PF - The Power of the Dark Side - 40th Anniversary Remix - MQR 013
PF - The Power of the Dark Side - 40th Anniversary Remix - MQR 013

Released the 31th December 2013


Pink Floyd - The Power of the Dark Side - MQR 013 -

The 40th Anniversary Remix

MQR - Magna Qualitas Records presents the newest release:
The Power of the Dark Side, commemorating the 40th anniversary of Dark Side of the Moon
This album was constructed by request of a couple of people who really liked our Wish You Were Here remix (Ceci nest pas WYWH - MQR-008), and released in 2013 to mark what was heinously overlooked by the record industry, the 40th Anniversary.
The aim of this release is to demonstrate how DSotM could have sounded with more/different instruments/tracks in the mix or with some instruments turned up louder.
The goal was to make a mix that still sounds like a completed album, so there's nothing like the rough mixes or outtakes found in circulation on bootlegs (Time without the guitar solo, for example) in here. 
It's a complete album that maintains the integrity of Dark Side of the Moon, just mixed differently.

01. Speak To Me
02. Breathe
03. The Travel Sequence
04. On The Run
05. Time
06. Breathe (reprise)
07. The Great Gig In The Sky
08. Money
09. Us And Them
10. Any Colour You Like
11. Brain Damage
12. Eclipse

Re-edited in 2013 by }{eywood using the following sources:
Quadrophonic mix - 5.1 mix - Alan Parson's early mix - DVD menu mixes - Audio from screen films - Roger the Hat interview
(the above sources are from the 2011 Immersion box set)
- Another Side Of The Moon (ASoTM) - The Record Producers BBC special -
Stereo mix as we've all come to know it over the last 40 years
(Japanese black triangle release) - Live At Pompeii.

Technical notes:
In case you're wondering what we did here's a list of most of it.  Virtually none of the original stereo mix was used here.  For that matter neither was the 5.1 because it's too muddy and has shit separation.  Everything is in all channels, so it's no good for isolating instruments.  The quad mix, however, is great for doing this and is a major source for a lot of this.

Speak To Me: 
The 1975 screen film mix, edited and with additional voice elements.  Note the unused "I think it's basically about the elements, probably.  You know time, money and all that" voiceover I added around where Clare starts shouting (found at the end of ASotM), as well as the Roger The Hat comment about getting his gold disc if he participates in this effort and his trademark laughter. 

The 1972 Parsons mix but with portions of the slide guitar cranked up and panned (taken from the quad mix).  The organ behind "run rabbit run" is centered and cranked up as well, as is the electric piano.  We prefer the 1972 version because the slide and the harmony vocals are louder.  The final note is taken from just the rear channels of the quad mix so as to not have the drum machine of On The Run conflict with those of TS.

The Travel Sequence: 
EQd to match a bit better (less high mids and super low bass) and the end section is looped in a couple spots to have room for a slower fade out.  A couple of noises are added in from the unused parts of the 1974 Speak To Me screen film.

On The Run:
Begins with the screen film mix, but somewhat rearranged and with the channel balance altered, then segues into the quad version similarly altered.  We also added a few extra sounds and the ramping up from Pompeii before the explosion.  Laughter before the explosion enhanced from the Roger the Hat interview.

Going from the screen film mix for the clocks to the 5.1 mix for the intro.  The DVD menu mix is added to the intro to get the extra synth and the girls in there.  For the verses it's the quad mix synced with the back channels 3dB louder so as to make the rhythm guitar and electric piano slightly louder.  The guitar solo was isolated from the 5.1 mix and pasted over the quad mix to make it stereo yet retain the loud backing instruments.  The BG vox during Rick's vocal parts are turned up, and without the wishy-washy effects.  The low end was taken from the stereo mix because it's not that full on the quad mix.

Breathe (reprise): 
Continuation of the mix from Time with the rhythm instruments up louder and the low end flown in.

The Great Gig In The Sky:  Clare's unused vocals found on The Record Producers special added to the intro.  The spoken voices were isolated from the quad mix and added back into the mix, but with echo added.  The NASA Apollo tape from the Parsons mix was isolated and added to this mix as well, but with heavy effects added.  The final chord was taken from the stereo mix and has some additional hiss compared to the rest of the track, but it was necessary to construct a long, slow fade out.  The part where the final chord changes tuning/speed was altered so that it doesn't go up in pitch like normally, but rater goes down slightly.

Money:  The extended change sounds from the screen film now overlap  GGitS as in the live versions of the day.  The sounds of money that set up the beat are doubled in length.  The intro guitar and bass are extended by using a fragment of the DVD menu mix, and rhythm guitar elements from within the song are overdubbed onto them.  The gritty sounding rhythm guitar was taken from The Record Producers special and added to the choruses louder than on the official mix.  The DVD menu was used for the backing to part 2 of the guitar solo and the lead guitar was isolated from the quad mix and edited so it plays half as frequently.  The extra guitars at the end of the solo are from Another Side Of The Moon, as is the extended ending.  The spoken voices were added in afterwards from the DVD menus.  I couldn't get the fade to go far enough to hear Dave's "Lawdy lawdy" vocal.  It's there, but it's buried by the organ from Us & Them by the time it appears.

Us And Them: 
This was probably the most work, and once finished actually had to be completely redone from scratch because the team wasn't satisfied.  The organ at the start is a sync of the ASotM mix (in mono) with the FR channel of the 5.1 mix, the RS channel of the quad mix (panned back and forth) and the AP72 mix.  When the song starts it's the 72 Parsons mix with both ASotM and the front L & R channels of the 5.1 mix.  This gives us some extra sax parts and the louder piano, plus alternate piano parts.  By the time the singing starts the ASotM mix is gone, leaving us with a sync of the AP72 mix and the 5.1 FL & FR, but ASotM reappears in spots to add sax parts like the harmonies after "...and who is who" and the scale leading into the first chorus.  The echo on the vocals was recreated by extracting individual words from the center channel of the 5.1 mix, echoing and reverbing them, and placing them into the song where they belong.  This is to give better panning to the echoes. For the piano solo the front left of the quad mix is added in (but on the right side in our mix), mostly so you can hear it behind the sax solo.  Also in this part is the take shown in Live At Pompeii, mixed to center.  There's four piano tracks going at times in the song.  It's really thick now (as if it wasn't before).  By the time the sax solo is over we're down to basically just the 72 mix, but throughout the song the choruses have been beefed up by adding the rear channels of the quad mix in to bring the female background vocals up (and it also boosts the guitar and organ a bit).  All the interview bits were cut back in from the Roger the Hat interview, edited to match what was on the record, but with a little extra.  The sentence originally began "...I mean, they're gonna kill ya".  It now has the full sentence "when you've got a person who's that fuckin' rude, I mean, they're gonna kill ya."

