Pink Floyd/Italy 6.19.1971 Recorder 1

“BRESCIA 1971” is Reel Master’s high-quality sound record that further expands Floyd’s 1971 knowledge. However, although Recorder 2, which was used as the main source, had excellent sound quality, it was incompletely recorded, so it was true that it was lacking in quality on its own. However, this time it was the existence of Recorder 1, which recorded on the same day, that made up for the shortcomings. The Recorder 1 used to supplement this production is commonly known as “3rd gen stratcat58 tapes” and is based on the one transferred to Maxell’s XLII 90 (*1992-96 manufactured type) cassette. . Recorder 1 currently exists in several branches on the internet and among traders, but it is the ultimate version known as the highest quality among these mixed sources. Although it is a 3rd gen, it is a source that has been used as supplementary material for Recorder 2, which has an exceptional sound quality, so you can imagine how high the quality is, but the deciding factor is listening to the sound image. It can be said that it is easy and has good visibility. Unlike Recorder 2, which recorded zero-distance sound from a position that could be called a foul technique, it has the characteristic that it is recorded from a moderately close position, so it has a good sound power and is easy to grasp the overall sound. . However, it is not without its drawbacks. For example, “Atom Heart Mother” has a slightly cut off beginning and a fade-in, and for several tens of seconds after pressing the play button, there are parts that are difficult to listen to due to sound fluctuations due to aging. However, in less than a minute, the sound stabilizes with a fairly good quality, and after that, the quality continues almost until the end of the disc. It becomes clear when you actually listen to the sounds alternately and compare them, but the sound after the sound image stabilizes is in no way inferior to the Recorder 2 used for the main press edition, and if I had to pick a negative point, it would be the tape hiss. It’s quite noticeable, so the transparency is a little lacking. There is no cracking in the bass, the depth of the sound and the expansion of the left and right range are sufficient, and the phase is perfectly aligned with the center, so if you listen to it alone, it will be obvious to anyone that it is at a sufficient level. Although there are cuts between songs to preserve tape remaining capacity, the fact that it is recorded up to the show end also raises its value. Another topic is that after the end of “Careful With That Ax, Eugene,” scenes that were not included in “BRESCIA 1971” remain unprocessed. Specifically, it is about 15 seconds from 13:27 to 42, and this 15 seconds including the tuning was cut during production due to poor connection during compensation. Therefore, being able to listen to this section is an advantage of this title = Recorder 1. And for “Fat Old Sun”, pay attention to the flute mellotron at 6:21. Here, you can experience it with the same AUD recording but with the sound hitting directly in front of your eyes (= “BRESCIA 1971”), or you can experience it with the sound waves that are beautifully delivered to you from a suitable position (= this source) There is such a difference that you will be able to experience a fascinating sound that is difficult to compare. “Embryo” is a cut-in, but Recorder 2 starts recording 7 to 8 seconds after this cut-in position, so Recorder 1 actually has an advantage. Therefore, “BRESCIA 1971” also supplements the beginning of this song for about 7 seconds from the main Recorder 1, but here there is the pleasure of being able to listen to what comes next without shifting to Recorder 2. “The Return Of The Son Of Nothing” has some kind of recording trouble between 3:49 and 54, and the recording is temporarily interrupted. There is also a break at 4:14, but at 4:48 the scene is rewound for a few seconds and re-recorded, so the latter probably occurred when it was transferred to the 1st or 2nd gen. In addition, the speaking voice of the person who seems to be the recorder is also included in some places, and here you can enjoy the vivid recording failure peculiar to Recorder 1 and the history of the source. Since the recording of Recorder 2 is almost lost from “Set The Controls For The Heart Of The Sun”, from here until the end of the disc, Recorder 1 will be in the exclusive position. Just to be sure, the exact same song is used in “BRESCIA 1971” from this song to the end of the disc, but if you actually listen to it and compare, you will notice that there is a difference in sound quality. It is easy to understand from the next song “Cymbaline”, but when producing the main part “BRESCIA 1971” from the original sound of the original source that can be heard on this disc, it is amazing how well the already high quality “3rd gen stratcat58 tapes” were brushed. You can see if it has been uploaded, so please listen and compare. Even so, this is the sound quality for 3rd gen. When I listen to this, it makes me shudder to imagine how great the undiscovered master recording of Recorder 1 has hidden in it, but on the other hand, the quality of the sound is maintained even though it is 3rd gen, which makes such imagination grow. That’s why there is. As mentioned above, if you listen to it, there are definitely some scenes that are damaged to some extent, but if you listen to this, you will be able to hear the natural sound of the venue on the day and the overall performance that you could never have captured with Recorder 2 alone. There is no doubt that it will become a thing Palazzo Delle Manifestazioni Artistiche, Brescia, Italy 19th June 1971 TRULY AMAZING SOUND Disc 1 (44:25) 1. Atom Heart Mother 2. Careful With That Ax, Eugene 3. Fat Old Sun Disc 2 (79 :36) 1. Embryo 2. The Return Of The Son Of Nothing 3. Set The Controls For The Heart Of The Sun 4. Cymbaline 5. A Saucerful Of Secrets