Frame By Frame
DR13      -3.45 dB   -17.49 dB      3:37 07-B02 Man With An
Open Heart
DR12      -2.71 dB   -16.69 dB      6:00 08-B03 Sleepless
DR12      -3.46 dB   -17.89 dB      4:05
09-B04 Heartbeat
DR12      -0.12 dB   -14.61 dB      4:36 10-B05 Elephant Talk
--------------------------------------------------------------------------------

Number of tracks:  10
Official DR value: DR12

Samplerate:        44100 Hz
Channels:          2
Bits per sample:   16
Bitrate:           857 kbps
Codec:             FLAC
================================================================================

                                                              

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