GiGinJapan Artwork of Japanese CDs (mostly) Pink Floyd / Knebworth 1975 Complete / 3CD / Sigma
Knebworth Park, Stevenage, Hertfordshire, UK 5th July 1975
Play sample :
“WISH YOU WERE HERE Tour” The 1975 Nebworth Festival, which is also known as the only UK performance and the co-starring with Roy Harper as well as the album. A full live album that allows you to fully experience the historical scene is born.
Of course, this work was recorded at “July 5, 1975 Knebworth Park”. It is a set of 3 audience recordings that vacuum-packed the whole story. In recent years, we have archived Floyd’s famous record with the highest peak update master, and “WISH YOU WERE HERE Tour” has also delivered various masterpieces. This time, let’s check the whole picture of the tour with the masterpieces of each leg.
・ April 8-21: North America # 1a (8 performances) ← * CALIFORNIA SOUNDBOARD
・ April 23-27: North America # 1b (LA5 performance) ← * ULTIMATE MILLARD
・ June 7-28: North America # 2 (15 performances) ← * DEFINITIVE BOSTON 1975
・ July 5: Appearance at Knebworth Festival ← ★ This work ★
“September 12,” WISH YOU WERE HERE “released”
This is the whole view of “WISH YOU WERE HERE Tour”. The above is just an example to imagine each leg, but you can quickly follow the tour process with these four works. Under such circumstances, it was Knebworth of this work that was a performance in his home country unlike any other leg. This day was also a historic milestone. “WISH YOU WERE HERE Tour” was also the highlight of the complete reproduction of “Insanity”, but this work is the final day. Of course, Roger’s solo and Floyd after he left had a full performance of “Insanity”, but this was the last live performance of all four originators.
This work is a full live album where you can fully experience such a unique stage. Combine the best existing masters and brush up with the detailed mastering of “GRAF ZEPPELIN”. It is a complete album that seamlessly reproduces the day. What is important here is which recording is being made and how. First, let’s start with the audience recording that is the material.
・ RECORDER 1: A famous recording that has represented this performance for many years. monaural.
・ RECORDER 2: While it has a high sense of presence, the audience’s voice is a little loud (not used).
・ RECORDER 3: A slightly distant monaural recording.
-RECORDER 4: Best stereo recording. Only “madness” and encore.
Currently, 8 types of recordings on this day have been discovered, and the above 4 types were the main ones. “RECORDER 1” is familiar as our standard “KNEBWORTH PARK (Sigma 20)”, and “RECORDER 4” is also familiar as “KNEBWORTH 1975 NEWMASTER (Sigma 74)”. “WISH YOU WERE HERE Tour” is known as a two-part composition, but this work combines three of them as follows.
● Part 1
・ “RECORDER 1 (main) + RECORDER 3 (complementary)”
● Part 2 “Crazy” + Encore
・ “RECORDER 4 (main) + RECORDER 1 (complementary)”
…… And it looks like this. While making the best use of the stereo recording “RECORDER 4”, which is the best in terms of sound quality, the longest recording “RECORDER 1” is used to patch the missing parts. The part that is lacking in both is further supplemented with “RECORDER 3”. Complementary parts are “17 seconds” in the first part (DISC 1), two places “3 minutes / 44 seconds” in the second part (DISC 2), and two places “2 minutes 28 seconds / 23 seconds” in the encore (DISC 3). “. There have been some already complemented, but this work breaks the longest record. It is the first full live album to check all 8 existing recordings and reproduce the day as much as possible.
And the degree of perfection of the finish is also the highest ever. The parts introduced in “KNEBWORTH PARK” and “KNEBWORTH 1975 NEWMASTER” have been re-polished for exclusive use by going back to the former master. The difference in sound quality of each sound source is eliminated as much as possible before connecting to achieve a seamlessly immersive sound. Of course, each sound source is also the highest ever. The pitch and phase are precisely adjusted to 1/1000 second, and the balance adjustment in band analysis is also perfect.
And the biggest thing this time is the elimination of hum noise. Especially in “RECORDER 4”, hum was randomly generated, but in this work, it is neat and easy to listen to. The point here is the amount of noise reduction. The ham itself is random, and if it is automatically deleted by mastering software, even the essential playing sound will be altered. In this work, the last-minute lines that change from song to part are precisely pierced, and noise processing is performed to stop the performance without affecting the playing sound. Pursuit of precision, not flashyness. This is also the true value of “GRAF ZEPPELIN”.
