Pink Floyd/Hokkaido,Japan 1972 Direct Reel Master

Reel Master direct release of the famous Sapporo sound source of Floyd’s 1972 is urgently released, including plenty of unreleased and first appearance scenes!! Speaking of Sapporo Nakajima Sports Center on March 13, 1972, this year’s Japan performance This is the last day of the show, and it will be a performance that fans are already familiar with. It is a famous recording source that has produced various titles such as “COLD FRONT” which appeared in 1991 at the dawn of bootleg CD, Disc 2 of “MEMORIES OF THE EAST”, and Disc 3 of “SAPPORO 1972”. This latest work is a direct transfer using the latest equipment in 2015 from the genuine original reel tape master that is the source of these previously released records!This master tape is a reel-to-reel tape (*portable) On the day of the event, the person recording the recording took pains to bring this stationary reel deck into the venue and carefully prepared for recording at the back of the venue, which is why the original recorded sound is on an order of magnitude. The high precision that only the original sound possesses stands out, and the clarity and hardness of the midrange in particular has significantly improved. I can intuitively feel that the core of the sound, which was sparse in “Already released”), is even harder and deeper. As you know, quadrophonic = 4 channel speakers were installed in the venue at that time, but the person who recorded the recording said, “When the sound goes around the venue, the sound in the back is getting louder.” I received it. However, this does not mean that the bass range is too strong and is crushed (*If you are familiar with the sound of the previous release, you will understand), but it is just a matter of the tactile feel and power of the midrange while maintaining a natural loudness. should be seen as being very sharp. Of course, the transparency and clarity are good, and there is no hiss, and the slight deviation in localization (*slightly to the left) that was found here and there in most of the titles that were copied and derived from this master is also here. The sound image is completely fixed at the center, the sound range is wide, the visibility and proximity of the performance sound are perfect, and you can directly feel the high potential of the recorded original sound! What’s even more surprising is that there are a total of 3 scenes that were not included on the previous release, and a total of about 2 minutes. Specifically, about 30 seconds in the introduction of “Speak To Me”, about 35 seconds in the middle of “Brain Damage”, and about 1 sound check scene from the end of “Eclipse” to the start of “One Of These Days”. It is also a great advantage that you can enjoy the longest uncut, non-stop version of each of the original recordings, each lasting about 5 minutes. First of all, regarding “Speak To Me,” this original recording started at a point more than 30 seconds earlier than the previously released version, and the track time is 2 minutes and 06 seconds (*The previously released version is 1 minute long). 31 seconds). In the first 30 seconds of this first appearance, the register sound of “Money” and sounds like human groans (?) appear for a moment (*00 minutes 32 seconds to 33 seconds), similar to other performances in Japan in 1972. You can clearly see that the production work was also carried out here in Sapporo. Next is the 35 seconds that appears for the first time in “Brain Damage”, but there is actually a scene where the sound is skipped at 2 minutes 27 seconds of the same song for some reason during recording with this Reel Master. (This is exactly the 45th minute from the start of recording, so a tape change must have taken place at this point. Therefore, the second chorus is lost.) The previously released version includes this skipped part, and about It was recorded in a shortened version by cutting out 30 seconds and skillfully connecting the front and back (*You can see the traces of this at 1 minute 57 seconds on the already released version). However, this time, by leaving the skipping part as the original recorded sound, the development from 1 minute 58 seconds onwards, which was cut in the previous episode (*corresponds to 1 minute 56 seconds to 2 minutes 32 seconds in this work) It appears for the first time (for about 35 seconds). As a result, this song, which was around 2 minutes and 35 seconds on the previously released version, is revived in its full length at 3 minutes and 11 seconds in this work. And the third one, “Eclipse”, is where the first public release scene of this source appears after the end of the song. As you may know, this Sapporo performance was the only one in which there was no intermission, which would normally be about 20 minutes, between the first part of the show, “Madness,” and “One Of These Days,” which starts the second half. It was a performance in Japan (*At the Tokyo Metropolitan Gymnasium on the 6th, a popular emcee at the time came out to connect the audience, and it is customary not only for performances in Japan to have an