Pink Floyd / Earls Court 1973 2nd Night Recorder 2 / 2CD+1Bonus CDR

Pink Floyd / Earls Court 1973 2nd Night Recorder 2 / 2CD+1Bonus CDR / Sigma

Earls Court Exhibition Hall, London, UK 19th May 1973 Plus Bonus CDR ‘The Dark Side Of The Moon’

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Recorder 2 shakes Recorder 1
Pink Floyd’s Earls on May 19, 1973 by the master cassette of the same day recording released by the recorder himself.
The second day of the coat will be revived with a special real documentary!!

May 19, 1973-London, England is Earls Court. Known as Floyd’s only performance in May 1973, the last day of this 2DAYS performance has been dominated by many titles. The real hit was “EARLS COURT 1973 2ND NIGHT (Sigma 191)” that appeared from this Sigma label in July 2017. The 1st gen sound source that was directly dropped from the treasured cassette master known as Recorder 1 in the best digital environment was recorded on the 19th that was confirmed at that time
It was a big topic as a definitive Recorder 1 sound that surpasses all the titles. However, even in the 1st generation Rec 1 source, there are missing scenes due to master recording (*the turning point of the tape used and the recording on/off between songs, which is concerned about the remaining tape), and the sound quality is It was a fact that it lacked completeness in terms of perfect recording although it was missing. Therefore, in the Sigma 191 board, Recorder 2 which was recorded separately on the same day was adopted in order to make up for the missing part, and because of this, that name title could be perfect.

However, in May of this year, the sound source of the Recorder 2 digitized directly from the master cassette was suddenly released online by the recording person himself, and received a great deal of attention. Although it is recorded separately from Rec 1, it is recorded with two C 120 and C 90 by a cheap model of an overseas manufacturer, but there is almost no tape hiss (* Rec 1 is so prominent in a quiet scene) It boasts a great advantage. This sound is newly digitized by Nakamichi’s famous deck “DR-1” which has an adjustable head azimuth, and its sound has a stable sound image of Rec 1 or more in all scenes, and one side uses 120 minutes tape Because I am trying to record without worrying about the remaining tape amount, it has a high documentary property that it records the sound of the day for about 4 minutes (!!!) longer than Rec 1. ..

Furthermore, it was discovered for the first time that the recording location of this Recorder 2 was “Block AA, K28” in the arena, according to the comments of the recorder himself. On the other hand, it is known that the recording position of Recorder 1, which was also announced by the recorder himself at that time, is “Block BB, E14” in the arena. If you check both of them on the following site where the seating chart around 1975 is included in the diagram, you can see that both were very favorable recording positions next to the central block.

Visually ascertaining the relative positional relationship between both recorders and the stage in this way is very effective in visualizing each recorded sound, and it is also interesting to see the traces as a documentary on the day. To give one easy-to-understand example, after the end of “Set The Controls For The Heart Of The Sun” (* around 14:07), some characteristic voices screaming out loud in the distance I can hear a finger whistle, but when I check this in the same scene of Rec 1, the characteristic loud voice and finger whistle can be heard from a relatively close position. If you listen to the performance sound again after keeping in mind the positional relationship between the two, you can experience a more three-dimensional and lively feeling of the scene and live recording of the day. This is for those who own the Sigma 191 board. If that is the case, it will lead to a deeper grasp of the performance of the day.

Even so, what surprises me again is the Rec 2 original sound that appears as it is in the master tape. After all, not only can you hear the scene lacking part of Rec 1 seamlessly with a stable sound image, but the basic advantage that there is no tape hiss is equal to Rec 1 …No, sometimes there is a good sound quality scene that surpasses it. It is. From the intro of Disk 1-(1) and “Obscured By Clouds”, one of the scales has already been heard, and the fact that the lack of Rec 1 due to the power of the thick and transparent midrange was the weight of the sound first Is noticed. “When You’re In” is also noticeable from around 4:00, the direct hit feeling of the organ is more natural and audible than Rec 1, and this also shows what was lacking in Rec 1 where the high range was strong Would be

