Pink Floyd / Copenhagen 1967 3rd Night / 1CD+1Bonus CDR

Pink Floyd / Copenhagen 1967 3rd Night / 1CD / Sigma

The Star Club, Copenhagen, Denmark 13th September 1967 plus Bonus CDR “The Piper At The Gates Of Dawn UK Mono SX 6157 “Blue Columbia”

Play sample :

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Pink Floyd’s important sound source at the time of Sid’s enrollment is significantly improved with a new upper source that mixes two sources!!
The noteworthy sound source that suddenly appeared on the Internet in November 2019 is the fastest press sound board in the world!!

Denmark is the last day of Copenhagen Star Club 3DAYS on September 13, 1967. For fans, this performance has been known as a precious recording of Floyd when he was at Sid, along with the Rotterdam performance in ’67. “ STAR CLUB ’67 REMASTER (CDR) ” which corrected the pitch of the direct copy of the master reel and repaired the midrange that was crushed from our shop was released as a gift item in December 2011, but unfortunately I think the reality is that it is still recognized as a “precious but difficult to watch” position. Known as the only recording that captured the pattern of the day, this master recording was a mono AUD source captured by a local musician at the time, Carsten V, and then another person borrowed his master to reel It seems that a copy (= 1st gen) is made on the toe reel, and the 2nd gen and later copied based on this are frequently traded and spread around the world.

By the way, if you are experienced in tape trading, you will understand the difference, but copy is the choice of equipment, the tape used, ON / OFF of the Dolby B / C function, and the place where the volume is the largest Depending on the transfer method and equipment environment, such as how to determine the input level and how to set the input level, the sound quality and quality will greatly change even for the same generation copy. In March 1986, a person called Martin Balsam turned on Dolby B on Maxell’s high-positive cassette XL Ⅱ 90 and transferred it to 3rd gen with very little deterioration, and this 67 year Copenhagen was transferred, First, it was left in his collection as a copy “A”.

On the other hand, although the generation is unknown, there is a completely different route on the net and a copy “B” that branches off in the tape transfer environment, which is inferior to the copy A in the overall sound quality, but is a valuable guitar of Sid. Martin notices that the sound is stored better than copy A. This mix of copies A and B so that each good side comes out most skillfully is the world’s fastest press-recorded version of this work!

But why wasn’t the source used on the released board not as good as the source used on the board this time (especially copy A), even though the source was originally derived from the same master? … The main reason for this is that the noise reduction (* probably Dolby B type) was applied quite strongly during the tape transfer at the point where the source of the previously used board was used. Although hiss was certainly held down by this, the unnatural feeling of pressure and cramps appeared in the sound image, making the listening feeling uncomfortable. As mentioned above, copy A was actually recorded with Dolby B turned on at the time of creation, but it is noteworthy that this new source turns off this Dolby effect during playback when mixing A and B It is here that a new sense of upperness has emerged from the sound we know so far. There is a famous anecdote that the name taper, Mike Millard, turned on Dolby B at the time of recording and turned it off at the time of playback and preferred the sound where the high range could reach the ear more. With the same logic, the pressure of the sound image and the tightness of the sound range have disappeared, and a natural, good-looking sound spread that no one has ever heard is realized.

The effect is huge from “Reaction in G” at the beginning. Because the song is instrumental, it is easy to see the difference between the sound of each instrument and the sound output, for example, the explosion sound of the hi-hat that sounds from around 4:14 has a special feeling of a straight ball, and above all the guitar that Sid emits I was able to get a more attractive sound. In “Arnold Layne”, the image of the low range that was dumpling and cramped disappeared quickly, and the power of the natural and good low range is full. The bass and snare sounds that were slightly muffled are also clearer, and the singing of chords and monophonic rhythms that are sometimes scattered in the song of Sid’s guitar can be heard more clearly. In the tuning scene that enters for a while after the end of the song, the depth of the sound image and the spread were destroyed by the Dolby effect on the already released board, but here the fine sound was not buried and the sense of clarity was improved, the fresh air feeling and spatiality of the site on the day Is brilliantly revived. “ One in a Million ” also has a rounded, dumped-out sound that has been added here with a sound that adds sharpness and core strength, and the nucleus of the rhythm that continues to make hooks has a more vivid sound. It became like closing. Another topic is that Roger’s singing voice is easier to listen to because the sound image has regained clarity.

