Pink Floyd (3/Cd) Los Angeles 1975 1975 4th Night: Mike Millard Original Master Tapes

Pink Floyd (3/Cd) Los Angeles 1975  1975 4th Night: Mike Millard Original Master Tapes
Item# newitem519427257
Availability: Usually ships in 5-7 business days

Product Description

Pink Floyd (3/Cd) Los Angeles 1975  1975 4th Night: Mike Millard Original Master Tapes
The treasure of unofficial sound sources, finally lifted. The sound of Mike Millard’s master cassette that has been wrapped in a secret veil for many years will finally be released to the whole world!!!

Mike Millard … How long have we been overwhelmed by the recordings left by this rare name Taper, known as “Mike The Mike”? The recording conveys various aspects of the song, not just the recorded form, with unparalleled high quality, deeply fulfills the listener’s musical craving, and fades the unity of the player and audience lost in that era Tied without eternity. The recording attracted not only the unofficial sound source fans but also various artists themselves, and Zeppelin officially adopted the sound that he caught in the sound of the later DVD work, and in March The National Records, which were released in the U.S. at the end of last year, recorded the three cassette box sets released by the United States in the “Mike Millard” method, which restored the equipment and settings used by Millard. Is still present in the 21st century.

Millard has survived many famous recordings because he went to the same venue for years and continued to use the same method. Famous story is the bold way of sneaking a recorder in a wheelchair, moving a microphone around a hat and moving to the vicinity of the 8th row, passing money if there is a loud screaming fan around and silencing him He said that the quality, “only the performance sound emerges in front of the eyes with the highest degree of transparency, and the surrounding cheers and yellow voices are almost zero”, is carefully prepared by him.

By the way, this mirrored recording, what we have heard so far, is almost exclusively based on the 1st gen he copied to his friends at the time, and the original master tape that he actually recorded Not a sound. This is because Millard destroyed all of the master tapes he recorded just before his death, or reported that his family had discarded a large amount of tapes after his death and had no value at all. So, in fact, the original sound of the master tape has never appeared before to support it.

The other day, however, the big news that overturned this long-standing urban legend was released online with images, which surprised unofficial music fans around the world. You may have seen it already, but you can see that there is a large number of original master cassettes from Millard’s own recordings that were believed to have been destroyed or lost. It was stacked in one corner of Millard’s bedroom, which remained intact after his death, and many of the boxes, filled with original master tape, received enough trust from Millard’s mother in the early 2000s that Rob. Until the end of last year, S had been moved to a cool, dry place and stored. There are a number of great recordings by Millard himself during the late 1973 and early 1992, which are much better sound quality than what was previously available as 1st gen (= that sound we have been accustomed to for many years). Not only remains in the original, but the part that was cut or faded when the 1st gen was created is “absent”, and it still exists as the longest and full version of the original. A big incident. What’s more, these dive into the amazing news that will be released one after another in the coming months, and the first thing that came out of this is the 75-year-old Los Angeles performance that was too famous as Floyd recorded by Millard. !!

The master tape’s original sound, when it comes to the extreme point of sound quality that feels null even in the appearance of ultra-high sound quality … I’m worried how to tell this excitement, but the title that recorded the fourth day of this Los Angeles performance in 1975 by mirrored recording is “ LOS ANGELES 1975 4TH NIGHT (Sigma 148) ” which has appeared from this Sigma so far, The brush-up version of “DEFINITIVE MILLARD (Sigma 228)” was the decision board. However, those who are accustomed to listening to these already-released boards are said to be “Finally a master tape!” Because those already released boards (* especially Sigma 228 edition “DEFINITIVE MILLARD”) are also recorded with quite high sound quality, I think that you probably feel as follows. “At last, the appearance of the actual master tape was great, but the 1st gen sound was great too. Could it be that much difference?” The key to answering that question is hidden in the tape used by Millard, so let’s take a look.

Speaking of the LA Forum where the venue was held, Millard’s home ground, as usual formed a formation with a tapered friend of support, he brought his favorite machine Nakamichi 550 to this recording, Austria It seems that it was the usual style that we also know that we put AKG’s unidirectional CK1 capsule microphone 451E in a hat. However, what we want to pay attention to is the recording media, and he will use the same manufacturer’s “KR”, that is, pure chrome tape, instead of his usual TDK cassette tape “SA 90”.

As you know, Millard’s favorite tape is the “SA” series. Even if you look at the image of the actual 1st gen tape currently being seen on the net (* It is a hand-painted beautiful lettering that Millard carefully created for close friends one by one), most of them have SA You can see that it was used. This is where it is interesting, in fact, if you look at the actual master tape released this time, it is recorded on KR instead of SA. This KR is a real chrome tape that uses chromium dioxide for the magnetic material, unlike the product (= SA) after the so-called “HIPOSI” or “chrome type”, and even the TDK cassette lineup at that time ” It was a product that had received special treatment as “Brilliant Series”. Perhaps Millard was fond of KR in the early days, probably because he fell in love with the quality.

