Pink Floyd/CA,USA 4.26.1975 Upgrade

The treasure of unofficial sound source is finally released. The actual sound of Mike Millard’s master cassette, which has been shrouded in secrecy for many years, is finally being released to the whole world!!!Mike Millard… How much have we continued to be overwhelmed by the recordings left behind by this rare and famous taper, commonly known as “Mike the Mike”? The recording conveys not only the recorded appearance but also the various aspects of the song with unparalleled high sound quality, deeply satisfying the musical thirst of the listener, and erasing the unity between performer and audience that was lost in that era. It’s tied together forever. His recordings captivated not only fans of unofficial sound sources, but also various artists themselves, and Zeppelin officially used the sounds he captured in their later DVD works, and in March of this year, he came to Japan solo. The National, which is coming up, will be releasing a three-disc cassette box set that was released only in the US at the end of last year, and it will be recorded using the “Mike Millard method”, which restored the equipment and settings that Millard used, and will be focusing on the recordings that Millard left behind and the topics surrounding them. There is no shortage of them even in the 21st century. The reason Millard was able to leave behind so many great recordings is probably because he continued to go to the same venues and use the same methods for many years. There is a well-known story about the daring method of hiding a recorder in a wheelchair, and moving to the 8th row with a microphone hidden in a hat, and if there are fans around who are screaming noisily, they give them money to silence them. He has carefully created the quality that says, “Only the performance sound stands out in front of your eyes with the utmost transparency, and there are almost no cheers or yellow voices around you”. By the way, the mirrored recordings that we have listened to so far are almost always based on the 1st gen that he copied to his friends at the time, and are based on the original master tape that he actually recorded. It’s not a sound. It is said that this is because Millard destroyed all the master tapes he had recorded just before his death, and that after his death his family, who had no idea of ​​their value, threw away all the tapes. In fact, as if to prove it, the original sound of the master tape has never appeared before. However, just the other day, big news that overturned this long-standing urban legend was published online with images, shocking unofficial sound source fans around the world. As some of you may already know, it has been discovered that a large number of original master cassettes of Millard’s own recordings, which were believed to have been destroyed or lost, still exist. It was piled up in a corner of Millard’s bedroom, where it remained untouched after his death, and in the early 2000s, Rob, who had earned enough trust from Millard’s mother, took over the many boxes filled with original master tapes. A person named S kept it in a cool, dry place until the end of last year. There are a number of famous recordings that Millard himself recorded between the latter half of 1973 and the first half of 1992, and the sound quality is far superior to that which was previously available as 1st gen (= that sound that we have been accustomed to for many years). Not only does it remain, but it also exists as the longest and complete version of the original, without any parts that were cut or faded during the creation of the 1st gen.This is an astonishingly large and complete version. It would be a big event. What’s more, we even dive into the shocking news that these will be released one after another in the coming months, and the first thing to be released is this work, Millard’s famous Los Angeles performance in 1975 as Floyd, recorded by Millard. !!When you hear the original sound of that master tape, the sound quality is at its peak, even though it is described as ultra-high quality, it feels dull… I’m not sure how to convey my excitement, but the title of this Millard recording of the 4th day of the 1975 Los Angeles performance is the same as the previously released “LOS ANGELES 1975 4TH NIGHT” and its brushed-up version “LOS ANGELES 1975 4TH NIGHT”. DEFINITIVE MILLARD” was the definitive album. However, many people who are used to listening to these previously released records may have a hard time believing it even if they are told, “The master tape is finally here!!” This is because those previously released editions (*especially “DEFINITIVE MILLARD”) are also recorded with quite high sound quality, and I think you probably feel the following way. “It’s amazing that the actual master tape has finally appeared.However, the 1st gen had a great sound as well.Is there really that much of a difference?”