Pink Floyd Compilation CD A Revisiting Of A Saucerful Of Secrets Soundboard

1. Let There Be More Light is the mono and stereo LPs synchronized together. The vocals and instrumental backing track were isolated from each other by OOPS, then the mono backing track was spatialized into fake stereo and folded in with the mono mix to give some width to the more obviously mono parts of the mix. The isolated vocal was panned to match the official mix, then the channels were swapped and the track put back in the mix slightly offset in time, creating a slap echo on the vocal in the channel opposite it and filling the stereo field more realistically. As the mono mix fades out a bit earlier, we parallel faded the stereo mix at that point as well. 2. Remember a Day was a bit of a problem song because it was almost completely in mono. The only thing that was stereo was the vocal, which was panned to one channel or the other. The song was reverse engineered by taking the CD track, phase cancelling the music and extracting the vocals, then setting them aside for later. An instrumental mono backing track was created by first panning the channels of the stereo mix around the vocals and reducing the remaining music to mono similarly to LTBML, then rechanneling the resulting mono backing track into fake-stereo. This was then mixed together with the mono LP, creatively panned now and then. The vocals were then overlaid with new digital pans and spatial effects, also opposite panned to the lead vocal in the verses. 3. Set the Controls for the Heart of the Sun is a sync of the mono and stereo LPs. This is one of the more interesting stereo mixes on the album, and not much was needed to enhance it. A spatialized version of the mono mix was laid into the mix to spread out the more mono sections, mostly the middle part. 4. Corporal Clegg is a mix of the mono LP and the CD except for one spot in the second verse where there was nothing we could do to avoid an annoying phasing sound (probaly a warble in the transfer of one of the master recordings when the CD or LPs were pressed, so about 10 seconds is the two LPs synced. 5. A Saucerful of Secrets is a sync of the mono and stereo LPs. As with Set the Controls, this is one of the better stereo mixes on the record, but we managed to enhance it a bit. The first 1/3 has a spatialized copy of the mono version laid in behind it to open up the center a little. the middle section has had the piano and guitar effects separated from the mix and reinserted in a more dramatic fashion, and with enhanced stereo imaging. Interesting difference in the middle where the mono mix doesn't fade out of the cacophany as fast as the stereo one. We panned this spot a bit to make it less noticeable. The final part has had the opening organ part and the choir enhanced. 6. See-Saw was created similar to Remember a Day. The stereo mix is a mostly mono backing track including the vocal, with some melotron, vibes and backing vocals laid over in stereo. We extracted the mono backing track from the CD and used it to replace just the three spots where the harmony vocal appears. This kept Rick's vocal unaccompanied in the middle. The three bombastic notes that pan across the channels after each verse were mixed to mono and put on another track, then the stereo pans were recreated digitally with much more precision than the original album. we even fixed a mistake in the panning after the first verse. The mono track was also spatialized and mixed in with the rest. The result is a stereo mix that is similar to the official mix, but smoother. 7. Jugband Blues seemed like it was going to be a problem because there was no difference at all in the mono and stereo mixes except for 30 seconds near the end. The stereo version is in mono except for the Salvation Army Band part near the end being panned back and forth. This made it pointless to try to make a stereo mix from. Luckily there is a 2010 stereo remix of that one song on the Early Years box set that served the purpose quite well. Because it was also built on a thick mono backing track we chose to extract the stereo elements and fold them in over the mono mix. This was to avoid phasing when the two mono tracks met up. We have also included two singles to complete the package. 8. Vegetable Man and 10. Scream Thy Last Scream were done by syncing the 2010 mixes with the older mixes, the 74 mix for VM and the 87 for SCLS. 10. Careful With That Axe Eugene is the mono mix with the wider panned elements of the stereo mix added in over it. The low end was cut from the stereo mix and the high end from the mono mix to avoid phasing issues. 11. Julia Dream was done similar to careful, but with an added layer of spatilaized mono mix added in, as the resulting sync of the mono and stereo mixes came out about 80% mono.