Pink Floyd / Definitive Seattle 1975 / 3CD

Pink Floyd / Definitive Seattle 1975 / 3CD /  Sigma
Live at Seattle Center Coliseum, Seattle, WA, USA 10th April 1975


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An upgrade master appears in the super-famous recording that was touted as one of the best in “Wish You Were Here Tour”. It is decided to make an emergency permanent storage with Press 3CD.

[Omoto Lille, a famous recording artist called “Seattle’s Mirrored”] The super-name recording was recorded in the second performance “April 10, 1975 Seattle performance” immediately after the start of “Wish You Were Here Tour”. It is the transcendental audience recording. I think that many people will come to us by date and performance location, but this work is an upgrade version of that masterpiece “SEATTLE MASTER REELS”. If you are familiar with “SEATTLE MASTER REELS”, you may be wondering “How do you upgrade?” Of course, there is a reason for that, but even for those who do not know “SEATTLE MASTER REELS” before that, we will start from the beginning.
“SEATTLE MASTER REELS” was just a sample of “brand name”. The recording itself was so famous that it was familiar to the Highland label, but “SEATTLE MASTER REELS” appeared in 2010 as the ultimate version with noise. Not only was it announced by the prestigious “JEMS”, but it was also recorded by “JEMS” itself (strictly speaking, Mr. Stan Gutsky, one of the founding staff). It was a live album that was digitized by the person who recorded it from the original master reel owned by him.
Moreover, Mr. Stan was also a historical master recorder. After all, he was a friend and rival of the legendary virtuoso Mike Millard. The two are active in the same trading community and were aware of each other’s work even before they met in person. By developing high-end equipment (if Millard is “Nakamichi 550”, Stan is “Tandberg Model 11”) and recording techniques, he taught the people around him the secrets and developed the culture of audience recording. It is said that Stan was sometimes called “Seattle’s Mirrored” among his colleagues, but on the contrary, it is said that Mirrored was “Southern California’s Stan”.
And “SEATTLE MASTER REELS” proved by sound that the anecdote was not perfect. It was a legendary live album.

[Upgrade because of the modern age with a high awareness of analog sound sources] Originally, the high wall of “SEATTLE MASTER REELS” that should not be overcome. It is this work that has exceeded that. The new master was announced in memory of Mr. Stan, who died in 2019, but why did the dream story come true?
The point is to upgrade the equipment and environment. Actually, “Tandberg Model 11” was used in the digitization of “SEATTLE MASTER REELS”. It was played back on the actual deck used for recording at the site more than 45 years ago, and the analog data was converted to digital. On the other hand, Otari’s famous machine “MX-5050” was adopted in this work. A new full-track monaural head stack is also used. Of course, it’s not just about playback. In 2010, when “SEATTLE MASTER REELS” appeared, and now, the consciousness of lo-fi analog sound sources has changed completely, and the equipment and applications for digitization have evolved dramatically. The prestigious “JEMS” is trying to renew such a digital environment, and this work was announced as the first step. In other words, it can be said that it is the unveiling board of “New JEMS”.
It became a question for anyone other than audiophiles, but there is no need for reason for the flowing sound. It’s clear that he’s a new master from a few seconds long, but that’s just proof. The essential sound is clearly an upgrade.
It’s so different that I’m wondering where to start, but first of all there is less noise. The feeling of hiss has disappeared, and the outline of the playing sound, the depth of silence, and the transparency of the air feeling have been significantly improved. Is it the feeling of separation of the drums that is particularly easy to understand? There are undulations and three-dimensionality from the rise of one note to the mute, and because the silent part is deep, each hit is independent without being mixed. Also, if you want to feel the accuracy of playback, is it “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 big, it’s about “the sound of the on-site PA”, but in this work there is almost no such feeling of dust.
Of course, it is not impossible to create such an effect by digital mastering, but this work is extremely natural because it is realized by “accuracy of raising”. If you compare it visually, it’s not “a high school girl who has become a big eye with a selfie app”, but really “a pretty girl with crisp eyes”. It is such a natural beauty.

Mr. Stan Gutsky, who was called “Mike Millard in Seattle” and was a founding member of the prestigious “JEMS”. It is a cultural heritage album that permanently preserves all the sounds that were blown into the late master Omoto Master Lille with modern technology.
This work itself is the most influential musical masterpiece of the “Wish You Were Here Tour” highest peak race, such as Millard’s “LOS ANGELES 1975 4TH NIGHT (Sigma 148)” and Dan Lampinsky & Steve Hopkins’ ” If you listen to it side by side with “RAVE MASTER MATRIX: BOSTON 1975 (Sigma 79)” etc., you can enjoy the evolution of the tour and the individuality of the famous masters. Furthermore, expectations for the future “new JEMS” will grow … A new masterpiece that will excite you no matter how you listen to it. Please enjoy it with the permanent storage press 3CD.

★ Recording of a superb audience of “April 10, 1975 Seattle performance”. Digitized directly from the original reel of the late Mr. Stan Gutsky, who is also called the “Mirrored of Seattle” and is a founding member of the prestigious “JEMS”. With a transfer environment that has evolved beyond comparison with “SEATTLE MASTER REELS” 10 years ago, details and transparency have been dramatically upgraded. It is a new masterpiece that is also the beginning of “New JEMS”.

★ The sound of this edition is overwhelmingly better than that of the ready-made one. It is obvious if you compare the feeling of separation of the drums. There is almost no tingling noise (Shine On You Crazy Diamond Part 6-9, etc.) that has already occurred in this edition.

