Stream & download it on the Depeche Mode Live WikiDepeche Mode
Hammersmith Odeon, London, England, UK
1984-1985 "Some Great Reward" Tour
Incomplete soundboard recording
Lineage: mixing desk -> master cassette of personal reference recording made for the band -> first generation cassette -> second generation TDK D90 normal position cassette, 1990 - 1995 stock -> Nakamichi Dragon cassette deck, serviced and upgraded (details: https://www.depechemode-live.com/wiki/E ... chi_Dragon) -> Blue Jeans Cable LC-1 8-foot RCA cable -> Creative Sound Blaster ZxR (RCA Line In) -> Adobe Audition CC 2015 (32-bit / 88.2 khz) -> right and left channels swapped to match BBC pre-FM vinyl release, first three tracks sped up 3.0%, rest of the recording sped up 2.0% using "Audition" method ("High" precision), normalized to -0.1dB and any DC bias removed -> WAV (32/88.2) -> tracked using Audacity 2.1.1 -> WAV (32/88.2) tracks -> FLAC 16-bit 44.1khz using FLAC 1.3.1 64-bit (level 8 compression) and foobar2000 v1.3.8 with its Resampler (SoX) component v0.8.3 (best quality), dithering enabled -> further normalization, rework, and optional patches provided by Vince DOME -> FLAC level 8
Transfer: ligushka (https://www.depechemode-live.com)
Cassette tape photos, tape inlay scans, and auCDtectTaskManager logs included
Notes: A very good soundboard recording sourced from a second generation cassette tape. Rage Mail Order originally sold and distributed copies of this cassette in the early 90s and this is their source tape, so this transfer is likely the lowest generation version that will probably ever be available. This transfer has much less wow & flutter, distortion, and many fewer drop-outs than any other version currently circulating. The clicks which were present for the last third of the recording on some previously circulating versions are also non-existent on this tape. I have confirmed that this tape is second generation via the person who holds the first generation tape; he actually created this second generation tape copy and is a very reliable source.
Many tracks have a strong reverb effect on Dave's voice panned to the right channel. Martin's vocals are usually centered, with Alan's always panned to the left channel; Dave's are sometimes centered, sometimes panned to the left channel. The concert intro is missing around 20 seconds from the beginning (a patched version is included), and I have no idea what the short sound before the intro is from (most of it was cut out as it is not relevant). "Shame" is no longer missing a few seconds from the beginning, but is still missing a few from the very end, presumably due to tape flip. "Somebody" misses most of the intro ambiance due to the same tape flip; patched versions of both tracks are included. "Somebody" also drops several dB in the left channel after about 1 minute for the remainder of the track, and a gain envelope was applied to help preserve the channel balance at the cost of temporarily louder tape hiss in that channel; the volume returns to normal for the rest of the recording once the track is over. "Ice Machine" and forward has slightly better frequency response than the previous half of the recording for some reason, perhaps because that half plays closer to the correct speed on the tape. This tape also has about one third of "See You" present (only about 20 seconds was available on previous versions), which is otherwise available in its entirety on the pre-FM vinyl and FM broadcast recordings; a patched version of the track is included. "Shout" and "Just Can't Get Enough" are missing entirely from all existing versions, unfortunately. To date, no audience recording from this concert is circulating; in fact, no audience recording from any of the concerts from the four-night stint at Hammersmith is available (if you happen to have one on tape, please contact me!). Some incorrect samples are played during "Master And Servant" after the last verse. Amusingly, this has been corrected on the BBC pre-FM vinyl. "Live Here Now", anybody? The A-side of the tape cuts abruptly halfway through "Shame" - about 35 minutes in - with the rest of that side being white noise. This may have been done intentionally, because the additional ten minutes could have been used to provide a complete copy of the recording if the audience breaks were cut short during the encore.
Thanks to Vince DOME, we have included several patched tracks to swap in at your personal preference:
- Completed concert intro, including Richard Skinner's introduction, from the "A Quick One" CD bootleg of the BBC pre-FM vinyl (probably a bootleg pressing)
- Completed concert intro from the "A Quick One" CD bootleg, without the Richard Skinner intro
- Audience noise from the end of "Leave In Silence" from the "A Quick One" CD bootleg placed at the end of "Shame", including the intro ambience of "Somebody" (which is added to the beginning of that track); the audience noise on the pre-FM is likely from the end of "Shame" and was used by the BBC in order to best preserve the intro ambience of "Somebody" on the pre-FM vinyl. The audience noise after "Leave In Silence" on the pre-FM is different than what is audible on this soundboard tape. If you decide to use these patched versions, use both "Shame" and "Somebody" for best results.
- "See You" completed using the "A Quick One" CD bootleg
The main folder of this torrent is the unpatched version of the audio, speed-corrected and normalized to have the most consistent listening experience. No hiss reduction has been applied. Around thirty small cuts on both the left and right channels were carefully patched using the available undamaged channel, resulting in a short mono segment; most patches are not noticeable.
