stimmt!

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"We know that rock'n'roll was not a human invention, that it was the work of the Holy Ghost."
(Nick Tosches)

Cool das Kind hat einen Namen, da bin ich aber ganz von selber drauf gekommen...*schlaubin*

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nur warst du halt nicht der erste.

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"We know that rock'n'roll was not a human invention, that it was the work of the Holy Ghost."
(Nick Tosches)

Anyway...vielleicht stoßen wir irgendjemanden an, der zwei solcher Soundquellen besitzt und jemanden kennt der sowas synchronisiert kriegt und es dann professionell abmischen kann, das Ergebnis wäre vielleicht ein Hörerlebnis...ziemlich sicher sogar....also ich habe zwar Software die sowas könnte, ich truae mir aber selbst so eine Arbeit nicht zu das muss ein Ton-Ingenieur machen...

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stimmt. durch das herumgedoktere irgendwelcher übereifrigen amateure kann eine aufnahme auch de-mastered werden.
noch ein beispiel aus der welt der dylan-boots (sorry, da kenn ich mich einfach wesentlich besser aus als bei elvis): die schönsten audienceaufnahmen stammen von ende der 80er, als der sony professional einen tollen analogsound lieferte. nicht selten wurden diese kassettenaufnahmen beim digitalisieren verpfuscht, indem man höhen abzwackte u.ä., sodass die cdr-versionen mitunter blechern oder dünn klingen.
daher gehört zum bootleg-remastern nicht nur das richtige computerprogramm, sondern auch ein gutes .

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"We know that rock'n'roll was not a human invention, that it was the work of the Holy Ghost."
(Nick Tosches)

Bei der import Time To Dare 2.9.74 CS wurden die fehlenden SB Teile auch durch AR ersetzt,...auf live CDR Sachen von Fans hab ich das auch schon öfter gesehen.

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Thanks to Ernst Joergensen, Roger Semon and Erik Rasmussen for the great work. Keep the spirit alive !

Die meinen hier nicht fehlende Teile ersetzen, sondern SB und AR übereinander legen und exakt synchron laufen lassen um das Publikum besser hören zu können auf SB-Aufnahmen

Das Problem bei den Elvis-Konzertaufnahmen dürfte die Qualität der Recordings sein. Wie schon festgestellt wurde, lohnt sich so ein Aufwand dann, wenn man eine qualitativ vernünftige SB-Aufnahme vorliegen hat, welcher aber die Publikumsreaktionen fehlen.
Nun müsste man zu einer solchen SB-Aufnahme eine passende AR desselben Konzertes finden. Und da geht es schon los. Es ist eher selten, dass für ein und dasselbe Konzert die passende SB und AR-Aufnahme vorliegt. Dennoch, es gibt solche Konzerte. ABER: Mir fällt momentan kein einziges Beispiel ein, wo sowohl SB als auch AR in passabler Quali existieren. Aber erst dann macht es möglicherweise erst Sinn, so einen Mix zu erstellen.
Bei den Elvis-Aufnahmen krankt es schon an den Grundlagen: Die ARs sind zu 70 bis 80% schlechtklingende Aufnahmen mit muffeligen Sound. Man bedenke, mit welcher Technik damals in den 70ern aufgezeichnet wurde.
Kein Vergleich zu dem, was man heute aufzeichnen kann. Wenn ich die heutigen ARs von Springsteen-Konzerten höre, stehen mir fast die Tränen in den Augen, denn die sind weitaus schöner anzuhören als 90% aller Elvis-Soundboardrecordings!!

Wie dem auch sei, ich zweifle, dass man so einen sinnvollen SB/AR-Mix aus ELvis-Konzertaufnahmen basteln kann, weil einfach das richtige Matrial fehlt. Da wird es wohl auch weiterhin eher Sinn machen, die qualitativ besten Quellen zu identifizieren und diese zu restaurieren und sich dann darüber zu freuen, dass man aus dem wenig Vorhandenem doch noch etwas heraus holen konnte.

Und dann gäbe es ohnehin vielleicht auch rechtliche Bedenken...naja, ich dachte eben, weil es doch eine Menge SB zu geben scheint, dass es hier und da ein AR dazu gibt. Aber immerhin wäre es ein gewisser Aufwand, den ja nur ein sehr ambitionierter Fan betreiben könnte, ein engagierter Bootleger oder eben es käme von offizieller Seite, vielleicht FTD...Ernst hätte die Quellen und die Technik für so etwas...vielleicht ist es aber wirklich so wie Du sagst Taniolo, dass einfach durch die Bank, das AR-Material nicht dienlich ist, weil generell fast zu schlecht...Ich dachte eben, dass wenn man etwas mehr Atmosphäre (Publikum, Sound in der Halle) zu einem trockenen SB dazumischt, -es könnte ja sehr dezent sein und müßte dynamisch angepasst werden- dann würde sich das Konzert etwas dreidimensionaler vor den Ohren abbilden. But anyway...vielleicht macht es ja einmal jemand eines Tages, oder eben nicht.

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Hab auch zufällig noch was über diese Show gefunden

Review Of This Fabulous Concert:

Whatever reason befitted Elvis to give so much to his new year's tour of 1976 still escapes me, nonetheless nothing can be taken away from the king in this one of his most historic performances ever to be captured on CD. Unlike most of the rest of the year, Elvis seems happy with what he is doing and in himself. His voice seems willing to provide the most spectacular acrobatics, and the crowd cannot help but scream in tandem with the shear adrenalin Elvis gives to the performance and his musicians. One of the maddest performances you have ever heard. A wonderful listening experience with every number!

