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Re: 2013 Recordings

Posted: Wed Aug 07, 2013 11:11 pm
by Davido
I don't think it's a good idea to 'advertise' this here.
I agree with Wendy as to the very likely source of these recordings. ... eg_Sellers
"DIME has a zero-tolerance policy against the sale of bootlegs. Collecting revenue for the works of performers without proper compensation to them is unethical and impardonable.

Users lose access to the tracker if they are found to be engaged, involved, or cooperating in the sale of bootlegs, whether or not any of their offerings can be traced to DIME torrents. Any donations they had made are forfeited.

Dubitable cases will be resolved ex cathedra by DIME management. Use of DIME is neither a civil right nor a necessity to life, and management reserves the right to refuse access to anyone for any reason at its sole discretion."

Re: 2013 Recordings

Posted: Thu Aug 08, 2013 12:00 am
by jarkko
I guess this is a borderline case but anyway decided to take the details off - concert trading and vines etc. are ok but if anybody goes to a concert to record it and then begins to make and sell copies, we don't support it.

Re: 2013 Recordings

Posted: Thu Aug 08, 2013 12:42 pm
by cohenadmirer
jarkko wrote:I guess this is a borderline case but anyway decided to take the details off - concert trading and vines etc. are ok but if anybody goes to a concert to record it and then begins to make and sell copies, we don't support it.
thanks for the clarification 8)

Re: 2013 Recordings

Posted: Sun Aug 11, 2013 11:16 pm
by Mabeanie1
Pula is up on Dime, courtesy of Raincoat1. The torrent includes some bonus content in the form of (incomplete) tracks from the two sound checks on August 1 and August 2, including Banks of Marble and the unnamed blues jam.

Pula Ampitheatre
2nd August 2013

Audience recording ECM 717 > Sony PCMM10 24/48 > Audio Cleaning Lab, fades, track edits, volume, eq > 16/44.1 > TLH 16 bit Flac 8

192kbps mp3 samples in comments below"


Re: 2013 Recordings

Posted: Sun Aug 11, 2013 11:20 pm
by Goldin
This is so amazing! Thank you, Raincoat1! Thank you, Wendy!

Don't wanna break the window
Don't wanna burn no car

Re: 2013 Recordings

Posted: Mon Aug 26, 2013 5:17 pm
by Goldin
Thanks to gvataper -
Leonard Cohen
Zurich, Switzerland
24 August 2013


Source: DPA 4023-->Naiant Tinybox --> SonyM10
Original is 24/96. This release is 16/44
Taper: gvataper
Location: 5th row centre


Low levels in first track, some level adjustments in the first seconds of second trackā€¦then smooth sailing

Re: 2013 Recordings

Posted: Mon Sep 02, 2013 4:45 pm
by Goldin
Thanks to Nige78!
Leonard Cohen
phones4u Arena, Manchester, England
31st August 2013

Source: Roland Edirol R-09HR with SP-CMC-20 external mics
Quality: B+


Set #1
1, Dance Me To The End Of Love
2, The Future
3, Bird On The Wire
4, Everybody Knows
5, Who By Fire
6, The Gypsy's Wife
7, Darkness
8, Amen
9, Come Healing
10, Lover Lover Lover (with band intros)

Second Set
11, Tower Of Song
12, Suzanne
13, Chelsea Hotel #2
14, Waiting For The Miracle
15, Anyhow
16, The Partisan
17, Alexandra Leaving (performed by Sharon Robinson)
18, I'm Your Man
19, A Thousand Kisses Deep (Recitation)
20, Hallelujah
21, Take This Waltz

21, So Long, Marianne
22, Going Home (cut)

XX Missing songs XX
First We Take Manhattan

Encore 2:
Famous Blue Raincoat
If It Be Your Will (performed by The Webb Sisters)
Closing Time

Encore 3:
I Tried To Leave You
Save the Last Dance For Me

* Not complete - ran out of battery during Going Home.
* The sound quality fluctuates a bit between the sets and encores as I kept having to stand up and sit back down - every time I did the microphones were re-positioned, but generally it's decent recording with a bit of loud clapping between songs.
* Little bit of limiting used to reduce to volume of the clapping between tracks to bring it in line with the relatively quiet performance volume.
* P.S. My first Cohen show-I went purely on the recommendation of a friend. Suffice to say I don't intend for it to be my last......
* P.P.S. The venue will forever and always be the Evening News Arena to me, despite the new name.

