ABFT "I'm Left, You're Right..." live version badly edited

I have just heard live version of "I'm Left, You're Right, She's Gone" (track 28) from July 2 1955 Louisiana Hayride.
We all know it's an edited version, probably a mixed version from acetate and studio master,
but there is some really bad edit at 1:23 mark (Elvis even doesn't finish the verse) it's really annoying, it's probably the moment where the live version goes to the studio master.
I know there are other live performances edited because of very poor quality but there are no so rough edits like this, even on "Little Mama".
What do you guys think? Listen to the track once more and share your opinion.

I have just heard live version of "I'm Left, You're Right, She's Gone" (track 28) from July 2 1955 Louisiana Hayride.
We all know it's an edited version, probably a mixed version from acetate and studio master,
but there is some really bad edit at 1:23 mark (Elvis even doesn't finish the verse) it's really annoying, it's probably the moment where the live version goes to the studio master.
I know there are other live performances edited because of very poor quality but there are no so rough edits like this, even on "Little Mama".
What do you guys think? Listen to the track once more and share your opinion.

i heard yes, and its a odd edit. this is what it says on the internet ''Source for track 28: Digital transfer of acetate in very poor condition.
Some parts duplicated and edited to create near-complete performance. Recorded at the Louisiana Hayride, Shreveport, Louisiana, July 2, 1955.''
must be that they had to edit it like this because a part is missing.

I understand that they have to edit it, no doubt about it
but they could make the edit more subtle IMO and let Elvis sung the last words ot the verse...

Maybe they figured it would be too obvious sounding if they used the studio version for too long a segment..

There is no studio version mixed with the live performance. That's not FTD's way.

I think they refer to MRS version, i think its track 28 on there ..........

I think they refer to MRS version, i think its track 28 on there ..........

NO!!! I mean the track 28 on the FTD "Boy from Tupelo" release.

In that case i agree with Matt, its not normally an FTD way of doing things ? sounds too sloppy .........

I have just heard live version of "I'm Left, You're Right, She's Gone" (track 28) from July 2 1955 Louisiana Hayride.
We all know it's an edited version, probably a mixed version from acetate and studio master,
but there is some really bad edit at 1:23 mark (Elvis even doesn't finish the verse) it's really annoying, it's probably the moment where the live version goes to the studio master.
I know there are other live performances edited because of very poor quality but there are no so rough edits like this, even on "Little Mama".
What do you guys think? Listen to the track once more and share your opinion.

As Matthew noted, you are not listening to RCA/FTD's A Boy From Tupelo, which would never make the mistake of mixing a studio master with an original acetate source. Engineer Sebastian Jeansson does the best he can with an extremely damaged recording.

Are you judging this track from an mp3 download, or the like?

The box set liner notes explain the inherent difficulties in assembling the live disc.

Doc, trust me. I'm listening to this track (uncompressed format) taken straight from Ernst's fantastic boxset.
Even Johnny2523 states that the edit is there.

Doc, trust me. I'm listening to this track (uncompressed format) taken straight from Ernst's fantastic boxset.

So you downloaded the audio from one of those torrent sites?

No, my friend who has bought the boxset made me lossless CD copies.
Believe me, if I could afford it I would buy it (I'm still a student) as the SUN era is my favorite era in Elvis music career.
If you want to look at me as a thief look that way: at least I don't have the huge, amazing book.

So, if you own the boxset, could you listen the track and see if you can hear the edit?

A recording rebuilt from a damaged acetate, where the book clearly states it is edited together. Some expect too much.

A recording rebuilt from a damaged acetate, where the book clearly states it is edited together. Some expect too much.

This is what I hear, and it's OK with me. It is what it is.

No, my friend who has bought the boxset made me lossless CD copies.
Believe me, if I could afford it I would buy it (I'm still a student) as the SUN era is my favorite era in Elvis music career.
If you want to look at me as a thief look that way: at least I don't have the huge, amazing book.

So, if you own the boxset, could you listen the track and see if you can hear the edit?

Well, if you have the audio from a friend for free, I don't really understand an FECC topic of complaint over a single track that was damaged to begin with. It seems a little unfair.

A mind-numbing number of hours were devoted to restoring the material on CD 3 of A Boy From Tupelo, for very little financial gain. It was a labour of love, as they say.

When a topic comes up like this I think of the laser record players technology that I once read about.

It would seem that this technology would perfectly serve a situation like this where the disc is badly damaged and

could be played with a laser that would play thru the damage and we could get a full performance.

Is this feasable?

Is it hype?

Or is it cost prohibitive.?

