Pink Floyd / Definitive Millard / 3CD

Pink Floyd / Definitive Millard / 3CD / Sigma

Live at Los Angeles Memorial Sports Arena, Los Angeles, CA, USA 26th April 1975


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The Pink Floyd 1975 legendary recording updated by that Mike Millerd! The long-stopped LA performance is finally at the top of the 2019 latest technology!

Speaking of the United States tour of Floyd 75 for sound source fans, it is a treasure trove of excellent sound sources with excellent recordings. In particular, high-quality audience recordings such as “ARMS OF VANCOUVER (Sigma 56)”, “SEATTLE MASTER REELS (Sigma 58)”, “THEORY OF RUIN VALUE (Sigma 46)” such as the first US tour in April It is lined up and fascinates sound source fans. However, it is a legendary taper that the recording excellent in sound quality was outstanding during these performances of April in the 70’s, Los Angeles performances of April 26 by Mike Millerd. This is a very special-grade high-quality sound recording, and so far this Sigma label has released a decisive strike such as “LOS ANGELES 1975 4TH NIGHT (Sigma 148)” including “PINK MILLARD (Sigma 31)”. In particular, the Sigma 148, like the Sigma 31, does not have a slight excess equalization and convenient cut editing, and keeps the 1st Gen’s clear mirrored recording transferred to DAT tape almost untouched and untouched except for pitch adjustment. It was highly appreciated that this show was well received by fans as an overwhelming title, not an exaggeration to say that it is the top of all existing 1975 sound sources.

It is a translation that is a standard sound source that represents the Floyd 75 sound source, but this is why it is also possible to push the perfection to the ultimate thing that brings the perfection from the beginner to the expert. I think that it is the mission of leading Sigma. As well known, this sound source is so excellent in recording that it does not feel particularly uncomfortable on hearing, and it seems that there is no problem in sound quality, but it is not necessarily true if it is completely essential It is not. Especially I would like to pay attention to the variation of the mid-bass range, which I notice to visualize with the master sound waveform of the mirror, but some of this range expand slightly and the sound image becomes cramped (= something that has a close feeling) In the meantime, there are places where the sound component runs short and you feel light. In addition, it is also possible to see some places where the spread of the sound can not exert its original potential.

From an audio point of view, it is assumed that the density of this midrange is high and the balance between bass and treble is well in order to make a sound that is responsive. In particular, if this middle to low range is properly organized, the sound will be more stable and energetic, and at the same time improvement in sharpness and extension of the range can be expected. It can not be done. Even if it is a standard recording representative of Floyd 75, it is also carefully restored to the ideal waveform with the latest equipment and technology of 2019, and it is arranged to the sound image of the next level without defects even in a severe eye You should see the crown overhead. Yes, it is the 2019 edition of the mirrord recording of this latest film, the most vivid sound image of the source ever, that made it come true!

However, since it was a quite high-quality sound board even at the time of Sigma 148, if you have that, you might be wondering, “Is there anything that makes a difference?” However, if you listen to this film, it is a content that you can understand in a skin sense how carefully adjusting the middle to low range has a great effect on musical energy and driving feeling and the directionality of the music. is. For example, it is Mike Millard’s voice heard at the beginning of Disc 1, but I would like to pay attention to the silent part behind his voice. With this board, you will notice from this slight opening scene that the sound has not already been clogged up (= the band has broadened and the gap has improved). “Raving And Drooling” also shows the strength based on accurate waveform control noticeably in the sound, and in “You Gotta Be Crazy”, clear sound and luster appear with a beautifully arranged sound image, and the music is final Interesting musical vocabularies before they are shaped are becoming more and more in full swing. The difference between the sharpness and power of single tones is easy to grasp in the beginning of “Shine On You … Part 1-5”, and the thickness of the hard sound coming out from 3:46 is unique to this record. “Have A Cigar” also shows that the reach of the two voices is clearer by the extension of the range, “Shine On You … Part 6-9” in the gap between the sound and sound Sigma 148 or more I think that you will be scolded by the sense of density of From the middle stage 7:03, the impressive bass sound jumps out with a sense of massive elasticity, and the MC and in-the-field reaction that can not conceal the discomfort (to the audience with low morale audience) who enters after the final performance You can experience it with a sound image with an even greater feeling.