The “ Matilda Mother ” also sinks and the heavy early sound that was heavy and the dense sound mass in the development part became much easier to hear, and the synthesizer that emitted the Middle Eastern style melody coming in after 1:33 is more direct Expanding with a sharp sound further enhances the upper feeling. In the tuning scene after the end of the song, the increase in resolution often appears, and the pitch change during tuning, which turns the pegs to fine-tune the pitch, comes out with a sharp and vivid sound that is incomparable with the already released board . “Scream Thy Last Scream” also had a flat sound and the expression of the performance was hard to grasp, but this was also improved, and it became easier to grasp the glamorous energy that creates rich harmony in the low range. The gradual increase in tempo in the second half will increase the response to the sharper response of the sound, and will excite you with a clear sound image with one or two veiles removed. In “Astronomy Domine”, Sid’s guitar work, which began to claim at around 2:58, was revived with exceptionally good sound, and it became easier to grasp the differences in phrases and habits that Gilmore later colored on his own. The fact that the show’s ending is recorded for about 2 seconds longer than before also widens the gap with the already released version.

One last thing. Some of those who have been accustomed to listening to this Copenhagen sound source for 67 years may have missed some of the vocals off this recording. However, this raises a reason that can be convinced by recent verification and testimony of the person who actually saw the performance on the day, and according to that, the sound that was actually sounding at the venue was somewhat hard to hear the vocal like this recording. It looks like In other words, this recording failed to record and the vocals were not recorded off-facing, but because the sound that was ringing on the spot was captured with a straight ball, an unwilling label was stuck for many years, It can be said that the high documentary nature should be re-evaluated by the appearance of this work with increased sound resolution.

The sound that remains with good quality sound even after branching has no distortion, and is amplified straight and goes back to the source. Even though it is a classic sound source approaching the initial impulse of Floyd by the original members, it has finally gained a severe evaluation in terms of sound quality for a long time, so it seems that it is time to return its stigma. Yes, this is the latest edition of Sigma, which is no longer said to be the precious board of Copenhagen, which will finally appear, “ Precious but difficult to appreciate ”!!

★ Ending is 2 seconds longer than before.
★ Sound quality is better for this edition.


1967年9月13日、デンマークはコペンハーゲン・スタークラブ 3DAYSの最終日。ファンには今更な話ですがこの公演は同67年のロッテルダム公演と並び、昔からシド在籍時のフロイドを捉えた貴重な録音として知られています。当店からもマスター・リールのダイレクト・コピーをピッチ修正し、潰れ気味だった中音域を修復した『STAR CLUB ’67 REMASTER (CDR)』が2011年12月にギフトアイテムとしてリリース済みですが、残念ながら今もって「貴重だが鑑賞には厳しい」というポジションで認識されているのが現実かと思います。この日の模様を捉えた唯一の録音として知られるこのマスター録音はカーステン V (Carsten V)という当時の地元ミュージシャンが捉えたモノラルのAUDソースで、その後別の人物が彼のマスターを借りてリール・トゥ・リールでコピー(= 1st gen)を作成、これを元にコピーされた2nd gen以降のものが頻繁にトレードされ世界中に拡散した様です。

ところでテープトレードをされた御経験がある方ならその差がお分かりになると思いますが、コピーは機材のチョイスや使用テープ、ドルビー B/C機能のON/OFF、また音量が一番大きい箇所を見定めて入力レベルをどう設定をするかなど、その転送方法や機材環境で同じ世代のコピーでも音質と品質が大きく変わってくるものです。1986年3月にマーティン・バルサムという人物がマクセルのハイポジ・カセットXLⅡ90にドルビー・Bをオンにしてトランスファーした3rd genには劣化が非常に少ない状態でこの67年コペンハーゲンが転送された様で、これがまずコピー” A “として彼のコレクションに残る事になりました。

一方、世代は不明ながらもネット上には全く違うルートとテープ転送環境で枝分かれしたコピー” B “が存在しており、これはサウンド全体の質としてはコピーAに劣るもののシドの貴重なギター・サウンドがコピーAより良い状態で保存されている事にマーティン氏は気付きます。このコピーAとBをミックスしてそれぞれの良い面が最も巧く出る様にしたものがこのたび世界最速でプレス音盤化された本作なのです!!

