Pink Floyd / Los Angeles 1975 4th Night: Mike Millard Original Master Tapes / 3CD

Pink Floyd / Los Angeles 1975 4th Night: Mike Millard Original Master Tapes / 3CD /Sigma

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

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The treasure of unofficial sound sources, finally lifted.
The sound of Mike Millard’s master cassette that has been wrapped in a secret veil for many years will finally be released to the whole world!!!

Mike Millard … How long have we been overwhelmed by the recordings left by this rare name Taper, known as “Mike The Mike”? The recording conveys various aspects of the song, not just the recorded form, with unparalleled high quality, deeply fulfills the listener’s musical craving, and fades the unity of the player and audience lost in that era Tied without eternity. The recording attracted not only the unofficial sound source fans but also various artists themselves, and Zeppelin officially adopted the sound that he caught in the sound of the later DVD work, and in March The National Records, which were released in the U.S. at the end of last year, recorded the three cassette box sets released by the United States in the “Mike Millard” method, which restored the equipment and settings used by Millard. Is still present in the 21st century.

Millard has survived many famous recordings because he went to the same venue for years and continued to use the same method. Famous story is the bold way of sneaking a recorder in a wheelchair, moving a microphone around a hat and moving to the vicinity of the 8th row, passing money if there is a loud screaming fan around and silencing him He said that the quality, “only the performance sound emerges in front of the eyes with the highest degree of transparency, and the surrounding cheers and yellow voices are almost zero”, is carefully prepared by him.

By the way, this mirrored recording, what we have heard so far, is almost exclusively based on the 1st gen he copied to his friends at the time, and the original master tape that he actually recorded Not a sound. This is because Millard destroyed all of the master tapes he recorded just before his death, or reported that his family had discarded a large amount of tapes after his death and had no value at all. So, in fact, the original sound of the master tape has never appeared before to support it.

The other day, however, the big news that overturned this long-standing urban legend was released online with images, which surprised unofficial music fans around the world. You may have seen it already, but you can see that there is a large number of original master cassettes from Millard’s own recordings that were believed to have been destroyed or lost. It was stacked in one corner of Millard’s bedroom, which remained intact after his death, and many of the boxes, filled with original master tape, received enough trust from Millard’s mother in the early 2000s that Rob. Until the end of last year, S had been moved to a cool, dry place and stored. There are a number of great recordings by Millard himself during the late 1973 and early 1992, which are much better sound quality than what was previously available as 1st gen (= that sound we have been accustomed to for many years). Not only remains in the original, but the part that was cut or faded when the 1st gen was created is “absent”, and it still exists as the longest and full version of the original. A big incident. What’s more, these dive into the amazing news that will be released one after another in the coming months, and the first thing that came out of this is the 75-year-old Los Angeles performance that was too famous as Floyd recorded by Millard. !!

The master tape’s original sound, when it comes to the extreme point of sound quality that feels null even in the appearance of ultra-high sound quality … I’m worried how to tell this excitement, but the title that recorded the fourth day of this Los Angeles performance in 1975 by mirrored recording is “ LOS ANGELES 1975 4TH NIGHT (Sigma 148) ” which has appeared from this Sigma so far, The brush-up version of “DEFINITIVE MILLARD (Sigma 228)” was the decision board. However, those who are accustomed to listening to these already-released boards are said to be “Finally a master tape!” Because those already released boards (* especially Sigma 228 edition “DEFINITIVE MILLARD”) are also recorded with quite high sound quality, I think that you probably feel as follows. “At last, the appearance of the actual master tape was great, but the 1st gen sound was great too. Could it be that much difference?” The key to answering that question is hidden in the tape used by Millard, so let’s take a look.

Speaking of the LA Forum where the venue was held, Millard’s home ground, as usual formed a formation with a tapered friend of support, he brought his favorite machine Nakamichi 550 to this recording, Austria It seems that it was the usual style that we also know that we put AKG’s unidirectional CK1 capsule microphone 451E in a hat. However, what we want to pay attention to is the recording media, and he will use the same manufacturer’s “KR”, that is, pure chrome tape, instead of his usual TDK cassette tape “SA 90”.

