Pink Floyd / Boston 1977 Master Tapes / 2CD + Tour Programme Replica

Pink Floyd / Boston 1977 Master Tapes / 2CD + Tour Programme Replica / Sigma
Translated Text:
Live at Boston Garden, Boston, MA. USA 27th June 1977

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Direct-to-direct transfer of Steve Hopkins’ cassette master tapes

And surprise to the top. That Boston performance representing Pink Floyd’s 77th year finally comes out with nature, such a Boston performance finally appears in the longest version of Master Tape Direct! When

you touch the boot leg for a long time, the sound source not so noticeable is big I encounter a scene to be updated in the upper, and it is exciting to spread the knowledge. However, on the other hand, in the case that the classic sound source is updated greatly,
it means that common sense which is absolutely indispensable indispensable for understanding the show of that year has no meaning to follow, so its impact is enormous. Even more if it has a decisive sound difference, it will be still more. NASSAU COLISEUM 1975 2ND NIGHT: High quality sound board representing 75 years of Floyd released last week. CASSETTE MASTER (Sigma 175) “is the best example, the mega-crystal sound directly connected to the master cassette not via DAT was a sharp update in its breasts and called a big topic since the day of release. This may be a good feeling that we realized that we had not learned everything from the originally issued board, actually said that “I do not have anything to learn from the sound source of this day anymore” .

By the way, speaking of American Boston performance on June 27, 1977, it is a famous sound source out of the group even in Floyd 77 years sound source. It is also well known that two decisive sources that Da · Lampinski and Steve · Hopkins represent the two 70s nominated tapers recorded in different positions on the same day are left, but this time The latest work is the upper title telling that the classic of 77 years finally reached the peak. Since there were some variation variations from Sigma and its predecessor Ayanami, Sirene label just for the sounds that blew up in the age at the time, let’s organize the sound source history again.