でも元は同じマスターから派生したソースなのに、既発盤使用ソースが何故今回盤使用ソース(特にコピー A)の様な良質なサウンドではなかったのでしょう?…この主な要因は、既発盤使用のソースがどの時点かのテープ転送時にノイズ・リダクション(※ 恐らくドルビー・Bタイプ)がかなり強めに掛けられていた為です。これによってヒスは確かに押さえ込まれていたものの、そのぶん音像にも不自然な圧迫感と窮屈さが出てしまい聴き心地を悪くしていた訳です。前述の通り実はコピーAも作成時にはドルビー・Bをオンにして録音されているのですが、注目すべき事に今回の新ソースはAとBをミックスする際の再生時にこのドルビー効果をオフにしており、ここにこれまで私達が知っているサウンドとは別次元のアッパー感が生まれたのです。かの名テーパー、マイク・ミラードは録音時にドルビー・Bをオンにして録音し、再生時にはそれをオフにして高音域がより耳に届くサウンドを好んだという有名な逸話がありますがこれもそれと同じ理屈で、音像の圧迫感と音域の窮屈さが消え誰も耳にした事が無い自然で見通しの良い音の拡がりが実現しているのです。

その効果は冒頭「Reaction in G」から絶大。曲がインストゥルメンタルという事もあって各楽器の鳴りと出音力の違いが判り易く、例えば4:14付近から鳴るハイハットの炸裂音も別格の直球感がありますし、何よりシドが放つギターの魅力が更に確かなサウンドで掴める様になったのです。「Arnold Layne」は団子状で窮屈だった低音域のイメージがスッと消え、自然で抜けの良いロー・レンジの威力が漲っています。こもり気味だったベースやスネアの音も明瞭になり、シドのギターも曲中で時折り散らしている単旋律やチョーキングによる鳴き上げがより明確に聴き取れる様になっています。また終曲後に暫く入るチューニング・シーンも既発盤はドルビー効果で音像の奥行きと拡がりが潰れていましたがここでは微細な音も埋もれずに明瞭感アップ、当日現場の生々しい空気感と空間性が見事に甦っているのです。「One in a Million」も団子状で丸みを浴びていた既発盤サウンドがここでは鋭さと芯の強さが加わった音で登場、フックを作り続けるリズムの核がますます鮮やかなサウンドで愉しめる様になりました。また音像が明瞭感を取り戻しているのでロジャーの歌声がスッキリ聴き易くなっている点もトピックでしょう。

「Matilda Mother」も沈み込んで重たかった序盤の弱音や展開部の濃密な音の塊が随分と聴き易くなり、1:33以降から入ってくる中近東風の旋律を放つシンセサイザーもより直接的で鋭いサウンドで展開して更にアッパー感が高まります。終曲後のチューニング・シーンでも解像度の高まりがよく現れており、ペグを廻して音程を微調整するチューニング中の音程変化が既発盤とは比べ物にならないほど鋭く、かつ鮮やかな音で出てきます。「Scream Thy Last Scream」も既発サウンドは平坦で演奏の表情が掴み辛い印象がありましたがこれも改善され、低音域で豊かなハーモニーを創出しているグラマラスなエネルギーが掴み易くなっています。後半で徐々にテンポアップしてゆく様子も音のレスポンスが鋭くなった分だけ聴き応えが増し、ヴェールが1枚も2枚も脱げたクリアな音像にワクワクするでしょう。「Astronomy Domine」では2:58付近から主張し始めるシドのギター・ワークが段違いに良い音で甦り、後にギルモアが独自に色付けしてゆくフレーズや手癖の違いが更に掴み易くなりました。またショウのエンディングがこれまでより約2秒間ほど長く収録されている点も既発盤との格差を拡げています。




1. Reaction in G
2. Arnold Layne
3. One in a Million
4. Matilda Mother
5. Scream Thy Last Scream
6. Astronomy Domine

Syd Barrett – Guitar, Vocal
Roger Waters – Bass, Vocals
Richard Wright – Keyboards
Nick Mason – Drums

Sigma 241

PINK FLOYD – The Piper At The Gates Of Dawn: UK Mono SX 6157 “Blue Columbia /1Single CDR
Taken from The Original UK Mono LP SX 6157 “BLUE COLUMBIA” (Mint Condition)

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Directly recorded from the monster UK original of the first album “THE PIPER AT THE GATES OF DAWN” released in 1967, the miracle mint condition LP of the so-called “BLUE COLUMBIA”. In the used market, you know that this “BLUE COLUMBIA” board is a high item regardless of whether it is stereo or monaural. The sound of the “Best Floyd 1st Mono” LP, which has no traces of remasters and is contained only in the early 1967 UK, recognized by all hard collectors in the world. One piece that can be thoroughly immersed in the supreme sound emitted from the first edition of the British version, so-called “BLUE COLUMBIA” label, which is the closest to the master tape 53 years ago. This is an absolute must-list for those who are not enthusiasts but who identify themselves as British rock fans.

