Pink Floyd/Switzerland 11.21.1970 Remastered

In the history of Pink Floyd sound sources, that Victor recording that represents the 2010s has been upgraded for the first time in 9 years!! With the latest remaster in 2020, a special sound that penetrates the top that was thought to be the best has arrived!! 1970 November 21st, Montreux, Switzerland. On the first day of this jazz festival, a man named Victor connected a West German-made portable deck UHER 4200 and the famous Sennheiser MD-421 microphone to record Floyd’s live performance.The “Victor recording” can be called an SBD. Due to its amazing high sound quality, it has become a legacy that represents the history of Floyd sound sources in the 2010s. Among them, “TOO LATE FOR MIND EXPANDING”, which was remastered by the fan’s main label “Harvested” by filling in several missing parts with separate recordings on the same day, can be said to be one of the albums that has been popular for a long time as the definitive version. By the way, it is extremely difficult to improve the quality of the sound even further. Especially when it comes to Victor recordings, which are known as great recordings, many people may wonder what the point is in doing such a thing to a source that has already reached the stage of completion in the first place. However, it is easy to understand this by comparing it to the maintenance of a famous car, but no matter how beautiful the appearance of an attractive old car, if the battery is not fully charged and the car is not running, its appeal will be halved. Also, rust that was overlooked during previous maintenance may have spread under the paint, causing corrosion and deterioration in places you can’t see. Then, we carefully check even the parts that are difficult to understand at a quick glance, and if necessary, we repair them, and the engine starts in one go and always produces the best sound.In other words, it is only when the car is kept in motion that it is kept in motion. Famous cars = famous sound sources shine even more dazzlingly. Considering this, “TOO LATE FOR MIND EXPANDING” was released in February 2011, so about 9 years have now passed since its “first maintenance”. In other words, this famous car has been abandoned for about nine years, and the benefits of the acoustic technology that has made dramatic advances during this time, as well as the correction of the flaws that were hopeless for the future, still remain. It also means that it has become. It goes without saying that famous recordings require preservation of moving objects that have been carefully inspected and maintained to match the era, and even more so at the end of last year when Recorders 2 and 3, which were recorded on the same day, were released in “MONTREUX 1970 DAY 1 / RECORDER”. 2 & 3: NEW TRANSFER”, the Victor Recording = Recorder 1 has been left without any maintenance as it is now, and it is lacking in quality. That’s where this latest remaster comes in. This is “TOO LATE FOR MIND EXPANDING (*hereinafter referred to as the “old version”)” which was maintained for 9 years during the previous maintenance, and has been retuned using the latest sound technology and the latest equipment and software, making it somewhat blocked by the old version. This is the latest product that has improved the sound image that had been giving a sense of sensation to better visibility. It’s natural to wonder, “Is it possible for a sound to surpass that sound quality? Was there a feeling of confinement in the old albums?”, but the truth of this work is to make you feel that surprise. The aim of. Particularly noticeable is the expansion of the range, with the left and right spread and depth of the sound increasing by about +3 compared to the old version, and the clarity of the sound image also being upgraded. Another feature of the 2020 remaster is that the treble range has been raised to the limit where hiss doesn’t get in the way.This improves the clarity, and at the same time greatly increases the stereo feeling, significantly improving audibility. It will be noted. No one would have thought that the old version had a sound image that gave a feeling of confinement and lacked clarity, but this latest remaster has made the upper feeling that you have to admit that it has become a reality. For example, “Astronomy Domine”. A crystal clear sound image that allows you to feel the expansion of the sound range will moisturize your ears from the beginning of the disc, and from the beginning you will realize that the feeling of range obstruction, which you thought did not exist, was certainly present in the old version. The timbre of the hi-hat has become even sharper, and the noise that existed around 5:21 on the old version has been completely eliminated this time, improving the listening comfort and quality. The sound is becoming clearer. In “Fat Old Sun”, the guitar tone increases its presence, and the brilliance