【1】 “PERFECT DAY (Ayanami-133)” / (Recording) Steve Hopkins
【2】 “BOREDOM AND PAIN (Sirene-159)” / (Recording) Steve Hopkins
【3】 “PERFECT END (Sigma 64)” / (
Recording ) Dan · Lampin ski 【4】 “DEFINITIVE BOREDOM AND PAIN (Sigma 65)” / ※ 【2】 Sigma
remastered version 【5】 “THE UNPROCESSED BOSTON 1977 (Sigma 78)” / ※ 【2】 Use DAT converted digital source from master cassette <a I = 13> Of these, I think that it is the DAT source version of [5] which was rumored by fans and the media as the strongest version of Hopkins recording [3] which Lampinski recorded. As you know, however, Hopkins recording and Rampin ski recording both have missing sounds in several places in the master, so the sound quality was the best but both sources left imperfections. Since [3] ~ [5] other than 【1】 【2】 that left the missing part as it is, it is formed by complementing each other’s source with the missing scene of their own, so on this day it is widely known today I think that it is good to think that the whole is made up of the mix of the recording that the two named tapers left. However, most of them based on the recording of Hopkins was that the seat where he was at was “Section AA, Row 10, Seat 3 – 4” and was able to record the sound coming out of the PA on that day on a de fastball It is probably because things are known. That is why that recorded sound has been known as a special class sound that can be passed in the top class in modern times, but this time it is a major incident since it came out with the master cassette direct sound of that original sound itself this time ★ Direct – to – Direct transfer of Steve Hopkins’ cassette master tapes The major reason for that “incident” is that the used master is not DAT converted, just like the title of the week before. The global sound source team JEMS just released The other day I digitally converted from Hopkins’ Omoto master cassette directly, I was able to enjoy the originals of the original original recorded by the cassette directly at the venue just 40 years ago It was something I could do. Just “Direct-to-direct” Its pure dynamic sound can be said with the sense of improving the output of the whole high range and the sense of dramatic upper feeling that instantly knows that the density and volume of sound are increasing dramatically and all the already listened The start was instantly destroyed. It is the translation of this latest work that made this into the world’s fastest, but there was a difficulty in quality to press as it was. Because this JEMS release version is faithful to the master cassette, the four cut scenes that were missing there were also intact. So in this work, I first rebuilt all the scenes seamlessly by listening to the part corresponding to these cut points newly with the [3] Rampin ski sound source that applied the latest remastering in 2017. What I would like to pay attention to here is that the intro portions of “Sheep” and “Shine On You Crazy Diamond Part 1-5” that did not exist in 【4】 【5】 were fully compensated this time. With this, the total recording time of this work has exceeded the original platform and the JEMS open version, and it also realizes the advantage vantage as the past longest version which exhausted all the existing sounds. In other words, the dazzling fusion of Hopkins’ master cassette that does not pass through the DAT as it is and the dazzling fusion of the newly cleaned Rinpinski recording jumped the history of the sound source with the strongest high-quality sound in source history and the longest updating power of the past is!! Its updating power comes up right after the start of “Sheep” at the beginning. The opening cut in which existed in Hopkins recording was a full length version added for about 15 seconds with 【3】 of the newly remastered Lampinski, and the JEMS released version had no noise existing around 8:55 Also it was relaxed considerably. If you have already listened to the public version, you can notice the natural feeling of ease of listening and improvement of quality already with these two points, but it is still surprising that it came out without going through DAT It is its sound quality. Not only the sense of weight and vibrancy of the single sound that the ensemble hits directly but also blindness will be held that the amount of information of this dense sound is filled in the gap between the sound and the sound. Also “Pigs On The Wing 1” also had a missing master in 00 minutes 19 seconds ~ around 33 seconds inserted remastered 【3】, carefully treated with the waveform 1/1000, so the sound image difference The sense of incongruity is zero. Everyone must be astounded in the way that the overall resolution does not compare with each of the pre-launch boards, and the smoothness of Roger’s singing voice and the sound of the acoustic guitar are resurrected with a sound accompanied by deep amplitude. Because “Dogs” is also an original sound, medium to low range, which is rich in texture and rich in dynamism, will give you a more careful look at the performance expression of the day. The floating up of the keyboard rising from around around 10 minutes 04 seconds and the improvement of the stereoscopic feeling are the scenes where it can be said that the gain and fader when sucking out the sound from the master tape are perfect and spread around it be spreading in increments of that drum also leaves a solid finish to the five senses. Also in the JEMS open version, the cut which was at 17 minutes 37 seconds after the end of the song is also perfectly compensated by 【3】’s new remaster in this work, so here also maintains the continuity / integrity of the performance with zero incompatibility I will. “Pigs (Three Different Ones) “attention is paid to the sound image from about 13 minutes and 26 seconds when the rhythm gains momentum, it is discovered that there was a new resonance that had been heard in the battle of challenging sounds There is no difference. Also, in the vicinity of 7 minutes 11 seconds Roger screams “48 …” and shows the number of performances (* actually seems to be “41” performance eyes) also appears as the approaching voice pierces into my chest However, even in such a slight scene, it is noticed that the truth sounds drawn on the tape emerge at the highest ever. “Shine On You Crazy Diamond Part 1-5” compensated for about 4 seconds at the beginning where the number of fireworks sounds was missing with the same reminiscent of the same scene of 【3】, this time also raised the integrity of the sound source . The sound from the beginning of the performance also spews tremendous vividness, but when you touch it, you will be noticed even if you do not want to hear that the sound of 【5】 via DAT is deepened. There is something special to note about the direct rise of the guitar sound and the diffusing power of the organ sound, and I think you can see that only the power is pulled out without damaging the sharp sound of saxophone. “Have A Cigar” also has a high resolution, so the closeness of Roger’s singing voice stands out, but here you will also feel the intense information density in the way the sound of the guitar riff sounds. In “Wish You Were Here”, the contours and rise of rhea scene, which has nothing to do with the beginning at the beginning, are improving greatly, the vividness of the sound of the guitar sound and the vividness of the singing voice even in the song, The texture of the electric piano that exerts its sensation will also be attacked with a dynamic sound that can tremble. “Shine On … Part 6 – 9 “has a remarkable base contour in the first half (* and a base-solo part from the middle 8: 34 seconds) pops out with a markedly improved appearance and has hard weight I think you will understand. The place which was missing in the master (around around 10 minutes 43 seconds ~ around 15 minutes 24 seconds) is also compensated for new remaster here with 【3】, but this also gives a preeminent feeling of uncomfortable fit of the two sound sources is. The sound of the piano entering from 16 minutes 56 seconds will also be 22 minutes of great satisfaction with the extra beauty sound gloss unique to the original sounds blooming. “Money” instantly knows the improvement of the midrange sound density, at the same time, the charm of the sound which did not go through the DAT to the smoothness of the high sound range comes out very well, and as for “Us And Them”, the pianissimo More quietly, Fortessimo jumps out with more energetic sounds, and it will be increasingly noticed that Hopkins recording was a recording that carefully captured the expression of the sound carefully. After the show, Roger that is difficult to grasp is MC as “Perfect End to a Perfect Day! Good Night. God Bless”, but here is the vertex image of the euphoria suitable for being locked up with that word. This last recording that was covered and the dynamic range of the entire range was perfectly perceived This recording (※ strictly because it is a mix of two sources “these recordings” ) Which come into view from, it is full of this day would be a real expansion feeling of the acoustic energy that Lloyd’s shot. The tone of the middle to high range that has regained its original moisture and the heavy feeling of the low frequency range of deep power will make it possible to consider full-scale performance again and the listener will feel closer to the performance and feel direct The point that became familiar with is that it may be said to be the biggest upper point of this work that can be directly touched by the original sound. And now we are learning that this difference is caused by the word “direct drop of master tape” depending on whether it is using the master dropped to DAT or the sound converted by direct connection with master tape There is. Regardless of the originally distorted sound that metal bands give out, this difference will never be negligible when you touch Floyd’s performance, pursuing the possibilities of music, with the characteristics of the sounds of the sound borrowed. And, it is only when you are familiar with listening to the performance of this day for many years with many already launched for a long time to notice the lost component (= direct feeling, or direct sound connection force) On the other hand, those who are new to this sound source need not say that the initial experience playback of Ascension is awaiting. Loseless Master Sound with common sense of the classic sound source updated with a brilliant surprise, please experience this sharp penetration surely this weekend !! ★ World Tour · precious 1977 Animals “IN THE FLESH” tour · With a replica that reprinted the program (28 pages in all) ★ Only the first 100 sheets will be released with a sticker with numbering. ★ Insert 5 missing Hopkins sound sources with Rampin ski sound source Disc 1 (53: 15) 1. Sheep ★ Insert from beginning 0:00 to around 0:15 2. Pigs On The Wing 1 ★ 0:
Direct-to-direct transfer of Steve Hopkins’ cassette master tapes