… The key to solving that question is hidden in the tape used by Millard, so let’s take a look. Speaking of the venue L.A. Forum, it is Millard’s home ground, and as usual, he formed a formation with his fellow tapers who played support roles, and he brought his beloved Japanese-made Nakamichi 550 to this day’s recording, which he also used in Austria. It appears that he used a unidirectional CK1 capsule microphone 451E made by AKG in his hat, a style that we are all familiar with. However, what I would like to pay attention to is the recording medium, and on this day, instead of his usual TDK cassette tape “SA 90”, he used the same manufacturer’s “KR”, that is, pure chrome tape. As you know, Millard’s main tape that he likes is the “SA” series. If you look at the images of actual 1st gen tapes currently available on the internet (*they have beautiful hand-drawn lettering that Millard carefully created one by one for his close friends), most of them have SA. I can see that it was used. This is interesting, in fact, when you look at the actual master tape that was finally released this time, it was recorded on KR rather than SA. This KR is a genuine chrome tape that uses chromium dioxide as a magnetic material, unlike the later products (= SA) called “Hi-Posi” or “Chrome Type”, and it is a genuine chrome tape that uses chromium dioxide as a magnetic material, and even in the TDK cassette lineup at the time. It was a product that received special treatment as the “Brilliant Series”. Perhaps Millard liked KR in the early days because he was in love with its quality. However, for some reason, in March 1975, when this L.A. performance was held, the production and distribution of KR ended at the same time as SA was released, and KR rapidly disappeared from shops after that month. It is. In fact, immediately after Floyd’s recording (April 26th), the master tape he used also changed from KR to SA, and from then on, both the master and copy (= 1st gen) were unified with SA, and “Mirrored = SA tape” A well-known image was established. In other words, this is the last recording he made using KR (genuine chrome tape), and at the same time, the sounds we have heard on the previously released releases (= 1st gen) are from that KR. I learned that the sound was a copy of the recorded master sound onto SA tape with a different magnetic material. It is natural that there will be a difference in sound quality, and the question mentioned above, “Even though it is an actual master tape, is it that much different from the 1st gen?” will disappear. In other words, the impact of the master sound that has been released this time (= you can hear it in this work) can also be said to be the amazing original sound power recorded on genuine chrome tape. Furthermore, it will be noted that this recording has two topics that can only be found on the actual master tape. One is that the scenes after the first and second parts of the show were not faded when transferred to the 1st gen tape, and the scenes remain in an unfaded state. is. The other thing is the length of the recording time.The encore waiting scene that can be heard on Disc 3-(1) lasts about 16 seconds longer than before, making it the longest recorded version in history.It cannot be ignored. . Naturally, both of these scenes are appearing for the first time in history, and not only the sound quality but also the overall image of the recording is perfect and the maximum appearance has arrived!!! The vividness of the sound is truly shocking. As you know, this recording begins with Millard’s own voice of “Tess, Tess, Tess…” followed by the approximately 3 minutes and 30 seconds of sound before the performance begins, but the sound image is clear and wide. , the depth that can be seen from the high transparency, and above all, the direct feeling of the instrument sound being checked has reached an amazing level from the beginning of the disc. “Raving And Drooling” also has a harder core in its sound and is clearer, and the melody’s lamentation due to the repetition of the riff penetrates deep into the chest. In particular, it is worth noting that the harsh attack sound of the bass sounds harder and more vivid than ever before. In “You Gotta Be Crazy,” the unmuted guitar melody has a sense of primary color that has been stripped of its veil, and the cymbal increments are also vivid, creating a well-defined and moving image of the sound. The sound of the twin guitars has an amazing master direct feel, but the dull, undulating sound of the powerful synthesizer is sure to make you groan with its direct feel. The slight cut part (* caused by the tape change) during the interlude of “Have A Cigar” appears as it is in the master, but even this partially degraded scene exudes a strange freshness. It is improving the feeling of the recording scene. “Shine On You Crazy Diamond” also unfolds with a dazzling and transcendent sound that depicts the process of building emotions through the linguistic medium of sound, and the high-pitched extension unique to chrome tape will moisturize your ears. In particular, the euphoria of the tones that can be heard in (Parts 6-9) is enough to make you shudder even if you are used to listening to the existing 1st gen, and the depth and sharpness of the lingering sound between the sounds will take your breath away. Furthermore, it is a big topic that after the end of the song, the sound image does not fade out after Roger’s MC that announces the break, and the recording ends with a bump. This is also the first appearance scene unique to the unprocessed master tape, and there is no doubt that you will be thrilled by the raw and unexperienced feeling of being cut off. In the crazy set of Disc 2, the sharpness of the sound response stands out. At the beginning, you can hear the surrounding audience talking and the sound of firecrackers going off in the distance around 0:24 and 0:47, but these scenes that were in the venue on that day are also simply compared