Pink Floyd/MO, USA 1973 Upgrade

Pink Floyd’s 1973 recording, for which no representative title could be found until now due to severe deterioration in sound quality, suddenly rose to the forefront of the scene with the appearance of Scotch reel tape 1st gen!! A tremor that approaches the master recording Introducing the sauce!! March 1973. On the 1st, the masterpiece “Madness” was released, and from the 4th, the U.S. tour accompanying this release started, and Floyd’s March was a month of turmoil. The St. Louis performance on the 6th, which is the third performance of this US tour, was an air pocket performance day without a particularly prominent title, although the existence of the recording had been known for a long time. “ST. LOUIS 1973” existed, but other than this, even if you look around at overseas labels, there is no such definitive edition. The purpose of the performance includes “Childhood’s End”, which was only performed live a few times, and is highly rare, and every performance is a parade of passionate performances full of youthful energy from Floyd in 1973, when he finally started to move. Although it has a lot to offer, I think the reason why each manufacturer avoided making it into a disc was probably because of the poor sound quality. However, this year, October 2020. The recording of this day, which was virtually unmarked to most unofficial sound source fans, was released online as a 1st gen reel tape sound source directly from the master cassette, and attracted the attention of unofficial sound source fans around the world. The uploader is Mr. Neonknight, a well-known contemporary digital taper, and this reel that he received from a taper in California in 1999 is an actual Scotch 1st gen reel tape that was dropped directly from a master cassette (*monaural). When I played this on Revox’s high-performance reel deck “A77 MK-IV”, the sound coming from the left channel was a very clean and strong signal, so I decided to distribute this left sound evenly on both channels. It seems that this was the online publication source. However, unfortunately, as many tapers have pointed out in the past, the reality is that there is a slight signal loss on the treble side due to hiss noise occurring throughout the scene. In fact, all of the previously released sources and other sounds that can be picked up on the internet are in this state (* = that’s why all manufacturers avoided making them into discs), but what makes this released source special is that it has been carefully equalized. By doing this, we have succeeded brilliantly in restoring the sound image to its pre-reel state, that is, a sound that is as close as possible to the original recorded sound. As a result, the hiss noise that was noticeable in the high range is reduced to the utmost limit, and the humid sound and density of the sound that was originally there are revived. , the quality of the music has improved so much that everyone who hears it can’t help but smile. To be honest, this upper feeling can be considered a minor incident. Yet another sound topic was “One Of These Days” which was played in the encore of this day. Toward the end of the nearly two-hour show, the recorder’s battery weakened and the drive system became unstable, a problem that was unique to that time and was only noticeable in this song. The figure remained in the source of all past versions. However, this time we tackled this problem head-on, and by correcting the numerous degraded scenes one by one, we succeeded in completely repairing almost all of the troublesome problems that were making the song difficult to listen to. That’s what I did. As a result, the overall image of this song and show that can be heard with this source is played with higher accuracy than any past version of the source, creating a sound image that evokes fresh emotion in everyone who hears the sound. The publicly available sources on the internet have been processed up to this point, but if you listen closely, there is still room to enhance the sound by removing small noises, adjusting the phase, correcting the pitch that was slightly high, and correcting the sound pressure to compensate for the weakness of the punch. There is still room for improvement in reviewing the entire waveform, and our talented engineers will further examine these issues. As a result, we were able to obtain a listening experience and quality that exceeds that of public sources. This latest work is a 2-disc set of the best sound at the moment, a 1973 St. Louis sound source that is as close to the original master sound as the sound quality of the 1st gen reel, and is completely different from previous sources. That’s it!! The sound image is more than enough for a 1973 recording, and it’s fully opened from the beginning “Echoes”. The strong tape hiss that was noticeable in the previously released version (*There is no representative title, so for convenience we will call it “ST. LOUIS 1973”) source has almost completely disappeared, so the quietness that was difficult to listen to until now is The playback power of the scene has improved from the beginning, and everyone will be surprised by the depth and tranquility of the sound image. In the second half, in the scene where the singing part is reprized, trouble occurs with Dave’s microphone, and there is a rare scene where Rick sings the lyrics alone (* 17:42 to 18:27), but this approximately 40 minutes It has a beautiful sound image that is different from the previously released