Description
The excitement exceeds the peak and finally reaches the “extreme point”. It was in 2017 that Pink Floyd’s 1977 Boston performance, which was recorded directly from the master cassette owned by Steve Hopkins by Taper Team JEMS, was released online. Although this released sound source had short parts missing in 5 places, it was mixed with Dan Lampinski’s recording on the same day, making it the longest version with the highest sound quality ever, and the world’s fastest release was “BOSTON 1977″ MASTER TAPES”. This title, which appeared with an overwhelming sound impact and the longest recording time ever, received a great response, and due to its excellent sound quality, orders flooded in from overseas and the album sold out in a short period of time. There’s no way anything could surpass that, but as mentioned above, although this album was partially mixed with Rampinski’s recording on the same day, the title focused on the impact of the master tape’s original sound, so basically It was a piece that was produced with no equalization or remastering, and it was true that there was room for improvement in two areas in terms of perfect quality. That is (1) the overall remastering work, and (2) the deterioration of the tape that was still slightly remaining around 9:07 of “Sheep”. In particular, regarding (1), the original sound was so high quality that there was no need or reason to do it, but in other words, “How much ultra sound would you get if you remastered that superb source with today’s latest technology?” “Will it be revived?”…It can be said that time has passed with the question still tickling the ears. Moreover, what if it is the longest recorded version that perfectly solves the problem (2) above? Yes, this is the definitive 1977 Boston edition that made this a reality! However, since the original recording is very good, some people may be wondering what kind of remaster it is. I think there are many. In particular, in the case of this recording, it is known that the seat where Hopkins was located was “Section AA, Row 10, Seat 3-4”, which was a position where he could record the sound coming from the PA at the venue that day. It was also necessary to create a remaster that would bring out 100% of the flavor of the recording location. Therefore, how to sharpen that original sound and awaken the dormant potential of the sound was a big challenge, but what we focused on was expanding the range and widening the sound. is. If you listen carefully, you will notice that in some places you can see the effect of the sound group moving device picked up by the PA direct hit. What is easy to understand is that in the middle of “Money” the guitar’s delay effect seems to get bigger and smaller (= getting closer and farther away), but this is because the sound is being picked up directly from directly in front of the speaker, so the sound is missing. The spread is not good enough. Also, in songs with many gaps between notes (for example, “Shine On You Crazy Diamond”) and “Have A Cigar”, which uses a lot of midrange, the amplitude of the resonance is shallow and the overall sound image feels claustrophobic. (Of course, it is still an extraordinary sound image that is more than enough), so we expanded the range from 125Hz to 250Hz centering on this middle range, and added a sense of clarity to the sounds around 10Hz, such as the airiness and nuance of the high frequencies. We thought that by making adjustments, we could shift up the appeal of the original sound. Also, by checking the noise almost every bar, transparency is further increased, and the speed and edge of the sound grains are increased. The result is a sound with sharp, instantaneous power and highly accurate tonal amplitude that flows smoothly in all directions. Furthermore, as a synergistic effect, the stereo feeling has greatly increased, and the ultimate 1977 Boston was born, where the hidden sound energy pierces deeply into the listener’s imagination!! “Sheep” is revived with such a brushed-up sound. A big topic suddenly appears. As shown in improvement point (2) above, the tape deterioration marks around 9:07 have completely disappeared. The result is a perfect finish that you won’t be able to tell even if you listen to it knowing that “this is the part,” and as a result, the song runs through to the final song without losing any of that sense of speed and drive that was unique to that day. We are making the excitement come true. Even in “Dogs”, the guitar in the introductory part comes back to life with a more core tone, and you can experience the extremity of remastering with Gilmore’s close singing voice, where you can feel the depth as well as the expansion of the range. The attack feeling of the tom and snare becomes even more prominent, the volume and resolution of the tone in the second half