Description
The 1972 Hollywood Bowl performance is finally revived in a complete 3-source mix & matrix version! Another milestone will be set in the history of Pink Floyd’s sound sources! Hollywood Bowl = Floyd in 1972… It is no exaggeration to say that this image, now deeply rooted among unofficial sound source fans, dates back to the 1970s and was brought to the world with the appearance of the 3-disc collector’s LP “CRACKERS”. This excellent source of stereo AUD recording, later called Recorder 1, made fans around the world aware of the depth and awesomeness of Floyd’s live performance. When Recorder 2 (also a stereo AUD recording) appeared in the 1990s, which surpassed it, fans became even more excited, but as soon as the 1st gen source, which contained the original sound of Recorder 2 reel-to-reel, appeared, everyone was speechless at the amazing special A-class sound quality. To add to this, in 2008, the long-length Recorder 3, which was mono but had excellent recordability, appeared, and many people may have felt a sense of horror beyond their joy. In other words, Floyd’s 1972 Hollywood Bowl has been maturing while increasing the perspective of the sound with the sources that have appeared one after another, but among them, the reel-to-reel of Recorder 2 has been a strange and exceptional high-quality sound that has riveted us sound source fans since the sound source was released, and has become a standard to this day. By the way, if you have heard Recorder 2, you may have noticed that this source is basically an outstanding ultra-high quality stereo source, but if you concentrate and listen carefully, there are scenes that sometimes become slightly mono, and there are quite a few small defects, and although the sound quality is outstanding, it was a source where roughness can be seen here and there. Also, like Recorder 1, the beginning of the first part of the show, “Speak To Me”, is missing, so it is not perfect from the perspective of the full-length version. However, it should be possible to repair such flaws by using two other sources with different recording times as a matrix (= digitally overlapping sound sources) and partially filling in the missing parts to perfectly reproduce and simulate the flow of the music and show on the day. Any parts that were missing will be seamlessly connected to the full-length version, which will increase the completeness, and by re-examining the sound, the sound will be consistent, and as a result, it should be the best guide to deepening the understanding of the 1972 Hollywood Bowl more than ever before. In addition, the documentary value of the day will be increased, so it is strange that it has not been done until now. This latest work has made this a reality, yes, the first complete matrix full-length version of the 1972 Hollywood Bowl in the history of sound sources! Before getting into the main topic, let’s re-examine each existing source here. In addition, let’s add a note about the version used in this work. [Recorder 1] Stereo AUD source. This is the oldest, but very good quality recording used in the 3-disc collector’s LP “CRACKERS (TAKRL 3969)” that appeared in the 1970s. It is now known as the second best sound source after the later Recorder 2, but many old fans will recall this when they hear the 1972 Hollywood Bowl. Representative previously released CDs include “DAMN BRACES: BLESS RELAXES” and “CRACKERS REMASTER”. This latest work does not use these previously released records, but rather uses a recently released LP ripped sound source from the Internet. Although the noise is slightly noticeable, the reduction is modest, resulting in a straighter and more expressive sound image than each previously released record. [Recorder 2 (※ First generation R2R copy)] Stereo AUD source. This is the main sound source that forms the core of this latest work, and is a masterpiece source recorded by the master Rob Bertrand. This is the most popular tape source since it first appeared in the 1990s, but the upper version source, which was copied from his original master recorded on an open reel tape to another reel tape, that is, the 1st gen reel-to-reel version released online, boasts the best sound quality (※ By the way, the digital copy of the master is not available to the public and is still unreleased as of 2017). Representative already released CDs include “Staying Home To Watch The Rain”, “HOLLYWOOD BOWL REVISITED”, and “HOLLYWOOD BOWL 1972: FIRST GENERATION REEL TO REEL MASTER”, but the version used this time is of course the “First generation R2R copy”, that is, the best version. [Recorder 3] Mono AUD source. This source suddenly appeared in 2008, and in terms of sound quality it is the poorest of the three sound sources (※ And it is mono). However, in addition to the complete recording of “Speak To Me” at the beginning of the show, which was missing from Recorder 1 and 2, the tuning scene between songs is longer than Recorder 1 and 2, making it an important sound source whose documentary value cannot be ignored. By the way, “Speak To