Re: 2013 Recordings

Posted: Wed Sep 11, 2013 7:06 pm
by Goldin
Thanks to Raincoat1 -
Bournemouth International Centre
26th August 2013

audience recording, Sony ECM 719 > Sony PCM M10 24/96 > audio Cleaning Lab, volume, eq, track edits > TLH Flac 8 16bit

Re: 2013 Recordings

Posted: Fri Sep 13, 2013 8:31 am
by Goldin
More from Raincoat1 -
First Direct Arena
7th September 2013

Audience recording, Sony ECM717 > Sony M10 24/96 > audio cleaning lab, eq, volume, balance > 14/44.1 > TLH Flac 8 16bit

Re: 2013 Recordings

Posted: Wed Sep 18, 2013 10:12 pm
by Goldin
Uploaded by deadmanmort:
Leonard Cohen
O2 Arena,
London, England

Source: Audience recording > Zoom H2 (internal mics) > wav 16/44.1
Lineage: wav > Adobe Audition 3 > iZotope RX 2 Advanced > iZotope Ozone 5 Advanced >
Cd Wave > TLH > Flac 16

What a night. Great performance BUT I forgot to take my stealth mics so I had to use the internals and then I somehow managed to pause the recording for around 5 minutes, hence the missing start of "Come Healing".

The Zoom, when handheld, is prone to some unwanted noise from handling it, I've attenuated this as much as I can without affecting the music.

Despite the setbacks it's turned out to be a pretty decent recording.

I think I spotted a couple of other tapers so maybe the missing bit will turn up eventually.

recorded, edited and mastered
September 2013

Re: 2013 Recordings

Posted: Sat Sep 21, 2013 7:17 pm
by Goldin
Thanks to renezand!
Band: Leonard Cohen

Date: Wednesday September 18, 2013

Venue: Ahoy Rotterdam Holland

My location at the venue: First tier first block left of stage, almost on the side of the stage

Date of first upload at Dimeadozen: friday september 20, 2013

Editor: grigio <- Bloody fast mate, THANK U...


CHURCH Audio CA-14 Cardioid Microphones
Sony PCM D-50 Linear PCM Recorder Wav24-bit 48KHZ.
Sony Memory Stick PRO-HG Duo 8GB
To pc via USB with Hama card reader
Wav to Flac level 8 with CD Wave Editor
via WeTransfer to Grigio
Wavelab v6.10 Build 340 (Effects: Magneto 1-5, D82 Sonic Maximizer, Waves L3 Ultramaximizer)
via WeTransfer back to me
Separation of songs with CD Wave Editor
Torrent created with TLH

Re: 2013 Recordings

Posted: Sun Sep 22, 2013 9:10 pm
by Goldin
An alternative Rotterdam recording (by Ian Macdonald):
Leonard Cohen

The Netherlands

18th September 2013 (2013-09-18)


An alternative recording of this concert is already available on the tracker:

(link removed)

That recording was recorded upstairs from the left-hand side of the first ring, using Church Audio CA-14 microphones.

This recording was recorded downstairs from the centre of the 15th row of the arena, using Schoeps CCM 41V microphones.


Type: Audience master, recorded from seat in the middle of row 15 on the arena floor, approximately 20 metres from the overhead PA.

