Is There Anybody Out There: which shows were used?

[NuffM]

I could make a small contribution to my own thread too, by pointing out the most obvious: the introduction to "Run Like Hell".

14 June 1981: scream
15 June 1981: "Are there any paranoids in the audience tonight? Is there anyone who worries about things? Pathetic!"
17 June 1981: "This one is for all you weak people in the audience. Is there anyone here who's weak? This is for you, it's called Run Like Hell. Let's all have a clap!"
15 June 1981: "come on I can't hear you! Put your hands in the air! Have a good time! Enjoy yourselves! That's better!"
17 June 1981: scream

Plus, the introduction to Waiting for the Worms ("are you [...?]") is from 17 June 1981.

yes. correct!

[TheMoebLoop]

Thanks, ILuvHoney, I will incorporate this to my ongoing research - actual timestamps coming up.

I believe Roger says "are you with us?!" in the introduction to "Waiting for the Worms".

[DesertRat]

I always heard this as ‘are you nervous?’ following run like hell?

[NuffM]

If y'all want, I identified the entirety of Set 1 from the live album some years ago. Every single intricate detail I could figure out, I did. Let me know you guys want me to post it here, though it may be too big for a single post and I may have to post it as a link.

[Anredeon]

Oh, for sure, NuffM..

[TheMoebLoop]

That'd be lovely, NuffM. I'm particularly interested in the breakdown to DG's ABITW2 solo, mainly for the minced moments I could not identify; also interesting would be a better discussion to "Goodbye Blue Sky" and even if we can in fact pin down Waters's interjection on "Young Lust".

For my part, I have this:

“Comfortably Numb”

• Backing track:
  • 14th June 1981 (0:00.000-07:01.431)
  • 17th June 1981 (07:01.431-07.14.629)
• Vocal:
  • 14th June 1981 (0:10.483-0:13.534; 0:30.745-0:41.384; 0:46.197-01:06.620; 01:16.405-01:46.021; 01:48.736-02:01.344; 02:36.706-02:45.414; 03:34.049-04:28.440)
  • 15th June 1981 (1:09.086-01:14.420; 03:20.047-03:31.396)
  • 16th June 1981 (00:14.596-0:17.211; 0:41.384-0:45.148; 01:46.021-01:48.736; 02:01.344-02:03.940; 02:48.324-03:08.392; 03:09.916-03:17.156)
  • 17th June 1981 (00:08.185-0:09.225; 0:19,127-0:30.015; 03:08.635-03:09.522)
• DG solo 1:
  • 14th June 1981 (02:18.948-02:23.738)
  • 17th June 1981 (02:05.981-02:18.948; 02:23.738-02:48.398)

As always, Gilmour is so dependable, that it is hard to tell his vocal performances apart, and I had to rely on variations of texture in his voice; Waters, on the other hand, gives mostly different depictions of the Doctor from night to night.

First instance of “[I] have become [comfortably numb]” seems to have been patched by repeating the third, and it sounds as if the consonants of the original take can be heard beneath the patch.

The source for the remaining 30 seconds from the second solo continue to be unknown by me.

“The Show must go on”

• Backing track: 16th June 1981
• Vocal:
  • 8th August 1980 (02:11.255-02:20.889)
  • 9th August 1980 (02:25.850-2:34.573)
  • 16th June 1981 (0:36.500-01:56.967)

“MC Atmos”

• 16th June 1981

“In the Flesh”

• Backing track: 7th August 198
• 8th August 1980: bass guitar figure (0:48.342-0:54.644); last note of drum fill (03:23.024-03:23.201)
• Vocal:
  • 7th August 1980 (02:06.980-02:28.233; 02:40.964-02:55.472)
  • 8th August 1980 (02:36.426-02:40.964; 02:57.845-03:01.755)
  • 9th August 1980 (02:28.233-02:36.115; 03:02.150-03:15.621)

“Run like Hell”

• Backing track:
  • 14th June 1981 (0:00.000-0:04.000)
  • 17th June 1981 (0:04.000-07:05.226)
• Organ slide (02:32.240-02:33.310): 15th June 1981

Two last notes of bass figure (03:02.910-03:13.913) possibly fixed by patching it with a similar fill played earlier in the song, heard on the audience recording and not present on the official release.

