04.11.1992 Canada, Vancouver, B.C. Place Stadium Vancouver 1992 Second Night (16-44) good / very good Aud. 00. pre show DJ heroes clip [0:29] 01. T.V.: The Drug Of The Nation [2:33] 02. Intro - George Bush Rap [1:36] 03. Zoo Station [4:37] 04. The Fly [4:37] 05. ZOO TV station identification break [1:36] 06. Even Better Than The Real Thing [3:43] 07. Mysterious Ways (small blank tape cut) [6:41] 08. One [4:52] 09. She's A Mystery To Me [1:15] 10. Until The End Of The World [5:04] 11. New Year's Day [5:00] -tape flip- 12. Wild Rover (Larry) [2:09] 13. Tryin' To Throw Your Arms Around The World [6:15] 14. Angel Of Harlem (Hello Goodbye) [3:51] 15. Dancing Queen [1:16] 16. When Love Comes To Town [2:53] 17. Satellite Of Love [4:09] 18. Bad [5:49] 19. Fool To Cry [0:19] 20. All I Want Is You [0:36] 21. Bullet The Blue Sky [5:01] 22. Running To Stand Still -tape flip- Running To Stand Still (end) [5:42] 23. Where The Streets Have No Name [5:54] 24. Pride (In The Name Of Love) [4:51] 25. ISHFWILF intro [1:41] 26. I Still Haven't Found What I'm Looking For [2:18] 27. Stand By Me [3:07] 28. encore break [2:08] 29. video confessional ZOO TV interference [3:16] 30. Desire [4:06] 31. I Believe In Television [1:25] 32. Mirrorball Man Phone Call [1:03] 33. With Or Without You [5:31] 34. Love Is Blindness [5:36] 35. Can't Help Falling In Love [2:42] 36. Can't Help Falling In Love (outtro) [2:01] Total Running Time: [2:05:42] Audioarchivist analog master cassette recording Previously uncirculated "New" source never before available 24 bit 96 khz digital transfer lightly remastered Downsampled and dithered to 16 bit 44.1 khz for CD Capture: Floor "seat" 4 rows from stage, 4 "seats" left of catwalk (Edge side) > Sony PC62 Stereo Mic in hat > Sony WM D3 Pro Cassette Walkman (Dolby B On CrO2/Metal bias) > Sony Metal Master 90 Tapes Transfer: Tascam 202mkII (Dolby off normal bias azimuth adjusted) > Soundblaster Audigy @ 24 bit 96 khz > Wavelab 5.01b (capture, tracking, and mastering) > Adobe Audition (additional restoration) > SoX resampler via Foobar2000 24/44.1 > iZotope RX 2 Advanced MBit+ dithering 16/44.1 > Trader's Little Helper > 16/44.1 FLAC8 > torrent > YOU!!! "...It's gonna get nuts..." "...I don't like this!" "...I got a broken leg and a cane here..." "...oh my god here comes Bono - WWWAAAAHHHHHHHHH!!!!!!!!" "ZOO TV - Broadcast" tour - november 4, 1992 - Vancouver - Canada - B.C. Place Stadium. This night is much better for the band. Under the backdrop of ZooTV covering the US elections, the band play an inspired performance - the problems of last night seem to be forgotten. "Goodbye, George Bush," Bono says to the vidi-walls, "I don't think we'll miss you that much..." Larry adds vocals to "Dancing Queen" and Adam sings a whole verse of "When Love Comes To Town"(far too fast for Larry and Edge to follow) - the band actually have trouble keeping up with the pace Adam plays and sings at. Bono notes that the second show in Vancouver really "f---ed up the scalpers", as the addition of the second night left them with many tickets. During the encore, Bono asks the crowd, "I don't want to be Elvis tonight, I want to be Bono tonight...You love me for who I am, don't you? I don't have to put on all this shit for you, do I? It's hard..." Support is B.P. Fallon, "The Sugarcubes", and "Public Enemy". Audioarchivist notes: It was a crazy night on the floor right up close to the front. It wasn't all that easy to secure a ticket for the show, so I had to take what I could get. I bought an emergency scalper ticket at the very very last minute before rushing in to get my gear out to record. My "seats" were supposed to be about 4 rows from the front and about 4 seats to the Edge side of the catwalk. I had seen the show (and taped it) the night before from kinda far away, so I thought it would be cool to see it from up close. I didn't think of how hard it is to be up front! The night before I was quite far away and wasn't all that happy being so far away, so I jumped at the chance to be so close for this show. It sort of turned out to be a not so good idea. My assigned seat on the floor was almost exactly front and center - just four rows of flimsy metal folding chairs away from the stage, and just four seats to the left of the catwalk that ran off the main stage up the middle of the floor to the second stage that would be far behind me. There was a crushing mad panic for most of the show and by the end of the show the chairs were completely obliterated in a giant heap about 100 feet back and off to the side, the rows disassembled by hundreds of rabid fans and some panicked security personnel. The rows of chairs were made to stay together with temporary plastic zip straps tying them together. The influx of people standing on the tops of the backs of the chairs ripped them apart and crushed them, making the loose metal collapsing chairs a hazard to the moshing mob. You can actually hear the crush we were having during the station break after Zoo Station: "It's gonna get nuts!" - "I don't like this!" - "I don't like this either!" coming from the 4 foot nothing girl getting trampled. Jam-packed in there. The guy with the broken leg in a cast and crutches didn't do too well. It was rough going. It must have been a hard job to collect so many of those busted folding chairs so quickly when they started to be torn from their rows. They tried to have people sit down, but it really didn't work... It was cool to be so close as compared to my first night's experience of seeing the show from so far away. Bono did a good amount of the show from less than 15 feet away from me. The guy was working really hard at being the front man of the group - I mean, physically