As you know, Millard’s favorite tape is the “SA” series. Even if you look at the image of the actual 1st gen tape currently being seen on the net (* It is a hand-painted beautiful lettering that Millard carefully created for close friends one by one), most of them have SA You can see that it was used. This is where it is interesting, in fact, if you look at the actual master tape released this time, it is recorded on KR instead of SA. This KR is a real chrome tape that uses chromium dioxide for the magnetic material, unlike the product (= SA) after the so-called “HIPOSI” or “chrome type”, and even the TDK cassette lineup at that time ” It was a product that had received special treatment as “Brilliant Series”. Perhaps Millard was fond of KR in the early days, probably because he fell in love with the quality.

However, as a result, in 1975 when this LA performance was held, SA was newly released in March and production and distribution of KR ended at the same time, and KR disappeared rapidly from the shop after this month Is. In fact, right after the recording of this Floyd (April 26), the master tape he used also changed from KR to SA, and thereafter both the master and the copy (= 1st gen) were unified with SA, “Mirard = SA tape” The well-known image is established. In other words, this recording is the last one he recorded using KR = genuine chrome tape, while the sound we have heard so far on the already released board (= 1st gen) is You know that the recorded master sound was a sound that was copied to a different magnetic SA tape. It is natural that there will be a difference in sound quality, and the above-mentioned question, “Whether it is a real master tape, is it so much different from 1st gen?” In other words, the impact of the master sound that has been lifted this time (= listenable in this work) can also be said to be the amazing original sound power recorded on genuine chrome tape.

It will also be noted that this recording has two topics that are only possible with a real master tape. One is that after the performance of the first and second parts of the show that was performed when transferred to the 1st gen tape is not faded, the scene remains in a state where no fade is processed is. The other is the length of the recording time, the state of waiting for the encore that can be heard on disk 3- (1) remains about 16 seconds longer than before, and the fact that it is the longest recording version in history can not be ignored . Naturally, both are the first appearance scenes in history, and not only the sound quality but also the perfect picture of the recording is perfect and the maximum appearance is descending !!!

The vividness of the sound is truly shocking. As you know, this recording starts with the sound of “Tess, Tess, Tess …” by the mirrored person before the start of the performance for about 3 minutes and 30 seconds, but the clarity and spread of the sound image The depth of the depth, which can be seen from the high degree of transparency, and above all, the direct hit feeling of the instrument sound being checked has reached an astounding level from the beginning of the disc. In “Raving And Drooling” as well, the sound has an even harder core, and the clarity of the melody rises, and the wailing of the melody due to the repetition of the riff permeates deep into the chest. It is worth noting that the rigorous attack sound of the bass sounds harder and more vivid than ever. “You Gotta Be Crazy” has untouched guitar melody with a veil-stripped primary color, vivid cymbals, and an impressive sound. The sound of twin guitars also has a master direct feeling of amazing movement, but the sound of a powerful synthesizer that undulates with a dull sound is sure to be groaned by the direct hit feeling. The slight cut part (* due to the tape change) in the interlude of “ Have A Cigar ” also appears as it is in the master, but this partly degraded scene also has an unusual vividness They have gone out and raised the feeling of recording. “Shine On You Crazy Diamond” also develops emotions through the linguistic means of sound with a dazzling transcendental sound, and the goodness of treble growth peculiar to chrome tape will delight your ears. In particular, the euphoria of the tone that can be heard in (Part 6-9) is such that even if you are accustomed to listening to the existing 1st gen, you will be terrified, and you will have to breathe in the depth and sharpness of the lingering sound between sounds. It is also a big topic that the sound image does not fade out after Roger’s MC telling a break after the end of the song, and the recording ends with a break. This is also the first appearance scene only in the master tape unprocessed, and there is no doubt that the fresh unexperienced feeling of breakage will make you thrill.