The historic site that was revived in this way seems to be dizzy with its reality. As mentioned above, I’m deeply moved by “Insanity” with all the originators and “Have a Cigar” with Roy Harper, but even the maximum reprinted songs are heavy. Is “You’ve Got To Be Crazy” particularly intense? Roger calls the song title and plays the guitar riff, but stops and restarts after 45 seconds. This alone is rare, but after 6 minutes, it becomes turbulent. The pitch of the organ started to go crazy, and the ending that everyone harmonizes with in the 11th minute is also disjointed.
And then there is more documentation. I started a sound check, which took 9 minutes and completely interrupted the show. Meanwhile, Roger explains to the audience strangely detailed situations, such as “I’m having trouble tuning the organ” and “The wrong power frequency (voltage) caused Hammond’s problem.” If the situation is irregular, even Roger’s tone, which is frustrating and thrown away, is strange. The sound of this work faithfully reproduces even such a tingling mood.
This is the final goal of the “WISH YOU WERE HERE Tour”, and the final “madness” played by “that four people”. It is a 3-disc set that completely reproduces the historic night with the highest sound ever, even if there are troubles. Press 3CD that permanently preserves a design that is nothing but a cultural heritage. Please experience it to your heart’s content.
★ The final performance of the original Pink Floyd’s “Dark Side Of The Moon” (all songs) and “Echoes”!
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(Remaster memo) REMASTERED BY GRAF ZEPPELIN
[Sound source arrangement]Rec1 ・ ・ ・ Mono Aud. Although it is a long distance, it is a better category overall (sound quality 2-3 points / 5 points perfect) ★ Already-released HL, Sigma20
Rec2 ・ ・ ・ Stereo Aud (Nigel B) Realistic sound like picking up two PAs / Audience noisy eyes / Many twists (3 points)
Rec3 ・ ・ ・ Mono Aud (Marbal) Natural type, but unstable with fluffy eyes and pitch twist at a distance (2 points)
Rec4 ・ ・ ・ Stereo Aud. Overall, it’s the best, but early stage “Raving”-“Shine On” uncollected (3 points) ★ Already Sigma 74
Rec5 ・ ・ ・ Rec3 Marbal’s Eclipse supplement part and bad sound source used in Echoes (1 point)
Rec6 ・ ・ ・ Stereo separation is also close, but the band is down after 16khz with a muddy sound / Unnatural applause rustling sound (3 points)
Rec7 ・ ・ ・ Ignore it because it is a variation of Rec2
Rec8 ・ ・ ・ Mono Aud new source. Slightly farther than Rec1 / Echoes uncollected / Mic rustling sound more (2-3 points)
★ The title that realized the complete recording of all songs for the first time by making full use of multiple existing sound sources
★ As mentioned above, there are 8 types of Aud sound sources, but the sound sources that can be used are
Rec1, Rec3, Rec4
3 types.
By the way, of these 8 types, Rec2 (Nigel B → ’74 Wembley recording is familiar) is actually a realistic and interesting sound, but the Aud noise that can be heard from beginning to end is jarring.
Furthermore, the sound image changes, probably because of the characteristics of the venue, and it is difficult to hear, so it is judged that it is not for general users (?), So it is not used in this board.
As a result, it is a very conservative sound source selection.
★ Disc1 is based on Rec1 and Disc2-3 is based on Rec4, and the missing parts are appropriately filled with sub-sound sources to achieve complete recording.
★ The minimum required EQ processing has been performed, and especially Rec1 and Rec4 have the low frequency noise (hum noise) removed, so you can experience a very refreshing sound.
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★ Complete audience recording of “July 5, 1975 Knebworth Performance”. It is a 3-disc set that has updated the longest record by combining the best existing masters, and the finish of each sound source and the accuracy of connection are the highest ever in the detailed mastering of “GRAF ZEPPELIN”. A historic night, including the final complete performance of “Insanity” by the four originals, “Have a Cigar” with Roy Harper as well as the album, and “You’ve Got To Be Crazy” with vividly documented equipment troubles. You can fully experience it.