hard work! I remember being kind of disgusted at one point because I was watching the sweat practically squirting out of Bono's pores. He was so greasy sweaty like a marathon runner or some workout junkie. Yuck - it was really kind of gross, actually! It really must be tiring to have that job. There were a few times during the show that I felt a little sorry for the guy, you know? I just wanted to give the guy a chair to take a 5 minute breather. Whew! A few times Bono was looking pretty burnt out tired but really still trying to give more than his all. He does say at one point near the end stuff like "...some of us have got to get some sleep..." and later during Desire "...I wanna be Bono tonight! You love me for who I am, don't ya? I don't have to put all this shit on for you, do I? It's hard, man..." and I think he meant it. It's a hard show to pull off, I'm sure. They did a pretty good job on both nights, all things considered. My recorded sound is both pretty good and awfully wrong at some times. Being so close to front and center I picked up stage sound and PA speakers almost over my head. Being so crushed in the crowd there's a lot of crazy crowd noise. Screaming people were all around me talking away everywhere. I was crushed a little bit a couple of times, stopping the recorder once and causing some speed fluctuations on the tape at one point. We were pretty tight at the front! WHOO-HOOOO!!! If it wasn't for the 5000 people less than 25 feet from me encircling me, it would be great! hehe. There are some fine musical passages where you barely hear anyone but the band, and there are some times that you get one fan's perspective of being too close to a crowded show! A great recording of an oblivious audience with a band playing barely 20 feet away from them. Let this be a lesson to all the talky concert goers who choose to yell and scream and blab their way through a whole show. This is what you sound like to your neighbours! hehehe! I just never understood why anyone would pay all that money to not pay any attention to the music or the band - especially when you're really within earshot of the singer! We were, like, RIGHT there, you know? It was a crazy place to try and tape a show from so close up front. But, really the taping was secondary to me actually trying to have a good time and really get to see what was going on. I had some fun, and I have some kind of recording. Not exactly an audiophile bootleg, but it has some listenable moments considering we were inside a giant hot air balloon marshmallow structure. I did my best to keep my ground and keep my mic away from the loudest of the loud, while still enjoying myself up front. The little stereo mic riding in my hat right above my forehead was the original mic that came with the Sony WM D3 Professional Cassette Recording Walkman, called the ECM-PC62, and it was quite directional. It's a single point stereo cardioid condenser mic with a 90 degree forward pickup pattern. What that means is that when it was mounted in my hat, it best captured whatever was in front of my face, so when people were loud next to me, I minimized them by looking away and up towards the speakers hanging above us. As you can imagine, people in the front at a U2 concert are gonna go crazy. And they do, right into my microphones, a lot! The sound seemed to come from everywhere and most of the PA system was more or less above me. But, of course, the catwalk where Bono liked to hang out caused extra waves of screams and I was there to capture them all for you! haha! Once you get over the almost constant interruptions of folks being folks loudly right next to me, the sound of the music is pretty good! How come so few people were really listening, at times, it seems!? hahaha... I used really good cassette tapes to record the show, and that high quality does show in this transfer. There's loads of high end and dynamics. Sony Metal Master cassettes are probably some of the best consumer tapes ever made. They're ultra high grade tape in ceramic cassette shells and they cost about $15 (or more) each give or take compared to $2 - $5 for a "good" average tape at the time. It's kind of like they're high resolution tapes, and these hi-res cassettes are also hard to erase compared to other tapes. The master cassettes were bought on sale the day of the first of the two shows, in Victoria (Saanich) on my way to the bus stop to catch the ferry to get to Vancouver with just enough time to get to the first show. I think I had to rough it that night and pretend that I was a homeless person to catch the second show, although I might have grabbed a hostel bunkbed for the night between - I can't remember for sure anymore. I still have the receipt for the cassettes! Sony Metal Master cassettes are high end tapes, with ceramic composite shells and premium formula tape. They were on sale that week, and I was happy to save $15 or so. I do miss the days of taping on tapes and having physical master recordings, but I don't miss having to spend the extra dough to record a show every time! Although I adjusted the azimuth as best I could when playing the tapes in, I ran the files through Adobe Audition's Automatic Phase Correction plug-in. This really tightened up the "focus" of the sound, and made it ready to enhance. Then, with Wavelab I ramped up the lows a little using Waves Q-10 EQ to compensate for the lack of low response in the PC62 mic, but the highs have been left alone - flat off the master. I used a few other plug-ins to sweeten the sound a little more, trying to help but using them very lightly. Less is more is my philosophy. I try not to process music so much that it has that "Japanese Bootleg