Any Colour You Like: 
Begins with the DVD menus for a few bars.  Because of the reverb used on this I added similar reverb to the rest of the song (although without the super tight compression that's in the intro).  Extra guitar parts during the first part are from both ASotM and the quad mix, as are the last keyboards as the guitar solo part starts.  Extra kbds near the end are from ASotM.

Brain Damage: 
The 5.1 mix with the center channel cranked up to bring one guitar track up more.  Synth riff at the start from ASotM.  Lead guitar from Pompeii throughout.

5.1 mix with the back channels boosted to bring up the girls.  A couple extra vocals added from the DVD menu.  "There is no dark side of the moon really..." dubbed in from ASotM over the heartbeat from the screen films.


Making of the artwork by WRomanus

It was my intention to make it with all the iconic components of the original Storm's artwork  but with rather big changing.
the boss of this project, felt to use about the same old one only with little changes so I did.
Just took the two prisms on the net and redone from scratch the pulses, the rainbow and all the rest adding some glowing.
The only part of real creativity was the making of the 40.
I used a real picture of the dark side of the moon adding the glowing to recall the eclipse.
It was not easy to get an accettable 4 from the pulse.
That 40 is used for both Label disc and Tray.

Project and Re-mix by }{eywood
Artwork by WRomanus

This is a fan-made release for fans and should not be used by any stinky, greedy bootlegger to make money with other people‘s work.
If you like this release we at MQR urge you to buy the original album, in case you don‘t have it already. If you have it already (and seriously, who doesn't own a copy of Dark Side of the Moon?), we recommend to buy the 2011 remaster as well, because it really sounds awesome.

MQR - Magna Qualitas Records (creamcheese, WRomanus and }{eywood )


PF - Rolf's Pepperland Bomb - MQR 012

Released on December 17, 2013


Pink Floyd - Rolf's Pepperland Bomb - MQR 012 -

CD version + High Res. version

Pepperland Auditorium,

San Rafael, CA, USA
October 16th 1970


MQR releases this in memory of Rolf Ossenberg, who passed away on 17 December, 2012.
This show was the last Rolf worked on in the few days before he left us.
Thanks to him and his passionate research over the course of 35 years, research that took him all over the world
at great expense to himself in search of master tapes and other Pink Floyd material, this show wasn't lost to time.
All those who knew this gentle and nice guy can recognize in this artwork the same style he used in his loony New Year cards.

Source: Audience
Sound Quality: EX+
Tapers: Jay D. and Ron C. ...They sat 10-12 rows back, left of center.
Recording equipment: Sony TC-126 with Powered Single Point Stereo Microphone, using either Sony Red or Green cassette tapes

Oct. 1970. Recording equipment > Sony TC-252 7" Reel to Reel Recorder >1/4“ Scotch 140 RtR Tape (Jay D. copy).
Jun. 2011. 1st gen 1/4“ Scotch 140 RtR Tape > Baking process > Revox A77 RtR Deck > Tascam US-200 > Adobe Audition 24/96.
2013. 50 Hz dehumming in iZotope RX 2 Advanced > EQ > NR1 in RX > 1st Manual cleaning and restoring iZ RX2 A> NR2 in RX >
2nd Manual cleaning iZ RX2 A > EQ and MB compression > Balancing > Adobe Audition 1.5 for some manual dynamic adjustments>.....
a) 24/96 version - TLH for SBE fix and FLAC Level 8.
b) 16/44.1 version - Conversion and manual dynamic adjustments done with Adobe Audition 1.5 > TLH for SBE fix and FLAC level 8.

Remaster and Artwork made throughout the whole 2013 by MQR - creamcheese, WRomanus and }{eywood

DVD Audio 2:12:05 - (Disc One 69:05)

03:14 - 01. Astronomy Domine (1st Attempt - Tune Up)
03:58 - 02. Astronomy Domine (2nd Attempt - Tune Up)
09:03 - 03. Astronomy Domine (3rd Attempt - Tune Up)
06:07 - 04. Astronomy Domine (4th Attempt)
00:27 - 05. Tune Up
12:09 - 06. Fat Old Sun
00:46 - 07. Tune Up
11:09 - 08. Cymbaline
01:53 - 09. Tune Up
20:19 - 10. Atom Heart Mother
.................................. (Disc Two 63:21)
01:13 - 11. Tune Up
11:01 - 12. The Embryo
01:26 - 13. Announcement - Tune Up
03:24 - 14. Green Is the Colour
10:52 - 15. Careful with that Axe, Eugene
01:14 - 16. Tune Up
12:06 - 17. Set the Controls for the Heart of the Sun
01:27 - 18. Tune Up
20:37 - 19. A Saucerful of Secrets

The following notes were written by WRomanus and }{eywood based on the recollections of Rolf, Mike K., Ron C., Duckpont49, creamcheese and WRomanus.

Pepperland resided in San Rafael, CA, USA from September 1970 to the end of January 1972.
Prior to that it was known as Euphoria (though only for the summer of 1970) Bermuda Palms, and Lichfield's.
Pepperland was a Beatles-themed hall that featured a quadraphonic sound system designed by sound engineer John Meyer, who later built custom PA systems for the Grateful Dead.
It was 2 large rooms joined together with a partial wall separating both rooms.
This wall was opened up and later removed. The Room had a very low ceiling less than 10 feet high, creating excellent sound.
The support girders for the hall’s roof were adorned with painted portholes that mimicked the windows of the Yellow Submarine.
Even the sound system blended into the décor, with the speakers molded into huge fiberglass cones in which people would often be found sitting.
There was very poor ventilation. Lots of pot and cigarette smoke. No air conditioning. No HVAC.
Very cold in winter, too hot the rest of the time.

For Pink Floyd's shows there the band needed to use the ballroom floor to accommodate all of their gear, which took up two trucks to transport.
PF was set up against the back wall opposite the entrance on a very low riser.
The big Glyph horns were set up in the corners and there were Shure vocal columns set up every 20 feet or so along the walls in between.
There were slide projectors up in the metal rafters projecting fisheye photos of farm animals into the painted portholes on the walls in reference to the Atom Heart Mother cover.
A few steps up at the back of the performance space was another space with a trippy sculpture in the center, a female hand holding up a glowing sphere surrounded by "angel hair" and all under a plex dome.
There were no more than 500 people present, sitting on the floor in the center, with some folks sitting up inside the big Glyph bottom horns.

Pink Floyd were on tour promoting their new album, Atom Heart Mother, which had just been released a few days before.
They played there two nights, the 16th and 17th, returning to California for the fourth time in their career.
As with everytime they came to CA they felt at their best and their performance was really hot.
This time, though, was the first time they didn't play Interstellar Overdrive, an omission not lost to the Californian fans who considered it a certainty.