interval here). In other words, this part of the day where the show continues as it is without a break is a surprisingly rare scene, but for some reason on the already released version, this scene, which normally didn’t need to be cut, was cut and pasted using a different source. We were connected. However, this work revives the Sapporo performance as it is, so the one-minute-long scene that was cut and pasted, that is, the flow of the show that progresses without a break, which was unusual for the 1972 Japan performance. You can enjoy it uncut and non-stop. Also, since it is such a wonderful material, there is almost no equalization done. Rather, the master original sound kept the sound of the performance and the atmosphere of the venue so fresh that there was no need to equalize it, so if you want to adjust the texture, you should use a different image of the recorded original sound. This could have led to damaging results. Therefore, this work has been completed with only slight adjustments to the sound image balance due to pitch correction (*This is done strictly), so basically the sound is the same as the original sound recorded on the actual reel tape. If you think it will jump out, you are right. Of course, all of the recorded sounds have been captured without leaving a single sound behind, and in fact, the sound conveys its charm no matter what playback environment you listen to, and you will be able to fully feel the awesomeness and power of the original Reel Master sound. . Since this is a well-known recording, I won’t go into details about the performance, but I can’t ignore the fact that the sound image has been completely renewed by using the actual Reel Master, so I’ll quickly introduce the highlights other than the three songs mentioned above. let’s. First of all, from “Time” to “Breathe (Reprise)”, this is a good scene where you can enjoy the melting feeling of the harmonies that sway sensually and progress with even higher purity of sound. It is also noteworthy that the hissing noise that was somewhat noticeable on the previous release has disappeared, and the sound image that was a bit crowded on the right channel has spread out naturally on the right side, and the sound image has a wide feeling with good visibility on both the left and right sides. Similarly, in “The Mortality Sequence”, the sound image that was previously released and shifted to the left has returned to its original center, and the sound collage of the Bible reading is revived with increasingly accurate sound. “Us And Them” also has a silky smoothness and a gentle sound throughout the song, and the blend of harmonies and organ tone each come out and diffuse with the high quality sound that can only be achieved by the master original sound. I’m sure you’ll be surprised. As you know, “Eugene” is very characteristic of Scream on this day, and even from the middle to the final song, there are many monologues and weird voices, but on the other hand, the guitar is also silent due to the eerie emotion and large presence. The appearance of challenging this appears in a more vivid sound than the previously released version. The intersection of the dazzling and sharp sounds emitted by these two men and Rick is like witnessing a sensual marriage of actual sound and reverberation, and it is only by being familiar with the performance from each previous release that you can appreciate the vividness emitted by the master original sound. I’m sure you’ll be struck by this image once again. Furthermore, “Echoes” and “Atom Heart Mother” that decorate the end of the show are also not included in this Reel Master actual product. Unfortunately, the recording seems to have been postponed, perhaps because there was not enough tape left. In that sense, this work cannot be crowned a “complete version.” However, unless a reel master with excellent sound quality and uncut complete recording including these two songs appears, there is no doubt that this work is the “defining sound quality board”. The charm and power of the original sound explodes to an all-time high in every scene, and this work, which has the longest recording time and includes many scenes that appear for the first time, is a worthy album. It was Monday in Sapporo, the weather was sunny with occasional snow, and the sunset time was 17:39:07. The temperature at opening time was approximately 0.1 degrees Celsius, and there should have been a slight amount of snow falling in the darkened sky over Nakajima Park. This weekend, why not witness the final performance in Japan 43 years ago and experience the vivid excitement of the scene? This work is a time travel ticket for that purpose. Pink Floyd from 1972 is waiting for your visit. Live at Nakajima Sports Center, Sapporo, Japan 13th March 1972 TRULY PERFECT SOUND(from Original Masters) UPGRADE & LONGER!!! (73:40) The Dark Side Of The Moon 1. Speak To Me 2. Breathe (In The Air) 3. On The Run 4. Time 5. Breathe (Reprise) 6. The Mortality Sequence 7. Money 8. Us And Them 9. Any Color You Like 10. Brain Damage 11. Eclipse 12. One Of These Days 13. Careful With That Ax, Eugene