treatment Process" sound to it, you know? hehe. There's a little SHEPPi spatial enhancer and Waves S-1 Shuffler to widen the stereo soundstage out a little more, and I used a BBE Sonic Maximizer to beef the lows up just a little more. Finally, a few stray extra loud bursts are limited with Peak Master to -0.03db. There are some whistles, screams, claps, and other audience noises that jump out at you and might bite your eardrums a little. Sorry. Some of them will clip at -0.03 and I have not lowered any of them beyond stopping the stray extreme peaks. They are dynamic and loud. You have been warned. There's a dropout from 1:42 to 2:10 of "Mysterious Ways" when the crush of people pressed my recorder into me enough to slip it into play mode and off of recording for that time on the tape before I was able to move my arm into my jacket pocket and push the record button back in. I believe the tape kept rolling in the show for this missing spot, so the blank space should represent the exact amount of time missing in the recording. It seems to keep the rhythm of the song in my head while I play what's missing! Wish I could have taken some pictures - my cell phone camera wasn't working. Oh, wait... I have split tracks of this show at the start of most of the relevant events that happen. There are tracks for encore breaks, long speeches, video segments, etc. and all the songs. I like to be able to easily skip to any important bit and not just the songs. There are tape silence gaps of a few seconds when I flip cassette sides or change tapes, and a gap of about 25 seconds in Mysterious Ways where the crowd crush pushed the deck into play mode off recording for a small break. I was thinking of patching these holes with the other source(s) of this show that circulate, but for now, to keep this source pure, I've left some tape noise in place of the missing minute in total of the show. Listen to some hiss and tape edits. They act as placeholders to fill in the missing time that did not get recorded on my master tapes. I tried to make a transfer of these tapes a while ago, and I thought that I had some cassette deck issues (speed fluctuations) when I listened to the digital files. There were some parts that seemed to speed up or slow down just for a minute or two in the middle of songs. I tried some digital speed corrections, but wasted my time and energy because I couldn't get it right. I spent so much time trying to salvage and rescue my first try that I got fed up with the show! I figured as well that there is already another circulating source out there so my version was kind of redundant. I've since found new love for multiple sources from different tapers of the same shows, so I tried again with a new tape deck to playback the masters. To my dismay, the same speed fluctuation(s) were in my second set of digitized files! The speed changes must have happened with my recorder in the live show from being so crushed in there with all the people mashing into me and my recorder. The main problem is in "With Or Without You" - it sounds like it lowers and slows down in the middle, meaning that the tape was rolling faster in the show somehow. Go figure! It's just a couple minutes, and I should've not shelved the first attempt I made years ago! D'oh! Now I know... I could have done some microsurgical editing work to take out / down the screamers and stuff, but this is what I heard that night. So, have fun and come hang out with us right up front wedged in there. There are some great moments in here! I didn't appreciate them at the time (hehe) but the people around me are kinda funny to hear now... This is the FRONT! Share freely this lossless FLAC fileset complete with text file and artwork files. Please don't share this show in lossy formats. Do not distribute mp3 files - doing so will not make me want to share other shows. Convert the FLAC files to eMPty3 or other formats for your own personal use only. Burn audio CDR's for your buddies! Make printed covers and reverse shoplift it into a store and leave it in the store! Delete the lossy files when you are done with them - don't let your used mp3's fall into the wrong hands. Keep the original FLAC fileset complete with text and art files. Do not rip audio CDR's to "re-seed" this show down the line. Please don't try and "Re-re-master" this recording. As I say, I also recorded the first night's show, from far away in the giant BC Place dome. Again, it's a show that already has a recording available, and after all the troubles I had with this second show's tape, I haven't felt like dealing with it very much! LOL!!! It's not an awful recording but it is much more distant sounding. Mine's farther away than the circulating one, but my high end master tapes sound nicer than the unknown gen average to poor tape transfer that's out there, so, one day soon I'll get night one finished! I have included some scans of my ticket, master cassettes, tape J-cards, and a concert advertisement. I've also included copies of the art that exists for the OTHER recordings of this show. Note that their tracks don't quite match up to mine... If anyone would like to make some coverart for my version of the show, please go for it! All I ask is that you post it freely wherever you can share it, and if you could possibly email me a copy I would appreciate it. I would really love to see some artwork for this release! I know that there are some very skilled photoshoppey types out there! Can you please help my recording out? I think it deserves better than recycling the existing art for the other recording. My tape scans are one thing, but... Thanks. audioarchivist@hotmail.com Dimeadozen.org: Torrent 673825 (by Audioarchivi)