The dark side set also has a three-dimensional cross between the guitar and the bass in the early stages of “Breathe” and “Money” than the Sigma 148, and the increase in space and the omission of reverberation in “Time” and the goodness of the reverb The singing line also became clearer, and it became possible to grasp the charm attractive to the original sound. As for “Us And Them”, the voice of the female chorus appearing slightly like the voice behind Gilmore’s voice becomes clear, and this seems to be proof that the original sound has been polished with the latest technology. Although the reverse point (with a slight loss of sound) of the master tape at 5: 01 of “Any Color You Like” remains as it is, this mirrord recording can not be patched on the same day as a source that can compensate for the patch. , Here is the form of the original sound recording. However, it will be necessary to check the cymbal sound and the point where the delicate weak sound of the guitar touch is more easily heard. Towards the final stage “Brain Damage ~ Eclipse” soft dreamy sound image, and the mellow sound of the bell sound coming after the final performance is a finish that can be affirmed that the best figure of mirrord sound source. I think you can see that the loud sound of the bass that stands out from around 7:15 is sharper than the Sigma 148 version in response to “Echoes”, and similarly, it is also due to a drop in the number of toms coming in from around 9:49 The appearance that the first half scene disappears is also better than ever, and both have produced results by close scrutiny and review of the range. In addition, the sound of fireworks (※ Pyro?) Rising at 17:50 is also clearer, and even the documentary nature as a recording that the original sound is hidden is embossed with the best sound.

In order to make the best use of the high-quality sound originally recorded in the milled, I kept in mind remastering that does not make the feeling of equalization appear, so the difference with the old Sigma 148 is slightly different from just listening lightly in the component and car stereo It may be hard to understand. However, as mentioned above, the sound is definitely clear, so if you have an old board, I strongly recommend you to listen carefully compared with headphones. Such a Sigma 148 has been sold out for a long time, and of course the store is completely out of stock in the warehouse sent for overseas sales at that time, but it was a situation where it was out of stock although it was a standard for a while. As a matter of fact, many requests for recurrence have been received, and this time it was also a version upgrade in a form that meets that expectation, therefore “The standard that makes you feel totally lost from beginners to collectors sound source The goal is to achieve the finish of the sound source, and a definitive mirror sound is realized. Now over time
Please check carefully with the ear, the difference in the case of the sound that is appropriate for being heard afterward !!!

(Remastered note)
★ Adjusted the mid-low range to broaden the entire range and to make the performance clearer. It is difficult to understand because it is an adjustment that does not bring out a sense of equalizing and high-quality sound originally, but it is clear.

あのマイク・ミラードによるピンク・フロイド1975年伝説の録音がアップデート!! 長らく廃盤だったあのLA公演が2019年の最新技術で遂に頂点を極めます!

音源ファンにとってフロイド75年の米国ツアーと言えば極上録音が立ち並ぶ優良音源の宝庫です。特に第一次米国ツアーとなった4月の公演は『ARMS OF VANCOUVER (Sigma 56)』や『SEATTLE MASTER REELS (Sigma 58)』『THEORY OF RUIN VALUE (Sigma 46)』など質の高いオーディエンス録音が立ち並んでおり、音源ファンを魅了してきました。しかしこれら4月の公演中でも突出して音質に優れた録音が70年代に活躍した伝説のテーパー、マイク・ミラード氏による4月26日のロサンゼルス公演です。これぞまさに別格の高音質録音であり、これまでも当Sigmaレーベルからは『PINK MILLARD (Sigma 31)』を初めとして『LOS ANGELES 1975 4TH NIGHT (Sigma 148)』といった決定打を放ってきました。特にSigma 148はSigma 31の様にやや過剰なイコライジングや都合の良いカット編集をする事無く、DATテープにトランスファーされた1st Genの鮮明なミラード録音をピッチ調整以外はほぼ未加工のままノーカットで封じ込めた点が高く評価され、この公演はもとより現存する1975年全音源の頂点と言っても過言ではない、圧倒的なタイトルとしてファンに熱く迎えられました。

これぞまさにフロイド75年音源を代表する定番音源である訳ですが、そうであるが故にその完成度をビギナーからエキスパートまで唸らせる究極のものに押し上げる事もまた、フロイド音源の音盤化を世界的にリードするSigmaの使命と考えます。周知の通りこの音源は録音が大変優れているため聴感上は特に違和感を感じませんし、音質的には何の問題も無い様に思えてしまうのですが、完全無欠かと言えば必ずしもそうではないのです。特に注目したいのが中~低音域のばらつきで、これはミラードのマスター・サウンド波形で視覚化すると気付くのですが、この帯域の幾つかが若干膨張して音像が窮屈(= クローズ感漂うもの)になっていたり、その一方で音の成分が不足して軽く感じさせる箇所が散見されるのです。またそれが要因で音の拡がりが本来のポテンシャルを発揮出来ていない箇所も幾つか診られます。