To start off we rocket into this show with a solid version of 'See See Rider', which right from the start, demonstrates the feel of the occasion with a trademark of years past, Elvis' cheeky giggle, that fools us for a few moments into thinking this is 1969.

Unlike other 1976 versions, 'I Got A Woman' and its always long introduction, has real substance as if Elvis is genuinely interested in its lyrics and preamble. A parody of an old joke started in 1972, not that it has lost its humor, that its humor is defined by the effort of the performer. As with any comedian, a good joke is best performed when it appears it is being said for the first time. In this case, Elvis pulls it off nicely.

After exciting the crowd by mentioning that it's his first performance in the city, Elvis rolls into a richer version of Love Me than seen earlier in the year. With less kisses and more singing adding to a richer listening experience. Of course the usual joke of making the backing singers wait some time at the end of the song, evidently drawing breath for his fantastic endnote. A great punch line.

An above average version of ‘Fairytale’ follows, the first demonstration of the strength of Elvis' voice, and benchmark for things to come. The most vocally acrobatic version to date! ‘Mountain’ delivers the over top ballad that we are now used to, not to say it's a bad thing! 'Jailhouse Rock' brings a little more effort than usual which on this album is a song you just don't skip due to the effort. The funny thing however is the reminder that Elvis is totally insane in this concert just before 'It's Now Or Never'. A garbled rant preceding this fine version to a fan resembles the affect of too much medication, or possibly too much Gatorade. Nonetheless it all adds to the fun which is the word which best describes this performance. ‘Trying To Get To Yall urrr You’ is yet again taken in good spirit, and 'My Way', possibly lacking the commitment of 1977 performances, displays the freedom of his vocal range at this venue, adding to the already impressive endnote by pushing it even higher up the scale. Hardly surprising since his health and weight had improved over the Christmas period. Finally to finish off this section an extremely funky version of 'Polk Salad Annie', made all the more enjoyable by David Briggs' Clavinova. A slight hiccup in the drumming due to a drown out by the orchestra is only met by simply inquiry and forgiveness by the man in the Inca Gold leaf (namely Elvis), who in this show is only interested in having a good laugh. You're lucky this isn't Autumn 1974 Ronnie!

Unfortunately we're now plunging into the depths of the introductions, by this time taking up at least 10-15 min. of the show! There is not as much need to despair however as Elvis takes an active part in all of the band solos, making for more interesting listening and showing Elvis' commitment to the show as he would usually effectively take a breather throughout the displays of his musicians. 'Early Morning Rain' is taken at a good pace, 'What'd I Say' is a little rushed and 'Johnny B. Goode' is only one verse so there, I did it, I told you about the band intros now lets get on with the review.

Moving into the final section we are first greeted by a lovely version of 'Love Letters', which, unlike earlier versions, lacks the depression in its performance that could make the performer burst out crying at any moment. This is fortunate for us, as it DOESN'T lack the emotion that makes the song work. On the side, the tail end of introductions is still with us in this version of 'School Days', which only stands out for its endnote. 'Strained a gut' Elvis remarks (as it was a top B). 'Funny How Time Slips Away' is slightly spoilt by the Birmingham guys not quite knowing Elvis' routine, as the house lights go down about as soon as they go up. Elvis deals with it by telling them about it for around 15 seconds before they finally catch on, nothing major and it's still a fuller version than usual for this period. 'Hurt' is in my opinion, one of the best versions you'll hear. The song appears to have hit a climax around this time, and with Elvis' voice being in such good form the benchmark is rocketed skyward with some of the most amazing high notes ever to grace the arena. He just never ceases to amaze doesn't he? 'Hound Dog' is the standard throw away to justify a large portion of the ticket price. Not to say it's the worst version ever, just a constant in every show that isn't worth listening too unless it's the original. I couldn't tell you what year most of them were from. 'For The Good Times' is a little more unusual and is worth listening too to compare to 1972 versions, where I believe it was first introduced. On the scale of 1 to 10, I would give it an 8 for effort and atmosphere. The best part is the strange noise that makes Elvis shout out 'what the hell was that' and start over, it almost seems as if it was planted there to keep up the comedy feel. 'The First Time Ever I Saw Your Face' is simply beautiful. Ginger Alden was in the audience at this show, and Elvis makes it clear he is singing it especially for her. The influence she had certainly seemed to lift Elvis' performances when they first met. In fact, he seems so determined to impress that he jokingly tells a fan to shut up during the quietest part as they won’t 'stop yelling at me'.

In the closing numbers we are treated to one of the finest performances of the night, 'Unchained Melody'. Unlike 1977 versions, Elvis seems more comfortable with his technique and breathing, equaling all the greater of say Elvis In Concert, with one slight exception, which is his falsetto endnote. He just didn't seem to be able to hit them quite right at this point. Oh Well. Giggles still ablaze we enter 'Mystery Train/Tiger Man' which brings no surprises, and still contains those stupid scooping trumpets. God knows who added that. It may have even been Elvis for a joke! Whatever the case the show is now drawing to an end and it is time for the customary 'Can't Help Falling In Love'. A nice version that again represents Elvis' mood nicely in what has been an enjoyable listening experience. A few thrown scarves, a big end note and a short karate demonstration (if you've seen the video!) end this marvelous exhibition of immortality by the ONLY King of music.