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King Crimson - Absent Lovers Montreal 1984 vinyl bootleg ReMastered 24 96 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
full coverart scans and some photographs

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 Corretion 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
reenforcement; 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 = 0.681).
A02 Matte
Kudasai.wav: successfully encoded to ?A02 Matte Kudasai.flac? (ratio = 0.653).
A03 Three Of A Perfect Pair.wav:
successfully encoded to ?A03 Three Of A Perfect Pair.flac? (ratio = 0.662).
A04 Indiscipline.wav: successfully
encoded to ?A04 Indiscipline.flac? (ratio = 0.643).
A05 Sartori In Tangier.wav: successfully encoded to ?A05
Sartori In Tangier.flac? (ratio = 0.655).
B01 Frame By Frame.wav: successfully encoded to ?B01 Frame By Frame.flac?
(ratio = 0.663).
B02 Man With An Open Heart.wav: successfully encoded to ?B02 Man With An Open Heart.flac? (ratio =
0.664).
B03 Sleepless.wav: successfully encoded to ?B03 Sleepless.flac? (ratio = 0.664).
B04 Heartbeat.wav:
successfully encoded to ?B04 Heartbeat.flac? (ratio = 0.654).
B05 Elephant Talk.wav: successfully encoded to ?B05
Elephant Talk.flac? (ratio = 0.661).

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:f22513d48b6e1abff9e7df7152ed2b2d
A02 Matte
Kudasai.flac:b5f1fbed9306dd7cb60b82d1472336b4
A03 Three Of A Perfect Pair.flac:bc0abc986a10084659f8b57dcf3be0d1
A04 Indiscipline.flac:b65a3e19241fb816469002cf8ce42c85
A05 Sartori In
Tangier.flac:54b8a7c793492458983c70d224098f9e
B01 Frame By Frame.flac:99f0fe7aab6cee3e0d7147226228aefe
B02 Man
With An Open Heart.flac:0609f5f174a9c562e056e0357d235601
B03 Sleepless.flac:a85c27980d063958e2eede8084ff0182
B04 Heartbeat.flac:97f801a3802ddd96b37a169741da4a42
B05 Elephant Talk.flac:62b1245451dee6dee5518a69cfd7e374

Checksum file saved to disk.

No errors occured.

N:King Crimson ? Absent Lovers Montreal
1984 vinyl bootleg ReMastered 24 96 FLAC8A01 Red.wav: successfully deleted.
N:King Crimson ? Absent Lovers Montreal
1984 vinyl bootleg ReMastered 24 96 FLAC8A02 Matte Kudasai.wav: successfully deleted.
N:King Crimson ? Absent
Lovers Montreal 1984 vinyl bootleg ReMastered 24 96 FLAC8A03 Three Of A Perfect Pair.wav: successfully deleted.
N:King Crimson ? Absent Lovers Montreal 1984 vinyl bootleg ReMastered 24 96 FLAC8A04 Indiscipline.wav: successfully
deleted.
N:King Crimson ? Absent Lovers Montreal 1984 vinyl bootleg ReMastered 24 96 FLAC8A05 Sartori In
Tangier.wav: successfully deleted.
N:King Crimson ? Absent Lovers Montreal 1984 vinyl bootleg ReMastered 24 96
FLAC8B01 Frame By Frame.wav: successfully deleted.
N:King Crimson ? Absent Lovers Montreal 1984 vinyl bootleg
ReMastered 24 96 FLAC8B02 Man With An Open Heart.wav: successfully deleted.
N:King Crimson ? Absent Lovers Montreal
1984 vinyl bootleg ReMastered 24 96 FLAC8B03 Sleepless.wav: successfully deleted.
N:King Crimson ? Absent Lovers
Montreal 1984 vinyl bootleg ReMastered 24 96 FLAC8B04 Heartbeat.wav: successfully deleted.
N:King Crimson ? Absent
Lovers Montreal 1984 vinyl bootleg ReMastered 24 96 FLAC8B05 Elephant Talk.wav: successfully deleted.

No
errors occured.

foobar2000 1.3.7 / Dynamic Range Meter 1.1.1
log date: 2015-03-09 20:58:33

???????????????????????????
Analyzed: King Crimson / Absent Lovers ? Live in Montreal
???????????????????????????

DR Peak RMS Duration Track
???????????????????????????
DR12 -1.42 dB
-15.33 dB 5:50 01-A01 Red
DR11 -6.28 dB -19.56 dB 3:43 02-A02 Matte Kudasai
DR12 -3.98 dB -17.44 dB 4:17
03-A03 Three Of A Perfect Pair
DR12 -4.45 dB -20.22 dB 8:13 04-A04 Indiscipline
DR12 -3.52 dB -19.02 dB 4:17
05-A05 Sartori In Tangier
DR11 -3.05 dB -17.48 dB 3:54 06-B01 Frame By Frame
DR13 -3.38 dB -17.49 dB 3:37
07-B02 Man With An Open Heart
DR12 -2.52 dB -16.68 dB 6:00 08-B03 Sleepless
DR12 -3.09 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: 96000 Hz
Channels: 2
Bits per
sample: 24
Bitrate: 3043 kbps
Codec: FLAC
================================================================================
                                                              

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