F.A.Q.

Who?
I have a turntable and a nice record collection, mostly LP's from the 60's & early 70's.

What?
My aim is to make rare stuff (in glorious mono or sometimes stereo) publicly available again with the best possible sound quality.

Requests?
Generally, no. I select my projects very critically. Vinyl condition is everything. I tend not to work with records that are in less than pristine condition.

Donations?
Get outta here!

Saturday, October 22, 2016

The Who - The Fall 1969 Soundboard Tapes Vol. 1-5 [Prof. Stoned 2016]


Highlights (430 MB)
Info
pass: profstoned
----------------------------
Volumes 1-5 (1.7 GB)
Info
pass: profstoned

81 comments:

Rev. Dr. Moller. MDMA, THC and BAR. said...

Hi,

I found this here after the problems over at Dime so am getting the full set via your blog. I left the first comment on your first upload of vol. 2, you are indeed a star for all your work on this project.Thank you very much. More power to your spliff hand sir!

Unknown said...

Thank you Prof. Very pleased to find it here after the hassle over at Dime. They're more concerned about rules, of which they have way too many, than the actual music and the people who share it. They've become more and more user unfriendly over the years. You're a star in my book.

rockgogo said...

Simply GREAT!!! Many thanks Prof. I appreciate these gems you've made!

imwalrus said...

Add me to the list of those giving thanks. I downloaded the sampler and it sounds wonderful and am looking forward to hearing the complete set (downloading now)!

Anonymous said...

So glad you put this here, I was following your posts on Dime - Thanks so much for your time, effort, & dedication! -John

Lonnie said...

Thanks for this! Love your work.
What is Dime?

Anonymous said...

Lonnie: http://www.dimeadozen.org/
Music sharing site utilizing torrents.
-John

Bert said...

About the My Generation Medley on the Acetates source: it's the same performance as the last part of the Live Disc of the Tommy Deluxe release, without the part they flew in from Swansea '76 that is. Whether that means it's from Ottawa I don't know but it's worth mentioning as I didn't find it mentioned in your otherwise very informative notes.

Prof. Stoned said...

You're right! Never bothered to listen to the tacked-on Swansea tracks. Sadly still incomplete though.

I strongly doubt it's from Ottawa though. If they had the last part of that show, they would not have needed to include the Swansea tracks.

However, there is a clean copy of at least one of the two acetates in the Who archives and that's very likely where this bit comes from.

Scott Ferguson said...

Many thanks again...this remastered set are sounding amazing.

Anonymous said...

The people at DIME gave me a huge hassle about an "undated" but unreleased Zappa tape, and then less than a month later somebody posted the same tape with no problems at all. So they don't even know when to implement their stupid rules and when not to.

Aldo Simionato said...

Dear Professor: You're great. I'm a big fan since Demonoid. Your "Are You Experienced?" mono rip is the best version of that album. Many Thanks for everything and a request: John Lennon's Imagine.

Anonymous said...

An outstanding archive, Prof. Have a Nobel Prize!

tambler

DavidR90 said...

These are great, thank you!

Anonymous said...

Yowza! Reading the info file...lots of work here. Thank you very much.

Ralph said...

Thanks a lot, can't wait to hear these.....

Anonymous said...

many many thanks Prof.

may gods bless you all ways
& days

YankeeBoy said...

Can't wait to dig into this!! Thank you.

Jonsattic said...

Thanks for this. What the hell happened at Dime? First they banned the sampler, why? Then the next two uploads vanished. Many thanks. It's appreciated.

Prof. Stoned said...

In short:

Five uploads were banned; the sampler (no 'teasers' allowed), Vol. 2 (folder name wrong), and then Vol. 1-3 (no .txt file with actual info). Rules were broken, no exceptions for anyone, and all that jazz.

Schmitty76 said...

Was able to get this from Dime before it was removed. Many thanks! Sounds amazing

Anonymous said...

I stopped posting at DIME for two reasons. A) It's not worth dealing with breaking one of their stupid rules and B) It's not worth dealing with the rude comments in the comments section because something isn't to somebody's liking.

Anonymous said...

Thanks Professor. From one "not necessarily stoned, but beautiful" person to all those "with hearts and ears" Thank you for all the music you have offered through the years.

dr blues

madman said...

Thanks for sharing this, Prof! I don't torrent, so I'm glad you have an alternate site to make your stuff available.

sherri said...