Source: Factory-matched pair of Schoeps CCM 41V microphones (DINa mounted) -> Marantz PMD661 recorder with Oade Concert Mod (-18 dB gain/44.1 kHz/24 bit WAV)

Lineage: Audacity 2.0.3
* Applied variable amplification across recording for consistent listening experience.
* Some attenuation of loud audience applause.
* Added fades.
* Split tracks.
* Converted to 16 bit.
-> FLAC ( compression level 8 ) [libFLAC 1.3.0 20130526]

Taper: Ian Macdonald (ianmacd)


Total running time: 175:27

Due to its scheduling during the school summer holidays, I was forced to
miss Leonard Cohen's performance last year in the rather oddly chosen Olympic

Whilst that stadium is within easy walking distance of my house, the same
cannot be said of Ahoy in Rotterdam. Getting to that city is never convenient
and I generally try to avoid gigs there, but when I heard that Leonard Cohen
would be swinging back this way for another show, I didn't have to spend long
thinking about it.

Cohen would later go on to announce a concert at Amsterdam's Ziggo Dome, the
last of the European tour, as a matter of fact, but it was announced long
after the rest of the tour had been finalised. Perhaps it was in response to
brisk ticket sales at Ahoy, but it came late enough in the day that it isn't
even listed in the official tour programme. Had I known that an Amsterdam date
would be added to the tour calendar, I probably would have skipped Rotterdam,
but having already purchased a good ticket, I wasn't inclined to sell it when
Amsterdam was announced.

I leave from home in what I believe to be plenty of time, but as always, it
turns out to take much longer than expected to traverse the 75km. The
motorway isn't the problem tonight; it's the huge amount of traffic converging
on Ahoy and the idiotic way the venue's car park is run, requiring not only
payment on the way _in_, but also the barrier to be lowered and raised for
every single car entering the grounds. And now many people are here tonight?
15,000? Many of them have come from outside the city and clearly decided to
use their car.

I still arrive in time, but not with the wide margin I'd anticipated. As such,
I have just enough time to squeeze in a quick bite to eat before setting up my
gear and taking my seat in the void of the characterless concrete bowl that is

A prerecorded announcement warns the crowd that the concert will commence in
ten minutes. The warning is repeated at five minutes, but anyone not yet
present in the auditorium will be unable to hear it. Nevertheless, it would be
nice if warnings like this were the norm for all concerts, particularly those
at which late arrivals cause a very obvious disturbance.

At 20:10, the band take to the stage, clad in suits and trilbies. An
identically attired Cohen comes bounding on behind them, looking very
sprightly for a man who will turn 79 later this week. The overgrown nuclear
bunker of the Ahoy erupts into jubilant applause.

The experience soon becomes akin to attending five gigs at the same time,
because Cohen has assembled from around the world a band of such virtuosity
that any one of its members could be the star of their own show.

Take the Spanish guitar player, Javier Mas, for example. His mastery of the
twelve string is breathtaking. Just listen to his intro to 'Who By Fire' and
pay attention to the little flourishes that embellish every song on which he

Then there's Mitch Watkins, a professor at the Music Department of the
University of Texas, on electric guitars. His blues guitar is simply

Cohen's young violinist hails from Moldova and answers to the name of
Alexandru Bublitchi. His playing imbues the music with a rich melancholic
vein. Listen to the songs as performed here and try to imagine how different
they would sound without the violin.

Neil Larsen, the keyboardist, is another master of his art. It's a joy to
behold close-ups of his hands at work on the big screens suspended high above
the left and right of the stage.

The first set lasts about 75 minutes, already way beyond the duration of many
of the gigs I attend. Cohen excuses himself and announces that the band will
return in a few minutes.

The intermission is no luxury, if the numbers filing out of the auditorium for
some combination of a toilet stop, a hot-dog, a beer or a fag are anything to
go by.

The prerecorded warnings return, but many fail to heed them. During the first
number of the second set, dozens of people are still filing back into the
auditorium, clutching ice-cream cornets and obscuring the view of those they
nonchalantly saunter past. I'm necessarily reminded of the fact that some
people take music a lot less seriously than I do.

One three song encore gives way to another three song encore, concluded by the
very deliberately chosen and applicably themed 'Closing Time'. Cohen's parting
words are undeniably final, so it's a big surprise (for me, at least) when he
reemerges for a third encore, bringing the total number of songs played after
the main set to a generous eight.

