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Pink Floyd/Wish you were Here US SBM CD Master Sound

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PINK FLOYD’s famous album “WISH YOU WERE HERE” has been reborn through the evolution of technology. Introducing a title that is a reprint of the high quality disc “CK 53753” using the high quality sound technology “SBM CD”. [SBM technology that suppresses digital deterioration due to 16-bit conversion] DSD, Among these, SBM (Super Bit Mapping) CD was introduced in 1991 and was a pioneering new technology. At that time, the release of classic analog records into CDs was at its peak, and listeners’ ears were beginning to become more discerning. The blind belief that CDs = high quality in the late 1980s has faded, and we have gone beyond the stage of superstitions such as “Putting it in the freezer will give you high quality sound” and “If you cut a straight line with a cutter, it will become clearer”. People began to talk about the good and bad of transformation itself. Therefore, Sony introduced SBM technology. Although it is a basic CD standard, it achieves a natural sound that is on a different level from conventional CD production. Its success became the beginning of a new technology CD competition among various companies. To avoid any misunderstanding, “SBM CD” is not a remaster using so-called equalizing processing. To begin with, “SBM” is a technology that reduces loss when converting to CD. Even if you digitize from analog at a high rate of 20 bits or more, the CD standard is still 16 bits. You cannot record unless you drop the audio data. Normally, when converting to a CD, it is digitized in 16 bits from the beginning, or high data is reduced to 16 bits, but this is where “SBM” comes into play. Rather than randomly cutting off data when converting to 16 bits, this technology adjusts the waveform curve to match the characteristics of human hearing. In other words, if analog’s smooth waveform is a “mountain”, digital’s is a “staircase”. With 20 bits or more, each step of the staircase is detailed, so the sound quality is high, but normally with CDs, the steps are uniformly large, creating a coarse sound. On the other hand, “SBM” selects a waveform that is omitted in line with the human ear, making it sound like a more detailed staircase. This may sound a little obvious, but let’s compare this to animation. Let’s say that analog’s smooth waveforms are a so-called natural sight, and digital’s are like a flip book. 20-bit has a large number of pictures, but 16-bit eliminates pictures, resulting in jerky motion. Normally, the number of CDs is uniformly reduced, but with “SBM”, the speed of movement and colors that tend to leave afterimages on the human eye are selected and omitted, so that it does not feel like there are fewer pictures… ( (This is just a metaphor.) Moreover, this “SBM” is not a relic of the outdated past. Although it was first put into practical use as a CD in 1991, it became common after that. It has also been applied to video technology and is now included in Blu-ray. The question that arises here is, “So, is it the same as modern CDs?” The key point here is the deterioration of analog over time. Even if the master tape is precisely preserved, it is inevitable that the magnetism will disappear as time passes, and the earlier the tape was recorded, the more the audio from when it was recorded will remain. In other words, CDs digitized using SBM, which was developed early on, still retain their brilliant sound even today. [“WISH YOU WERE HERE” is natural and dynamic from the peak to the very weak tone] This work is “WISH YOU WERE HERE” from such an early SBM CD. In fact, two SBM CDs, “CK 53753” and “CK 64405,” were released in the same year in 1994, and the source for this work is the former. The sound is truly master quality. Even compared to the early CDs, the sound is overwhelmingly finer and more glossy, and more natural than the later remastered editions. For example, the pulsating synthesizer in the “Welcome To The Machine” intro. Not only is the vibe delicately engraved, but it’s also truly dynamic. Although the sound pressure is not increased excessively, the mountains are large and very three-dimensional. The vocals and acoustic guitar cuts that come in don’t mix together, but are beautifully separated and floating in the air. Even more bass. If the start of the sound is tight, there will be no distortion at the peak, and the fineness will not be lost until the moment the sound is turned off. In remasters from the era of loudness wars, long notes often disappear quickly with a highlight effect when they disappear into the darkness of the void, but in this work, the vibrations of the vibe are extended to the lowest audible level. I can feel it. Its sound characteristics are common to SBM CDs, but it is especially effective on “WISH YOU WERE HERE.” After all, PINK FLOYD is at the cutting edge of audio effects. A three-dimensional space is created by making full use of various sound effects, and the sense of reality contained in each sound is important. Furthermore, by the time this album was produced in 1975, synths had made dramatic advances, and their use of sound effects, melodies, harmonies, and rhythms had expanded to include a wide range of uses, and their interplay with the live sounds of guitars and percussion had become more refined. It efficiently delivers beauty to the human ear by reproducing the complex sound world three-dimensionally and evenly across a wide range of sounds from high to deep bass. This is where the SBM effect is maximized. It’s already been 25 years since this CD was released. In the meantime, Digilima, which processes sound itself, has taken the world by storm, and even an outrageous loudness war has broken out. In modern times, we have passed the era of such processing and have begun to seek the “original sound”, but it is precisely in these times that the true value of the early SBM CDs shines. Early SBM should be reevaluated because it has returned to a natural orientation. The famous album “WISH YOU WERE HERE” is created with that natural sound. Taken from the original US SBM/Super Bit Mapping Master Sound Series released in 1994 Mastered at The Mastering Lab, Los Angeles. (The CD was made in Japan) 1. Shine On You Crazy Diamond (Part I – V) 2. Welcome To The Machine 3. Have A Cigar 4. Wish You Were Here 5. Shine On You Crazy Diamond (Part VI – IX)

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