Pink Floyd Pink Floyd/MA,USA 1977 Upgrade

And the surprise reaches its peak… Such words come out naturally, and the Boston performance representing Pink Floyd’s 1977 is finally available in the longest version of Master Tape Direct! If you have been in contact with bootlegs for a long time, you will encounter a scene where a sound source that was not very noticeable is significantly updated, and you will be excited by the expansion of your knowledge. However, on the other hand, in cases where a standard sound source is significantly updated, it means that the common sense that is absolutely essential for understanding the show of that year will no longer be applicable, so the impact is enormous. Especially if it has a decisive difference in sound. The super high-quality board “NASSAU COLISEUM 1975 2ND NIGHT: CASSETTE MASTER (Sigma 175)” representing Floyd’s 1975, released two weeks ago, is a prime example of this, and the mega-crystal sound directly connected to the master cassette without going through DAT has been a hot topic since the day of its release with its refreshing and sharp update. This was a good opportunity for us to realize that we had not learned everything from the previous releases, even though we had thought that there was nothing to learn from the sound source of that day. By the way, the Boston performance on June 27, 1977 is by far the most famous sound source among the Floyd 1977 sound sources. It is also well known that there are two definitive sources recorded on the same day by two famous tapers representing the 1970s, Dan Lampinski and Steve Hopkins, at different positions, but this latest work that will appear this time is an upper title that tells us that the 1977 standard has finally reached its peak. First of all, let’s organize the history of the sound source again. [1] “PERFECT DAY (Ayanami-133)” / (Recorded by) Steve Hopkins [2] “BOREDOM AND PAIN” / (Recorded by) Steve Hopkins [3] “PERFECT END” / (Recorded by) Dan Lampinski [4] “DEFINITIVE BOREDOM AND PAIN” / *Remastered version of [2] [5] “THE UNPROCESSED BOSTON 1977” / *Digital source converted from the master cassette of [2] Of these, the most noteworthy are [3] recorded by Lampinski and the DAT source version of [5], which was praised by fans and the media as the strongest Hopkins recording. However, as you know, both the Hopkins recording and the Lampinski recording have sound gaps in several places in the master, so although the sound quality is excellent, both sources have imperfections. Other than [1] and [2], which left the missing parts as they were, [3] to [5] are all formed by complementing each other’s missing scenes with each other’s sources, so I think it’s safe to say that the entire story of this day, which is widely known today, is made up of a mix of recordings left by the two famous tapers. However, the reason why many of them are based on Hopkins’ recordings is because it is known that he was in “Section AA, Row 10, Seat 3-4”, a position where he could record the sound coming out of the PA at the venue on the day. However, that’s why the recording sound has been known as a special grade sound that is still in the top class even today, and this time it came out as the master cassette direct sound of the original sound itself, so it’s a big deal! Direct-to-direct transfer of Steve Hopkins’ cassette master tapes The main factor of this “incident” is that, like the title of the week before last, the master used was not converted to DAT. This version, which was just released by the world-renowned sound source team JEMS, was directly digitally converted from Hopkins’ original master cassette, allowing you to enjoy the original raw sound that the cassette absorbed directly at the venue exactly 40 years ago. The pure dynamic sound, which can be said to be “direct-to-direct”, is filled with an amazing upper feeling that instantly makes you realize that the density and volume of the sound has increased dramatically along with the improved output of all high frequencies, and all the previously released versions you have heard so far instantly disappear. This latest work is the fastest sound recording in the world, but there were problems with the quality of pressing it as it is. This is because the JEMS public version is faithful to the master cassette, so the four cut scenes that were missing there were also left intact. Therefore, in this work, we first refilled the parts corresponding to these cut points with the Lampinski sound source [3], which was remastered in 2017, to rebuild all the scenes so that they can be heard seamlessly. What I want you to pay attention to here is that the intro parts of “Sheep” and “Shine On You Crazy Diamond Part 1-5”, which were sometimes present and sometimes not, have been completely filled in this time. As a result, the total recording time of this work exceeds that of the previously released version and the JEMS public version, and it also has the advantage of being the longest version ever, using all of the existing sounds. In other words, the dazzling fusion of the beautiful original sound of Hopkins’ master cassette without DAT and the newly cleaned Lampinski recording has driven the history of sound sources with the strongest high sound quality in the history of sources and the longest updating power in the history of sources! The updating power appears immediately after the start of the opening “Sheep”. The opening cut-in that existed in the Hopkins recording is a full-length version with about 15 seconds added to the newly remastered Lampinski [3], and the noise that existed around 8 minutes 55 seconds in the JEMS public version has also been greatly reduced. If you have already listened to the public version, you will notice the natural ease of listening and the improved quality in these two points, but what is amazing is the sound quality that comes out without going through DAT. Not only the weight and vividness of each sound that the ensemble hits directly, but also the fact that such a dense amount of sound information was packed into the gaps between sounds should be opened to the blind. For “Pigs On The Wing 1”, the remastered [3] is inserted from around 00 minutes 19 seconds to around 33 seconds, where there was a gap in the master, and the waveform is