Description
The famous recording that has been passed down from the “WISH YOU WERE HERE Tour” has been brushed up with the “GRAF ZEPPELIN” remaster. It has been decided to be permanently preserved with the definitive version that has updated the highest peak in both length and sound. The storyteller recording was recorded at the “Jersey City performance on June 15, 1975”. It is an excellent audience recording. “GRAF ZEPPELIN” has been reviving traditional masterpieces one after another recently, but in terms of “growth”, this work is No. 1. It is the birth of a new masterpiece that is astonishing with a reborn sound. Before the quality of the worrisome thing, let’s first look at the position of the show. Let’s look back from the whole view of the “WISH YOU WERE HERE Tour”.・April 8-21: North America #1a (8 shows) ・April 23-27: North America #1b (5 shows in LA) ・June 7-28: North America #2 (15 shows) ←★Here★ ・July 5: Knebworth Festival appearance 《September 12th “WISH YOU WERE HERE” released》This is PINK FLOYD in 1975. All except for the last Knebworth were in North America, and the tour was structured to go around twice in April and June. The Jersey City performance in this work is the first half of the second half. It was the sixth concert of “North America #1”. It was originally scheduled as “June 14th” on the tour schedule, but unfortunately it rained on the day. It was said to have been changed to “June 15th” … I’m sorry to suddenly become unreliable, but in fact it has not been confirmed even now. Some sources say “June 14th”, and there is no evidence that it was rainy in Jersey on that day. On the other hand, there is a theory that “it was raining on June 12th, and the venue was not yet available.” In any case, since there is no confirmed information, this work is credited with “June 15th” according to the conventional sound source history. Although it has become a long digression, this work is a live album that allows you to enjoy such a show with the longest and highest sound ever. The best master “RAVING MANIACS” has been polished up and reborn into a different class. First of all, the length. Basically, it is based on the famous recording by “Barry G.”, which is famous among collectors, but this has traditionally had a drawback, and there was a cut at the end of “The Great Gig In The Sky”. In this work, this part is supplemented with a separate recording. It is the longest in history (there is also a cut after “You Gotta Be Crazy”, but this could not be compensated for by a separate recording. However, it is not a big problem because it is an inter-song part without performance). More than that length, the sound that runs through the whole work. This is already completely different. This might make you think, “Are they decorating it with a flashy equalizer?” but that’s not the case. In fact, this recording had been distributed with one channel inverted for some time, resulting in a strangely separated and fluffy sound. This inversion processing was apparently done when the recording was digitized, and it was released and distributed on the Internet in an inverted state. Why was it distributed in such a state? From here on, it’s completely speculation, but I think they were probably aiming for a pseudo-stereo effect. In the first place, the vintage audience is a rather special genre in the audio world. Even when mastering became possible on a computer, the know-how had not been established, and they were groping around in the dark about what kind of sound to finish with. In such a situation, there were cases (albeit rare) where the phase of one channel was reversed to make a mono recording stereo. This recording is considered to be one example of that. Of course, in this work, the inversion phase has been corrected to the normal phase. It is recorded in the original state at the time of recording. In fact, an overseas enthusiast who noticed the inversion phase problem has also released a master with a similar process, but this work goes even further. The phase adjustment by “GRAF ZEPPELIN” is so precise that it does not allow even 1/1000th of a second of deviation, and this work is definitely the best in the world. And the sound revived with that precision is truly “different / reborn” class. The clarity and details should be the same as the previous release, but while the conventional version felt like it was being played on speakers placed far away on the left and right, this work vividly depicts the true umami of on, and has been transformed into “right in front of your eyes”. Moreover, since there is no sound pressure or processing, the tone and feel remain completely natural (by the way, the clock bell in “Time” is distorted greatly, but this is the sound of the venue itself. It was the same condition in another recording). It’s an upgrade that makes it hard to believe it’s the same recording as before. “Barry G.”, who worked on this work, is a master who worked on that “NASSAU COLISEUM 1980 FINAL NIGHT”. Although the texture is different from “NASSAU COLISEUM 1980 FINAL NIGHT” due to the different microphones used at different times, this work has regained the original brilliance of the recording. “GRAF ZEPPELIN” mastering is not “direction type” but “reproduction type”. Therefore, depending on the original state, it may be difficult to feel the effect. However, this work is completely different when listened to in one go. A master recording that has been completely reborn as something completely different. (Remastering memo) From Rec1 as with the previous release. Recorded by Barry Glassberg, known as the taper of the Grateful Dead (PF says that NASSAU was with this person on February 28, 1980). There was a problem with this Rec1 on the previous release, where the left and right channels were out of phase, and it was a strange pseudo-stereo sound that sounded like the sound was stuck to the left and right walls when listening with headphones. The sound source this time was based on the latest remaster recently released, and there was no out-of-phase problem. However, at first listen, it is actually a very simple mono Aud, and some people may think that the previous “reverse phase version” is better because it sounds more pseudo-stereo (although I personally don’t think so). The chime SE of the clock intro in Time has a lot of shaking sound, but this is what the sound played at the venue is like. (Even with another source, this sound shaking was similar) One cut in the song was compensated for with another source. The other source was shorter, and only one place could be compensated for. However, this made the performance part the first complete recording of the actual performance part, excluding the heartbeat sound SE at the beginning of Speak To Me. An excellent audience recording of the “Jersey City performance on June 15, 1975”. The highest peak of the “GRAF ZEPPELIN” remaster, which was reborn as something completely different. It has been compensated for with a different recording and has updated the longest ever, but what’s more is the sound. At the master excavation stage, the phase of one channel was inverted (was it trying to create a stereo feeling?), but this work was adjusted without 1/1000th of a second of deviation after returning it to the normal phase. The original recording’s powerful, direct core and fine detail have been restored. Live at Roosevelt Stadium, Jersey City, New Jersey, USA 15th June 1975 TRULY PERFECT SOUND(UPGRADE) Disc 1 1. Intro. 2. Raving And Drooling 3. You Gotta Be Crazy 4. Shine On You Crazy Diamond Part 1-5 5. Have A Cigar 6. Shine On You Crazy Diamond Part 6-9 Disc 2 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 Colour You Like 10. Brain Damage 11. Eclipse Disc 3 1. Audience 2. Echoes
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