However, as a result, in 1975 when this LA performance was held, SA was newly released in March and production and distribution of KR ended at the same time, and KR disappeared rapidly from the shop after this month Is. In fact, right after the recording of this Floyd (April 26), the master tape he used also changed from KR to SA, and thereafter both the master and the copy (= 1st gen) were unified with SA, “Mirard = SA tape” The well-known image is established. In other words, this recording is the last one he recorded using KR = genuine chrome tape, while the sound we have heard so far on the already released board (= 1st gen) is You know that the recorded master sound was a sound that was copied to a different magnetic SA tape. It is natural that there will be a difference in sound quality, and the above-mentioned question, “Whether it is a real master tape, is it so much different from 1st gen?” In other words, the impact of the master sound that has been lifted this time (= listenable in this work) can also be said to be the amazing original sound power recorded on genuine chrome tape.

It will also be noted that this recording has two topics that are only possible with a real master tape. One is that after the performance of the first and second parts of the show that was performed when transferred to the 1st gen tape is not faded, the scene remains in a state where no fade is processed is. The other is the length of the recording time, the state of waiting for the encore that can be heard on disk 3- (1) remains about 16 seconds longer than before, and the fact that it is the longest recording version in history can not be ignored . Naturally, both are the first appearance scenes in history, and not only the sound quality but also the perfect picture of the recording is perfect and the maximum appearance is descending !!!

The vividness of the sound is truly shocking. As you know, this recording starts with the sound of “Tess, Tess, Tess …” by the mirrored person before the start of the performance for about 3 minutes and 30 seconds, but the clarity and spread of the sound image The depth of the depth, which can be seen from the high degree of transparency, and above all, the direct hit feeling of the instrument sound being checked has reached an astounding level from the beginning of the disc. In “Raving And Drooling” as well, the sound has an even harder core, and the clarity of the melody rises, and the wailing of the melody due to the repetition of the riff permeates deep into the chest. It is worth noting that the rigorous attack sound of the bass sounds harder and more vivid than ever. “You Gotta Be Crazy” has untouched guitar melody with a veil-stripped primary color, vivid cymbals, and an impressive sound. The sound of twin guitars also has a master direct feeling of amazing movement, but the sound of a powerful synthesizer that undulates with a dull sound is sure to be groaned by the direct hit feeling. The slight cut part (* due to the tape change) in the interlude of “ Have A Cigar ” also appears as it is in the master, but this partly degraded scene also has an unusual vividness They have gone out and raised the feeling of recording. “Shine On You Crazy Diamond” also develops emotions through the linguistic means of sound with a dazzling transcendental sound, and the goodness of treble growth peculiar to chrome tape will delight your ears. In particular, the euphoria of the tone that can be heard in (Part 6-9) is such that even if you are accustomed to listening to the existing 1st gen, you will be terrified, and you will have to breathe in the depth and sharpness of the lingering sound between sounds. It is also a big topic that the sound image does not fade out after Roger’s MC telling a break after the end of the song, and the recording ends with a break. This is also the first appearance scene only in the master tape unprocessed, and there is no doubt that the fresh unexperienced feeling of breakage will make you thrill.

In the insanity set of Disc 2, the sharpness of the sound output response also stands out. At the beginning, you can hear the surrounding audience talking and the sound of firecrackers singing in the distance near 0:24, 0:47, but these scenes that were in the venue on the day are simply compared to the already released board You’ll notice that it’s not a close sound with increased vividness, but a clear, close-range sound with uneven depth. “On The Run”, where the mid-low range with a massive and elastic feeling is rich and concave, is the ultimate, and “Time” is nationwide for those who are thrilled by the mid-solo guitar solo’s crying sound. It seems to be visible one after another. “ The Great Gig In The Sky ” is a masterpiece of the appearance that the strength of the singing voice with a high sound density unfolds at the ear and melts as a fine flow of fine sound You will surely see Millard’s appearance on the day, which continues to capture this female chorus without swaying. “Money”, where the midrange sound power is fully open, could be heard with a high quality sound even on the already released board, but here the explosiveness and diffusion of the reverberating sound catches the ears. 3:43 It is easy to understand when you listen to the guitar solo that develops from around, but when you synchronize with the already released board, the goodness of the sound loss in the high range is clearly increased, and the feeling of blockage peculiar to chrome tape is You will be able to enjoy the ultra-clear sound without it. At the same time, “Us And Them” should grow and be amazed by its high-frequency sensitivity. From 4:59 to 5:01 of “Any Color You Like”, 1st gen = slight deterioration of the right channel and scene omission which also existed in the already released board (Due to tape flip), this is also a fun documentary of the day rather than a drawback, and it will be uptempo at the end.

Disc 1 (63:33) 1. Mike Test 2. Intro. 3. Raving And Drooling 4. You Gotta Be Crazy 5. Shine On You Crazy Diamond Part 1-5 6. Have A Cigar 7. Shine On You Crazy Diamond Part 6-9 ★最後フェードが掛かってない

Disc 2 (56:54) 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 ★最後フェードが掛かってない

Disc 3 (24:39) 1. Audience ★冒頭16秒長く収録 2. Echoes