May 23, 2016
Le Zénith
Paris, France

Source: DPA 4061’s > DPA MMA 6000 > Edirol R-05 @ 24/48

Recorded by Antoine V. (

Mastered by Rich Steele


01: Burn The Witch
02: Daydreaming
03: Decks Dark
04: Desert Island Disk
05: Ful Stop
06: Lotus Flower
07: The National Anthem
08: My Iron Lung
09: No Surprises
10: Bloom
11: Identikit
12: The Numbers
13: Separator
14: The Gloaming
15: Everything In Its Right Place
16: Idioteque
17: Bodysnatchers
18: True Love Waits
19: Present Tense
20: Paranoid Android
21: Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief
22: Weird Fishes/Arpeggi
23: Creep
24: Pyramid Song


Notes from the uploader


No, this is not simply a downsample down to 16/44.1. That isn’t what mastering is. I make a living as a live sound/live recording engineer and have been working on live recordings for about 20 years. What I did with this recording is what every mastering engineer would do, by applying necessary phase correction, EQ and compression/limiting. Aside from some drastic EQ correction, I noticed the phasing seemed off, where it sounded like the taper was standing more towards the left side of the venue as it sounded heavier on the left side as though he was closer to the left side of the PA line array hang. So I tried to adjust that so the mix sounded more centered(easier to notice this through headphones). Then moved onto applying a parametric EQ(Waves H-EQ) to balance out the mix that was very bass heavy. Dumped out a fair amount in the 100-125hz range then moved onto the upper mids/highs, which changed from song to song. Then it hit my multiband compressor I like to use(Waves Linear Phase Multiband) and then my PSP Xenon at the end of my chain I like as my mastering limiter. All processing was done at 24bit in Wavelab. No noise reduction and the only level normalizing I did was after the fact with the extremely loud crowd reactions near the mics after the song was over to make it less overbearing when you’re listening to it.

And Ethan, I never, ever use anything automated. I tend to like using the same groups of plugins for mastering but how I use those plugins change with each source I work on. I’m personally really against programs like that Izotope one where it’s designed for people who have little to no idea what they’re doing and just want something to sound louder and punchier.

gjfatty, remastering is actually the wrong term for what this is. remastering is a term used for a recording that was already mastered and released(let’s assume we’re talking about an official studio release for this example) but then later the original mixes were brought back into a mastering studio to be mastered again, presumably with much better sounding equipment. Think back to Beatles albums, where they were all remastered. If a source is being mastered for the first time, throwing a “re” in front of it doesn’t really make sense as it refers to something being done more than once.

Hope this helps!

And if anyone is curious to hear some of my recordings, I’m the FOH engineer for Bill Kruetzmann of the Grateful Dead, who has a band called Billy and The Kids. We recently added all of my live recordings to our Soundcloud page, which can be found here:
I recommend checking out the Peach Fest and Lockn’ recordings, which featured Bob Weir(and Mickey Hart during the last couple songs at Lockn’)


LINK (available one week after posting)





6 Replies to “Radiohead – 2016-05-23, Paris, France (Mastered DPA 4061 source) 16bit/44.1 [FLAC]”

  1. hello, i can’t say how high is my gratitude. i must admit that i was at the show in Paris this 23rd of May and….. once there it just sounded ugly to my opinion.
    Just my worst radiohead live show until today. I was up and on the left. noisy sound, hard to ear subtlety of the new ones. And the old ones were bad too.
    You make this deceptive evening really pleasant to ear by your work.
    This could change my opinion of this show (Finally not overrated by fans who were present, contrary to what i was thinking). I just did not have the luck of being well placed. thanks a lot, you created a fabulous souvenir to me. And erased a bad night of my memory, by giving me the chance of listening this again and again.
    To understand how cool this has been in fact.
    if only i could have been more centered in the Zenith. thanks a lot. Great job.

  2. Very great job, thank you!
    can i ask you in which part of the Zenith were you while you were recording?

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