Me” that you can hear here was strictly included in the footage shot by an amateur cameraman with an 8mm camera, and in fact it can be called “Recorder 4”, which is different from Recorders 1 to 3, but since most of the other songs are only fragmented, it is included in Recorder 3 here for convenience. The main CDs already released include “DARK SIDE OF THE WEST”, but this time we are using “LOW-GEN REEL-TO-REEL” (※ The upper version with the clearest sound image) instead of Sigma32. …The 1972 Hollywood Bowl is revived with a completely new concept that mixes these three sources (and partially matrixed) with Recorder 2 as the main axis! The first part of the show, “Speak To Me,” is almost entirely Recorder 3. In terms of sound quality, it is the poorest source of the three sound sources, but it is the only recording that completely recorded this song, so it is essential to listen to the full-length version. Of the total length of 2 minutes 34 seconds, the special stereo AUD sound of Recorder 2 is matrixed from around 2 minutes 30 seconds before the end, and “Breathe” shifts completely to Recorder 2, but the depth of the sound, the high range that comes forward and extends, the massive and hard midrange’s boldness and explosiveness, and the high transparency with the three-dimensional closeness and focus of the performance sound are still in a class of their own. The fact that the sound is so loud yet does not feel equalized at all is undoubtedly due to the high quality of the master. From this point on, the disc progresses mainly with Recorder 2 (“First generation R2R copy”). It is from “The Travel Sequence” that a full-scale rebuild is performed to ensure the completeness of the documentary and the longest version of the recording. First, the three sections from 0 minutes 37 seconds to 1 minute 8 seconds, 1 minute 37 seconds to 1 minute 42 seconds, and 2 minutes 4 seconds were sections that had been roughly edited into mono on Recorder 2, so Recorder 1 (= LP “CRACKERS” stereo source) was matrixed to return it to the original stereo, dramatically improving the texture and listenability of the sound. The listener will first feel a big leap from the previous sound in this part. “Time” also overlaps Recorder 1 at 4 minutes 03 seconds to 07 seconds (only about 4 seconds) where Recorder 2 had a defect, and the defect is repaired by stereoizing it, resulting in a finish that allows you to enjoy the trajectory of the sound and the lingering sound of the tone at an even higher level. The drop in the left channel of “The Great Gig In The Sky” that occurred around 2 minutes 40 seconds was alleviated by Recorder 1, which also perfectly recovered the discomfort of Recorder 2. “Money” and “Us And Them” are left as Recorder 2, but “Any Colour You Like” was filled in by Recorder 1 to eliminate the sound distortion that occurred from 3 minutes 56 seconds onwards on Recorder 2, and this continues until around 0 minutes 12 seconds at the beginning of “Brain Damage”. This filling and restoration for about 57 seconds from the second half of “Any Colour You Like” to the beginning of “Brain Damage” has been done on the Sigma 55 version in the past, but the newly restored version is a perfect treatment with even more meticulous care, so if you have a Sigma 55, I would like you to check the difference. The second half of the show begins with “One Of These Days,” which is the only part recorded from 0 minutes 00 seconds to 04 seconds, and then Recorder 3 takes over from 0 minutes 04 seconds to 16 seconds, perfectly recovering the missing sound in the introductory part of Recorder 2 and further enhancing the significance of the full-length version. In addition, Recorder 2 was roughly processed and converted to mono from 1 minute 08 seconds to 11 seconds, so Recorder 1 was matrixed to convert it to stereo. Furthermore, by filling in the part from 9 minutes 07 seconds onwards (※ = the part where the audience cheers after the end of the song) with Recorder 1, the continuity of the staging and the purpose of the full-length version are further solidified. In addition, the compensation by Recorder 1 for this part continues until the beginning of the next song “Careful With That Axe, Eugene” at around 0 minutes 07 seconds, but as you know, Eugene listening to Recorder 2 has a slight level down in the right channel at around 10 minutes 36 seconds to 39 seconds in the latter half. Therefore, this was also repaired with Recorder 1, and the sound was repaired again with Recorder 1 from 11 minutes 33 seconds until the end of Disc 1, making the flow of the performance and sound quality unshakable. In addition, because the disc recording time was increased by the concept of producing such a full-length version and the restoration, the second half of the show could not be contained in Disc 2, so “One Of These Days” and “Careful With That Axe, Eugene” are recorded in the second half of this Disc 1. Disc 2 has also been finely matrix compensated and restored to the ultimate perfection. First, the tuning scene at the beginning, which is a