Tuesday, June 6, 2017

The Cure 1985-10-22 Cleveland Music Hall Cleveland, OH

The Cure
Cleveland Music Hall
Cleveland, OH
October 22, 1985

Soundboard (RS version)

cassette master > cassette > Nakamichi CR-7A > HHB CDR-850 > CDR, then:  CDR > EAC > WAV > Nero Wave Editor > FLAC

Remastering: FLAC files > Wavemerge > SF8 and AA 1.0 (volume adjustments and EQ, other minor work) > CDWav > FLAC

Main Set:
01.  The Baby Screams
02.  Play For Today
03.  Kyoto Song
04.  Primary
05.  The Hanging Garden
06.  Cold
07.  A Night Like This
08.  In Between Days
09.  Let's Go To Bed
10.  The Walk
11.  Push
12.  Screw
13.  One Hundred Years
14.  A Forest
15.  Sinking

16.  Six Different Ways
17.  Close To Me
18.  Charlotte Sometimes
19.  Three Imaginary Boys
20.  Boys Don't Cry 
21.  10:15 Saturday Night
22.  Killing An Arab
23.  Do You Wanna Touch

Suggested disc splits:
Main show is on Disc 1, all encores are on Disc 2

Remaster notes: Original recording was mastered with the levels a bit too hot. I backed this off, and EQed it to bring the dynamics of this recording to life. Channels were balanced, and a dropout at the end of Push Was removed and crossfaded to make a smooth transition.

Remastered by terrapinstation 2009-03-12

Thanks to Mexminute and TheCommish for posting this SBD.


Another stellar recording from "The RS Archives"
(a Mexminute/TheCommish production)

Editing notes:
* Re-tracked show (combined WAV files in Nero, then re-split with CD Wave)
* Small fade-out applied to end of Track 115 with Nero's wave editor
* Deleted small gap at end of Track 205 with Nero wave editor
* Volume adjustments (as listed below); with the exception of a few spots, the overall volume of the recording was a little low (before adjustments, the avg. volume of the entire show was 89.4 dB).

Volume adjustments:
Track 101: +1dB (2:03-2:06 mark), +2dB (2:06-2:09), +3dB (2:09-end)
Tracks 102-110: +3dB
Track 111: +3dB (0:00-4:25 mark); +5dB (4:25-end)
Tracks 112-113: +5dB
Track 114: +5dB (0:00-1:14); +3dB (1:14-4:45); +2dB (4:45-10:16); +3dB (10:16-end)
Track 115: +3dB
Tracks 201-202: +5dB
Track 203: +5dB (0:00-0:12 mark); +3dB (0:12-end)
Tracks 204-206: +3dB
Track 207: +3dB (0:00-0:14 mark); +2dB (0:14-2:22), no volume adj. (2:22-end)
Track 208: No volume adj.

About "The RS Archives":
The RS Archive consists of a selection of live recordings made by a great individual who passed away in 2005. 

RS worked in the music industry in many capacities….a music fan….a musician….a sound engineer.  He was considered one of the best behind the mixing board.  I was honored to have known him for practically 35 years.  There was no one like him….he was a wonderful human being.  Everybody loved him.  He was a level-headed guy who knew what sounded good and what didn't. He could conceive and design sound systems from scratch in his head to meet the artist’s needs. Whatever they wanted, he could do.

For years, he mixed music at the annual Grammy Awards and the American Music Awards television show.  RS worked closely for years with Daryl Hall and John Oates, Juice Newton, Anita Baker, Mariah Carey, Tears for Fears, Crack the Sky, Kid Creole and the Coconuts, Aretha Franklin, Pink Floyd, Whitney Houston, Bette Midler, Ann Murray, Michael Bolton, Kenny G, Tony Bennett, Johnny Cash, Eric Clapton, John Fogerty, Bonnie Raitt, Frank Sinatra, John Hiatt, Little Feat, Little Village,  and Waylon Jennings…..to name a few.
He had a huge reputation in the business, and that's why he was chosen to work with such budding clients as Mariah Carey.  With the major stars, he was one of the preferred engineers they choose to work with.  A particular client of RS who had a reputation for firing sound engineers with great regularity was Anita Baker, whom he won over not only with his technical abilities and personality, but with his refusal to put up with her criticism.  He quit a few times but always came back because she loved the way he mixed her music.  He could coddle difficult and temperamental celebrities, and they respected his work. He was able to kick back and get along with them. Even though he knew these people, he was a very modest man.

So now, it is time to honor him by sharing some of the many recordings he made while on the road.  All are perfect (or near perfect) soundboard recordings made from the master cassettes or master dat tapes.  Unfortunately, I am not able to identify the original equipment these tapes were made on, however I can say that for the transferring process, the cassette tapes were played back on a Nakamichi CR-7A, and the dat tapes on a Sony PCM-R500.  They were all burnt onto cdr using a HHB CDR-850. 

Please enjoy these tasty gems!   
Mexminute (fellow DIME member).

If you decide to download this show, won't you please consider posting a comment on the show's board?  It only takes a moment, and believe me, it takes A LOT longer to prepare/upload a show for others to enjoy than it does to download and run.

And won't you please consider thanking Mexminute for sharing this mighty fine show with us?

Generously shared by Mexminute
and uploaded on DIME by TheCommish
March 2009


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