(Remaster memo)
★ It is a process that only raises the overall sound pressure a little.

“Wish You Were Here Tour”でも屈指と謳われた超名録音に、まさかのアップグレード・マスターが登場。プレス3CDで緊急永久保存化が決定です。

その超名録音が記録されたのは、“Wish You Were Here Tour”開始直後の2公演目「1975年4月10日シアトル公演」。その超絶級オーディエンス録音です。日付と公演地でピンと来られる方も多いと思いますが、本作はあの名作『SEATTLE MASTER REELS』のアップグレード盤なのです。『SEATTLE MASTER REELS』をご存じの方なら「どうやってアップグレードするのか?」と思われるかも知れません。もちろん、それには理由があるのですが、その前に『SEATTLE MASTER REELS』をご存じない方のためにも、初歩から始めさせていただきます。
『SEATTLE MASTER REELS』は、まさに「銘品」の見本でした。録音自体はHighlandレーベルでもお馴染みなほど有名だったのですが、『SEATTLE MASTER REELS』はその究極盤として2010年に鳴り物入りで登場。かの名門「JEMS」から発表されただけでなく、そもそも録音したのも「JEMS」自身(厳密に言いますと、創設スタッフの1人であるスタン・グトスキー氏)。本人所有の大元マスター・リールから、録音した本人がデジタル化したライヴアルバムだったのです。
しかも、このスタン氏が歴史的な名録音家でもありました。何しろ、彼はかの伝説名手マイク・ミラードの友人であり、ライバルでもあった。2人は同じトレード・コミュニティで活動しており、直接出逢う前から互いの作品を意識しあっていた。それぞれに高級機材(ミラードが「Nakamichi 550」なら、スタンは「Tandberg Model 11」)や録音テクニックを開発しては周囲にも極意を教え、オーディエンス録音という文化を発展させていった。仲間内ではスタンを「シアトルのミラード」と呼ぶ事もあったそうですが、逆にミラードこそが「南カリフォルニアのスタンだった」とも言われているのです。
そして『SEATTLE MASTER REELS』は、その逸話がハッタリではない事を音で証明していた。まさに伝説的なライヴアルバムだったのです。

本来、超えられるはずのない『SEATTLE MASTER REELS』の高い壁。それを超えてしまったのが本作です。2019年に亡くなったスタン氏の追悼として公表された新マスターまのですが、なぜあり得ないはず夢物語が実現したのか。
その要は機材・環境のアップグレードにあります。実は『SEATTLE MASTER REELS』のデジタル化で使用されたのは「Tandberg Model 11」。45年以上前に現場会場で録音に使用された現物デッキで再生し、そのアナログデータをデジタルに変換していました。それに対し、本作で採用されたのはオタリ社の名機「MX-5050」。さらに新品のフルトラックのモノラル・ヘッド・スタックも使用されている。もちろん、再生だけではありません。『SEATTLE MASTER REELS』が登場した2010年と現在では、ローファイなアナログ音源への意識がまるで変わっており、デジタル化のための機材もアプリケーションも格段に進化している。名門「JEMS」はそうしたデジタル化環境の一新を図っており、その第一弾として発表されたのが本作。つまり、「新生JEMS」のお披露目盤とも言えるのです。
あまりにも違うのでどこから話して良いのか迷いますが、まずノイズが少ない。ヒス感がまるでなくなり、演奏音の輪郭や無音の深み、空気感の透明度も格段に向上している。特に分かりやすいのがドラムの分離感でしょうか。一音の立ち上がりから消音までの起伏や立体感が宿り、無音部が深いからこそ一打一打が混じり合わずに独立している。また、再生の精度を感じ取るなら「Shine On You Crazy Diamond Part 6-9」でしょうか。『SEATTLE MASTER REELS』では、演奏にチリチリとしてノイズ感がありました。特に大きなものではなく「現場PAの出音かな」くらいのものなのですが、本作ではそんなチリ感までほとんどないのです。

本作自体が“Wish You Were Here Tour”最高峰レースの最有力となる音楽的傑作であり、ミラード作の『LOS ANGELES 1975 4TH NIGHT(Sigma 148)』やダン・ランピンスキー&スティーヴ・ホプキンスの『RAVE MASTER MATRIX: BOSTON 1975(Sigma 79)』等と並べて聴けばツアーの進化や名だたる巨匠たちの個性も楽しい。さらには今後の「新生JEMS」への期待まで膨らんでくる……どのように聴いても胸躍る新名盤。どうぞ、永久保存プレス3CDでじっくり味わい尽くしてください。

★「1975年4月10日シアトル公演」の超絶級オーディエンス録音。「シアトルのミラード」と呼ばれ、名門「JEMS」の創立メンバーでもある故スタン・グトスキー氏の大元リールからダイレクトにデジタル化。10年前の『SEATTLE MASTER REELS』とは比較にならないほど進化したトランスファー環境により、ディテールも透明感も格段にアップグレード。「新生JEMS」の門出ともなる新名盤です。

★今回盤の方が既作よりも圧倒的に音が良い。ドラムの分離感で比較すれば一目瞭然。既発のチリチリノイズ感 (Shine On You Crazy Diamond Part 6-9等)も今回盤には殆ど無い。



Disc 1 (64:06)
1. Intro. ★冒頭1秒既作より長い
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 ★冒頭は同一タイムながら既発はフェードインが深いので今回盤ではその部分が鮮明に聞こえる。
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 (27:44)
1. Audience
2. Echoes

Sigma 267

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