That first night there were many problems with the power.
The club's system was unable to deal with the multichannel sound system the Floyd brought, and several power outages marred the performance of Astronomy Domine.
Three more small outages occurred during the crescendo of A Saucerful of Secrets, but this time the band forged on and finished the song in spite of them, much to the fans' delight.

The show was originally recorded by Jay D. and Ron C. with a Sony TC-126 with Powered Single Point Stereo Microphone, using either Sony Red or Green cassette tapes.
They sat 10-12 rows back, left of center.
When the boys got back home, they instantly made two copies onto Scotch 7" Reel, one for Jay and one for Ron C.
The Master Cassettes were re-used for next day's Jethro Tull show in Berkeley.
They were usually never kept, due to the unreliability of cassette transport mechanisms at the time.

Thanks to this recording the show was soon famous amongst the fan trader circles and many bootlegs were released with at least some of these songs, especially the four attempts at Astronomy Domine.

Jay D. never traded this item so all copies around came from Ron C.'s reel copy which went rotten in the early 90's.
Rolf Ossenberg managed to get the Jay D. 1st gen reel copy which would no longer play back at all.
With the invaluable help of Mike K., the reel was baked in June 2011 (the morning after Roger Waters' show in Düsseldorf) and transferred from Revox A77 into Tascam US-200 to a 96KHz/24bit file.
Rolf was really nervous about baking the Scotch tape.
The issue is that the binder used was incorrectly made so it absorbs moisture.
This is believed to be a problem with all old Scotch/Ampex reels.
This moisture interferes with the adhesive so during playback you get lots of sticky gunk (yes, that is the technical term for it) collecting on the playback head and it impacts playback quality and even speed.
So you have to fix it. Rolf had bought a well-controlled oven specifically for this purpose.
They baked at 53C to 55C for 3-4 hours to drive the moisture out without damaging the plastic backing, let cool down to room temp, and voila' ... The tape plays back with no problems for a month or so.

Rolf gave that to creamcheese for cutting and some "basic treatment", as we used to call it.
A 50 Hz hum that probably appeared with the transferring process was taken away very carefully.
A little EQ was done to give the recording a bit more body.
Rolf approved it that way. He furtherly agreed to MQR making a remastered release from this but it was his wish to release that (almost) raw one himself first.
Unfortunately we were in November 2012 and Rolf's time has come.
Creamcheese released the transfer as Grolsch's Baked Pepperland Reel a few days after Rolf (Grolsch) passed away.

This remaster uses that same transfer.
The 50 Hz de-humming was redone with iRX2.
The recording was then EQ'ed and a 1st run of Noise Reduction was done with iRX2.
A 2nd Noise Reduction run was applied later. Some kind of noise "popping up" around sharp transients is audible throughout the show.
A hiss that only appears in conjunction with an audible sound; when there's no sound there's no hiss.
This was particularly noticeable during the spoken intros. For this reason the whole project was restarted from scratch.
Although the result of the 2nd attempt is way better sounding, we were not able to remove that popping noise entirely.
As it appeared independently of the NR settings, we suspect it to have been in the source material but buried in the hiss.
After that WRomanus manually removed clicks, pops, shits and some coughs for a more pleasant listening with iRX2.
The final master was then done by creamcheese applying another slight EQ, balancing the stereo image in collaboration with WRomanus and removing some phase issues on the bass range of the recording.
A little pressure was added applying very gentle multiband compression.
}{eywood manually adjusted the volume of a few parts to be more dynamic and better represent the way the songs sounded live, countering the level compression of the original analog gear,
and then made an optimized 16/44.1 Master for CD playback of this very dynamic recording.

The main artwork is made with two of the pics WRomanus took of Rolf talking about this show with Ron C., one of the tapers, during a meeting of floydian fans in Rome.
WRomanus conceived this artwork with Rolf's loony New Years cards in mind... Some of which you can see in the booklet.

MQR - Magna Qualitas Records (creamcheese, WRomanus and }{eywood )


PF - Delicate Sound of Thunder - The Complete 1987 - 1988 World Tour

Released on March 29, 2013


Pink Floyd - Delicate Sound of Thunder: The Complete 1987-1988 Tour - MQR 011

Magna Qualitas Records is proud to announce our newest release: A radical reworking of Pink Floyd's Delicate Sound of Thunder.

Delicate Sound of Thunder was a live album released in November 1988 highlighting the return of Pink Floyd after years without a tour. The last actual tour was the Animals tour in 1977 (The Wall tour only played 4 cities, and therefore wasn't really a tour per se). This tour with the newly reconstituted David Gilmour led Pink Floyd was very successful and it was inevitable that a live album and video were spawned by it.

Delicate Sound of Thunder was recorded over five nights at the Nassau Coliseum on Long Island, New York in August 1988. Because it was released with vinyl as the primary medium, CD being an afterthought, it does not contain the entire set performed at these shows. A companion video, however, contains quite a bit of the material missing from the CD. Unfortunately many of the songs that appeared on the CD were edited on the video making it necessary to have both to get full performances of all the included material.

This is a composite of the audio from both the CD and the LaserDisc releases of the concerts (Delicate Sound of Thunder has never been officially released on DVD) that we've beefed up with some additions to make into a complete show.

As a bonus we've added the five songs that don't exist on any release of Delicate Sound of Thunder ("A New Machine Parts 1 & 2", "Terminal Frost", "Welcome To The Machine" and "Echoes"), the missing 38 seconds of "Signs of Life", and a couple of minutes cut from "On The Run", all sourced from bootleg soundboard recordings, thus completing the setlist. For all the soundboard tapes used many tools were utilized, including stereo sparialization of specific frequency bands, EQ, noise reduction and a few ancient Chinese secrets, to try to match the mix and quality of the official release for seamless integration. We've also enhanced the audience throughout the show because we feel that anyone who attended the North American shows as }{eywood did (he saw 6 of them) knows that the crowds were loud and enthusiastic, and the album does not represent the way it sounded at the actual concerts.

We've also included several bonus tracks that are the original edited versions of songs from the CD and LaserDisc.

We believe that this is a far more faithful representation of the show as it appeared on the 1987-88 tour, one with all the songs and all at their full length. You will never find an official version or a bootleg SBD recording that contains the complete setlist from this tour with this quality, so we hope you enjoy it.

For this new expanded version of Delicate Sound of Thunder we have tried to somewhat preserve the format of the original booklet artwork, but we have also designed it to chronicle the marketing associated with the tour. The original booklet was nothing but concert photos with no text or any other information. Our version catalogs the many posters and promotional materials associated with the album, attempting to chronologically memorialize the tour and subsequent release of the album and video. We have also provided a printable version and an electronic version of the booklet. The electronic version is for viewing on computers and electronic music players and has the pages in numerical order. The printable is for CD jewel cases and has the pages designed to be stapled into a booklet. This set requires a thick case like the one DSoT originally came in, but one with a hub for a third disc. These can be bought online in a number of places.