ショウを理解する上で絶対欠かせない常識が以降通用しなくなるという意味を持ちますから、そのインパクトは絶大です。ましてやそれが決定的な音の違いを備えているなら尚の事でしょう。先々週リリースされたフロイド75年を代表する超高音質盤『NASSAU COLISEUM 1975 2ND NIGHT: CASSETTE MASTER (Sigma 175)』はその最たる例で、DATを経由しないマスターカセット直結のメガ・クリスタルなサウンドは、その胸のすく鋭い更新感でリリース当日から大きな話題を呼びました。これは「もうこの日の音源から学ぶべきところは何も無い」とタカをくくっていた私達が、実は既発盤からは全てを学べていなかったと気付かされる良いキッカケだったのではないでしょうか。


【1】『PERFECT DAY (Ayanami-133)』 / (録音)スティーヴ・ホプキンス
【2】『BOREDOM AND PAIN (Sirene-159)』 / (録音)スティーヴ・ホプキンス
【3】『PERFECT END (Sigma 64)』 / (録音)ダン・ランピンスキー
【4】『DEFINITIVE BOREDOM AND PAIN (Sigma 65)』 / ※【2】のSigmaリマスター版
【5】『THE UNPROCESSED BOSTON 1977 (Sigma 78)』 / ※【2】のマスターカセットからDAT変換されたデジタルソースを使用

このうち特筆されるのはランピンスキーが録音した【3】と、ホプキンス録音の最強盤としてファンからもメディアからも絶賛された【5】のDATソース版だと思います。しかし御存知の通り、ホプキンス録音もランピンスキー録音も共にマスターには音の欠落が数箇所で存在していますので、音質は最高ながら両ソースとも不完全さを残すものでした。欠落部分をそのまま残した【1】【2】以外の【3】~【5】はどれも自身の欠落シーンをお互いのソースで補い合って形成されていますので、現在広く知られているこの日の全容は名テーパー2人が遺した録音のミックスによって成り立っていると考えて良いと思います。ただそれでもホプキンスの録音を基礎にしたものが多いのは、彼の居た座席が” Section AA, Row10, Seat3-4 “と、当日会場のPAから出る音をド直球で録音出来る位置に居た事が判明している為でしょう。でもそれだけにその収録音は現代でもトップクラスで通用する特級サウンドとして知られてきた訳ですが、これが今回その原音そのもののマスターカセット直結サウンドで出てきたのですから大事件なのです!

