Pink Floyd Pink Floyd/Italy 1971 Recorder 1

This includes the same-day recording “RECORDER 1,” which was used to fill in the cuts from “BRESCIA 1971” (now sold out and out of print) released in 2020. Of course, it’s a different sound source. And it’s also high quality! Recorder 1, which was used to fill in the cuts from the 2020 production, is commonly known as “3rd gen stratcat58 tapes,” and is based on a transfer to Maxell’s XLII 90 (1992-96 manufactured type) cassette. There are currently several different versions of Recorder 1 on the Internet and among traders, but this is the ultimate version known as the best quality among these mixed sources. Although it is 3rd gen, it is a source that was used as a filler for Recorder 2, which has a special sound quality, so you can imagine how high the quality is, but the deciding factor is the ease of listening to the sound image and the good visibility. Unlike Recorder 2, which was recorded from a position that could be called a foul play, Recorder 2 was recorded from a position that was close enough to the sound, so it has the characteristic of having a moderate sound power while being easy to grasp the overall sound. However, it is not without its drawbacks. For example, “Atom Heart Mother” starts off with a slight fade-in, and for several tens of seconds after pressing the play button, there are some parts that are difficult to hear due to sound fluctuations caused by aging. However, within a minute, the sound stabilizes with a fairly good quality, and then the quality continues almost until the end of the disc. It is clear when you actually listen to the sounds alternately, but this sound after the sound image stabilizes is by no means inferior to Recorder 2 used in “BRESCIA 1971”, and if there is a negative point, it is that the tape hiss is quite noticeable, so it is slightly lacking in transparency. There is no bass cracking, the sound depth and left/right range are sufficient, and the phase is perfectly centered, so it is clear to anyone’s ears that this is a level that is sufficient for listening alone. Although there are cuts between songs to conserve the remaining tape, the fact that it is recorded until the end of the show also raises its value. Another topic is that after the end of “Careful With That Axe, Eugene”, the scene that was not included in “BRESCIA 1971” remains unprocessed. Specifically, it is about 15 seconds from 13:27 to 42, and this about 15 seconds including tuning was cut during the press production due to poor connection at the time of compensation. Therefore, the fact that this section can be heard is an advantage of this title = Recorder 1. And in “Fat Old Sun”, pay attention to the flute Mellotron from 6:21. Although this is the same AUD recording, there is a difference between experiencing it with a direct hit sound in front of you, or experiencing it with the vibrations of sound that are beautifully delivered to you at a moderate position (= this source), and you should be able to experience a fascinating sound experience that is difficult to choose. “Embryo” is a cut-in, but Recorder 2 starts recording 7 to 8 seconds after this cut-in position, so Recorder 1 actually has an advantage. Therefore, the beginning of this song is compensated for by about 7 seconds from Recorder 1, but here there is the fun of listening to it without shifting to Recorder 2. “The Return Of The Son Of Nothing” has some kind of recording trouble at 3:49-54, and the recording is temporarily interrupted. It is also interrupted at 4:14, but at 4:48 the scene is rewound for a few seconds and re-recorded, so the latter probably occurred when it was transferred to the 1st or 2nd gen. There are also some voices of the person who seems to be the recorder, and you can enjoy the vivid recording failures unique to Recorder 1 and the history of the source. Since the recording of Recorder 2 is almost lost from “Set The Controls For The Heart Of The Sun”, Recorder 1 is the only one from this song to the end of the disc. Just to be sure, the exact same thing is used on the press version of “BRESCIA 1971” from this song to the end of the disc, but if you actually listen to them, you will notice that there is a difference in sound quality. It is easy to understand from the next song, “Cymbaline”, but when producing “BRESCIA 1971” from the original source sound that can be heard on this disc, you can hear how well the already high-quality “3rd gen stratcat58 tapes” have been brushed up, so please listen and compare. Even so, this is the sound quality for a 3rd gen. Listening to this, I get excited thinking about how much potential the undiscovered master recording of Recorder 1 has, but on the other hand, the sound quality is so good that it makes me think about it, even though it’s the 3rd gen. As mentioned above, there are certainly some scenes that are damaged, but listening to this will definitely make the natural sound and overall performance in the venue on the day, which Recorder 2 alone could never have captured. I hope you will take this opportunity to get the sound source of the Rome performance the next day and deepen your understanding of Floyd’s 1971 Italy. Palazzo Delle Manifestazioni Artistiche, Brescia, Italy 19th June 1971 Disc 1 (44:25) 1. Atom Heart Mother 2. Careful With That Ax, Eugene 3. Fat Old Sun Disc 2 (79:36) 1. Embryo 2. The Return Of The Son Of Nothing 3. Set The Controls For The Heart Of The Sun 4. Cymbaline 5. A Saucerful Of Secrets