Thank You,Prof.You Should Be Our Next Pres.Yu'r a Great Man.

warpig said...

Thank you very much for all the hard work.

Toxxy said...

Thx indeed for these tunes and all your hard work, much apprecited!

srv1954 said...

Thank you for your 2016 remastering and the expansion to five volumes. I downloaded the initial three on Dime many years ago and have enjoyed listening to them.

Michnic57 said...

Thanks a lot

erik said...

Thanks!

K said...

Many, many thanks!

horatius said...

Many Thanx. Always like what YOU do.Mille Grazie.

barefootjim said...

Fantastic! Thank you!!

Matthew said...

Thank you for this, and for all your excellent work. This stuff is amazing!

Joey X said...

Grabbing it now, thank you Professor!

Anonymous said...

Hi. Thanks for the tunes. It looks like the filecloud links are broken. Thank you.

Anonymous said...

Thank you, Thank you. Sounds fantastic!

Anonymous said...

Thanks. Excellent work.

Anonymous said...

Man, thank you so much for this! You are doing great work, I really appreciate it!

Tim said...

Thanks for the upgrade.
Also thanks for keeping my name in the thanks section in the info file. Seems hard to believe it was 10 years ago I sent you some file!
Tim(who)

Luke said...

Regarding this:

"The setup was very simple: Pridden used the mono P.A. mix (heard within the center of the stereo panorama) and supplemented it with two strategically placed mics on the stage which picked up the guitar, bass and drums in stereo."

Is there any documentation of this? Photos? It seems very unlikely the stereo spread heard on the recordings would come from such a setup. While not extreme, there's a decent stereo spread on the drums, which would mean those mics would have to be relatively close to them. Yet doing that likely wouldn't yield the resulting separation between the bass and guitar.

The drums, bass, and guitar all sound like they were recorded fairly closely.

Anonymous said...

May I add my many thanks for your hard work and dedication to great pure sound and historic significance. Also to your attention to detail and completeness. We are enjoying this set very much.
THANK YOU PROFESSER.
man and wife on an island

Prof. Stoned said...

Yay, finally someone who has read my notes!!

Pete's book goes fairly into detail about this. And on the announcement on the Ottawa show on the Tommy Super Edition, he mentions two microphones on stage.

Also, listen to Tr. 1 on disc 2. At one point early in the song, the stage mic on the right is muted for about 30 secs (or it malfunctions). The P.A. signal in the center stays, and that is all that we hear in the right channel for a while until the mic signal comes back. You can hear both the drums and guitar have disapeared.

I don't think the drums are closely miked; the balance favors the cymbals too much for that. Although I have to admit, I find it remarkable how Pridden achieved this balance with two mics on stage, but I guess it can be done.

Luke said...

I'm listening to Heaven & Hell from the Capitol Theatre now. Two points:

1) There's still a fair amount of drum sound in the right channel when the guitar vanishes.

2) The exact hardware configuration is unclear, but it seems just as likely that a group sent to the right channel had a problem as a particular microphone.

I take Pete's comments with a grain of salt. He suggests 2 microphones were used, but we know that there was at least a feed from the vocal mics as well. His comments on stage could have been an over-generalization for the sake of the crowd, incorrect due to a lack of understanding, or simply a joke.

I keep coming back to the stereo spread of the drums and the separation between the bass and guitar. I definitely don't think the drums were blanketed in mics, but it does seem as if there were at least a couple dedicated on the drums, as well as some on the bass and guitar amps. Possibly a couple picking up the audience and ambience as well.

Listen to the drum fill in Fortune Teller (Capitol) at about 0:25. The floor tom is to the extreme left. I have a hard time believing either:

1) The two mics were basically on the drum kit, but also pointed so they could pick up the amps fairly discretely.

2) The two mics were some distance away from both the amps and drums, yet the resulting stereo separation was achieved.

Prof. Stoned said...

> 1) There's still a fair amount of drum sound in the right channel when the guitar vanishes.

That is bleed through that comes from the vocal mics from the P.A. It's mostly cymbals.

> I take Pete's comments with a grain of salt. He suggests 2 microphones were used, but we know that there was at least a feed from the vocal mics as well.

Pete mentions the P.A. feed in his book, so no mystery there. I used to not believe it either but the more I listened and immersed myself into this, the less sense it makes that Pridden went though the trouble to have a complicated recording setup (that needed adjusting for every single show) without decent monitoring, and while he actually had another job to do as well.

