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Austria 1971-07-01 (16bit/44kHz)
**3rd Gen Cassette**

Pink Floyd
Ossiach Festival Stitschoff
Ossiach, Austria
July 1st 1971

Lineage: 3rd Gen Cassette > Tascam 112mk II cassette deck > Layla 3G > Sound Forge 6.0 > Wav (24bit/48kHz) ----> Samplitude10 (32bit float/96kHz) > Wav (16bit/44kHz) > CDWave (1.98) > FLAC


***Doinkers Notes***
I wasn't supposed to get this tape, and at the time it appeared under wierd circumstances it was listed as "Do not copy". If you've been with me through previous Pink Floyd torrents, you know the name (Herr) Peter D. This is my long-time friend from the BRD who brought his copies of "Pictures Of Pink Floyd" over to my little studio in New York so we could remaster it into what became "The Pictures Of Pink Floyd Restoration Project". This is the same person who supplied me with the reel-to-reel upgrade of Duesseldorf 1971.

Way back in 1990, he asked if a friend of his could stay at our house for a while. Since it was alright with my then-current wife, we went to the airport to pick up... a 19 year-old (I was 35 at the time). He had brought perhaps a dozen tapes with him that were supposed to be mailed to someone else here in the states without my listening to them. One of the tapes was this one. They didn't have cases, just paper labels taped over one side of the tape to be removed before playing. He did state that the Ossiach show was very difficult to get as the taper was extremely possessive about the recording and was apparently angry that a copy had to be made. We gave this guy a tour of New York City, and promised to send the tapes off. But, right after he left my two-year-old son got into the cabinet where the tapes were stored and promptly ripped all the labels off them, destroying many in the process. He did this when I was away at work. This was apparently alright with my wife, a fact which left a long-standing bad feeling in my gut - both about her and about what the consequences would be once the receiver of the tapes reported he never got them.

But, no one ever called for them. Not Peter D., not the guy who visited us, no one. The Ossiach tape was one of the very few which I could determine a label for. The pieces of labels for the rest of them are long gone and I now don't even now know which of the many unlabeled tapes they are or what show was on them. Pity, eh? So now 20 years later, YOU now have a 3rd generation tape.


***Littlepieces' Mastering Notes***
This is a mono recording that was processed as two channel stereo. The left channels output is mostly ~1.0db higher than the right and the channels are aligned most of the time, though occasionally shifted a sample or two. I decided the almost perfectly aligned channels were best left as is and the slight level imbalance was left unchanged as well.

The recording has over 500 noticeable tics throughout most of the recording. I used a global declicker with a conservative setting to remove most of the tics.

All versions have an inside cut near the beginning of STC. Given where this occurs, it's almost certainly due to the taper changing tapes. I removed the dead air and smoothed this inside cut. I also removed a 9s repeated segment about 12s after the inside cut and a 10s repeated audience segment at the end of STC and spliced seamlessly.

It seems the speed started a bit slow on each tape side before eventually becoming close to correct. I chose to correct the first track on each side, RoTSoN and STC, as each was more than 1% slow at times. The last tracks on each side, CWTAE and AHM, were less than 1% and often correct so I chose not to subject them to a SpC/resample.

At the end of AHM, after about 45s, the applause is interrupted by a 5s segment of tuning followed by more applause that seems consistent with the prior applause. I couldn't find anywhere within the recording that these last two segments were repeated. The last applause segment seemed completely consistent with the first 45s of applause after AHM with the crowd screaming and whistling for more. So I placed this last applause segment adjacent to the first 45s of applause and smoothed. The 5s of tuning sounds a bit like Richard tuning up for RoTSoN, but I couldn't find it there or anywhere else, so I placed it at the end, essentially switching positions with the second part of the AHM applause. It occurred to me that these two segments could be related to an encore after AHM, essentially the band coming back on stage, but I couldn't find any indication that another song was played after AHM on this date.


01. [04:47] Audience/Tuning
02. [23:29] Return Of The Sons Of Nothing
03. [02:28] Audience/Tuning
04. [11:43] Careful With That Axe, Eugene
05. [01:39] Audience/Tuning
06. [13:19] Set The Controls For The Heart Of The Sun
07. [03:25] Audience/Tuning/Orchestra Sets Up
08. [29:10] Atom Heart Mother/Mystery Tuning

** [90:04] Total


Some differences and things I noted with 'Depths of Space' (DOP) and was told was different than the supposed '1st Gen > DAT'.
- 'DOP' has 18s more audience at beginning
- 'DOP' has ~14s repeated applause before STC.
- Doinkers has 45s more music before the STC inside cut than the 'Cass 1 > DAT'.
- 'DOP' has the same 10s repeated audience segment at end of STC as Doinkers.
- Doinkers has ~14s more applause/content after AHM than 'Cass 1 > DAT'.
- Doinkers has ~45s more applause/content after AHM than the 'DOP'.


Doinker Tape Transfer/ Little Pieces Production (LPP)/(May 2010)
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