ただSigma 148の時点でもかなりの高音質盤であったため、あれをお持ちの方は「そんなに違いが出るものだろうか…??」と疑問を抱くかもしれません。しかし本作を聴けば中~低音域を注意深く整える事が如何に音楽的なエネルギーやドライヴ感、そしてその音楽の持つ方向性に大きな影響を持っているかが肌感覚で分かる内容になっているのです。例えばディスク1の冒頭で聞こえるマイク・ミラードの肉声ですが、彼の声の後ろにある無音部分に是非御注目戴きたいと思います。本盤ではこの僅かな冒頭シーンから既に音場の閉塞感が無くなっている(= 帯域が拡がって抜けが良くなっている)事に気付かれるでしょう。「Raving And Drooling」も正確な波形コントロールに基づいた力強さがサウンドに顕著に現われていますし、「You Gotta Be Crazy」では澄み切った音艶が見事に整った音像で登場し、楽曲が最終形になる前の興味深い音楽的語彙がますます胸に迫ってくる筈です。「Shine On You…Part 1-5」の序盤も単音の鋭さと威力の違いが掴み易く、特に3:46から出てくる硬質な音の厚みは本盤ならではです。「Have A Cigar」もレンジの拡がりによって2声の届き具合がより鮮明になっている事が判りますし、「Shine On You…Part 6-9」では音と音の間隙にSigma 148以上の密度感がある事に唸らされると思います。中盤7:03からの展開も印象的なベースの響きが更にマッシヴな弾力感で飛び出し、終演後に入るロジャーの(モラルの低い観客に対する)不快感を隠し切れないMCとその場内の反応も、現場感が一層増した音像で体験出来るのです。

ダークサイド・セットも「Breathe」や「Money」の序盤にあるギターとベースの音色の交差がSigma 148よりも立体的で、「Time」での空間性の高まりと残響音の抜けの良さ、また歌唱ラインも更に澄んで原音に忠実な魅力が掴める様になりました。「Us And Them」もギルモアの声の後ろで囁く様に・微かに出ている女性コーラスの声が鮮明になり、これも原音を最新技術で磨いた証と言えそうです。「Any Colour You Like」の5:01にあるマスターテープのリバース・ポイント(※= 僅かに音の欠落がある)はそのままですが、このミラード録音をパッチ補填出来る同日ソースなどこの世に存在しませんので、ここは原音収録の姿のまま残してあります。しかしシンバル音の粒立ちやギター・タッチの繊細な弱音がより聴き取り易くなっている点などは要チェックでしょう。終盤へ向かう「Brain Damage~Eclipse」のソフトでドリーミーな音像、そして終演後に入る鐘の音のまろやかな響きの余韻も全てミラード原音最良の姿と断言出来る仕上がりです。「Echoes」は7:15付近から目立ってくるベースのラウドな音色がSigma 148版よりレスポンス鋭く出ているのが分かると思いますし、同様に9:49付近から入ってくるタム連打の廻しによって前半シーンが消えてゆく姿もこれまで以上に抜けが良く、どちらも音域の精査と見直しによる成果が出ています。また17:50で花火(※ パイロ?)が打ち上がる音も更に鮮明に出ており、原音が秘めていた録音物としてのドキュメンタリー性までもが最良のサウンドで浮き彫りになっているのです。

ミラードの収録音がもともと高音質である事を最大限に活かす為、イコライズ感を表面化させないリマスタリングを心掛けましたので、旧Sigma 148との差異はコンポやカーステレオで軽く聴き流しただけでは若干判り辛いかもしれません。しかし上記してきた通りサウンドは確実に鮮明になっていますので、旧盤をお持ちの方は是非ヘッドホンでじっくり聴き比べて戴く事をお薦め致します。そんなSigma 148は完売して久しく、店頭は勿論ですが当時海外販売用に送った倉庫にも在庫が完全に無くなっており、ここ暫くは定番なのに在庫切れという状況でした。実際のところ再発を求める要望が数多く寄せられていて今回はその御期待に応える形でのバージョンアップでもあったのですが、それ故に「コレクターズ音源の初心者から歴戦の古豪に至るまで心底唸らせる定番音源の仕上がり」を目指した訳で、まさに決定的なミラード・サウンドが実現しています。時代を超えて今



Disc 1 (63:14)
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

Disc 2 (56:49)
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

Disc 3 (24:22)
1. Audience 2. Echoes

Sigma 228

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