★ Direct-to-direct transfer of Steve Hopkins’ cassette master tapes

その” 事件 “の大きな要因となっているのは先々週のタイトル同様、使用マスターがDAT変換されたものではないからです。世界的音源チームJEMSがつい先日発表したこのバージョンは何とホプキンスの大元マスターカセットから直接デジタル変換したもので、ジャスト40年前の会場でそのカセットが直接吸い込んだ大元の収録生原音そのままを堪能出来るものだったのです。まさに” Direct-to-direct “と言えるそのピュア・ダイナミックなサウンドは全高域の出力向上感と共に音の密度と量感が格段に増している事を瞬時に思い知らされる驚異のアッパー感で充ちており、今まで聴いてきた全ての既発盤が瞬時に消し飛ぶものとなっていました。これを世界最速で音盤化したのがこの最新作という訳ですが、しかしそのままプレスするにはクオリティに難があったのです。というのも、このJEMS公開版はマスターカセットに忠実であるだけに、そこで欠落していた4箇所のカットシーンもそのままだったのです。そこで本作ではまずこれらカットポイントに該当する部分を2017年最新リマスターを施した【3】のランピンスキー音源で新規補填する事で、全てのシーンをシームレスで聴き通せるようリビルドしました。ここで御注目戴きたいのは【4】【5】で存在したりしなかったりした「Sheep」と「Shine On You Crazy Diamond Part 1-5」のイントロ部分を今回は完全補填した事です。これによって本作のトータル収録時間は既発盤やJEMS公開版を超え、現存する音の全てを使い切った過去最長版としてのアドヴァンテージも実現しています。すなわち、DATを経由しないホプキンスのマスターカセットそのままの麗しい原音と、新規洗浄されたランピンスキー録音の眩しい融合が、ソース史上最強の高音質と過去最長の更新力を伴って音源史を突き動かしたのです!!

その更新力は冒頭「Sheep」スタート直後から現れます。ホプキンス録音に存在した冒頭カットインを、新規リマスターを施したランピンスキーの【3】で約15秒間足した全長版になっているうえ、JEMS公開版には8分55秒付近で存在したノイズも大幅に緩和しました。既に公開版を聴いた事がある方であればこの2点でもう自然な聴き易さとクオリティの向上感にお気付き戴けると思いますが、しかし、やはり驚異的なのはDATを経由せずに出てくるその音質です。アンサンブルが直撃する一音一音の重量感と鮮やかさは勿論、音と音の間隙にこれほど濃密な音の情報量が詰まっていた事に盲を開かれる筈です。「Pigs On The Wing 1」もマスターに欠落があった00分19秒付近~33秒付近はリマスターした【3】を挿入し、波形1/1000で丁寧にトリートメントして繋いでいるため音像差による違和感はゼロです。全体の解像度も各既発盤とは比べ物にならず、ロジャーの歌声の滑らかさとアコースティック・ギターの響きが深い振幅を伴うサウンドで甦る様子に誰もが仰天するに違いありません。「Dogs」も原音だからこそ出る質感豊かで躍動感に富む中~低音域がこの日の演奏表情を一層丹念に教えてくれるでしょう。10分04秒付近から立ち上ってくるキーボードの浮き立ちと立体感の向上はマスターテープから音を吸い出す際のゲインとフェーダーが完璧であった事が伺えるシーンとなっていますし、その周囲に広がって拡散す
るドラムの刻みも五感に確かな余韻を残します。またJEMS公開版では終曲後の17分37秒にあったカットも本作では【3】の新規リマスターでパーフェクト補填していますので、ここも違和感ゼロで公演の連続性・完全性を保っています。「Pigs (Three Different Ones)」ではリズムに勢いが付く13分26秒付近からの音像に注目してみると、挑戦的な音のぶつかり合いの中にこれまで聴き落としていた新しい響きがあった事を発見されるに違いありません。また7分11秒付近でロジャーが「48…」と公演回数を叫ぶシーン(※ 実際には” 41 “公演目と思われます)も、そのひねり出す声が胸に突き刺さる間近さで現れるのですが、こんなちょっとしたシーンであってもテープに描かれていた真実の生音が過去最高値で浮き出している事に気付かされるのです。