For the Jewel case covers and booklet cover we have taken into account the original concept behind Storm Thorgerson's art and expanded on that. Storm's original idea is that the birds around the man on the hill represent the sound of Pink Floyd, surrounding the man as the quadrophonic sound at the concerts surrounded the audience. The light bulb man symbolizes Pink Floyd's light show, and the distance between the two men symbolizes how the sound and lights are percievable at great distances as they were in stadium situations.

For our cover we have utilized an alternate shot from the album cover shoot, one that differs very slightly from the one on the actual cover. This picture is cropped less, showing more of the outer borders. It is expanded as the content of the album is expanded, and is the complete picture as is the content of the album itself. There are also more birds surrounding the hill man because our album contains more music.

The back cover of the jewel cases uses the same picture of the three trees. We use them to symbolize the three discs that the album now requires to contain it. The trees are moved to the left to make room for the expanded tracklist. This same photo is used for the back of the booklet and for the tray liners, but for the liners we altered the border to red.

Inside the booklet you will find a catalog of memorabilia based around the tour and album. Many of the borders and graphics from the original booklets have been used in our backgrounds, most of which have been recolored or redrawn by hand with Windows Paint.

Pages 4 & 5 of the booklet attempt to recreate pages 2 & 3 of the original booklet, but with a different, yet similar, stage photo.
Pages 6 & 7 of the booklet use the background and band names from the original booklet, but do away with the shot of the arena, choosing instead to show pictures of the band. Due to the difficulty of finding pictures of the supporting musicians from the correct time period captures were made from the LaserDisc illustrating the band members.

Pages 8 & 9 show many posters and advertisements for shows on the tour. The globe background was created based on a similar background in the original booklet.

Pages 12 & 13 use the majority of a background from the original booklet around a montage of about 50 ticket stubs from throughout the tour, shown in (mostly) chronological order.

For pages 14 & 15 the background behind the T-shirts is an original drawing based on background graphics from the original booklet. A similar background is used on pages 20 & 21.

Pages 16 & 17 contain pictures of the three members of Pink Floyd placed within a globe graphic from the original booklet. This graphic has been recolored by hand.

The posters on pages 22-25 are }{eywood's scans from his Versailles commemorative release of A Momentary Lapse of Reason. The background graphics on these pages are based on ones in the original booklet.

The posters and CDs on pages 26-29 are overlaid on two pictures of the amazing laser show that Pink Floyd had at the time.

The labels from the LPs and the pictures of the inner sleeves on pages 30-31 are from creamcheese's album. No decent quality photos of these could be found on the internet, so we provided our own. Again, the arcs in the background are based on similar graphics in the original booklet.

Pages 34 & 35 attempt to receate the formatting of the original booklet with the credits, colors and picture placement, but with all new content.

Besides all this we have included scans of both the North American and European booklets from the official CDs, both being quite different in content (The European one is also 8 pages bigger), and scans of the tour program from 1988.

Because DSoT was released in 1988 we have not attempted to include any documentation from the 1989 leg of the tour (although one poster did slip in). The program in 1989 was completely different, but we will leave that for the future.

All credit to Storm Thorgerson for the graphics and original layout design are given here. Thank you, Mr. Thorgerson. I hope you won't be too upset with how we altered your work.

ALTERNATE COVERS: WRomanus has also designed a set of alternate covers featuring the bulb man standing outside the borders. This signifies the album being outstanding as he is, as well as thinking outside the box as MQR does. The bird man is also bigger. As he symbolizes the audience he is now larger in the photo because we made the audience louder on the album, making them a larger part of the listening experience

And finally as a late addition we have included scans of the program from the 1988 World Tour. This program was intended to be included from the start, but the internet could not provide decent scans. For these WRomanus called upon a friend, Vitus, to make fresh scans of his program which we have now incorporated into our album package. As a bonus we have created an additional page with scans of WRomanus' ticket stubs. This is because the Roman shows had a unique curiosity: A blank ticket used to get into the parking lot for the show. These were taken by the facility staff, but in the confusion WRomanus managed to keep his. These complete our chronicle of the tour.

Many thanks to Vitus for taking the time to scan the book for us.

Magna Qualita Records (WRomanus, }{eywood & creamcheese)


Pink Floyd - ROMAYYAD Rev.A - MQR 002A

Rev.A released on November 7, 2012 (Previously released on June 7, 2011).

Pink Floyd - ROMAYYAD Rev.A - MQR 002A -

The Remaking of the Omayyad TMoQ LP Edition

Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970
Live at Civic Auditorium, Santa Monica, CA, USA, 1970-05-01

This is not (again) a revision only.
We could have done a Rev.A already when we released Since We Were Teenagers with the whole Santa Monica show fully restored.
We didn't because at time we thought to release the Rev. A for A Total Zabriskie Point of View Complete Collection.
This is the fourth WRomanus-}{eywood and Magna Qualitas Records realease of Omayyad.
The first was in September 2008 and it was a big step ahead.
This Romayyad Rev.A has all the 6 songs remastered compared with the original Romayyad.
Both the live songs come from SWWT and were checked and _recleaned_  a little more again.
The four Zabriskie Point outtakes are the same of the last ATZPoV Rev.A except for
Crumbling Land which is kind of Rev.B since some hints from }{eywood were approved.

You can find two artwork versions.
We want you to feel free to have it with our restored lineage version or with the original set list.
Just take in consideration that the original set list was forced by length of the songs and the capability of the LP to support them.
The original set list is the only one possible on LP with those 6 songs.
Today on CD the order of the songs would probably be “restored” like this.
We followed the scenes of the movie and placed the songs from Santa Monica afterward with The Embryo before Interstellar Overdrive as it was performed in the show.
If you want the original LP lineage just rename the songs with the order you like.
Surely you will not traumatized anymore by the sudden start of Fingal's Cave after soon Oenone which was truncated in its long fading out end.

