Pink Floyd/London,UK 3.15.1977 2 Diff Source Upgrade

A new development on Pink Floyd’s 1977 classic source!! That famous sound source that could only be heard on the LP version is finally available as an unearthed tape source!!! Pink Floyd March 15, 1977 day. This day is known as the first day of a five-day performance at Wembley in London, UK, as part of the tour accompanying the album “Animals.” For sound source fans, this recording of March 15th is something that has been known for a long time and is familiar, and in particular, there are many fans who are familiar with listening to the analog bootleg LP “KNOBS” that appeared in 1979. The source used for this is commonly known as “Recorder 1”, and although there are cut points in some scenes, the sound quality is generally good, and it has been highly praised for including the encore “Money”. It has been evaluated. On the other hand, there is another source for this day called “Recorder 2”, which has slightly lower sound quality than Recorder 1, but there are no scene cuts, and it is seamlessly recorded from the beginning of the show to the end of the second half of the show. It is also known as a sauce. However, it also has the disadvantage that the encore “Money” is completely missing, and even though it was seamlessly recorded, it has a history of not being as popular as Recorder 1. Let’s take a look back at the history of these two sources. These are only representative titles, but I think they can be organized as follows. “Recorder 1” (LP) “KNOBS (THE IMPOSSIBLE RECORDWORKS / IMP 2-15)” “KNOBS (TOASTED RECORDS / 2S-907)” “GIANT BARN DANCE (PF3077 A/B)” “30KW P.A. (PF3077 C/D) )” (CD) “KNOBS (MPH 016/2)” “ Recorder 2 (CD) “WEMBLEY 1977 MARCH 15 MASTER (LEM 007)” *Only the encore “Money” is supplementary recording with Recorder 1 The thing to pay attention to here is Recorder 1 So, this source only appeared on the master of the “KNOBS” LP. In other words, since the tape sound source was not excavated, only the LP version existed. Even after the CD era began, several CD titles using this source appeared, but all of them were removed from the “KNOBS” LP, and were transfers from the tape source used for the LP. It wasn’t. Therefore, the current situation was that all titles were overflowing with missing parts of the same parts and content with similar sound quality. However, in the summer of 2019, a lightning paradigm shift occurred in this current situation. The Recorder 1, which was also used in this “KNOBS” LP, has been newly discovered as a low generation tape source!! What is surprising is its sound quality. It was tough because I was breathing with a master direct sound image with much higher resolution than what I could hear at the source. Furthermore, like the “old Recorder 1”, this tape also had cut points, but there were cuts at clearly different points from the source used by “KNOBS”, and even though it was the same Recorder 1, it was the original master. It turned out to be a different source that branched out from the tape, so I was even more surprised. With this newly discovered tape, we were able to listen to Recorder 1 for the first time as a tape source, not as a cut-out from the “KNOBS” LP (*and with a significant improvement in sound quality!!), but it was also available online. As mentioned above, the new Recorder 1 that was uploaded is still incomplete with cuts. …But the missing section should be solved by digitally supplementing Recorder 2, which leaves the recording seamlessly. This is because, in the first place, most of the missing parts in the new and old Recorder 1 (although the cut points are different) are mostly between the introduction and the end of the song, that is, between songs, and all of those scenes are exactly the same as in Recorder 2. Since it is a quiet part with no sound cracking, the connection part between both sources can create a natural and perfect finish in any scene. Furthermore, if the Recorder 2, which has not been in the spotlight until now, polishes the best materials and arranges them there, the recording of the day will be compiled with all the best sources currently available. Yes, what made this happen is the “WEMBLEY 1977 1ST NIGHT”, which can be called the “new standard KNOBS”!!! Discs 1 and 2 are “New Recorder 1”. This is the first disc in history where the original sound was not taken from the LP disc, but from the newly discovered tape source of Recorder 1, and the missing parts unique to the source were perfectly compensated for by Recorder 2. This was the decision of the day. This is the version. First