New Doors Matrix release for Record Store Day 2018

I would guess that once they are done with trickle releasing this stuff, that is when we will see a complete set.

I can wait.

 

Thanks Pats! You are appreciated!

 

Excellent release,the 45rpm set is fantastic!

 

why be snarky?

thank you

 

Thanks.

My speculation was correct. This was clearly compiled for a stange days 50th before it was scaled down.

 

The Master master is technically a unmixed 2 channel multitrack. One with direct mic signal Jim, and the other being a mic over the stage to capture the band. For obvious reasons in cannot be a retail release with Jim only out of one stereo speaker.

This makes the quoted sentence problematic. By evidence of the 2008 sound samples and numerous examples of Botnick praising the ease of digital, Botnick appears to have mixed/EQ'd the tapes for release. This makes it a "second generation" master plus it adds a digital step.

While the 2 Matrix releases that came out in 2017 sound great, there was still a minuscule room for audiophile improvement. IIRC, Hoffman did a real time vinyl master from a 3 track Nat King Cole master. In 2009 Jampol suggested Hoffman for the Doors Matrix project.

 

I wasn’t impressed with last years Matrix releases. I didn’t notice much difference in the sound quality. I still think that’s the best it’s going to sound. I hope I’m wrong.
You’re right. With the exception of Summers Almost Gone and The End its all Strange Days material.

 

If forum members post criticisms of those those that work for the Doors with full citations/quotes/foot notes, will they remain in the SH archive?

I had post deemed "slanderous", yet I don't know which of the 2 dozen points I made was the issue.

 

Was the partial The End recorded on the 10th? I always thought it was from the 9th. I could be mistaken.

 

If they really have the masters, then it should be able to sound at least as good as the samples of the masters that we've heard. But the 50th mastering doesn't sound nearly as good as those samples. So I don't know if they don't have the masters or if the mastering is to blame (it's at least partially to blame).

 

It's from the 9th. It's all that survives after the 10th show was recorded over the 9th show.

 

Removing the Matrix tracks released in 2017 and 2018 you get the remaining songs left. There are still 7-8 unique songs(mostly covers) not yet released for a potential RSD title in 2019. That still leaves the duplicade songs, the 2 jams and proper running order as a selling point for some kind of "complete" set/series further down the road.

I hope THE END extract doesn't remain exclusive to the 2018 RSD release

March 7, 1967 Tape # 1:
2.) My Eyes Have Seen You
4.-5.) Jam*
6.) Get Out of My Life Woman
7.) When The Music's Over
8.) Close To You
9.) Crawling King Snake
10.) I Can't See Your Face in My Mind
16.) Summer's Almost Gone

March 7, 1967 Tape # 2

18-19.) Woman is The Devil / Rock Me

March 10, 1967 Tape #3

24.) Soul Kitchen
28.) Money
29.) Who Do You Love?
32.) I'm A King Bee
33.) Gloria
34.) Break On Through
35.) Summertime (instrumental)
36.) Back Door Man
37.) Alabama Song

 

That’s what I thought. The track list says the 10th show 2. Bizarre.

 

Because is it a re-scrambled micro-release sampler.

 

Agreed. The "Strange Days" tracks recorded at The Matrix are in the same sequence as the album, per my post last year.

 

I wonder if the SD 50th disc was going to have an extra track vs the RSD LP like with the debut.

 

Botnick's digital noise reduction and EQ sucked the "breath of life" out of the 50th release last year vs the circulating samples of the masters. Of course, the original recordings were made on prosumer gear at 7.5 ips and will never sound like a professional recording. March 10th will always sound better than March 7th because Abram direct mic'd the instruments on the 10th. On the 7th, he just hung a mic in the rafters -- that's why the instruments on the 7th have a more blurred, indistinct quality. For all nights, 7th ,9th and 10th, Jim's vocal was recorded via a soundboard. These are twin track recordings that Abram made using vacuum tube gear.

 

They have the masters. The Doors purchased the masters from Peter Abram in 2009. The mastering of the Matrix material for the Doors 50th Deluxe (2017) is to blame (poor EQ and digital noise reduction choices).

 

I question everything at this point. Wonder what this "first generation" stuff is about now.

 

RE: previously unreleased/unbooted jams on the Matrix tapes

• There are two unknown Doors jams on the Matrix master tapes which don't even circulate on bootlegs.
• Peter Abram's friend shared with me the following description of the two jams.

This description of the jams is from April of 2009:

"I listened to the two jams, and the first one is nearly 8 1/2 minutes of an instrumental, very Doorsish jam. I apologize, but I was distracted and didn't time the second jam, but I believe it was as long or possibly slightly longer than the first, and had a jazzier, softer feel a la Summertime, etc. If they do indeed issue the complete Matrix tapes as promised, I think you will find these instrumental jams interesting. The jams are significant in length and execution, not just noodling but clearly rehearsed and thought out..."

 

Amazing, thanks for sharing!

 

These are photos of the master tape boxes Peter's friend shared with me in 2008:

 

Wow! Very cool

 

Peter's friend shared this feedback from Peter on how he recorded The Doors at The Matrix. This explains why the instruments sound better on March 10th vs. March 7th.

3/10/67 recording

"I used an Akai tape recorder (tubes), 4 Calrad mics on the stage and a Calrad mic mixer on the instrumental channel. On the vocal channel: a Knight mixer with 3 Electrovoice 676 and Shure mics. The Calrad mics that I used on the instrumental track were model DM-21"

3/7/67 recording

"The instrumental track on the 3/7/67 recording was made with only one CALRAD DM-21 mic at about 10 feet from the stage. The vocal track was again from the club's Knight mic mixer."

Below are two of the actual mics Peter Abram still owns that he used to record The Doors at The Matrix. The one on the left was used as a vocal mic -- the one on the right was used as a room mic.

 

Peter Abram also recalled that it was never his practice to pause recording between songs because he feared missing the start of a song. So it's probable that all between-song tuning, stage banter etc for both nights exists on the master tapes.