Set List (in brackets the position on the original first issue LP, side a, side b)
01:54  01 (02a). Fingal's Cave (new remaster)
05:56  02 (01b). Crumbling Land (new restored extended version)
06:51  03 (01a). Oenone (new remaster)
06:53  04 (02b). Rain in the Country (new remaster)
12:44  05 (03b). The Embryo (remaster)
14:14  06 (03a). Interstellar Overdrive (remaster)


MQR releases again the Remaking of the content of the original LP version of Omayyad only, primarily for those older collectors who have had it for many years.
It's a sort of emotional commemoration of a famous and time honored bootleg LP.
The first edition was released on colored vinyl in the beginning of 1972 by Trade Mark of Quality in USA, the inventors of bootlegs.
(Trivia note: in the same year the Best of Tour '72 LP was released in Europe.)
Omayyad was the 40th in the TMoQ catalogue and the first American bootleg about Pink Floyd.
It had large success and was reissued and re-bootlegged many many times due to the excellent (for the time) sound quality and the presence of unissued songs. It was probably conceived of as a smaller parallel version of Ummagumma, half studio and half live but the limitations of the length of LP sides couldn't support that.
Pink Floyd were at the International Recording Studios in Roma from 15 November and in London again from 12 December to end of January 1970 where they recorded and produced a large variety of music for the unpleasable supervisor, director Michelangelo Antonioni and his new movie Zabriskie Point.
He knew of Pink Floyd in 1966 during the making of Blow Up movie.
He really wanted Careful With That Axe, Eugene for the main scene of his new movie.
Only 3 songs were ultimately used for the film and we were introduced to them with the release of the soundtrack in 1970 by MGM. 3 more songs, plus the longer Crumbling Land, were aired early in 1970 from KPPC-FM radio Pasadena, California, by Don Hall, radio DJ and Musical Advisor of ZP movie.
Don announced the songs with the titles written on the tape boxes.
All four surfaced in 1972 with Omayyad. Thanks to Don Hall, now we know that the source used to make it was a multigenerational tape of the FM broadcast.
25 years later the extended soundtrack by Rhino Records gave us four more outtakes.
The rest of the known outtakes came out a while later with the first half of the
double CD bootleg named A Journey Through Time & Space.
None of the 4 Omayyad out takes surfaced later in the Rhino release or in the AJTT&S boot.
The live performances of The Embryo and Interstellar Overdrive come from the show at the Civic Center Auditorium in Santa Monica, California the 1st of May 1970, just 4 months after the end of ZP Sessions and the day after the famous KQED sessions.
For years a lot of people thought these tracks were from Chicago 1971-10-27 but in reality the last Interstellar Overdrive was performed in February 1971.
Another error perpetuated by the Leopard boots.
At the time of the Omayyad release these songs were unissued as well.
No one had on vinyl a live version of the 2 pieces. Two unique masterpieces to be enjoyed throughout the 70's and onward through the future.

- Titles and Songs -
ROMAYYAD as Remaking of Omayyad, recalling the work made in Roma.
The correct name was OMAYYAD and NOT Omay Yad. Like the first dynasty of Arab caliphs whose capital was Damascus, like the big Mosque in the same city.
We hope we made this clear ones for all.
This error originally probably occurred on the hand written paper insert.
It had the two Y's a little bit separated.  
The largely circulated version on LP and CD by the Leopard label was clearly named Omay Yad and the error was in that way officialized.
The four ZP outtakes are properly named.
The names possibly came from the announces of the songs Don Hall read on the tape boxes when he aired them.


- Sources -
The audio of the ZP outtakes comes from a copy of the Omayyad master.
This was provided to WRomanus by Grolsch and MQR did the remastering work.
To restore Crumbling Land the official one was used since the musical part and the real end are the same. The two live songs were remastered as well.
They come from a 1st generation reel better than other sources heard before about this show.

MQR thanks :
- Grolsch for the new Tape source of the ZP outtakes
- Don Hall for the big help
- Glenn Povey for The Document
- Floyder with his big Omayyad LPs collection
- Dub & Ken for the Omayyad LP release and for inventing bootlegs and TMoQ.

Completely Remastered and Released by Magna Qualitas Records
MQR for this project was WRomanus, creamcheese, }{eywood                   

Project and Artwork by WRomanus - Roma, 07 Novembre 2011



Pink Floyd & Ted Alvy - Cosmos Topper - MQR 010

CD version (16/44) Released on October 16, 2012.

HighRes (DVD-A and Flac 24/96) Oct. 22,

Raw version 24/96 Speed Corrected (not restored) Oct. 26


  Cosmos Topper is the tribute MQR makes to Ted Alvy and Pink Floyd music.

The Show
- Disc One and Two - Civic Auditorium - Santa Monica, CA, USA
The Interview - Disc Three - KPPC FM, Pasadena, CA, USA
Both October 16th 1971

Show Source: Audience
Taper: Al
Recording equipment and Mastertape: Unknown
Transfer: 1st gen TDK SA-90 > Sony TC-WE475 > SB X-FI Platinum > Sony Sound Forge 8.0 @ 24/96 > TLH

Restored and Enhanced by MQR to Sound Quality EX-


Los Angeles native Ted Alvy first heard rock and roll aged 9 on KFWB, where B. Mitchel Reed (BMR) became his favorite deejay.
Teenage Ted met BMR at the June 1967 Monterey Pop Festival and became his producer at KFWB featuring album cuts and forever joining the conspiracy to improve music on the airwaves.
He hosted Sunday Night Folk Festival on Stereo KVFM-FM, but was fired for playing folk-rock and sets of anti-war songs.
He accompanied BMR to help pioneer Underground Radio at KPPC-FM Pasadena as Producer and substitute deejay.
Ted compiled the Record Library that was used to convert KMET-FM to Underground Rock in June 1968 where he secretly programmed the 24/7 automation system.
He was an underground record store buyer at Les Carter's Music Revolution while attending UCLA Film School, then returning to KPPC-FM to join creative PD Les Carter.
Ted Alvy became deejay Cosmos Topper and created cosmic KPPC station IDs and alternative commercial spots until the entire airstaff was fired October 24th 1971,
few days after the Interview and the PF show. He was an admirator of early Pink Floyd, Interstellar Overdrive over all.
He continued at KMET-FM with his mentor B. Mitchel Reed until June 1976.
He interviewed countless rock legends in the years.

Ted Alvy died in March 2012.

We never met anyone with his depth of knowledge of rock and roll.
He was known as a passionate believer in the good side of man, and for sharing his love of music.
Few people were as more of a devoted friend than Ted. He will be missed.

Soon after the sad news MQR was asked if we were interested to remaster and yet uncirculated 1st gen of the 1971 Pink Floyd's show in Santa Monica.
Of course we were...
WRomanus had a big help for his researches in the years from Ted and he was going to restore his interview to Rick and Nick to tribute him
so it came natural to think to a little box with the Interview and the Show held the same day.

The Show
It was delivered by the generous donator to creamcheese in 4 24/96 files, one cassette side in each file, via bittorrent, with the following message attached.
In 1971, this recording was made by a fellow named Al, who was 15 or 16 at the time.
Al attended this show with his older brother.
When this recording first surfaced in 1985, Al was very generous in sharing it and seemed humbled that anyone would want to hear his recording.
He was not a trader or a collector of live shows so it was only luck that brought this recording into the light of day.
He described himself as "a big fan" of early Pink Floyd and an admirer of Rogers solo work.
Al said he had all the early Floyd albums and loved the Ummagumma LP but he had lost interest in their work after DSOTM.
Surely, Al would be happy to know that you enjoy this remaster of his recording.