of all, “Sheep” is notable for its open feeling at 4:20, when the fast-paced performance ends. The spatiality of the place also feels more spacious and transparent than the “KNOBS” LP source, and the way the drive feeling increases even more towards the final song from 7:48, there is a high-resolution direct hit without sound blurring. , you will feel the power of more reliable sound everywhere. In addition, the introductory part from 0:00 to 1:19 and the scene from 11:52 after the end are missing even with this newly discovered tape source, so Recorder 2 is used to compensate and connect, but it is perfect with no discomfort. The result is a seamless finish, and in fact, the documentary quality has increased due to the increased seamlessness. From the beginning of “Pigs On The Wing part 1”, you will be amazed at the guitar sound with a clarity and luster that can be said to be different from the previous Recorder 1, but “Dogs” will surprise you even more. Probably. Here, the sense of boost in the bass range is remarkable, and a massive sound that is just barely there without cracking is developed. When you compare the sounds, you can feel that the sound has expanded even in the mid to high range, and the example scene where the twin guitars are played has an expanded range and increased resolution, and the middle part also has a velvety feel like a synthesizer. The luster of the tone diffusion appears with exceptional depth. From around 17:32 to 18:25, Recorder 2 is added here as well, and the completeness of the scene, which doesn’t feel out of place at all, awakens a new excitement. In “Pigs (Three Different Ones)”, the feeling of confinement that was present in the “KNOBS” source disappears, and the original sound pulse of the recorded sound appears, and the quality of the sound emitted is completely different from before. You will be surprised by the facts. The scene where Roger shouts “Twenty-one! (21!)” at 12:10 to indicate the number of performances is even clearer, and the fact that the singing voice and the backing ensemble have become much sharper is also a big topic. In “Shine On You Crazy Diamond I-V”, the countdown voice before the guitar enters at the beginning is closer and more vivid than before, and the overall tone of the song and the smoothness of the sound have improved considerably. This is a good example of how even the same source can have such a difference in sound image due to generation differences. From 14:06 onwards, Recorder 2 is used to compensate, and this also boasts a perfect finish that correctly complements the documentary nature of the scene and the flow of the timeline. Both “Welcome To The Machine” and “Have A Cigar” have increased resolution in the midrange, making their performances much easier to listen to. In particular, in “Have A Cigar”, the extension and power of the treble has become even sharper (* noticeable in the guitar solo in the middle), and you can also recall that the master original sound that has not yet been discovered has a considerably rich sound. . By supplementing Recorder 2, the continuous SE that was cut from the end of the song until the next song was maintained perfect continuity, and in “Wish You Were Here”, the transitions and timbre of the sound became even more pronounced. The shine comes out, and the harmony of Roger’s singing voice, which is unusual from the usual, appears in a beautiful sound image unique to the newly discovered tape source. “Shine On You Crazy Diamond VI-IX” leaves an overwhelming listening response and a lingering after-listening that cannot be compared to the “KNOBS” source from the middle of the song onwards. The direct impact of the sound from 12:10 onwards is particularly strong, the fortissimo blooming boldly and harshly, and the pianissimo regaining its quieter, smoother luster is the biggest highlight. The encore song “Money” also has a clearer sound image that conveys the changes in the performance’s expression in detail, and the charm of the newly discovered tape, which is tough yet full of dignity and clarity, extends to the end of the disc. . Discs 3 and 4 are the full version of Recorder 2. Originally, “Money” is missing, and the sound quality is slightly inferior to Recorder 1, but this time it is a digital source directly converted to DAT from the master tape, so it is a disc that can be enjoyed in its current best form. It is characterized by the presence of By the way, there is an impression that this Recorder 2 is a same-day sub-source to compensate for the shortcomings of the main character, Recorder 1, but that