guitar solo that starts at 13:27, and the final development where the song returns to the ensemble and ends the song are shocking remastered impacts. It has become. “Pigs On The Wing 2” also has a breathtakingly glossy tonal expansion, and the quality of the acoustic sound in the first half and the dazzling contrast with the electric guitar in the second half bring an unknown excitement to the auditory senses. It will be given to you. “Pigs (Three Different Ones)” brings out the dynamic heaviness in the mid to low range that was hidden in the original sound. The movement of the crunchy sound stands out more and more clearly, and the contrast with the guitar, which sometimes cuts sharply into it like a flash, is the best match. Also, the improvement in Roger’s singing voice is a topic, and the clarity of each word of the lyrics is also noteworthy. From 7:11 to 12, he shouts “Forty-eight (* 48)…” in a hoarse voice, announcing the number of performances, which further adds to the realism, and the charade, or word guessing game, brings out the brilliance of each part of the sound. I can feel it as. In “Shine On You Crazy Diamond Part 1-5”, pay attention to the sound of firecrackers that can be heard for a few seconds before the start of the performance, that is, immediately after the disc starts, and the situation at the scene. This is a scene that is clearly understood. Even in the beginning of the song, the delay sound comes out with a deep and deep sound, and the saxophone that comes out in the second half of the song has an amazing amplitude depth, and each note is a real document. . “Welcome To The Machine” also explodes with a power sound that expands the weight of the sound, and a flood of remastered effects that bring out the power of the bass that was hidden in the original sound flood in, and the direct impact of the synthesizer that continues for a while from 5:32 It develops with ultra-high resolution tough sound with a wide range of sensations. “Have A Cigar” also evokes the euphoria of the lingering sound of the trained and polished sound, and the wave of the guitar strings in “Wish You Were Here” has an unprecedented graininess. You’ll savor the excitement that wafts through you. “Shine On You Crazy Diamond Part 6-9” is a 21-minute long song where you can enjoy the precise reproduction of the original sound waveform and the diffusion of high-quality sound. The endless dispersion and dispersion of sounds here is sure to further raise the listener’s auditory evaluation, and the almost silent scene (* 16:45-55) where the performance disappears once and is taken over by the piano at the end. , with a sense of transparency that exceeds the original sound. In the middle of “Money,” you could see the guitar’s delay effect getting bigger and smaller (= getting closer and farther away) due to the sound group moving device (5:33 to 8:13), The fact that it comes out so clearly and with a sharp sound that spreads in all directions has become a big topic. “Us And Them” also no longer feels like a blockage in its range, and the pure dynamic expansion of the tone and the expansion of the melody make everyone who hears this work exclaim “Perfect!!” even if Roger doesn’t say it here. It must be. Hopkins’ master sound has finally reached its perfection thanks to the latest and thoughtful remastering. It can be said that this is the latest work in which the expansion of the sound image directly leads to the expansion of knowledge, but even if Hopkins himself were to listen to this, he would not have realized that his own recording, which should have been familiar to him, had such potential. I guess you can’t hide your surprise. Similarly, even if you have listened to Boston in 1977 on some previous release, or even if you own the Sigma 177, you will be deeply familiar with the high-precision upper feel that goes beyond that. It’s sure to be an exciting experience. The definitive version of the 1977 Boston recording has finally appeared with the title “DEFINITIVE”. Please hold your fingers tight for just a few days and wait for its electric appearance with anticipation in your heart!! Equalization that expands the range and clarity of the performance. , the stereo feeling has increased and has been upgraded. Live at Boston Garden, Boston, MA, USA 27th June 1977 ULTIMATE SOUND(UPGRADE) Direct-to-direct transfer of Steve Hopkins’ cassette master tapes Disc 1(53:13) 1. Sheep ★9:07 No tape deterioration Version 2. Pigs On The Wing 1 3. Dogs 4. Pigs On The Wing 2 5. Pigs(Three Different Ones) Disc 2(76:04) 1. Shine On You Crazy Diamond Part 1-5 2. Welcome To The Machine 3. Have A Cigar 4. Wish You Were Here ☆Unrelated fun songs play endlessly at first due to a mistake 5. Shine On You Crazy Diamond Part 6-9 6. Money 7. Us And Them
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