Drum fill (03:56.954-03:59.401) partially muted and rearranged to fix the transition, with possible additional work done on the backing track.

• DG vocal:
  • 15th June 1981 (02:08.318-02:12.970)
  • 16th June 1981 (02:16.488-02:20.338; 03:34.620-03:54.500)
  • 17th June 1981 (02:24.300-02:32.948; 03:57.978-03:59.575)
• RW vocal:
  • 14th June 1981 (0:00.000-0:04.000)
  • 15th June 1981 (0:05.274-0:17.063; 0.46.224-0:57.002)
  • 17th June 1981 (0:20.297-0:42.572; 0:57-411-01.02.000; 02:12.418-02:32.948; 03:38.544-03:59.055)

“Stop”

8th August 1980

“The Trial”

9th August 1980

Though these last two are mainly playback songs, the latter can also be identified by Gilmour's interjections and the backing vocalists on the "Crazy" sections, which were always done live; for the former, however, I only had audience noises to use.

I must admit I wasn't ready for the pain that "Waiting for the Worms" is so far being, but Gilmour's vocals in the song are so low in all June 1981 recordings (even in the 16th one, which has very audible vocals otherwise), that I'm having a lot of difficulty in making out variations in his phrasing; so that track will remain missing here until I crack it up and post it at a later date, or someone beats me to it. What I can already say about it, though, is that the entire backing track is from the 15th (unless, of course, you count the audience just before it, which is from the 17th).

[zaval80]

I'm doing a similar work, just not on this or a Floyd-related subject. The site mvsep.com is your friend. You can employ AI algorithms to peel off layers. Like, their latest version of "BS Roformer" performs miracles separating vocals from the backing. And it's for free as long as you feed them audio less than 10 min and 100 Mb a day. There are other useful algorithms I am just starting to check out, but so far, "BS Roformer" is essential to isolate even breathing of the singer. Another trick I like to employ is to increase volume in the silent spots x10, x100, or even x1000 - in an audio-editing software, of course. Works wonders bringing out the nuances hidden on tape, like, any "subliminal messages".

[TheMoebLoop]

Thanks for the tip, zaval80. I will try those out.

[NuffM]

That'd be lovely. I'm particularly interested in the breakdown to DG's ABITW2 solo, mainly for the minced moments I could not identify; also interesting would be a better discussion to "Goodbye Blue Sky" and even if we can in fact pin down Waters's interjection on "Young Lust".

Brick 2 solo is entirely June 14th 1981, with the ending part duplicated from earlier in the solo.

Blue Sky is entirely June 17th 1981 (and we have 8mm of the entire performance to go along with it)

Not sure on which interjection you could be referring to, but Roger's "thank you, good evening, welcome" is from June 17th 1981, and his "This is called Young Lust" is from August 7th 1980.

[TheMoebLoop]

That's what I was hoping for!

WTH, you're right! They took three licks from previously and collated it into an ending! Why do that? In case anyone wants to check it out for themselves, the timestamps for the passages are 02:18.636-02:21.085; 02:38.968-02:42.730; 03:08.372-03:10.525 - cut them out, put them in the order in which they appear in the track, and the final two phrases indeed appear.

Pardon my obsession with this, however, but I seem to perceive some issues with the idea that all of the solo is from the 14th; maybe it has to do with the vagaries of the bootleg, where the guitar level is nowhere near ideal, but I fail to detect in the audience recording some artifacts that the official release contains, such as certain ghost notes and the return of the bend at 02:15.452. What may be going on there?

I stand corrected on "Goodbye Blue Sky"; the guy singing together with Gilmour threw me off a lot there, since he seems much louder in the recording of the 17th than Gilmour himself, so much of the interplay was obscured. BTW, are you telling me that there's 8mm of the Scarfe drawings from 1981?