“WISH YOU WERE HERE Tour”唯一の英国公演にして、アルバムと同様にロイ・ハーパーとの共演が実現したことでも知られる1975年のネブワース・フェスティバル。その歴史的な現場を完全体験できるフル・ライヴアルバムが誕生です。
そんな本作が記録されたのは、もちろん「1975年７月５日ネブワース・パーク」。その一部始終を真空パックしたオーディエンス録音３枚組です。近年、当店ではフロイドの名記録を最高峰更新マスターでアーカイヴしており、“WISH YOU WERE HERE Tour”もさまざまな名作をお届けしてきました。今回は、各レッグの代表作を交えながらツアーの全体像をチェックしてみましょう。
・４月８日ー21日：北米#1a（８公演）←※CALIFORNIA SOUNDBOARD
・４月23日ー27日：北米#1b（LA５公演）←※ULTIMATE MILLARD
・６月７日ー28日：北米#2（15公演）←※DEFINITIVE BOSTON 1975
・７月５日：ネブワース・フェス出演 ←★本作★
《９月12日『WISH YOU WERE HERE』発売》
これが“WISH YOU WERE HERE Tour”の全景。上記はあくまで各レッグをイメージする為の一例なわけですが、この四作で手早くツアーの過程を辿ることもできるわけです。そんな中で他のどのレッグとも違う母国公演だったのが本作のネブワースでした。また、この日は歴史的な節目でもありました。“WISH YOU WERE HERE Tour”は『狂気』の完全再現も目玉だったわけですが、本作はその最終日。もちろん、ロジャーのソロや彼が抜けた後のフロイドでも『狂気』のフル演奏はあったものの、オリジネイター４人が揃っての生演奏はこの日が最後だったのです。
本作は、そんな唯一無二のステージを完全体験できるフル・ライヴアルバム。現存するベスト・マスターを組み合わせ、「GRAF ZEPPELIN」の細密マスタリングでブラッシュ・アップ。当日をシームレスに再現した完全アルバムです。そこで重要になるのは、どの録音をどう組んでいるのか。まず、素材となるオーディエンス録音からご紹介していきましょう。
・RECORDER 1：長年この公演を代表してきた名録音。モノラル。
・RECORDER 2：臨場感の高い反面、観客の声がやや多め（不使用）
・RECORDER 3：やや遠目のモノラル録音。
・RECORDER 4：ベストのステレオ録音。『狂気』とアンコールのみ。
現在この日の録音は８種が発見されており、主だったのが上記４種。「RECORDER 1」は当店の定番『KNEBWORTH PARK（Sigma 20）』、「RECORDER 4」は『KNEBWORTH 1975 NEWMASTER（Sigma 74）』としてもお馴染みです。“WISH YOU WERE HERE Tour”は二部構成で知られるわけですが、本作はそのうち３種を以下のように組合わせています。
●第一部
・「RECORDER 1（メイン）＋RECORDER 3（補完）」
●第二部『狂気』＋アンコール
・「RECORDER 4（メイン）＋RECORDER 1（補完）」
……と、このようになっています。音質面で最も優れているステレオ録音「RECORDER 4」を最大限に活かしつつ、録音漏れのパートを最長録音「RECORDER 1」でパッチ。両者でも足りないパートをさらに「RECORDER 3」で補完しているわけです。補完パートは第一部（DISC 1）で「17秒」、第二部（DISC 2）で２ヶ所「３分／44秒」、アンコール（DISC 3）でも２ヶ所「２分28秒／23秒」。これまでも補完されている既発はあったのですが、本作はその最長記録を更新。現存８種の録音をすべてチェックし、可能な限り当日を再現しきった初のフル・ライヴアルバムなのです。
そして、仕上げの完成度も過去最高。『KNEBWORTH PARK』『KNEBWORTH 1975 NEWMASTER』でご紹介済みのパートも元マスターに遡って専用に磨き直し。各音源の音質差も可能な限り解消した上で接続させ、シームレスに没入できるサウンドを実現しています。もちろん、音源１つひとつも過去最高。ピッチや位相は1/1000秒まで精密に補整され、帯域分析でのバランス調整も完璧です。
そして、今回特に大きいのはハムノイズの解消。特に「RECORDER 4」ではランダムにハムが発生していたのですが、本作ではすっきりと聴きやすく整っているのです。ここでポイントなのはノイズ除去のさじ加減。ハム自体がランダムですし、マスタリング・ソフトで自動削除すると肝心の演奏音まで変質してしまう。本作では、曲ごとパートごとに変化するギリギリの線を精密に突き、演奏音に影響が出ない寸止めのノイズ処理を行っている。無闇矢鱈な派手化ではなく、精密さの追及。これこそが「GRAF ZEPPELIN」の真骨頂でもあるのです。
そうして甦った歴史的な現場は、そのリアリティに目眩がしそう。前述のようにオリジネイターが揃っての『狂気』やロイ・ハーパーと共演する「葉巻はいかが」も感慨深いのですが、最大限に復刻された曲間さえもが重いのです。特に強烈なのは「You’ve Got To Be Crazy」でしょうか。ロジャーが曲名をコールしてギターリフを弾きかけるものの、一旦止めて45秒後に再スタート。これだけでも珍しいのですが、６分すぎから波乱含みになっていく。オルガンのピッチが狂い始め、11分台で全員がハモるエンディングもバラバラになってしまうのです。