of the tone that even the slightest touch can’t be ignored expands its advantage over the old version. The clarity of the performance sound due to the adjustment of the high range is also evident in many places, but especially the melodic contrast between the organ and vocals that appears at the end of the song is even more dazzling, so be sure to check it out. In “Cymbaline”, the stereo feeling is greatly increased by the guitar at the front, the sound of cymbals from both sides, the tom hitting sound and the organ tone coming from the back with a good sense of separation. You will be amazed again at the fact that this is an AUD recording. What stands out about “Atom Heart Mother” is that the contrast between weak and strong sounds, which is a characteristic of this song, is becoming more and more dazzling. In the section where the guide vocal progresses, you will not only be able to feel the transparency of the place, but you will also be able to feel the heightened texture even in the faint rise of the voice at the beginning of the song, and please pay attention to the undulations and volume of the song. “The Embryo” has a sharper sound response, making it easier to grasp weak expressions. I’m also happy that this gives me a stronger sense of the germination of ideas that would later lead to “Echoes.” In the first half and middle of “Careful With That Ax, Eugene,” the gaps between the sounds that progress with a minimum number of notes become heavier and more meaningful, and the information that should be conveyed is realized through a correctly tuned sound image. You can do it. By the way, the noise that seems to be stuck around 1:47 to 50 can be confirmed on the old version as well as Recorder 2 and 3, so this is left on this version as a PA-related sound during the performance or that day. “Set The Controls For The Heart Of The Sun” is very attractive due to the elasticity of the glamorous sound of Recorder 3, but the slender and neat sound that can be heard on the main board is also an exceptional finish. Also, with this remaster, the treble range has been scrutinized, and the sound power, which was concentrated in the mid to low range and was cloudy, has been distributed evenly to the left and right and upwards, resulting in a comfortable listening experience throughout. It is also worth noting that you can feel it. The sound image of “A Saucerful Of Secrets” has been expanded by remastering, further highlighting the purity of the tone. The clarity and luster of each instrument has reached a clarity that is no different from SBD, and the sharpness and lingering sound of the guitar delay effect is especially amazing. The way the tone is distorted by arming and the eerie cacophony of the organ sound great, but you’ll also immediately notice that the cymbals are sounding with more clarity than ever before. In “Just Another 12 Bar Blues”, which was not recorded in Recorder 2 and 3, the guitar’s charm is even more fully exposed. The close, high-resolution sound spreads its charm throughout, widening the gap from the old version, and in “More Blues,” the organ appears with a special sonic luster, so the tones of Gilmore and Wright intersect. This fusion will further satisfy the listener’s musical cravings. As you can see, this is the latest work where the effects of the latest remaster are noticeable throughout the entire disc, but another feature of this 2020 remaster is that it was produced by a label. As many of you may have noticed, “TOO LATE FOR MIND EXPANDING” is, as the name suggests, an imported title produced by an overseas manufacturer, and is not actually a label title. However, this time, our label’s most talented engineers have used the latest equipment and software to plan and produce the latest Sigma release. For this reason, the label has created a record that is suitable for marking the beginning of the 2020s, and it has achieved a next-generation quality that surpasses the old record with a sound that everyone will be satisfied with. What you see here is the present and future of Victor Recording, which has undergone the latest maintenance and tuning. Just put on your seatbelt, turn the key…no, press the play button, and the strongest sound in the history of Recorder 1 will be heard by Floyd.・Please check out the 1971 Montreux!! Remastered version aimed at improving sound quality. If you listen to it with headphones, you can see that the sound spread and clarity have been significantly upgraded. Super Pop 70 VII, Casino de Montreux, Montreux, Switzerland 21st November 1970 TRULY PERFECT/ULTIMATE SOUND(UPGRADE) Remastered version of “Too Late For Mind Expanding” Disc 1(67:55) 1. Astronomy Domine 2. Fat Old Sun 3 Cymbaline 4. Atom Heart Mother 5. The Embryo Disc 2(65:57) 1. Green Is The Colour 2. Careful With That Ax, Eugene 3. Set The Controls For The Heart Of The Sun 4. A Saucerful Of Secrets 5 . Just Another 12 Bar Blues 6. More Blues