But that really is our lot, with the show clocking in at just under three
hours. Not bad for a 79 year old man, especially when you consider that he
spent the entire time on his feet. If I ever reach the grand old age of 79, I
hope I can boast Leonard Cohen's energy.

I had sworn myself an oath against merchandise tonight, but I'm impressed
enough by the show to consider a souvenir tour programme on the way out. Even
browsing through the article prior to buying isn't sufficient to put me off.
As tour programmes go, this is a decent one, and EUR 15 is less than plenty of
names of Cohen's stature would try to get away with, so I'm favourably
disposed and make the purchase.

And now begins the car park madness all over again, only this time we're all
trying to get out.

Cohen performs at a relatively low volume, so some moderate microphone gain is
required to bring the volume of the recording up to an acceptable level. An
inevitable consequence of this is that the sound of the audience around me has
also been amplified.

I picked my seat this evening to have a good location from which to tape. Any
further forward and my line to the overhead PA would have been too sharp. Any
further back and excessive reverberation and audience noise would have been
the result. As with any audience recording made in a large venue with a high
overhead PA, one's chosen location is always a compromise.

The dynamic range of the performance is wide and I have therefore found it
necessary to boost the quieter songs in post-production. This presents a
couple of problems.

Firstly, Cohen repeatedly praises the virtuosity of his musicians, which
invariably leads to loud mid-song cheering and applause from the audience.

Secondly, this is the kind of audience that loves to wildly applaud a song at
the moment of recognition, a pet peeve of mine. Uptight as I am, I believe
applause should be saved for the song's conclusion. The performer doesn't need
to know that I have recognised the song he has just started to sing, nor to
know that I heartily approve of his decision to do so.

Anyway, since many of the songs here demonstrate the 'hearty, mid-song
applause' phenomenon, I have elected to perform only minimal attenuation of
the audience noise throughout the recording. It is inextricably interwoven
with the music, such that a serious attempt at its reduction would inevitably
have a jarring effect on the listening experience by introducing unwelcome
fluctuations in volume.

This overriding preference for consistency notwithstanding, I have softened
some particularly thunderous hand claps from people near me when these
occurred during the music and sounded close enough in the recording to not be
easily tuned out by the listener.

Other than that, the audience's reverent enthusiasm has been left intact and,
in any case, falls a long way short of ever overwhelming the recording.

In spite of the hands-off approach taken on this occasion, I have still
applied 790 individual edits to the recording. This work, much of it tedious,
has taken many hours over the last few days. The result, however, is worth the

I wanted this recording (as I do _all_ of my recordings, in fact) to be all
that it could be. I feel that Leonard Cohen, more than most, is an artist
whose unofficial recordings frequently fail to do him justice. All too often,
he's either too quiet, too distant, or both. I believe that this recording
successfully avoids those pitfalls.

Samples are provided in the comments for you to determine whether this is
worth your time and share ratio depletion.

Stay tuned for my recording of the Amsterdam concert within a few days.

Some photos of tonight's concert: ... -rotterdam

Re: 2013 Recordings

Posted: Wed Sep 25, 2013 5:33 pm
by Goldin
Cohenadmirer's perfect offerings:

Manchester - viewtopic.php?f=12&t=34393

Amsterdam - viewtopic.php?f=12&t=34473

Re: 2013 Recordings

Posted: Thu Oct 24, 2013 5:58 pm
by Goldin
Another UK-2013 recording, thanks to everyone involved -

another fine SPOT recording
This recording has not circulated previously in any for on any site

SPOT an I are old (very) friends
SPOT records a lotta shows and passes them to me to upload
I AM NOT SPOT, But its always me doing the uploading

He is a compulsive browser though so do comment he loves to read em.

This is a SPOT recording (thanks again as ever) and the equipment used was: Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09

Re: 2013 Recordings

Posted: Mon Dec 16, 2013 10:42 pm
by Goldin
Thanks to MasterThief!
Leonard Cohen
Saturday 14 December 2013
CBS Canterbury Arena
Christchurch, New Zealand

Taper: MasterThief
Equipment: Tascam D40, internal mics
Location: 3rd row centre