When a topic comes up like this I think of the laser record players technology that I once read about.
It would seem that this technology would perfectly serve a situation like this where the disc is badly damaged and
could be played with a laser that would play thru the damage and we could get a full performance.
Is this feasable?
Is it hype?
Or is it cost prohibitive.?

http://www.audioturntable.com/

About acetates and vinyl restoration, a few years ago I read about a new restoration technology by scanning the grooves of the recordings... It was very complete, but I can't find it aymore, but I found this on Wikipedia:

Two researchers at Lawrence Berkeley National Laboratory, Drs. Vitaliy Fadeyev and Carl Haber have been experimenting with an audio restoration method which involves taking a very high definition digital photographic image of the vintage recording medium. They use a precision optical metrology system (designed to scan silicon detectors) to form an image of the groove on a 78 rpm record. After processing the digital file, they have an audio stream that represents the variations in the groove walls, allowing them to 'play' the record virtually without using a phonograph stylus. 2D images can be made more quickly and have proved worthy of further investigation on 78 rpm discs cut laterally. A 3D method is possible, though it takes much longer for the photographic survey of the recording and it requires much more storage space for the larger digital file. 3D methods are required for non-flat media such as "hill-and-dale" recordings (an early vertical cutting method by Pathé), Edison cylinders and Dictabelt rolls. 3D imaging is required for stereo phonograph records in order to capture the full detail of both inner and outer groove walls.

In the summer of 2007, the U.S. Library of Congress moved their audio, video and film restoration group to Culpeper, Virginia where the newly completed National Audio-Visual Conservation Center Packard Campus is sited. Gene DeAnna heads the Recorded Sound Section. With 3 million sound recordings and many more film and video works that include synchronized sound in the archive, the mission of the Sound Section is twofold: preserve the treasure of vintage sound recordings and increase public accessibility to the collection. One of the ways that access can be increased is through the diligent digitization of analog media. The Library has expressed interest in the Fadeyev/Haber 2D imaging method for quick digital archival of their vast collection of vinyl and shellac phonograph records. Audio restoration tasks will take place in parallel with the digitization effort. A massive multipetabyte storage array is nearing completion; it will hold the large digital audio and moving image files.

No, my friend who has bought the boxset made me lossless CD copies.
Believe me, if I could afford it I would buy it (I'm still a student) as the SUN era is my favorite era in Elvis music career.
If you want to look at me as a thief look that way: at least I don't have the huge, amazing book.

So, if you own the boxset, could you listen the track and see if you can hear the edit?

Well, if you have the audio from a friend for free, I don't really understand an FECC topic of complaint over a single track that was damaged to begin with. It seems a little unfair.

A mind-numbing number of hours were devoted to restoring the material on CD 3 of A Boy From Tupelo, for very little financial gain. It was a labour of love, as they say.

I agree and I don't see anything at 1'23

Sounds to me like you are not referring to the BFT version here. But obviously, there’s only so much you can do with a badly damaged acetate from ‘55. For the record, in my opinion the audio restorations on BFT are just beautiful – you can tell that a lot of work went into this, and that it was a true labor of love for everybody involved, as DJC writes.

Yes but still theres a bad edit at 1:23 on track 28 on Boy from tupelo

''you told me all along, your right im left all alone, EDIT. Well your tried me all along shes only break my heart''

https://soundcloud.com/johnny-geld/edit ... ht-im-left

Last edited by Johnny2523 on Sun Jan 27, 2013 1:49 pm, edited 1 time in total.

Yes but still theres a bad edit at 1:23 on track 28 on Boy from tupelo

''you told me all along, your right im left all alone, EDIT. Well your tried me all along shes only break my heart''

Thank you, Johnny2523. This is exactly what I hear.

No, my friend who has bought the boxset made me lossless CD copies.
Believe me, if I could afford it I would buy it (I'm still a student) as the SUN era is my favorite era in Elvis music career.
If you want to look at me as a thief look that way: at least I don't have the huge, amazing book.

So, if you own the boxset, could you listen the track and see if you can hear the edit?

Well, if you have the audio from a friend for free, I don't really understand an FECC topic of complaint over a single track that was damaged to begin with. It seems a little unfair.

A mind-numbing number of hours were devoted to restoring the material on CD 3 of A Boy From Tupelo, for very little financial gain. It was a labour of love, as they say.

I don't complain. I don't mean the boxset has no value because of the bad edit. I just only say what I hear and I hear the bad edit on track 28.

With a soundbite of the track provided above.

There is no studio version mixed with the live performance. That's not FTD's way.

nice to see your are so spot on with your answers as usual, i take it you haven't got your copy of FTD Stage Rehearsal (2011) and never made any comments on the subject on this very forum?

I have the Tupelo set and yes the bad edit is there, but as pointed out it’s hard to fix something that is damaged, perhaps a better job could have been done, but it’s better to have than not.

There are things that can be done to make it better MRS for example have proved that time and time again, FTD have tried it too on the above mentioned Stage Rehearsal’s, but failed drastically. But so nice to read the Docs double standards, here on this.
While being correct in what he says, it’s also a backhanded compliment to MRS although he’d never admit it.

The Stage Rehearsal release does not mix studio masters into live performances. We all know you are a hardened MRS propaganda machine, keep up the good work!