Listen to Philadelphia; the guitar is continuously too soft on the right channel (= on stage). More than during any other show, Pridden frequently puts the guitar on the P.A. (and it sounds really distorted on there, but not on the right channel).

The only thing truly stereo on all recordings are the bass and guitar, which are separated hard left/right. The drumsound varies but is always just somewhat between the two instruments, without the definition that a closed mic mix would give.

If what you say is true (more mics were used to achieve the stereo balance), I really don't hear any adjusting of that in the first numbers of each set. I have however noticed adjusting of the P.A. signal as opposed to the stereo feed (Fillmore is a good example, and so is Acetates, where the vocals get turned down during I can't explain).

Anyway, thanks for posting your thoughts.

I'm guessing, the stereo mics *may* have been behind the amps, pointing to Keith. This could explain why the floor tom is fairly near sounding on one channel.

Luke said...

"The only thing truly stereo on all recordings are the bass and guitar, which are separated hard left/right. The drumsound varies but is always just somewhat between the two instruments, without the definition that a closed mic mix would give."

I disagree. That Fortune Teller I mentioned has a quite clear stereo spread, both with the cymbals and the drums. And John's bass in particular is very clear; neither sounds like it was recorded from several feet away.

As far as Pete's comments go, while I love his music, he isn't someone I would want to rely on for correct technical information, especially this long after the fact.

I can't claim to know the exact setup used, but it certainly doesn't sound like 2 mics+PA feed to me. Heck, you even indicated (and I can hear) that the guitar was sometimes fed into the PA feed. So there was obviously a mic *on* the guitar amp for that. It certainly sounds to me like that mic was routed right, and then was sometimes coming into the mix again via PA feed.

BTW, a minor nitpick, but you indexed Sparks incorrectly ;) It starts at 1:16 for SUNY, 1:46 for Fillmore East, etc.

Prof. Stoned said...

FWIW, Entwistle also mentioned it as "2 mic setup" in an old interview.

Clearly, both the guitar and bass were close miked for the P.A., as you can hear both on a few occasions clearly coming through the center as well.

One thing I will give you, the guitar and bass do sound very up close and direct on all recordings. But the drums are weird sounding, not at all in "mixed" stereo. All recordings have in common that the skins are coming out most clearly on the left channel with the bass, and it's mostly cymbals on the right with the guitar.

Yes, a slight deviation to the center of one of the toms exists on FT (Capitol) and other recordings too but I would not call that a stereo image from close miking...

Prof. Stoned said...

As for Sparks, had no idea it really started there!

Luke said...

Sparks - Yeah, it, Underture, and Rael all share the same theme. Where "Sparks" starts on some CDs, notably the 1996 Tommy remix, is actually still part of Amazing Journey. Pete's demos for Amazing Journey and Sparks, which are 2 completely different recordings, confirm this. I think Astley screwed up in 1996 and lots of people ran with it, including myself for many years. Interestingly, if memory serves, at least some of the original 2CD Polydor Tommy sets have the correct indexing.

As for the drums, I pretty much hear the kit being picked up with a pair of mics, not super close, but also not several feet away. Roughly what one could call "stereo overheads", although the exact position of them isn't clear, and perhaps even changed over time.

I wish I could say "this is what they did", but I can't. I'm relatively certain there's more to it than 2 mics+mono PA feed though.

Prof. Stoned said...

Yes! The 1996 Tommy remix is exactly what made me believe I had the correct starting point. It's still my preferred digital version, shame about the clicks though.

Luke said...

Here's Amazing Journey:

Amazing Journey (Demo)

The "dream" portion starts at 3:37. For some reason, the SDE splits the demo into two tracks. This is the second one:

Dream One (Demo)

And here's Sparks:

Sparks (Demo)

I've done my own fixes to some of those demos...

Prof. Stoned said...

Great stuff. No drummer would come up with those fills.

Jimmie Dee said...

I've been too busy to listen, but I wanted to say "Thanks!"

JWB said...

Frank Zappa's "Just Another Band From LA" was recorded with a mono PA feed and two mics on the stage, if you want to hear another (well done) example of this technique and compare.

Luke said...

Listening now, that sounds pretty decent, but the stereo image seems more diffuse, more what I'd expect.

Ezra said...

This is an amazing share. Thanks so much.

Anonymous said...

Incredible work here, thanks so much!

anchovyarchives said...