In “Careful With That Ax, Eugene,” Roger whispered for about 1 minute before screaming (*4:22 to 5:27) and after the screaming burst had subsided (*9:24). It is as clear as 1 and easy to listen to, and you can also feel that the accuracy of the scene is improved. Moreover, with the nice bonus that the tuning scene that enters after the end song is recorded for about 2 minutes completely uncut, Rec 1 has only partially left this scene by turning the recording button on and off, but here it is complete You can listen to it as it is. Also noticed by “Echoes” is the small amount of tape hiss on Rec 2 (* it is almost nothing). When Rec 1 reaches this point, the intensity of the hiss sound begins to stand out, but Rec 2 has a noiseless and stable sound image. The flow of Rec 1 so far = Total recording time in the first half of the show is 67 minutes 57 seconds. On the other hand, this Rec 2 has been recorded for 71 minutes 01 seconds, which is about 4 minutes long, and it makes me realize the significance of uncut recording again from the first half of the show.

The full reproduction of the dark side of Disc 2 further enhances Rec 2’s presence. Actually, comparing the two sources, the feeling of Gilmore’s youthful singing voice flowing in “Breathe” and the crossing power of the SE sound appearing in “On the Run” are equal to Recorder 1, and on the contrary, there is no hiss noise. It is obvious to anyone that the advantage of Rec is already superior to Rec 1 in terms of basic sound quality and ease of listening (* However, on the other hand, the clarity and breadth of range is Rec. 1 is better). “The Great Gig In The Sky” should be impressed beyond Rec 1 by the appearance of a female vocal with two voices moving in a wide range, and when it comes to “Us And Them”, this recording is already a supplement source of Rec 1 It will be re-recognized that it is not a position but a valuable separate recording that captures the multifacetedness of the same day performance from another perspective. From 5:34 onwards in “Any Color You Like” to the disk end, Rec 1 is back-filled, but here is the paradigm shift that is noticed by experiencing the actual sound of both sources, that is, the moment when the value changes It is also Because it’s already a decisive moment to realize that Rec 1 and Rec 2 are almost even.

Phil, who is the recorder of Recorder 2, commented in the comment at the time of uploading as follows. “…My recording is not a replacement for Recorder 1, but it complements it well.” However, everyone should think that this is not a mediocre recording that would be hidden in the shadow of Recorder 1 if you listen to it. It is not a substitute, nor a complement. Only by listening to both recordings will you realize that you can experience the highly accurate 73rd Earls Court final day. This week’s 1974 title “WEMBLEY 1974 FINAL NIGHT: Recorder 2 (Sigma 251)” will be released at the same time, but both are excellent titles that will rethink Recorder 2, that is, the way the recording was done on the same day. I am. Please enjoy together!

★A sound source different from the ones already issued. The whole volume is recorded stably.

★The missing parts of Echoes, Speak To Me, and Any Color You Like have been patched with Steve B recording recorder 1.

Recorder 2がRecorder 1を揺るがす下克上発生!!

1973年5月19日・英国ロンドンはアールズコート。フロイド73年唯一の5月公演として知られるこの2DAYS公演の最終日はこれまで数多くのタイトルが乱立してきました。その真打登場となったのが2017年7月に当Sigmaレーベルから登場した『EARLS COURT 1973 2ND NIGHT (Sigma 191)』でした。Recorder 1として知られる秘蔵のカセットマスターから最良のデジタル環境で直落としされたその1st gen音源は、その時点で確認されていた19日収録
タイトルの全てを凌駕する決定的なRecorder 1サウンドとして大きな話題になったものです。ただその第1世代のRec 1ソースにもマスター録音に起因するシーンの欠落(※ 使用テープの折り返し点や、テープ残量を気にした曲間での録音オンオフ)が存在しており、音質は図抜けていたもののパーフェクト収録という点では完全性を欠いていたのも事実です。それ故、そのSigma 191盤では欠落部分を補う為に同日別録音のRecorder 2を採用していた訳で、これがあったからこそあの名タイトルも完全体と成り得ていました。