First the original source was speed corrected and then dehummed and denoised by creamcheese with his well-known methods.
At this point the 3 pieces of Echoes were spliced together by WRomanus who then continued work by applying his equally well-known and famous long manual cleaning.
With these cleaned files creamcheese spliced (where possible due to repeated portions) the tracks together.
WRomanus started a search about the set list and with the help of many passionate fans we rebuilt what is possibly the right order of songs.

The beginning of Set the Control ftHotS was patched with some Gong Swell from MQR 004 (Since We Were Teenagers - Santa Monica Civic Auditorium 1970-05-01).
There was a crossfade made at the beginning of Cymbaline to give that part a better flow.
The Beginning of Cymbaline itself was restored by building a loop from what was there.
This might sound a little repetitive, but we didn't want to splice in another portion from different show. A little portion of _walking steps_ was rebuilt.
The applause at the end of Cymbaline was crossfaded with the following clapping, again just to give the show a better flow at this point.
It is not 100 % sure if this portion now is at the right point in the show and obviously there's audio missing. Maybe this mystery will get solved when one day the master shows up.
The final stage of remastering was to EQ the whole thing, add some artificial HF content and get the stereo panorama a little "richer".
Bass was enhanced to get it all a little punchier at the bottom.

The Interview - Ted Alvy aka Cosmos Topper with Rick Wright Nick Mason.
It was already shared by WRomanus as he got directly from Ted on CD.
For this commemorative release the Interview was totally reviewed.
Creamcheese denoised and declipped it and restored the dynamics (when possible)
WRomanus cleaned and divided in nine parts to make it more accessible.

So here is a good upgrade since it has an excellent better sound quality and it's complete with the "nice to listen" commercials.

You can hear Nick and Rick talking about their concerts, about Interstellar Overdrive (not good enough for Ummagumma),
about the making of Ummagumma and Meddle, about future works and the next British Tour which means that short
british Tour of early 1972 which ended at the Rainbow in Feb. 72 was already planned before this American tour.
According to NM it was going to "be the best one for a long time". And indeed they had all new equipment for it.
Lights, Mixing-Desk, the VCS3 was first used onstage. We can only guess if at that point of 1971 they already had drafts and plans for the next tour's material to be played.
What we know is that "Breathe" was sort of premiered one month later during a jam session they played during the last public performance of "The Embryo".

The interview is completed by a Transcript by radiowaves and a kind of our interview with Ted (see also Ted Alvy aka Cosmos Topper Brief self-Biography)
He made it really interesting with his answers about his interview to Nick and Rick, about those times, KPPC and his life, Don Hall and more.

MQR Thanks:
Ted Alvy aka Cosmos Topper
Al and the donator

Artwork by WRomanus


Pink Floyd - A Total Zabriskie Point of View Rev.A - The Complete Collection - MQR 005A

Rev.A Released on September 30, 2012.

(Original Released on September 27, 2011)


Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970


 This is The Complete Collection of all the known material recorded by Pink Floyd during the Sessions for the Zabriskie Point Soundtrack now released by MQR.  


containing complete with single own artworks:


The Lost Zabriskie Point Album : 370 ROMAN YARDS Rev.A - MQR 001A

and its EXTENSION Rev.A - MQR 003A (whole CD One) 


Why a Rev. A?

Because it needed!
We knew about some problems left in certain songs on the 1st release.
We were so tired after months of remaking and we didn't dare to go further _to try_ to adjust something we focused.
In the year our skill in restoring and cleaning songs with some programs increased exponentially.
Last spring we checked again some of the 8 main songs finding many little flaws.
What once has been something REALLY good, now became barely good in certain cases.
In the meantime a lot of people asked for an artwork prepared for use in a big double CD jewel case a-la The Wall, official release.
While making that we thought to make a Rev.A for the whole Collection.
We started of course to work on the 8 songs of 370 Roman Yards - The Lost Album,
trying to get rid of the two problems left on Alan's Blues: the 2nd guitar bleeding and a kind of floating in the sound of cymbals.
We were successful.
So we did further with Rain in the Country making all the alignments with the two parts we put together, bit after bit, absolutely perfect.
We were able to minimize the bleed through of the drums we imported to our version when restoring it with the several mixes and edit we got of it.
Than we fronted the problem of the poor bass rendition of the cd release of Heart Beat Pig Meat. We used a 24-96 rip from vinyl.
On Crumbling Land it has always been annoying that some instruments and the voices do sound quite dull while others are very good and clear.
We tried to give a little more definition to the voices and the tympani without altering the other components. Now the song sounds a little more "HiFi".
Oenone was cleaned more from artifacts and flaws in the loud parts.
Come in Number 51 had the same treatment.
Fingal's Cave was the only without undiscovered flaws but was re-Equalized to get a more pleasant listening.
Nothing changed in Country Song except for a good number of flaws fixed.
After three months of working we adjusted hundreds of little flaws of every kind in the 30 songs.
This work is more noticeable listening to the quite songs.
Two we left untouched on CD Two (as we did on the original release), Crumbling Land official edited release and the Us and Them demo....
As demos of what was before...


   "This Complete Collection is the natural product of years and years of passionate research applied to the Zabriskie Point topic. Over the years many theories have been presented, and we all know a good researcher has to prove his theories whenever possible.  
In recent years my dedication has yielded the deserved prizes.
I had the luck to get from Glenn Povey what I call simply The Document, part of the ZP recording sheets of EMI studios.  I was also able to make contact with Don Hall, the Music Adviser of the movie. I'm honored to say that this contact became a real friendship.  With my great satisfaction almost all my theories, even the most incredible, were confirmed.    

   What we at MQR present here is a modular opera set in three stages.
The core of all this are clearly the eight songs of The Lost Album - 370 Roman Yards, the great find of all the research, which is the closest thing possible to the album that would have been released by MGM-Pink Floyd in 1970 if they had been sole musicians on the soundtrack of the film. The Lost Album was extended with the eight Main Outtakes, a-la Rhino Records release, forming the CD One of the Complete Collection.
The CD Two is mainly made by all the Other Outtakes and the Film Versions.
The order of the songs of the different blocks follow about the order of the movie scored totally with music by Pink Floyd (to be released, hopefully soon).

 The mixes on this Complete Collection are either the mixes made by Pink Floyd for release, or as close as we could make using the material available.  We have restored and enhanced everything using the best technology and skills available to us. The quality of these tracks varies due to the sources used, but we have done our best to make it all sound as good as possible.