I should have been more specific about the interjection; I was referring to "get down [and pray?]!", at 02:16.421.

[ILuvHoney]

Is it only me or are both the high and low octave on the second verse of Hey You Gilmour? Did they take his vocals from two performances and mix them on top of each other?

[NuffM]

Is it only me or are both the high and low octave on the second verse of Hey You Gilmour? Did they take his vocals from two performances and mix them on top of each other?

No. One of the 4 male backing singers (whose name escapes me right now) had an incredibly similar tonality in his voice to Gilmour. You can hear it in the live shows. The same singer also harmonizes with Gilmour in Comfortably Numb.

There is some ridiculous rumour that the harmony in Comfortably Numb is Roger, but as mentioned, that is just nothing short of ridiculous.

[KubaWinter]

I just wanted to share my awe and appreciation of what you’re doing here. I’m impressed by your skills and ability to dissect the recording. It’s extremely interesting to learn about the level of editing, mixing and stitching that was used for this record. I was aware that some mistakes might be corrected during the post-production, but this is massive. Thanks again and it’s pleasure to read and learn!

[ILuvHoney]

If y'all want, I identified the entirety of Set 1 from the live album some years ago. Every single intricate detail I could figure out, I did. Let me know you guys want me to post it here, though it may be too big for a single post and I may have to post it as a link.

Bring it on! That's what I started this thread for!

[NuffM]

Bring it on! That's what I started this thread for!

Will try to compile it sometime very soon. I should note that I never finished set 2, so it will literally only be the first set, for now.

[beeco]

Just when I think my Floyd nerd has peaked I come on here and get absolutely blown away.
It's brilliant that you guys have figured this all out, I certainly won't listen to ITAOT the same again...
But seriously, how bloody difficult must it have been to make it? And then... Why? Who made the decisions? Is Dave that anal about his solos on an album that he doesn't really like talking about? Would Roger really care about compiling a great solo?
Or did James Guthrie just go to town and make 'his' show?

[NuffM]

Why? Who made the decisions? Is Dave that anal about his solos on an album that he doesn't really like talking about?

lol

https://streamable.com/3rfk6z

The absolute stupidest fucking editing I've ever seen in a live album.

[beeco]

Yeah that's bonkers!

[YASHA]

When listening, it seems that David is struggling hard with his guitar, with himself and with the whole Universe at the same time=(

[ILuvHoney]

lol

https://streamable.com/3rfk6z

The absolute stupidest fucking editing I've ever seen in a live album.

I don't get why they had do that much editing.
One show in which he delievered a hell of a solo on Comfortably Numb was 6 August 1980.
Why is nothing from that show included on ITAOT (along with all 4th and 5th August and 13 June for that sake)? Didn't they have any multitrack recordings from those shows who were omitted?
Because I think if they just released it with the whole track taken from 6 August it would be just as good as what actually appeared on ITAOT with that awful lot of editing.
I get that they would mix together different parts of the solo from different shows, but taking pieces and editing them in at completely different places in the solos than where they originally appeared makes no sense to me.

[NuffM]

I don't get why they had do that much editing.
One show in which he delievered a hell of a solo on Comfortably Numb was 6 August 1980.
Why is nothing from that show included on ITAOT (along with all 4th and 5th August and 13 June for that sake)? Didn't they have any multitrack recordings from those shows who were omitted?
Because I think if they just released it with the whole track taken from 6 August it would be just as good as what actually appeared on ITAOT with that awful lot of editing.
I get that they would mix together different parts of the solo from different shows, but taking pieces and editing them in at completely different places in the solos than where they originally appeared makes no sense to me.

Unfortunately, the only shows confirmed to have been multi-tracked are from August 7th 1980 up until the last show of the tour, including Dortmund. But Guthrie hated the Dortmund shows for various reasons so the use of those shows were omitted. June 13th 1981 is another show omitted because it never was actually multi-tracked. They did a test recording from the board but later trashed it. Even the other June shows that WERE multi-tracked are only partial, with every single show of the 4 missing Flesh 1 and Young Lust, etc.