Vinny has now posted them in his blog So Hip It Hurts, in a package he and I art directed together, with final mastering done by Bruno.
Please to enjoy. :)
Several people have tracked down Bruno through clues dropped in these entries and asked him to work his magic on recordings by _______. He's asked me to post this on his behalf:
"Can this audience/bootleg recording/MP3 be fixed?"
The answer is no, nothing can be done to make muffled cassette/audience recordings sound professional. And if anyone is asking, the same goes for low bit-rate MP3s which sound like gurgling water. The reason is that when cleaning up a vinyl recording, all of the sonic information in hearing range is there: it may be littered in clicks, compressed, strangely EQd, etc., but it's all there. With vinyl, the sound degradation is caused by *added* noise. So, restoring a vinyl recording is really about selectively removing all the added noise, to reveal the details of the recording underneath. With cassettes, MP3s, etc., the problem isn't so much noise, but that the finer details simply aren't there to begin with.
Think of a vinyl recording as a large printed poster which is full of creases and scratches, and perhaps a bit faded on the edges. You can scan it into Photoshop, and using "smart blur", eliminate some of them, although you'll also introduce other problems. But if you're patient, you can carefully zoom in, and with a variety of tools at your disposal, carefully patch each little imperfection one at a time. It's tedious, but the results are as good as one can get without going back to the masters. In essence, this is what I do.
In contrast, the cassette and the MP3 are the aural equivalents of the Polaroid picture and the heavily-compressed JPG. They were created for convenience and not for quality. They sound the way they do because they are lacking so much. There is simply no way, no matter how skilled one is, to restore the details that these formats lose. Forget about plug-ins which claim to restore lost harmonics; all these do is add harmonics via distortion.
"________ is my favorite band! Will you help me restore all their singles?"
Unfortunately, I'm already swamped with projects I wish to complete. It takes time to do this right.... a lot of time. So much that it can only be done as a labour of love, and by someone with a lot of spare time. I have never given serious consideration to offering my services for hire, simply because I don't see how I could do so at a reasonable cost. Secondly, I have no idea how long it will take me to do any given piece until I finish it. It depends not just on the condition of the record, but also the type of sounds recorded, and the types of surface noise present. Some albums I have been able to start and complete in the course of an evening, whereas a recent project of mine took approximately 2 hours of work for every *minute* of music.
Finally, my main focus is for recordings for which the master tapes are likely lost or damaged, in particular for obscure disco and electronic recordings from the 70s which have also suffered the indignity of being pressed at a time when the standards for vinyl quality in North America were quite low. It's rare that I would do this sort of work for an act as prominent as New Order. Most of the original Factory UK pressings are stellar (with the Temptation 7" and Run 2 being exceptions), and it's likely that the masters for all of their material are accounted for... [just so you know, most of them are missing - £50] it just seems that their label was unwilling to look for them or use them when it came to the recent reissues. However, there are untold thousands upon thousands of recordings, many unjustly fading into total obscurity, for which the only remaining existence of is through the ever-shrinking pool of second-hand vinyl. These have always been, and remain, my focus.
A number of studies have quantified the level of PCDD/Fs in air, soil, dust, sediment, freshwater, fish, and cow milk samples, in a number of regions where e-waste recycling has taken place [6]. My interests lied in those studies that quantified human internal exposure to these hazardous agents, using biological markers such as human breast milk, placenta, hair, blood and urine. I did review one study that estimated daily human exposure using many environmental samples (soil, dust, and surface samples). This study was an interesting starting point for my research in this area because I kept these estimates in mind when looking at the studies that measured internal exposure using biological markers. The estimated daily intake of PCDD/Fs via soil/dust ingestion and dermal exposure, according to this study, was two times higher for people who are exposed to e-waste recycling facilities in Taizhou (2.3 and 0.363 pg/kg/day for children and adults, respectively), compared to people who are exposed to chemical industrial sites (0.021 and 0.0053 pg/kg/day for children and adults, respectively) in various areas also in Eastern China [7]. Note that these estimates did not include a number of other sources of PCDD/Fs exposure such as through food, water, breast milk etc.

I've been looking for a site that directs people to reputable e-recycling companies in Ontario. I'm really excited because I just found one. The site is called dowhatyoucan.ca and it's great because you can search by type of waste, postal code or community. It lists only those collection sites that are certified by the Ontario Electronic Stewardship (OES), the industry funded organization that ensures that goods are handled in a secure and environmentally sound manner. This may seem strange that I'm recommending a site that is funded by the industry, but the OES works in cooperation with the Ministry of the Environment and Waste Diversion Ontario to uphold the Waste Diversion Act introduced in 2002. Allow me to explain further.A string of tragedies struck English football starting in the mid-80s. On May 11, 1985, 56 people were killed in a horrific fire at Valley Parade stadium in Bradford. Later that same month, 39 spectators were killed at Heysel stadium in Brussels at the European Cup Final between England/Liverpool and Italy/Juventus after confrontational Liverpool fans started a melee. On April 15, 1989, 96 people were crushed to death at Hillsborough stadium in Sheffield due to inadequate crowd control. Finally, on June 3, 1990, mobs of football fans pushed sales of this single to the top of the charts, giving New Order as well as Factory Records their only number one hit. How did this happen? Well, the song was done as the theme for the English football team during the 1990 world cup.Some notes from Wikipedia:
50PoundNote doesn't want me to be too harsh on this song, so I'll hold back the snark from this point on, and stress the positives.
[Insert protracted silence here.]
Not too much to do here, mercifully. For the most part, just volume adjustments.
There are numerous different edits of several of the tracks. We've gone with the longest ones that we know of in each case. The only exception to this is what we're calling the Alternate Subbuteo Dub, which appeared on the remix 12", which is being included as it's a slightly different mix and cannot be recreated from editing down the longer version. There's a few snippets of spoken word near the beginning and end, the now-horribly-dated M1 piano sound is panned slightly differently.
Many thanks to JohnC for the lossless rips of this single. The Canadian CD from which most of this was sourced now goes for a fortune on eBay, as it's the only place where many of these mixes ever appeared on CD. Although for many years I could easily obtain this disc locally, I never bothered. I chose to get a UK copy instead because it had a superior tracklisting, with only four versions instead of six.