CD One (79:21)
The Lost Album -
370 Roman Yards (40:10)

3:10 01. Heart Beat, Pig Meat
4:40 02. Country Song
1:54 03. Fingal’s Cave
5:55 04. Crumbling Land
5:44 05. Alan’s Blues
6:51 06. Oenone
6:53 07. Rain in the Country
5:02 08. Come In Number 51, Your Time Is Up
The Extension - The Main Outtakes
6:23 09. The Violent Sequence
1:11 10. Take Off (version II)
11. Country Song Theme (band)

1:18 12. Country Song Theme (acoustic)
6:37 13. Love Scene 1 (organ & guitar)
7:51 14. Love Scene 3 (band)
6:55 15. Love Scene 4 (piano & vibes)
6:44 16. Love Scene 5 (double vibes)

CD Two (76:55)

Other Outtakes

01. Country Song (full mix)
02. The Violent Sequence (Us and Them Rick's demo)
03. Take Off (Version II) and Crumbling Land (film version)
04. Crumbling Land (full mix)
05. Love Scene 6 (The Blues)
06. Love Scene 6 (The Blues - full mix)
07. Love Scene 2 (Oenone - full mix)
08. Love Scene 4 (piano only)
09. Rain in the Country (Unknown Song - alternate version)
10. Rain in the Country (Unknown Song - full mix)
A Special Outtake
11. The Christmas Song
Official Soundtrack Version
12. Crumbling Land (soundtrack Edited version)
Film Versions
13. Heart Beat, Pig Meat (film version)
14. Crumbling Land (film version)
15. Come In Number 51, Your Time Is Up (film version)
16. Come In Number 51, Your Time Is Up (trailer version)



Multiple Artwork by WRomanus




Pink Floyd - Yet Another Lost Album - MQR 009

Released on August 30, 2012



1. In The Sky
2. Embryo
3. Cymbaline
4. Zabriskie Roastbeef

All  music  heard  on  this  album  played  live  or  in  THE  studio  by  Pink  Floyd.  Dissected  and  puzzled  together  by  creamcheese  in  2011/2012. 

Creative  Assistance  by  WRomanus.  


In The Sky
Organ Loop: Love Scene 1 from ATZPoV
Vibes: 1 Channel of Love Scene 5 from  A Total Zabriskie Point of View - The Complete Collection
Birds: Cirrus Minor from „More“ 2011 Remaster CD

Song: Studio Rec. from "Picnic - A Breath of Fresh Air" Vinyl restored by creamcheese & wromanus
Percussion: Nick's Boogie from original TLMALIL-EP
Playground Athmo and Seagull Guitar: „Embryo“ from „Since we were Teenagers“, Santa Monica 1970-05-01
Gong: „STCFTHOTS“ from „Since we were Teenagers“, Santa Monica 1970-05-01

Sleep Section: Amsterdam 1969-09-17
Song: Studio Recording from „More“ 2011 Remaster with Center Channel extracted and Oilcan-Echo-treated to achieve a similar effect as heard on many live recordings
Bass: „Sleep/Nightmare“ from Amsterdam 1969-09-17
Organ Improvisation Section: „Sleep/Nightmare“ from Amsterdam 1969-09-17
Foot Steps: „Cymbaline“ from „Since we were Teenagers“, Santa Monica 1970-05-01
Birds: Cirrus Minor

Zabriskie Roastbeef:
a) Heart Beat, Pig Meat
Loop: Heart Beat, Pig Meat Original Studio Recording from ATZPoV
Pictish Noises: Pink Room Corrosion from French TV 1970-12-04/05
Piano: „Sysphus“ Studio Recording from non-remastered CD.
Gong: „STCFTHOTS“ from „Since we were Teenagers“, Santa Monica 1970-05-01
b) Oenone:
Restored Oenone Studio Recording from ATZPoV
Love Scene 3 Studio Recording from ATZPoV
c) Cleaned, Restored and Stereoized Moonhead from „What if it's just green cheese“ 1969-07-20
d) Violent Sequence:
Piano: The Violent Sequence Studio Recording from ATZPoV
Bass: The Violent Sequence Live Recording from Paris 1970-01-23
Windchimes and Gong: A Saucerful of Secrets Studio Recording from „ASOS“ 2011 Remaster CD
Organ Loop: Interstellar Overdrive: Unreleased Ummagumma Live Recording
Slide Guitars: Atom Heart Mother Quad Mix from Quad-Reel DVD-A
Ride Cymbals: „Come In Number 51, Your Time Is Up“ Studio Recording from ATZPoV
Percussion: Nick's Boogie from original TLMALIL-EP

This release started off as a fun project. I started to experiment with different snippets from many early Pink Floyd Songs and tried to seperate single instruments from those pieces.
The original idea was to make a LP-side long suite from Embryo.
This idea was dropped later when someone (god bless him) suggested the „Birmingham Suite“ to reconstruct as a studio recording.
Obviously the Floyd had been working on two suites at the beginning of 1970, which both contained rejected material from the Zabriskie Point sessions, one being what later became „Atom Heart Mother“, the other one being the Birmingham Suite. This second one was dropped from the setlist after a few shows because it obviously was not strong enough to become an early Floyd classic (but even more obviously became an early Floyd collectors' classic because it was played so rarely and even never was properly taped). But what could it have sounded like, if Pink Floyd had not dropped it and had recorded it in studio?

A few words on song titles: The work title of „In The Sky“ was „Vibes/Organ/Birds“. After having completed this album we at MQR thought it might be nice to rename it. „In The Sky“ sounded very nice and was kept for this reason. Absolutely no idea if Pink Floyd would have given it a similar title. In the end they didn‘t even play it that way...
We knew about the Birmingham Suite being referred to as „Halcyon Piano in Niagara Dellof“ but we didn't like that title and there is no evidence for this title being an original band idea.
So we sought after a title that referred to something to eat just as the other suite's working title „The Amazing Pudding“, that would later become the almost equally stupid titled „Atom Heart Mother“.
After a few attempts like „Zabriskie Stew“ „Zabriskie Soup“ wromanus came up with the fantastic and inimitably stupid „Zabriskie Roastbeef“...

Project and Artwork by creamcheese, july 2012



Pink Floyd - Ceci n'est pas Wish You Were Here - MQR 008
Pink Floyd - Ceci n'est pas Wish You Were Here - MQR 008

Released on June 28, 2012


This is a fan-made release for fans and should not be used by any stinky, greedy bootlegger to make money with other people‘s work.

The aim of this release is to demonstrate how Wish You Were Here could have sounded with
- Shine On You Crazy Diamond as a single track,
- Welcome To The Machine with drums (as played in 1987-89 on the AMLOR Tour),
- a different decision about the vocals on Have A Cigar.