しかし今年5月、なんとそのRecorder 2をマスターカセットから直接デジタル化した音源が録音者本人によって突如ネット公開され、大きな注目を集めたのです。Rec 1とは完全に別録音のそれは海外メーカーの廉価版モデルによるC120とC90の2本で録られているものの、テープ・ヒスがほぼ皆無(※ Rec 1は静かなシーンでそこそこ目立つ)という強力なアドヴァンテージを誇っているのです。これを調整可能なヘッド方位角を持つナカミチの名デッキ” DR-1 “で新規デジタル化したそのサウンドは全シーンでRec 1以上に安定した音像を結んでおり、しかも片方に120分テープを使った事でテープ残量を気に掛けず録音に挑んでいるためRec 1より約4分近く(!!!)も長く当日の音を収録しているというドキュメンタリー性の高さも備わっているのです。

更に録音者自身のコメントによって、このRecorder 2の録音場所はアリーナの「ブロックAA, K28」である事が今回初めて判明しました。一方、同じく録音者本人によって当時公表されたRecorder 1の収録位置はアリーナの「ブロックBB, E14」である事が判っています。この双方を1975年頃の座席表が図解入りで出ている下記サイトでチェックすると、どちらも中央ブロックの隣同士で大変好条件な収録位置であった事が判るのです。

両録音機とステージとの相対的な位置関係がこうして視覚的に把握出来るのは各収録音をイメージするうえで大変有効ですし、当日のドキュメンタリーとしてその痕跡が伺えるのも面白いところです。判り易い例を1つ挙げますと「Set The Controls For The Heart Of The Sun」の終曲後(※ 14:07付近~)、遠くで何かを大声で叫んでいる何人かの特徴的な声や指笛が聞こえるのですが、Rec 1の同シーンでこれを確認するとその特徴的な大声や指笛が割と近い位置から聞こえるのです。この聞こえ具合い=双方の位置関係を頭に入れてから改めて演奏音に接するとより立体的で生々しい当日の現場感と実況録音感を体感出来る訳で、これはSigma 191盤をお持ちの方であれば更に深くこの日の演奏を掴んでゆけるという事にも繋がっています。

それにしても改めて驚かされるのは、マスターテープそのままの姿で出てくるこのRec 2原音の魅力でしょう。何しろあのRec 1のシーン欠落部を安定した音像でシームレスに聴けるだけでなく、テープ・ヒスの皆無という基本的アドヴァンテージによってRec 1と互角…いえ、時にはそれを凌ぐ良音質シーンが存在しているのです。ディスク1-(1)のイントロならびに「Obscured By Clouds」からその片鱗は既に伺え、肉厚で透明な中音域の威力によってRec 1に欠けていたものがまず音の重みであった事に私達は気付かされるのです。「When You’re In」も4:00付近から目立ってくるオルガンの直撃感がRec 1より自然で耳当たりが良く、これも高音域が強めだったRec 1に欠けていたものが見えてくるでしょう。

「Careful With That Axe, Eugene」ではスクリーミング前の約1分間(※ 4:22~5:27)、及びスクリーミングの炸裂が収まった後(※ 9:24~)でロジャーが小声で囁く様子をRec 1に劣らない明瞭さと聴き易さで捉えており、シーンの精度を高めている事も実感出来ます。しかも終曲後に入るチューニング・シーンを約2分間完全ノーカット収録しているという嬉しいオマケ付きで、Rec 1は録音ボタンのオンオフによってこのシーンが部分的にしか残っていませんが、ここではそれが完全な姿で聴けるのです。また「Echoes」で気付かされるのがRec 2のテープ・ヒスの少なさ(※ …と言うより、それがほぼ皆無であること)でしょう。Rec 1はここまで来ると明瞭ではあるもののヒス音の激しさが目立ち始めるのですが、Rec 2はノイズレスで安定した音像がますます際立ってくるのです。更にRec 1のここまでの流れ=ショウ前半のトータル収録時間を計ると67分57秒。これに対し本Rec 2は71分01秒と約4分近くも長く収録しており、ショウ前半からノーカット収録の意義に改めて気付かされるのです。