This is a monaural version of “The Piper-“, but in the past it became the first official CD in 1997, and in 2007, a three-disc version including a stereo mix and rare tracks as a 40th anniversary edition from the original release Set specifications etc. have been released. A common feature of these official CDs is that the high frequencies are raised by excessive equalizing. It is hard to understand when listening to the CD alone, but it is clear when compared to the original LP. On CDs, whether the effect is due to remastering, the sound is kinky throughout, and it is not clear whether it is due to the deterioration of the master tape over time, the merit of raising the sound pressure too much, or the adverse effect of raising the high range. However, you can see more hiss noise on the CD than on the original analog record. (It’s an aside, but to add more, the current CD seems to be out of phase after Flaming for the 4th song). When making this CD, the master disc is a direct digital version of the finest condition board, but the miraculous condition that there is almost no annoying needle crackling noise and trace noise. As enthusiasts know, this is not the case. The unprocessed sound, full of mild, vivid, natural color and feel, has a completely different sound quality and brilliance than the current CD. In particular, this UK first edition was produced by Norman Smith, who was also involved in the recording of The Beatles. The know-how gained from the Beatles’ recordings has been generously introduced, and this is a must-see for the enthusiasts. Like the Beatles, this album has many mix differences between stereo and monaural (notable with Interstellar overdrive). The fascinating sound of the 1967 UK “BLUE COLUMBIA” LP, which allows you to hear the sound of the master itself. Please enjoy the sound as it is in the direct version from the original mono LP.

1967年リリースのファースト「THE PIPER AT THE GATES OF DAWN」のモノラル・UK初盤オリジナル、通称”BLUE COLUMBIA”の奇跡のミント・コンディションLPよりダイレクト収録。中古市場でもこの”BLUE COLUMBIA”盤はステレオ、モノラルを問わず高値を呼ぶアイテムなのは皆様ご存じのことでしょう。リマスター跡が微塵もない、1967年UK初盤のみに封じ込まれた、世界のハード・コレクターの誰もが認める「最良のフロイド1st Mono」LPのサウンド。53年前のマスターテープに最も近い、英国盤初盤 通称”BLUE COLUMBIA”レーベル盤より放たれる至高のサウンドにじっくりと浸れる一枚。これはマニアならずともブリティッシュ・ロック・ファンを自認する貴方、絶対必聴です。

この「The Piper-」のモノラル・バージョンですが、過去には1997年に初の公式CD化、さらに2007年にはオリジナル発売から40周年の記念盤としてステレオミックス盤やレアトラックス盤を含む3枚組仕様などがリリースされています。これら公式CD盤に共通するのは、過剰なイコライジングによって高域が持ち上げられている点です。CD単体で聞くと分かりづらいものですが、オリジナルLP盤と比較して見ると一聴瞭然。CDではリマスターの影響なのか、終始、音がキンキンとしていており、さらにマスターテープの経年劣化のためか、ないしは音圧上げ過ぎの功罪か、はたまた高域を持ち上げた弊害かは分かりませんが、CDではオリジナル・アナログ盤にくらべヒスノイズも多く確認できます(余談ですがさらに補足すると、現行CDでは4曲目Flaming以降で位相がズレているように思われます)。今回のCD化に際しては極上コンディション盤をダイレクトにデジタル化したディスクをマスターにしていますが、煩い針パチノイズ、トレースノイズがほとんど無いという奇跡のコンディション。このくらいのものはそうそうあるわけないことはマニアなら良くご存じの通り。マイルドでいて鮮烈、自然な色彩感と感触に満ちた未加工のサウンドは、現行CDとは全く違う音の質感と輝きを放っています。とくにこのUK初回盤は、ザ・ビートルズのレコーディングにも関わっていたノーマン・スミスがプロデュースを担当。ビートルズのレコーディングで得られたノウハウが惜しみなく投入されており、これはその筋のマニアにも要注目でしょう。ビートルズ同様、本アルバムもステレオとモノラルの間には多くのミックス違いがあるのも見逃せません(Interstellar overdriveでそれが顕著)。マスターそのものの音が聴ける1967年UK”BLUE COLUMBIA”LP盤のみの持つ魅惑のサウンド。あるがままのサウンドをオリジナル・モノLP盤からのダイレクト・バージョンでお楽しみ下さい。

1. Astronomy Domine 2. Lucifer Sam 3. Matilda Mother 4. Flaming 5. Pow R. Toc H.
6. Take Up Thy Stethoscope and Walk 7. Interstellar Overdrive 8. The Gnome
9. Chapter 24 10. The Scarecrow 11. Bike

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