If you like this release we at MQR urge you to buy the original album, in case you don‘t have it already. If you have it already,
we recommend to buy the 2011 remaster aswell, because it really sounds awesome.


Project and Artwork by creamcheese



Beach Boys - SMiLE - MQR 007
Beach Boys - SMiLE - MQR 007

Released on February 4, 2012





Pink Floyd - Zabriskie Point on Stage - MQR 006

Released on October 4, 2011.


Creating the definitive Collection of Pink Floyd's Zabriskie Point Material always meant to MQR to add the 3 known live performances from Jan/Feb 1970.

As most of us know, the quality of most of these recordings is extremely brutal.

Although we think that these recordings from

Fairfield Hall, Croydon 1970-01-18

Theatre de Champs-Elysees a Paris, 1970-01-23 and

Town Hall, Birmingham, 1970-02-11

never sounded better, they are still an addition for the sake of completeness.



Pink Floyd - A Total Zabriskie Point of View - The Complete Collection - MQR 005

Released on September 27, 2011.


Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970


This is The Complete Collection of all the known material recorded by Pink Floyd during the Sessions for the Zabriskie Point Soundtrack now obsoleted by the Rev.A released September 30, 2012



Pink Floyd - Since We Were Teenagers - MQR 004

Released on July 29, 2011.




Live at Civic Auditorium - Santa Monica, CA, USA - May 1st 1970 - Audience Recording


Source: Audience
Sound Quality: EX

Taper: Dub Taylor
Recording equipment: Nagra R2R > 5" Reel Master
Playback: Tandberg R2R > Revox B-77 > M.M.'s 1st Generation Reels
Transfer: Reel[1] > Sony DAT > DAT(0) > Audigy 4 Pro > Nero Wav Editor > CDWav >CDR(0) > CDR(1) > EAC > FLAC

Restored and Enhanced by MQR - creamcheese, }{eywood and WRomanus

Total time = 121:53m

  Set One    51:18
1. Grantchester Meadows
2. Astronomy Domine
3. Tune Ups
4. Cymbaline
5. The Amazing Pudding
  Set Two    79:08
1. Tune Ups
2. The Embryo
3. Green Is the Colour
4. Careful with that Axe, Eugene
5. Set the Controls for the Heart of the Sun
6. Interstellar Overdrive
7. A Saucerful of Secrets


This fully restored and remastered recording from Santa Monica is the MQR's fourth release.  Due to our continuing work on everything related to Zabriskie Point, which led to the new revision of the Omayyad album, we've decided to complete the restoration of this excellent recording. This recording had many dropouts, damages and cuts in the tape.  All this has been restored here using pieces of other shows or relocating pieces from this show. 

Originally Grantchester Meadows only ran about 30 seconds.  Apparently that is where the taper started recording.  We have patched the majority of the song in from the previous show in San Francisco on April 29, but since the very beginning of that fades in we decided to restore that as well from the KQED tape.  We wanted the birds before the song to be there.  The 30 seconds of the song that existed on the tape for this show are all there, but now the whole song exists in a form that is nearly impossible to tell its from more than one show.  from 0 to 0:34 April 30 - KQED.  From 0:34 to 7:13 April 29 - Fillmore East.  From 7:13 to 7:37 (end) May 1 - Santa Monica

Astronomy Domine had a small part missing due to a damaged portion of the tape.  This was patched with a piece from slightly earlier in the song.  The buildup was a bit oversaturated and was all at one continuous loud volume, so this was readjusted to better reflect the gradually increasing intensity of the song.

The original little patch from Santa Monica  1970-10-23 is still in place in Cymbaline.  It was done so well I can't even tell where it is, so why mess with perfection?

A dull spot in the tape at about 14 minutes into The Amazing Pudding was repaired. 

The missing part of Careful was spliced in from Port Talbot 1969-12-06, curiously this concert was during the Sessions for Zabriskie Point. We searched long and hard through dozens of shows to find a tape where the performance was similar enough to the one at Santa Monica (and with similar sound quality) to fill the missing section.  Quite a lot was missing, so it had to be done. The patch exists from 2:33 to 3:48.

Drop-outs and other anomalies were cleaned up or otherwise repaired.  The volume of the whole thing was adjusted in various places to make the dynamics more pleasant, and because the tape sounds like the taper was adjusting the gain on the fly as the show went on in order to compensate for very quiet passages.  A lot of the between song banter and tuneups and the tape effects during Cymbaline were very quiet, so they were brought up a bit.  The distorted sections of the show were carefully restored to avoid a lot of the oversaturation they originally contained.  Several spots where the high end dulled down a bit, likely from deterioration of the master, were EQd separately and patched in in order to compensate for the tonal changes.  Noise Reduction was carefully applied in three stages, and the whole thing now appears for the first time in stereo due to the usage of a very sophisticated and well sounding (although freely available) stereo processing plugin.  The tape flips were all patched by relocating audience from different parts of the show so the whole thing is now a continuous piece for each set. 

This release is certainly not perfect.  Many wrinkles and crumples were present in the master tape, and although we did our best, there's not a lot that can be done to fix them.  It is, however, probably the best it has ever sounded since we were teenagers, maybe even as it ever will...



Pink Floyd - Extended 370 Roman Yards - MQR 003

Released on July 1, 2011.


Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970

This is the EXTENDED album of the Soundtrack for Zabriskie Point that never was, one performed entirely by Pink Floyd, now obsoleted by the Rev.A released September 30, 2012


In the A Total Zabriskie Point of View Rev.A Collection, you can find this one (CD One, MQR 003A) complete with its own artwork.



Pink Floyd - ROMAYYAD - MQR 002

Released on June 7, 2011.

Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970 and
Live at Civic Auditorium, Santa Monica, CA, USA, 1970-05-01


This is the Remaking of the Omayyad TMoQ Edition.

This is not a revision only. We remastered and restored all the songs from new sources.
MQR releases the Remaking of the content of the original LP version of Omayyad only, primarily for those older collectors who have had it for many years.
It's a sort of emotional commemoration of a famous and time honored bootleg LP.



Pink Floyd - 370 Roman Yards (The Lost Album) - MQR 001A


MQR started the activity with the first release on May 31, 2011.


Studio Sessions recorded in Roma and London - from Nov 1969 to Jan 1970


This is the soundtrack album for Zabriskie Point that never was, one performed entirely by Pink Floyd.

This Album is part of the Complete Zabriskie Point Collection and The Box both called A Total Zabriskie Point of View now obsoleted by the Rev.A released September 30, 2012


In the A Total Zabriskie Point of View Rev.A Collection, you can find the Rev.A (MQR 001A) of this one complete with its own artwork.