I have always prized the 1-3 soundboard series you did years ago. Great to have an update. Congratulations on completing it all.
Best regards
AA

Anonymous said...

Great collection! Thanks for posting.

Anonymous said...

Dear Prof Stoned,
This is an amazing blog. Excellent recordings, this is the way all blogs should offer music. Quality and passion through and through. Thank you for all of your hard work and for making this for free. This is a blog for music lovers and your effort does not go unnoticed.
-Kurt W

gsv107 said...

Just saw this, always loved the various boots and really nice to have the Prof touch to these both organizationally and sound wise. Thanks.

Anonymous said...

I can't thank you enough for the time and effort put into polishing and curating these gems. The release of multiple boot titles with some similar material was frustrating, as were the problems with the running speed. It was like this great treasure was just out of reach... but you made it into a wonderful listening experience.-Bob L

Anonymous said...

Would love to hear your work on the Who Is This? album incidentally. - Bob L

sailor sam said...

Thanks for revisiting the project profstoned.

Kwork said...

Just discovered this. Thank you so much!

rockjazzeclectic said...

Beautiful. Thanks

sgtsteiner said...

Prof -- I believe I already have this in some earlier incarnation... but grabbing it again in case it's been upgraded.

Your Who/Amsterdam '69 SBD is my all-time favorite Who show. I've shared it with many friends and watched happily as their minds explode :) Thanks so much for bringing that music into my life!!!

Unknown said...

Professor, you are a godsend. I have been on a major Who kick and didn't know about these! Thank you very much

Unknown said...

Oh man, this is embarrassing...if someone could help--I've downloaded the rar files from both sets that are available but when i unrar them i get 44 errors...anyone else have this problem? thanks!

Jason said...

Thanks very much for this, Prof. A question though... on your previous iteration, the Fillmore show had "Christmas" right after "Eyesight to the Blind", but on this version it's not there. What happened to that track?

Prof. Stoned said...

It was only the first 10 secs or so...

haddemall said...

HUGE thanks, my friend.

michaelb said...

Thanks so much for '69 Who. A real treasure!

Anonymous said...

Thanks for this great upload Prof! Your work is always impeccable. I didn't have the original volumes but sure do like the Highlights disc.

- Joaquin Antique

Unknown said...

Love the Live Who posts!
I have the Tommy Reel at 7.5, sounds great too!
Do you ever get into any reel to reel recordings?

Douglas MacDonald said...
This comment has been removed by the author.
Anonymous said...

Thank you for sharing your work with us! It is an outstanding job and sounds great! i have been following your work since 2010 I believe when I first encountered your work on Simon & Garfunkel. It only gets better . Thanks again for all that you share with us, much appreciated!

MeanMrKite said...

HOLY CRAP!!

I've had your three volume set for YONKS and now there's an EXPANDED set??

Pardon me whilst I pass out from sheer bliss...saying "thanks" is hardly adequate, but...THANK YOU PROF. STONED!!

I always try to catch up here in order of posting, but damn THIS one just went to top of list, so I can play while I d/l these other GEMS...

I feel like I should go buy a lottery ticket...but why? I've already won by a mile! :D

Unknown said...

Wow... You Sir, are a fucking legend. Thank you.
Sweeters, London

Tim said...

Thank you so much for these. I've only just discovered them, but have been praying for several years that you changed your mind over completing Volumes 4 and 5 :)

Luke said...

FYI regarding the recordings, from Pete in 1970:

"On our last tour of the States we recorded every night on a stereo machine taking feeds from the guitars and the drum kit and the P.A. onto a rough stereo picture (the road manager was doing the balance), with the theory that in 80 performances, or whatever it was we had, we must get a good show. We go over there, we do like 80 fucking good shows, you know, some shows incredible shows. We come back, some of the tapes are bad, some of them are good, some of them sound all right. Suddenly someone realizes there are 240 hours of tape to be listened to. You know, now who's going to do this? So I said, well, fuck that, I'm not gonna sit through and listen, you'd get brainwashed, let's face it! So we just fucking scrapped the lot, and to reduce the risk of pirating we put the lot on a bonfire and just watched it all go and we said, right, let's get an eight track."

https://www.rollingstone.com/music/news/tea-with-townshend-a-post-tommy-chat-on-rock-n-roll-recording-the-man-who-died-every-day-19700514

Note in particular "feeds from the guitars and the drum kit".

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