「Shine On You Crazy Diamond Part 1-5」は、花火音の回数が欠けていた冒頭の約4秒間を【3】の同シーン新規リマスターで補填し、ここも音源の完全性を引き上げました。演奏が始まってからのサウンドも凄まじい鮮やかさが噴出しますが、これに接するとDATを経由した【5】の音が奥まっていた事に嫌でも気付かされるでしょう。ギター・サウンドの直接的な浮き上がりやオルガンの響きの拡散力にも特筆すべきものがあり、サックスのザラついた音も鋭さを損なう事無くパワーだけが引き出されている事が分かると思います。「Have A Cigar」も解像度が高まった事でロジャーの歌声の近さが際立ちますが、ここではギター・リフの音の出方にも猛烈な情報密度の高さを感じるでしょう。また「Wish You Were Here」では冒頭で関係無い曲が延々と掛かってしまうレアシーンの輪郭と浮き上がりがグッと向上しており、曲中でもギター音の響きの鋭さと歌声の鮮やかさ、そして終盤で存在感を発揮するエレキピアノの質感も身が震えるほどのダイナミック・サウンドで襲い掛かってきます。「Shine On…Part 6-9」は前半で顕著なベースの輪郭が(※そして中盤8分34秒付近からのベース・ソロ的なパートも)格段にメリハリの向上した姿で飛び出し、硬質な重みが備わっているのが分かると思います。マスターで欠落していた箇所(※ 10分43秒付近~15分24秒付近)はここも【3】で新規リマスター補填していますが、これも2音源のフィット感が抜群の違和感無い仕上がりです。16分56秒から入るピアノの響きも原音ならではのエクストラ・ビューティな音艶が咲き乱れて大満足の22分間でしょう。「Money」は中音域の密度向上が即座に分かると同時に、高音域の滑らかさにもDATを経由しなかったサウンドの魅力が大変良く出ていますし、「Us And Them」に至ってはピアニッシモはより静かに、フォルテッシモは一層エネルギッシュな音で飛び出して、ホプキンス録音が音の表情をどこまでも丹念に捉え切った録音だったとますます気付かされるでしょう。終演後にはあの気難しいロジャーが” Perfect End to a Perfect Day! Good Night. God Bless “とMCしますが、まさにその言葉で締められるに相応しい陶酔の頂点音像がここにあるのです。

覆っていた最後の薄皮が取れ、全音域のダイナミック・レンジの広がりがパーフェクトに感じられる様になったこの録音(※ 厳密には2ソースのミックスですので” これらの録音 “)から見えてくるもの、それはこの日のフ
ロイドが放った音響エネルギーの本物の拡大感でしょう。本来の潤いを取り戻した中~高音域の音色とド迫力の低音域の重厚感は改めて本格的な演奏の考察を可能にしてくれますし、何よりも聴く側が演奏を身近に感じて心に直接馴染ませる事が出来る様になった点こそが、原音に直接触れられる本作最大のアッパー・ポイントと言えるかもしれません。そしていま私達は「マスターテープ直落とし」という文言について、それがDATに落とされたマスターを使っているのか、それともマスターテープ直結で変換された音なのかでこれだけの格差が生じる事を学びつつあります。メタルバンドが出す様な元々歪んだ音ならともかく、音の響きの特性を借りて音楽の可能性を追求したフロイドの演奏に接する際、この差は決して無視出来ない要素でしょう。そしてその失われた成分(=ダイレクト感、或いは” 原音直結力 “とでも申しましょうか)に気付けるのは、長年この日の演奏を幾多の既発盤で聴き慣れた方であればこそですし、一方でこの音源が初めてという方には昇天確定の初体験再生が待ち受けている事は言うまでも無いでしょう。定番音源の常識が鮮烈な驚きを伴って更新されるロスレス・マスターサウンド、その鋭い突き抜け感をこの週末に是非御体験下さい!!
Disc 1(53:15)
1. Sheep ★冒頭 0:00から0:15あたりまで挿入
2. Pigs On The Wing 1 ★0:19あたりから0:33あたりまで挿入
3. Dogs
4. Pigs On The Wing 2 ★17:37あたりから18:41あたりまで挿入
5. Pigs(Three Different Ones)

Disc 2(76:06)
1. Shine On You Crazy Diamond Part 1-5 ★冒頭4秒 花火音の回数が欠けている分
2. Welcome To The Machine
3. Have A Cigar
4. Wish You Were Here ☆ミスで最初、関係ない楽しい曲が延々とかかってしまう
5. Shine On You Crazy Diamond Part 6-9 ★10:40あたりから15:24あたりまで挿入
6. Money
7. Us And Them

Sigma 177

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