ディスク2のダークサイド完全再現ではRec 2の存在感がますます高まります。実際両ソースを聴き比べても「Breathe」で流れるギルモアの若々しい歌声の質感や「On the Run」で出てくるSEサウンドの交差の迫力はRecorder 1と互角、それどころかヒスノイズが皆無という強力なアドヴァンテージが備わっているため基本的音質と聴き易さの面ではRec 1を既に凌駕しているのが誰の耳にも明らかです(※ ただその一方で、明瞭感とレンジの拡さはRec 1の方が優れているのですが)。「The Great Gig In The Sky」も2声の女性ボーカルが広い音域を動く姿にRec 1超えの感銘を受ける筈ですし、「Us And Them」に至ってはもうこの録音がRec 1の補填ソースというポジションではなく、同日演奏の多面性を別の視点で捉え切った貴重な別録音である事を再認識されるでしょう。「Any Colour You Like」の5:34以降からディスクエンドまではRec 1を逆補填していますが、ここは両ソースの実音を体感する事で気付かされるパラダイム・シフト、すなわち価値の転換が訪れる瞬間ともなっています。何故ならここは、既にRec 1もRec 2もほぼ互角という事を実感する決定的瞬間となっているからです。

このRecorder 2の録音者であるフィル(※ Phil)氏はアップロード時のコメントで次の様に述べています。” …私の録音はRecorder 1の代わりにはなりませんが、でもそれをうまく補完します “…と。しかしこれを聴けばRecorder 1の影に隠れてしまう程度の凡庸な録音ではない事に誰もが思う筈。代わりにならないのではなく、補完するのでもありません。両録音を聴く事で初めて精度の高い73年アールズコート最終日を実感出来る事に気付かされるのです。今週は同じ録音者による74年タイトル『WEMBLEY 1974 FINAL NIGHT: Recorder 2 (Sigma 251)』も同時リリースされますが、どちらもRecorder 2、すなわち同日別録音の在り様を再考させてくれる優良タイトルとなっています。是非併せて御愉しみ下さい!!


★Echoes、Speak To Me、Any Colour You Likeの欠落箇所はSteve B録音のレコーダー1にてパッチ済み。


Disc 1 (71:01)
1. Intro
2. Obscured By Clouds
3. When You’re In
4. Set The Controls For The Heart Of The Sun
5. Careful With That Axe, Eugene
6. Echoes

Disc 2 (62:41)
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

12. One Of These Days

Sigma 250


Pink Floyd / The Dark Side Of The Moon UK Original 1st Pressing LP / 1Bonus CDR / Non Label
Taken from U.K. Original 1st Pressing LP(Harvest SHVL 804 Gramophone)(Matrix M-1)
Click Image To Enlarge

The original LP first press (solid blue triangle gramophone) of the “madness” UK edition is reproduced from the original edition. A collector’s must-listen sound source directly recorded from the extremely rare hard matrix number “M-1”, which is the first edition of the first edition. As you know, among enthusiasts, there is a theory that “the first version has a higher cutting level, there is a groove near the label, and the sound is good,” especially the first version of “crazy” has the best sound. It has become a dogma among enthusiasts since the past, and it has become one of the most coveted even among deep collectors. It is a masterpiece that the sound image completed by Floyd in 1973, which is different from the artificial touch of the current CD version, is output with a natural depth and scale. Like the current CD, the edges of each sound part are not sharpened more than necessary, so the poetic and fantasy sound image and sound world that the band truly aimed for is warm and peculiar to analog. With the integrated sound, the original “madness” is reproduced realistically as it is. There are some stinging noises in the song because the record is dropped, but it is definitely one of the fans must listen to.

In the latter half of the disc, it is treated as a bonus track, and this disc also includes additional disc 2 from the original record of the precious “Mobile Fidelity Sound Love”. In a different sense, the sound of the mobile version of a very high quality and complete sound image is smarter, and the sound image that is neatly organized is wonderful. Both record and MFSL were played by enthusiasts with extremely advanced audio systems, and you can enjoy plenty of vintage sounds that are rarely touched. This is definitely recommended.

★Unlike a CD that was later pressed, needle snap noise is included because it is dropped directly from the master, but untouched & direct, unprocessed sound is the sound that enthusiasts desire. This sound can only be heard on this board! !! Please experience the sound of outstanding freshness. This is really great.





The Dark Side Of The Moon

Taken from U.K. Original 1st Pressing LP(Harvest SHVL 804 Gramophone, Solid Blue Triangle)(Matrix M-1)

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

Bonus Tracks
Taken from the original Mobile Fidelity Sound Lab LP (MFSL 1-017)

12. Money
13. Us And Them
14. Any Colour You Like
15. Brain Damage
16. Eclipse

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