そして、その後が更にドキュメント。サウンド・チェックを始めるのですが、これが９分もかかり、完全にショウが中断してしまうのです。その間、ロジャーは「オルガンのチューニングに問題が起きているんだ」「間違った電源周波数（電圧）がハモンドの問題を引き起こした」など、観客に向かって妙に細かい状況を説明している。その状況もイレギュラーなら、苛立ちも丸出しに吐き捨てるようなロジャーの口調さえも異様。本作のサウンドは、そんなピリピリしたムードまで忠実・正鵠に再現してくれるのです。
これが“WISH YOU WERE HERE Tour”の最終到達点であり、“あの４人”が奏でる最後の『狂気』。トラブルまでもが歴史的な一夜を過去最高サウンドで完全再現した３枚組なのです。文化遺産以外の何物でもない意匠を永久保存したプレス３CD。どうぞ、存分にご体験ください。
★オリジナルPink Floydの「Dark Side Of The Moon」（全曲）と「Echoes」最後の演奏！
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（リマスター・メモ）REMASTERED BY GRAF ZEPPELIN
【音源整理】
Rec1・・・Mono Aud｡ 遠目だが総合的にはベターな部類 (音質2-3点 / 5点満点) ★既発HL､Sigma20
Rec2・・・Stereo Aud (Nigel B) 臨場感あり2個のPAを拾ったような音 / 観客うるさ目 / ヨレ多数 (3点)
Rec3・・・Mono Aud(Marbal) ナチュラル系だが遠目でモコモコ目・ピッチヨレで不安定 (2点)
Rec4・・・一応Stereo Aud｡ 総合的にはベストだが､序盤｢Raving｣～｢Shine On｣未収 (3点) ★既発Sigma 74
Rec5・・・Rec3 MarbalのEclipseの補填パートとEchoesで使用されてる音の悪いソース (1点)
Rec6・・・近めでステレオ分離も､泥臭い音で16khz以降帯域ダウン / 不自然な拍手ワサワサ音 (3点)
Rec7・・・Rec2のバリエーションなので無視
Rec8・・・Mono Aud新ソース｡ Rec1よりさらに僅か遠目 / Echoes未収 / マイクガサゴソ音多め (2-3点)
★現存する複数の音源を駆使し､全曲完全収録を初めて実現したタイトル
★上記のとおり8種類のAud音源が存在しますが､ザックリ言うと使える音源は
Rec1､ Rec3､ Rec4
の3種｡
ちなみに､この8種類の中でRec2(Nigel B→’74ウエンブレイ録音でお馴染み)が実は臨場感があり面白い音なのだが､終始ワサワサ聞こえるAudノイズが耳障り｡
さらに会場の特性なのか音像がコロコロ変わり､聞きづらい面もあり､一般ユーザー(？)向けではないと判断し､本盤では未使用｡
結果的に非常に保守的な音源選択となっている｡
★Disc1はRec1､ Disc2-3はRec4をベースに､欠落部を適宜サブ音源で補填し完全収録を実現｡
★必要最小限のEQ処理がなされ､特にRec1､ Rec4とも低周波ノイズ(ハムノイズ)が除去されたことで､非常にスッキリしたサウンドが体感できます｡
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★「1975年７月５日ネブワース公演」の完全オーディエンス録音。現存するベスト・マスターを組み合わせて過去最長を更新した３枚組で、音源１つひとつの仕上げも接続の精度も「GRAF ZEPPELIN」の細密マスタリングで過去最高。オリジナル４人による最後の『狂気』完全演奏やアルバム同様にロイ・ハーパーと共演した「葉巻はいかが」、機材トラブルも生々しくドキュメントされた「You’ve Got To Be Crazy」など、歴史的な一夜を余すことなく完全体験できます。
Disc 1 (71:08) ★メインソース Rec1(Sigma 20で知られる音源)
1. Introduction
2. Raving And Drooling
3. You’ve Got To Be Crazy
4. Shine On You Crazy Diamond Part 1-5
5. Have A Cigar(with Roy Harper on vocal) ★5:01以降 Rec3で補填 ＊初の完成版収録
6. Shine On You Crazy Diamond Part 6-9 ★0:00-0:10 Rec3で補填
Disc 2 (57:16) ★メインソース Rec4(Sigma 74で知られる音源)
The Dark Side Of The Moon
1. Speak To Me ★0:00-3:00 Rec1で補填
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 ★6:24-7:08 Rec1で補填
10. Brain Damage
11. Eclipse
Disc 3 (29:01) ★メインソース Rec4(Sigma 74で知られる音源)
1. Soundcheck ★0:00-2:28 Rec1で補填
2. Echoes ★25:30以降 Rec1で補填(サンキューMC入るため補填必要)
Sigma 302