To answer the question of "why does this recording exist?", the answer is that somebody in the band, most likely Alan, requested a copy for reference purposes and it has sat in the band's vaults since. This reference tape was then borrowed in the early '90s, copies were made, and ... well, here we are again, 20-something years later after copies were being sold! Part of this concert was broadcast over FM by the BBC, so perhaps the band was provided a copy to "pick and choose" tracks they think would be most suitable to broadcast? Maybe Alan asked the sound engineer to record the gig so he could gauge the performance of the band, as he mentioned was done for rehearsals and the first few gigs of a tour (info from Shunt Q&A - see below)? However, this gig was not particularly early as it was the 28th gig of the "Some Great Reward" tour. The most plausible explanation is that Alan wanted to check for mistakes, such as the incorrect samples during "Master And Servant" I mentioned earlier, and offer his suggestions and comments so that they could be corrected or mitigated during the mastering and mixing process.
Please note: there is contention regarding the true date of this audio. This tape is physically labeled as "1984-11-02", but I chose to label it as "1984-11-03" as that is what I've always had it marked as - without concrete evidence (for example, a radio announcer from the FM broadcast mentioning the date of the recording or an audience recording of either 1984-11-02 or 1984-11-03 to compare the existing audio sources against), I don't want to change the accepted date of the audio and end up being incorrect later on. Read here for further info: https://www.depechemode-live.com/wiki/1 ... ngland,_UK
Relevant bits from Shunt Q&A (http://oldsite.recoil.co.uk/forum/qa/dlives4.htm):
"I have a soundboard recording from the USA '94 show in San Francisco. I always thought this was done without the bands knowledge/approval but when samples from the recording turned up in that god-awful new remix of 'World In My Eyes' (found on the XLCD of 'Only When I Lose Myself'), I realised that the band must have known about it. Did/do Depeche Mode record several shows of each tour in this manner, and if so, for what purpose?"
Alan's answer: "Sound recordings direct from the front of house mixing desk were only ever made for personal reference reasons."
Note: that particular recording of 1994-05-14 San Francisco is likely taken from a video recording of the giant screen multicam video feed, and such recordings are known to exist for Depeche Mode and many other bands, though in DM's case no actual videos have surfaced as of the time of this writing. It is undoubtedly the case that local sound crews would sometimes tape these video feeds as well as the audio of soundboards to keep for themselves, to sell copies, or to give to friends and family. For example, the 1994-03-26 Honolulu soundboard recording was surfaced by a local sound crew member known for doing the same for many other bands that would visit Hawaii.
Recordings of the in-ear monitor feeds to yield soundboard-quality recordings is another modern method of obtaining high quality recordings; the U2 taping community employs this method often with great success, using multiple recorders to obtain the necessary feeds to create a well-balanced recording. IEM recordings of Depeche Mode are few and far between, with the only circulating recording being a 320kbps MP3 version of Peter Gordeno's IEM feed from 2006-01-21 Dusseldorf.
Assistive Listening Device feeds are another method of obtaining soundboard-quality recordings and there are three such recordings of DM (from 1998 Inglewood, a good quality recording of both nights, and 2005-11-16 Seattle, a flawed recording), but at this point I digress.
"Did DM record all their live shows and then listen to them afterwards for improvement matters?"
"I used to get our sound engineer to record tapes (directly from the mixing board) of rehearsals and the first few shows of a tour. These don't always give you an accurate balance but are good for checking performance etc. Apart from that, we only recorded certain shows (using a mobile) if we were intending a live LP or something."
Other great recordings from this concert exist:
- CD bootleg "A Quick One", a stellar rip of the BBC pre-FM vinyl containing 12 tracks, which is most likely sourced from a bootleg copy as the original pressing seems to be extremely rare: https://www.depechemode-live.com/wiki/1 ... K/Source_1
- BBC Radio 1 FM broadcast master tape of superb quality, has "Blasphemous Rumours" not found on pre-FM vinyl, but misses "Something To Do" and "Puppets" found on the BBC pre-FM vinyl. Another radio broadcast which included "Puppets" has been mentioned in the past, but neither proof of that broadcast occurring nor an actual recording of that broadcast has surfaced yet. It isn't too much of an issue since "Puppets" is present on the pre-FM vinyl and this soundboard tape. You can find the FM broadcast here: https://www.depechemode-live.com/wiki/1 ... K/Source_3
Many, many thanks to a kind collector for generously lending me his tape to transfer (twice, in fact - can't thank you enough!) and share.
This source is considered Source 2 for this date:
https://www.depechemode-live.com/wiki/1 ... K/Source_2
01. [0:43] Intro
02. [4:02] Something To Do
03. [4:37] Two Minute Warning
04. [3:56] Puppets
05. [5:16] If You Want
06. [4:15] People Are People
07. [5:06] Leave In Silence
08. [4:16] New Life
09. [4:11] Shame
10. [5:18] Somebody (*)
11. [3:46] Ice Machine
12. [5:28] Lie To Me
13. [5:24] Blasphemous Rumours
14. [4:45] Told You So
15. [5:15] Master And Servant
16. [4:25] Photographic
17. [6:09] Everything Counts
18. [1:27] See You
Total time: 1:18:18
01. [1:36] Intro (with "Richard Skinner Intro" + completed from the "A Quick One" pre-FM bootleg source)
01. [0:57] Intro (completed from the "A Quick One" pre-FM bootleg source, no "Richard Skinner Intro)
09. [4:21] Shame (added audience noise at end using the "A Quick One" pre-FM bootleg)
10. [5:28] Somebody (*) (restored intro ambience & beginning audience noise using the "A Quick One" pre-FM bootleg)
18. [4:12] See You (completed from the "A Quick One" pre-FM bootleg source)
Torrent downloaded from https://www.depechemode-live.com
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