carefully treated and connected with 1/1000, so there is no sense of incongruity due to the difference in sound image. The overall resolution is incomparable to each of the previously released boards, and everyone will be astonished at the way Roger’s singing voice is smooth and the sound of the acoustic guitar is revived with a sound with deep amplitude. “Dogs” will also teach you the performance expression of this day more carefully with the mid-to-low range that is rich in texture and dynamic feeling that comes out of the original sound. The keyboard that emerges from around 10:04 and the improvement in three-dimensionality show that the gain and fader were perfect when sucking the sound from the master tape, and the drum beats that spread and diffuse around it also leave a definite aftertaste on the five senses. In addition, the cut that was at 17:37 after the end of the song in the JEMS public version has been perfectly compensated for by the new remaster of [3] in this work, so there is no sense of incongruity here and the continuity and completeness of the performance are maintained. In “Pigs (Three Different Ones)”, if you pay attention to the sound image from around 13:26, where the rhythm gains momentum, you will surely discover a new sound that you have missed in the clash of challenging sounds. Also, at around 7 minutes 11 seconds, Roger shouts “48…” (actually, it is thought to be the 41st performance), and his twisted voice appears so close that it pierces your heart, but even in such a small scene, you realize that the true live sound depicted on the tape is brought out at the highest level ever. “Shine On You Crazy Diamond Part 1-5” compensates for the first 4 seconds where the number of fireworks sounds was missing with a new remaster of the same scene in [3], and the completeness of the sound source has also been improved here. The sound after the performance starts also erupts with tremendous vividness, and when you hear this, you will be forced to notice that the sound of [5] via DAT was deep. The direct lift of the guitar sound and the diffusion of the organ sound are also noteworthy, and you can see that the rough sound of the saxophone is brought out without losing its sharpness. The increased resolution of “Have A Cigar” also highlights the closeness of Roger’s singing voice, but here you can feel the intense information density in the sound of the guitar riff. Also, in “Wish You Were Here,” the outline and rise of the rare scene where an unrelated song plays endlessly at the beginning has been greatly improved, and the sharpness of the guitar sound, the vividness of the singing voice, and the texture of the electric piano that exerts its presence at the end of the song attack with a dynamic sound that makes you tremble. In “Shine On…Part 6-9,” the outline of the bass that is prominent in the first half (and the bass solo-like part from around 8 minutes 34 seconds in the middle) jumps out with a much improved appearance, and you can see that it has a hard weight. The parts that were missing in the master (from around 10 minutes 43 seconds to around 15 minutes 24 seconds) have also been newly remastered and supplemented in [3], but this also has a great fit of the two sound sources and a natural finish. The piano sound that starts at 16 minutes 56 seconds is also a very satisfying 22 minutes, with the extra beautiful sound that is unique to the original sound. In “Money”, the density of the midrange is immediately noticeable, and the smoothness of the high range also shows the charm of the sound that did not go through DAT. In “Us And Them”, the pianissimo is quieter and the fortissimo is more energetic, making you realize even more that the Hopkins recording was a recording that carefully captured the expression of the sound. After the performance, the grumpy Roger says “Perfect End to a Perfect Day! Good Night. God Bless”, and the ecstatic peak sound image here is worthy of being closed with those words. What emerges from this recording (※ Strictly speaking, it is a mix of two sources, so “these recordings”), in which the last thin layer that covered it has been removed and the dynamic range of the entire range can be felt perfectly, is the real expansion of the acoustic energy that Floyd released on that day. The mid-to-high range tone that has regained its original moisture and the heavy feeling of the powerful low range make it possible to consider the performance in earnest again, and above all, the fact that the listener can feel the performance close to them and directly familiarize them with their hearts is perhaps the biggest upper point of this work, which allows you to directly touch the original sound. And now we are learning about the phrase “direct drop of master tape”, and the difference that occurs depending on whether it is a master dropped to DAT or a sound converted directly to the master tape. This difference is an element that cannot be ignored when dealing with Floyd’s performance, which pursued the possibilities of music by borrowing the characteristics of the sound, unlike the originally distorted sound produced by metal bands. And the only ones who can notice the lost element (= direct feeling, or “direct connection to the original sound”) are those who have been accustomed to listening to the performance of this day for many years on many previously released boards, while it goes without saying that those who are new to this sound source will be waiting for a first experience playback that will definitely make you ascend to heaven. Experience the lossless master sound that updates the common sense of standard sound sources with a vivid surprise, and its sharp penetration this weekend! 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 (53:15) 1. Sheep ★Inserted at the beginning from 0:00 to 0:15 2. Pigs On The Wing 1 ★Inserted from 0:19 to 0:33 3. Dogs 4. Pigs On The Wing 2 ★Inserted from 17:37 to 18:41 5. Pigs (Three Different Ones) Disc 2 (76:06) 1. Shine On You Crazy Diamond Part 1-5 ★The first 4 seconds are missing the number of firework sounds 2. Welcome To The Machine 3. Have A Cigar 4. Wish You Were Here ☆Unrelated songs play endlessly at the beginning 5. Shine On You Crazy Diamond Part 6-9 ★Inserted from 10:40 to 15:24 6. Money 7. Us and Them