continuation from the previous song, is combined with Recorder 3, which is the only part recorded from 0 minutes 00 seconds to 16 seconds from the start of the disc. By adding from 16 seconds to 2 minutes 20 seconds on Recorder 1, the missing part on Recorder 2 was completely filled in, further enhancing the documentary nature. “Echoes” was also repaired from 0 minutes 00 seconds to 21 seconds at the start on Recorder 1, and from 26 minutes 10 seconds to 16 seconds after the end of the song on Recorder 3, from 26 minutes 16 seconds to around 28 minutes 27 seconds on Recorder 1 again, and from 28 minutes 27 seconds to 29 seconds on Recorder 3 again (※ During these 2 seconds, Recorder 1 contains a rattling noise), and a very detailed rebuild was performed. This makes this song the most satisfying listen in the history of Recorder 2, and it goes without saying that the familiar performance has been given an unprecedented sense of satisfaction.”Secrets” is filled in from 0 minutes 00 seconds to 0 minutes 08 seconds with Recorder 3 (Recorder 1 is because abnormal sounds are noticeable), but after the performance ends, 15 minutes 20 seconds to 25 seconds are filled in with Recorder 1, 15 minutes 25 seconds to 17 minutes 12 seconds are filled in with Recorder 3, and 17 minutes 12 seconds to 18 minutes 17 seconds are filled in with Recorder 1 again, and the excitement of the venue after the impressive fireworks launch and the state of waiting for an encore are raised with an overwhelming full-length documentary and the highest quality sound. “Set The Controls For The Heart Of The Sun” ends the disc with the original sound of Recorder 2, but the satisfaction and euphoria of the show end, which has been highly restored so far, has greatly repainted the auditory impression of the 1972 Hollywood Bowl, which had been drawn separately by each source until now, and you will be able to burn your body with a solid afterglow with a single core without any blurring. The ideal form that the three historical sources that have been loved have finally reached… This is no longer just the culmination of the Hollywood Bowl sound source, but it is worthy of being called a treasure of sound that captures the peak of creativity that is rushing towards the completion of “Madness” in the spring of the following year without missing a single sound. This is the ultimate unofficial sound source, and is the latest work that all Floyd fans must listen to and have without any exaggeration. Please pick up this work and experience this excitement!! It is the most complete, best and longest 1972 Hollywood Bowl sound source title in history. (14 minutes longer than the previous release) It is truly a representative piece of the year. Live at Hollywood Bowl, Los Angeles, CA. USA 22nd September 1972 TRULY PERFECT SOUND Disc 1 (68:16) “The Dark Side Of The Moon”01. Speak To Me ★ Almost the entire Rec3 (Mono source) is supplemented. 02. Breathe★In the previous release, there was a 0.06 second gap just before the transition to The Travel Sequence (there is no gap in this release)03. The Travel Sequence★Around 0:15 – 0:19, the “bang bang!” of the microphone that is unique to Rec2 has not been replaced this time (the original sound is intact) ★Around 0:37 – 1:08, around 1:37 – 1:42, around 2:04 (a few tenths of a second) In a total of three places, the main Rec2 has been roughly edited to mono, and Rec1 (LP stereo source) has been matrixed (sound source and sound source are layered) to stereoize it.04. Time ★Around 4:03 – 4:07, Rec1 has been matrixed and stereoized (just under 4 seconds)05. Home Again 06. The Great Gig In The Sky ★Around 2:40, the drop-down of the left channel has been relaxed by matrixing with Rec1 (※It felt strange in the previous release)07. Money08. Us And Them09. Any Colour You Like ★The end of Any Colour, from 3:56 onwards, is filled in with Rec1. 10. Brain Damage ★0:00 – 0:12, continuing from the end of Any Colour, is filled in with Rec1. ※The filling in from the end of “Any Colour” to the beginning of “Brain” is a better edit than the filling seen in Sigma55. 11. Eclipse12. One Of These Days★0:00 – 0:04: Filled in with Rec3, 0:04 – 0:16: Filled in with Rec1★1:08 – 1:11: Matrixed Rec1 and stereo due to rough processing to convert to mono★9:07 onwards: Filled in with Rec1 13. Careful With That Axe, Eugene★0:00 – 0:07: Continuation from the end of “One Of”, filled in with Rec1★10:36 – 10:39: Matrixed with Rec1 to alleviate level drop on the right channel★11:33 onwards: Fill in the 16 seconds until the end of Disc 1 with Rec1. ★”One Of” and “Eugene” are on Disc 1 because they do not fit on Disc 2 due to the increased recording time. Disc 2 (62:08) 01. Tuning ★0:00 – 0:16 Rec3 ★0:16 – 2:20 Rec1 02. Echoes ★0:00 – 0:21 Rec1 ★26:10 – 26:16 Rec3 ★26:16 – 28:27 Rec1 ★28:27 – 28:29 Rec3 (※Rec1 is too noisy) 03. A Saucerful Of Secrets ★0:00 – 0:08 Rec3 (※Rec1 is too noisy) ★15:20 – 15:25 Rec1 ★15:25 – 17:12 Rec3 ★17:12 – 18:17 Rec1 04. Set The Controls For The Heart Of The Sun
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