Pink Floyd/MA,USA 1975 Unprocessed Masters

The three major audiences for the 1975 American tour are Mike Millard’s LA Sports Arena in April, Jerry Moore’s Nassau Coliseum in June, and the Boston Garden the next day. A transcendental quality audience that transcends the era of 75 years and is still relevant today. In fact, the sound quality is so good that the sound source itself has been thoroughly verified, and over the past 10 years, the definitive version of each recorded item has been released. Boston was at the forefront of this. In the first place, there was a transcendent quality audience left by both Steve Hopkins and Dan Lampinski on this day, and not only each “RAVE MASTER” series title, but even a combination of them “RAVE MASTER MATRIX” was released. . However, all of them were released until 2012, and no matter how many times they were released, they were sold out (lol). In other words, he is like “Eddie” in the Floyd sound source world. Items have been updated every time a sound source with improved sound quality has appeared, but nearly 10 years have passed (how fast…) and surprisingly, there are no current items at SIGMA. . Naturally, the re-release of various items was desired, but of course there is no way to release an audience recording of such transcendent quality as it was 10 years ago. Above all, as time has passed, technology has evolved. Therefore, this time we created a CD of each sound source from the 24Bit/96kHz unprocessed version that was circulating on the internet. First of all, the master Steve Hopkins (hereinafter referred to as “Hopkin”) has long been sold out at the same time as the masterpiece “BOSTON 1975: UNPROCESSED HOPKINS MASTER” was released in 2012, but this time as well. It uses the first direct master transfer that does not go through DAT, which was released by JEMS and became a hot topic.At that time, it used a 16-bit version, but this time it uses a 24-bit version. However, compared to 2012, we minimized the deterioration of the down conversion and achieved a release that could be called the final push. Of course, there is no extreme difference in sound quality, but I can assure you that it is still the best version. In the first place, the Hopkin Master has a very solid impression, and when combined with an amazing sound image, it is a superb document of a night in Boston in 1975 with a transcendent quality that makes you want to describe it as “just like a sound board”. The recording you gave me. That’s why “Unprocessed” is inevitable. This version takes this incredible quality to its limits. The “THE DARK SIDE OF THE MOON” part conveys that upper feeling in an easy-to-understand manner. Not only is the sound image close, but the rich and warm feeling of realism of the cheers that erupts the moment “Breath” begins is a reproduction that surpasses that of the 2012 version. In addition, the incredible clarity allows you to completely hear the details of the performance by Nick and Roger’s rhythm section and Gilmore, who is devoted to cutting, right after “Any Color You Like” begins. You will be overwhelmed by the superb sound quality, which is considered to be the best masterpiece among the Hopkin masters produced in the 1970s. On the other hand, Dan Lampinski (hereinafter referred to as “Lampin”) is a master, but in fact, his single release of sound source was “DEFINITIVE RAVE MASTER” in 2009, and the one released in 2012 was Hopkin sound source. “RAVE MASTER MATRIX” is a mix of “Unprocessed”, and in fact, the release with the “Unprocessed” concept was not realized. At the time of 2012, there was a feeling that 75 Boston releases were dominated by that and “BOSTON 1975: UNPROCESSED HOPKINS MASTER”, and the “Unprocessed” version of the ramp release was overlooked. The concept of this release is a coupling and best version of both Boston 75 sound sources, which has never been seen before, but the highlight may be the recording of Lampin’s first “Unprocessed”. In the first place, the previous generation “DEFINITIVE RAVE MASTER” was released more than 10 years ago, so it is natural that if you use the 24Bit/96kHz version this time, it will have an upper feeling. Compared to the Hopkin recording, which had the appeal of a strong sound pressure, the Rampin recording had a delicate high-pitched sound. With this release, it has an amazing freshness with an even more relaxed treble, it’s like silk. The charm of his recordings is that the tones of the synths that Rick plays are reproduced with ease. That being said, the new song set in the first half of the live show, especially “Shine On You Crazy Diamond”, stands out for its delicacy. This expressive power has improved dramatically compared to the 2009 version, and it is natural to supplement the missing parts with Hopkin recording. This can be called the appearance of a new definitive edition. If you think about it, there aren’t many recordings where it’s not a pain to listen to and compare two audiences with sound sources that capture the same live performance. It’s amazing how the powerful Hopkin and the beautiful Rampin each show that the laid-back feeling of the performance that was glimpsed from the previous day’s “THE DARK SIDE OF THE MOON” set has become even more pronounced. Above all, both have a high level of sound quality that you can’t believe was an audience recording in 1975, yet each has its own distinct taste. In 2012, “RAVE MASTER MATRIX”, which was a good mix of these, was a bestseller, but what is desired in 2021 is a version that records each of the two sound sources completely and with the best sound quality. . In addition, both sound sources had a performance time that fit on two discs in 75 America, so the package that can fit on four discs in total will be very useful for enthusiasts. The most important sound source Boston on the Floyd 1975 tour, which has produced many masterpieces so far, is the culmination of something that has never been seen before. This is the strongest coupling of both Hopkin and Lampin, which should be a sample of special audience recording. From beginners to enthusiasts, this is the Boston 75! (Remastered memo) Steve Hopkins Master remains the same. Dan Lampinski Master fixed fast pitch. (Dan Lampinski has a cut in the song, so I made up for it.) Boston Garden, Boston, MA, USA 18th June 1975 ULTIMATE SOUND STEVE HOPKINS MASTER Disc 1 (55:53) 1. Introduction 2. Raving And Drooling 3. You ‘ve Gotta Be Crazy 4. Shine On You Crazy Diamond (Part 1-5) 5. Have A Cigar 6. Shine On You Crazy Diamond (Part 6-9) Disc 2 (79:46) 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 12. Echoes DAN LAMPINSKI MASTER Disc 3 (55:21) 1. Introduction 2. Raving And Drooling 3. You’ve Gotta Be Crazy 4. Shine On You Crazy Diamond (Part 1-5) 5. Have A Cigar 6. Shine On You Crazy Diamond (Part 6-9) ★2:36 – 2:50 Compensation Disc 4 (79:59) 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 ★0:05 – 0:25 Reprise 9. Any Color You Like 10. Brain Damage 11. Eclipse 12. Echoes