Pink Floyd/WA, USA 1975 Upgrade

An unexpected upgrade master has appeared on the super famous recording that was touted as one of the best on the “Wish You Were Here Tour”. [Omoto Reel, a famous recording artist known as “Seattle’s Millard”] This super famous recording was recorded at the second performance “April 10, 1975 in Seattle” right after the start of “Wish You Were Here Tour”. “Performance”. It is a transcendental audience recording. I think there are many people who are intrigued by the date and performance location, but this work is an upgraded version of that masterpiece “SEATTLE MASTER REELS”. If you are familiar with SEATTLE MASTER REELS, you may be wondering, “How do I upgrade?” Of course, there is a reason for that, but first, for those who don’t know about SEATTLE MASTER REELS, I’d like to start from the basics. “SEATTLE MASTER REELS” was a true example of a “premium product”. The recording itself was famous, but “SEATTLE MASTER REELS” was released with great fanfare in 2010 as its ultimate edition. Not only was it released by the prestigious “JEMS”, but it was also recorded by “JEMS” itself (to be exact, Stan Gutosky, one of the founding staff members). It was a live album that was digitized by the person who recorded it from the original master reel that he owned. Moreover, Mr. Stan was also a historical master recorder. After all, he was a friend and rival of the legendary Mike Millard. The two were active in the same trade community and were aware of each other’s work before they even met in person. Each developed high-end equipment (Millard’s Nakamichi 550, Stan’s Tandberg Model 11) and recording techniques, taught the secrets to those around them, and developed a culture of audience recording. Among his friends, Stan was sometimes referred to as “Seattle’s Millard,” but it is also said that Millard was “Southern California’s Stan.” And “SEATTLE MASTER REELS” proved with sound that the anecdote was not a bluff. It was truly a legendary live album. [Upgraded because of the modern age where people are more aware of analog sound sources] The high wall of “SEATTLE MASTER REELS” that was originally impossible to overcome. This work has surpassed that. The new master Mano was released as a memorial to Mr. Stan who passed away in 2019, but why did this impossible dream come true? The key is to upgrade equipment and the environment. In fact, the Tandberg Model 11 was used to digitize SEATTLE MASTER REELS. Over 45 years ago, the analog data was converted to digital by playing it back on the actual deck used for recording at the venue. In contrast, the camera used in this work is Otari’s famous MX-5050. A brand new full-track mono head stack is also used. Of course, it’s not just playback. Between 2010, when “SEATTLE MASTER REELS” was released, and now, the attitude toward lo-fi analog sound sources has completely changed, and the equipment and applications for digitization have evolved significantly. The prestigious “JEMS” is trying to renew the digital environment, and this work was announced as the first step. In other words, it can be said to be the debut edition of the “new JEMS”. This may seem strange to anyone other than audiophiles, but there is no need for logic when it comes to the sound that flows out. It’s obvious that it’s a new master because it’s a few seconds longer, but that’s just evidence. The essential sound has clearly been upgraded. It’s so different that I don’t know where to start, but first of all, there’s less noise. The hiss has completely disappeared, and the contours of the performance sounds, the depth of silence, and the clarity of the atmosphere have also been significantly improved. What is especially easy to understand is the sense of separation of the drums. There is a sense of undulation and three-dimensionality from the beginning of each note to the end of the note, and the deep silence allows each note to stand alone without blending together. Also, if you want to feel the precision of playback, it would be “Shine On You Crazy Diamond Part 6-9”. In “SEATTLE MASTER REELS”, there was a sense of noise in the performance. It’s not particularly loud, it’s just the sound of the on-site PA, but in this work, there is almost no such noise. Of course, it is not impossible to create such effects with digital mastering, but this work is extremely natural because it is achieved with “accuracy of rise”. Visually speaking, she is not a “high school girl whose eyes became giant with a selfie app,” but a truly “beautiful girl with bright, cute eyes.” Such is the beauty of nature. Stan Gutosky was known as “Seattle’s Mike Millard” and was a founding member of the prestigious group “JEMS.” This is a cultural heritage album that uses modern technology to permanently preserve all the sounds that were recorded on the late master’s original master reel. This work itself is a musical masterpiece that will be at the forefront of the top race of the “Wish You Were Here Tour”, and it is a musical masterpiece that will be the most likely candidate for the top race of the “Wish You Were Here Tour”, and it will be followed by “LOS ANGELES 1975 4TH NIGHT” by Millard and “RAVE MASTER MATRIX:” by Dan Lampinski and Steve Hopkins. BOSTON 1975”, etc., it’s fun to listen to the evolution of the tour and the individuality of the famous masters. Furthermore, expectations for the future of “New JEMS” are growing… No matter how you listen to it, it’s a new masterpiece that will thrill you. Superb audience recording of “April 10, 1975 Seattle Performance”. Directly digitized from the original reel of the late Stan Gutosky, known as “Seattle’s Millard” and a founding member of the prestigious “JEMS.” The transfer environment has evolved to an extent that is incomparably better than the “SEATTLE MASTER REELS” from 10 years ago, and the detail and clarity have been significantly upgraded. This is a new masterpiece that marks the beginning of the new JEMS. The sound of this edition is overwhelmingly better than previous releases. It’s obvious if you compare the sense of separation of the drums. The chirping noise that has already been released (Shine On You Crazy Diamond Part 6-9, etc.) is almost absent from this edition. (Remastered Memo) This is a process that only slightly increases the overall sound pressure. Live at Seattle Center Coliseum, Seattle, WA, USA 10th April 1975 TRULY PERFECT SOUND(UPGRADE!!!) Disc 1 (64:06) 1. Intro. ★First second longer than previous albums 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 (59:39) The Dark Side Of The Moon 1. Speak To Me ★Beginning Although the time is the same, the previous version has a deep fade-in, so you can hear that part clearly on this version. 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 Color You Like 10. Brain Damage 11. Eclipse ★Disc2 last and For the first overlapping part of Disc 3, the overlapping part is short in the previous version, and that part is faded deeply. Disc 3 (27:44) 1. Audience 2. Echoes