to the previously released version. You will notice that it is not a close-range sound with improved vividness, but a clear close-range sound with uneven depth. “On The Run,” which has a massive and bouncy mid-to-low range with rich unevenness, is at its peak, and when it comes to “Time,” there are people all over the country who are heartbroken by the sobbing tone of the guitar solo in the middle. I can see it happening one after another. “The Great Gig In The Sky” is a masterpiece in which the powerful singing voice with a dense sound expands over and over in your ears, and how it melts into a clear, detailed flow of sound. You will definitely see Millard’s appearance on the day as he continues to capture this female chorus without making a move. “Money”, where the sound power of the midrange range is fully opened, could be heard with high quality sound even on the previously released version, but here, the explosive feeling and diffusion power of the sound that goes beyond that attracts the ears. It’s easy to understand when you listen to the guitar solo that starts around 3:43, but when you synchronize it with the previously released version, it’s clear that the high-frequency range has improved, and the blockage feeling that is unique to chrome tape has been improved. You’ll be able to enjoy the ultra clear sound that you won’t find anywhere else. At the same time, “Us And Them” should be astounded by the good high-frequency sensitivity that stretches and shines. From 4:59 to 5:01 of “Any Color You Like”, there is a slight deterioration of the right channel and a missing scene, which was also present on the 1st gen version (due to tape flipping). Rather than being a flaw, this can be enjoyed as a recorded documentary of the day, and the accumulating and exhaling rush that appears in the up-tempo section at the end comes out with a transcendent sound image that has never been experienced before. After the last song of “Eclipse”, it faded out on the previously released version, but here the faded scene (* Scene “A”) is recorded, and this is changed to Disc 3. Continue. This disc 3-(1), which is waiting for an encore, remains in the master as a continuation of scene A, but the previously released version is divided at 0:02 of disc 3-(1) of this version, where Millard paused. I was doing it. However, if we divide it there, we will need a fade in/out, so this time we have duplicated both the end of disc 2 and the beginning of disc 3. Excluding this overlap, the scene is actually about 16 seconds long, meaning that all of Millard’s original recorded sound has been used up (*Of course, this Scene A also appears for the first time). And then comes “Echoes,” where a super sound of a different dimension develops from the slide guitar that emerges.The clarity and sharpness of the sound outline that can only be achieved by the original master sound makes the changes in tone and melody even more appealing to the ears. The deep, deep sounds in the background of the albatross’ calls are all the more sensual, stimulating the listener’s intellect. In particular, in the section of “Nothing Part 14”, the beautiful shadows that were truly hidden in this original sound appear dazzlingly, and no matter how much you listen to this day’s performance, you will be amazed by the ultimate sound image that will punch your soul. According to testimonies from people who were around him, Millard had a strong belief in sharing his music with his friends. A concert is just a fleeting moment of good time for most people, but for avid music fans like Millard and us, it’s a special moment to be recorded and preserved. Over time, through the generous efforts and enthusiasm of the people around him, JEMS, that desire has been shared with music-loving friends around the world, and now this treasure is about to be shared. The sequential release of Millard’s master tapes, which will begin from now on, is sure to be a dramatic turning point in the history of unofficial sound sources, but the place chosen to begin it was neither Zeppelin, which is synonymous with Millard, nor the Faces’ LA Forum. It should be noted that it was not the Stones’ masterpiece recording, but this Floyd, and the meaning of this. In other words, we are first showing that the master contains an ultimate sound that is even better than the 1st gen (which everyone knew was so good) sound. You can probably understand the meaning of choosing the original sound from the time when it was recorded in KR rather than SA. I’ll say it again, but anyone who hears this sound will have a feeling that we’re at a huge turning point. This is Mike Millard’s master cassette original sound disc, which is the longest and strongest, including his first appearance scene, and is the world’s first appearance. Please enjoy the sound of this big incident!!! Live at Los Angeles Memorial Sports Arena, Los Angeles, CA, USA 26th April 1975 ULTIMATE SOUND(UPGRADE) Disc 1 (63:33) 1. Mike Test 2. Intro. 3. Raving And Drooling 4. You Gotta Be Crazy 5. Shine On You Crazy Diamond Part 1-5 6. Have A Cigar 7. Shine On You Crazy Diamond Part 6-9 ★No fade at the end Disc 2 (56: 54) The Dark Side Of The Moon 1. Speak To Me 2. Breathe 3. On The Run 4. Time 5. Breathe(Reprise) 6. The Great Gig In The Sky 7. Money 8. Us And Them 9. Any Color You Like 10. Brain Damage 11. Eclipse ★No fade at the end Disc 3 (24:39) 1. Audience ★16 seconds longer recording at the beginning 2. Echoes