version, which has a second of vividness and chirping noise in the ears. The tuning after the performance that can be heard in track (2) also has no hiss, so Roger’s familiar murmur of “One, Two…” comes through smoothly, and the scene where firecrackers are suddenly set off in the venue has that shocking sound. is doubling its documentary feel. “Obscured By Clouds” also has a high-quality sound image that is different from the previous sound, which was mixed with tape hiss like “thir” from beginning to end, and has an upper feeling. In particular, the direct feel of the bass and the hiss-free sound of the guitar add to its brilliance, so the unique pulsating rhythm and overlap of grace notes that are unique to this song will permeate your ears. Although not credited, an uncut sound check centered on the guitar is recorded after the performance of the next song “When You’re In”, and this can also be heard with a denser reel sound than the previously released version. Let’s also make a special mention. “Childhood’s End”, which was only performed live a few times, also has a convincing upper-hand feel. Dave’s singing voice, which had noticeable cracking due to the rough sound image, has returned to his original moist tone, and the guitar has regained the comfort of a glossy tone that passes through noiselessly. Although there is a slight scene missing at 6:08, probably due to the tape change, this editing trace also appears in the sound image without hiss, so it is admirable that it comes out with a vividness that approaches the master original sound. It would be Vantage. The tuning that re-enters after the end of the song is now allocated as a single track (6), and the inter-song information of over 2 minutes and 40 seconds is completely recorded. The disparity is also widening in terms of information organization from the previously released version, which had no track division. “Careful With That Ax, Eugene” is notable for the strong driving force and sound thrust that continues for a while after 7:11, and you can hear the original high-density sound. Like the previously released version, there is a slight scene missing at 8:29, but since the sound before and after that is denser than the previously released version, it feels much less strange to the ear. In the second half of the show, the sound quality of this source reached its peak in the complete reproduction of Dark Side, which has not even been released for a week. Judging from the surroundings, there’s no doubt that it’s the same source from the same day, but the sound image is more acute, probably because the direction of the microphone was changed during the 20-minute break, or because it was replaced with a different microphone with a different directivity. It becomes straight, and from this point onwards, there are many scenes where you will be overwhelmed by the unfathomable playback power unique to reel tapes until the end of the disc. For example, during “The Great Gig In The Sky,” where there was some equipment trouble that day, a strong howling echoed, and the scene of Carlina and Vanetta recovering and singing was revived with the best direct sound ever. “Money” also has a punchy midrange dynamism that is delivered to your ears with a humid, realistic, transparent sound, so it will fully satisfy your musical cravings that you couldn’t get from the previously released version, which has a lot of hiss. It is. “Us And Them” has a missing scene due to a tape change in the two seconds from 1:28 to 30, just like the previously released version, but here too, you will be scorched by the rich sound image that cancels out that. I think. In particular, the high-quality organ and guitar tones are indescribably beautiful, and the performance here is sure to leave you in agony, as the deep, deep tones are spelled out sweetly and elegantly. In “Any Color You Like,” the sound of the guitar using a talking modulator leaves a definite lingering impression on the five senses, and “Eclipse” also has a luster that is different from the previous release, which had a noticeable roughness in the harmonies between Roger and the female chorus. Because the sound progresses within a certain sound image, you will be surprised at the difference in how it hits your ears. Track (12), which directly captures the sound output and tuning for the encore, shows Dave carefully checking the sound output, and the sound is even richer in texture. has been brought back to life with an exciting sound that shows how vivid Floyd’s sound was at the time, so I hope you will enjoy the excitement that pierces your hearing. This is the 1973 St. Louis recording that was finally revived with the advent of the 1st gen reel tape, but when you actually listen to this sound with the hiss gone, you can clearly see that the sound image is more than enough. It is a highlight that the rare song “Childhood’s End” is revived with this sound, and above all, the second half of the show = Disc 2 is quite listenable. Also, although there are many things to listen to, it is a source that has received little attention, so you will be able to fully appreciate the joy of being able to add this performance to your collection. Kiel Opera House, St. Louis, MO, USA 6th March 1973 TRULY AMAZING SOUND(UPGRADE) Disc 1 (61:00) 1. Echoes 2. Tunings 3. Obscured By Clouds 4. When You’re In 5. Childhood’s End 6 Tunings 7. Careful With That Ax, Eugene Disc 2 (54:47) 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. Tunings 13. One Of These Days