would be a huge misunderstanding. When you listen to it again, you realize that this just happens to be a little inferior in sound quality to the main source, and considering it as an AUD recording of that era, it is a sufficiently high quality recording (*Otherwise, it is a recording of the same day) Although it is a separate recording, I will not use it as a supplementary source). For example, listen to and compare the distinctive twin guitar sounds that can be heard in “Dogs” and the driving feeling of the song that develops from there. Recorder 1 certainly has a clearer sound image than this, but it doesn’t have the same vivid explosive feeling as Recorder 2. You will be surprised again by the fact that “Pigs On The Wing part 2” also has a thinner tape hiss component than Recorder 1, and Roger’s singing voice is even clearer than Recorder 1. In short, the only disadvantage of Recorder 2 is that it tends to be prone to sound distortion when the bass gets loud, but in quiet areas it maintains sound quality comparable to Recorder 1. The most notable song is “Shine On You Crazy Diamond I-V”. In the same song on Recorder 1 (= Disc 2), this Recorder 2 is used as a supplement in the section from 0:00 to 2:28, but I wonder why, why, why should I listen to the sound after 2:29 on this Disc 4? Please. There are sounds that are as high quality as Recorder 1, or even better, peeking out everywhere. Similarly, for “Wish You Were Here”, you can see that Gilmore’s vocals are closer and clearer than on Recorder 1, and the guitar was recorded surprisingly beautifully. You may have already noticed this, but in other words, Discs 1 and 2 of this work have a luxurious composition that actually uses only a handful of Recorder 2’s good points. Of course, the biggest drawback of Recorder 2 is that “Money” is not recorded, but depending on the scene, the seamlessness that allows you to listen to it from the beginning of the show to the end of the second part in better condition than Recorder 1 is just a supplementary diff source. It has aspects that cannot be dismissed with that position, and these discs 3 and 4 are discs that allow you to rediscover that. Recorder 1, which had no tape source for many years and was only available as an LP, Recorder 2, which was uncut but had a slightly inferior sound quality and was difficult to find a spot, and finally the new Recorder 1, a low generation tape source. “. A modern-style 1977 Wembley opening day sound source that can be called a “new generation of KNOBS sound” where materials with a long history and materials that have appeared with a brand new breath are perfectly layered with 21st century technology, and everything is released in its best form. was finally born. This is a solid listening experience where you can feel the excitement of Floyd’s intellect in that era, one step or two up close. We will pass on the documents of the day to the future. Be sure to experience the impact with your ears of the new standard of that “KNOBS” LP that represents Floyd’s 1977! This sound source has been known for a long time as an LP titled “Knobs”, but the LP The tape sound source of Recorder 1 recorded on was not found and only the LP version existed. This time I discovered a low generation cassette of Recorder 1, so this is the first time you can listen to it as a tape source. Empire Pool, Wembley, London, UK 15th March 1977: 2 DIFF SOURCES(PERFECT/TRULY AMAZING SOUND)*UPGRADE Disc 1 (50:36) Recorder 1 1. Sheep ★0:00 – 1:19 / 11:52 – Last Compensation up to 2. Pigs On The Wing part 1 ★0:00 – 0:01 Compensation 3. Dogs ★17:32 – 18:25 Compensation 4. Pigs On The Wing part 2 5. Pigs (Three Different Ones) ★14: 54 – Fill in until the end Disc 2 (62:53) 1. Shine On You Crazy Diamond I-V ★0:00 – 2:28 / 14:06 – Fill in at the end 2. Welcome To The Machine ★0:00 – 0:35 Fill in 3. Have A Cigar ★5:19 – Compensation until the end 4. Wish You Were Here ★5:10 – Compensation until the end 5. Shine On You Crazy Diamond VI-IX ★0 00 – 0:49 / 19:08 – End Compensation 6. Source discized as the main part of Money Recorder 2 “WEMBLEY 1977 MARCH 15 MASTER” (2CDR, Lem 007). The main part of the already released (Lem 007) is this Recorder2 sound source, and only Money is this time’s Recorder1 sound source. The sound quality of this edition is better for both sources. Disc 3 (50:26) 1. Sheep 2. Pigs On The Wing part 1 3. Dogs 4. Pigs On The Wing part 2 5. Pigs (Three Different Ones) Disc 4 (53:41) 1. Shine On You Crazy Diamond I-V 2. Welcome To The Machine 3. Have A Cigar 4. Wish You Were Here 5. Shine On You Crazy Diamond VI-IX