In the insanity set of Disc 2, the sharpness of the sound output response also stands out. At the beginning, you can hear the surrounding audience talking and the sound of firecrackers singing in the distance near 0:24, 0:47, but these scenes that were in the venue on the day are simply compared to the already released board You’ll notice that it’s not a close sound with increased vividness, but a clear, close-range sound with uneven depth. “On The Run”, where the mid-low range with a massive and elastic feeling is rich and concave, is the ultimate, and “Time” is nationwide for those who are thrilled by the mid-solo guitar solo’s crying sound. It seems to be visible one after another. “ The Great Gig In The Sky ” is a masterpiece of the appearance that the strength of the singing voice with a high sound density unfolds at the ear and melts as a fine flow of fine sound You will surely see Millard’s appearance on the day, which continues to capture this female chorus without swaying. “Money”, where the midrange sound power is fully open, could be heard with a high quality sound even on the already released board, but here the explosiveness and diffusion of the reverberating sound catches the ears. 3:43 It is easy to understand when you listen to the guitar solo that develops from around, but when you synchronize with the already released board, the goodness of the sound loss in the high range is clearly increased, and the feeling of blockage peculiar to chrome tape is You will be able to enjoy the ultra-clear sound without it. At the same time, “Us And Them” should grow and be amazed by its high-frequency sensitivity. From 4:59 to 5:01 of “Any Color You Like”, 1st gen = slight deterioration of the right channel and scene omission which also existed in the already released board
(Due to tape flip), this is also a fun documentary of the day rather than a drawback, and it will be uptempo at the end.


マイク・ミラード…。通称” マイク・ザ・マイク (Mike The Mike) “で知られるこの稀代の名テーパーが遺した録音に私達はどれだけ圧倒され続けてきたのでしょうか。その録音はレコーディングされた姿だけではない楽曲の様々な在り様を比類なき高音質で伝え、聴き手の音楽的な渇望を深く満たし、あの時代に失われた奏者と聴衆による一体性を色褪せること無く永遠に結び付けています。その録音は非公式音源ファンは勿論のこと様々なアーティスト本人達をも魅了し、ツェッペリンは彼が捉えた音を後のDVD作品の音声で公式採用しましたし、この3月に単独来日を控えるザ・ナショナルも昨年末に米国限定リリースした3本組のカセットボックスセットをミラードが使用した機材とセッティングを復元させた” マイク・ミラード方式 “で収録するなど、彼が遺した録音とその話題は21世紀の現在も事欠きません。


ところでこのミラード録音、これまで私達が聴いてきたものはほぼ例外なく彼が当時の友人達にコピーした1st genが元になっており、彼が実際に録音していたオリジナルのマスターテープ現物の音ではありません。これはミラードが死の直前に自分が録音したマスターテープを全て破壊した為だとか、彼の死後にその値打ちが全く判らなかった彼の家族が大量のテープを全部捨ててしまったと伝わっているからで、事実それを裏付ける様にこれまでそのマスターテープ原音が姿を現した事はありませんでした。

ところがつい先日、この長年の都市伝説を覆す大ニュースが画像付きでネット公開され、世界中の非公式音源ファンを驚愕させたのです。既にそれを観て御存知の方も居られるかと思いますが、破壊されたか失われたと信じられていたミラード自身の録音によるオリジナルのマスターカセットが大量に現存している事が判ったのです。それは死後もそのまま維持されていたミラードの寝室の一角に積まれており、オリジナルのマスターテープで満たされたその沢山の箱を2000年代の初頭、ミラードの母親から充分な信頼を得ていたロブ・Sという人物が昨年の終わりまで涼しく乾燥した場所に移して保管していたのです。そこには1973年後半~1992年前半の間にミラード自身が録音した数々の名録音が、これまで1st genとして出回っていたもの(=私達が長年慣れ親しんでいたあの音)よりずっと優れた音質で残っているだけでなく、1st gen作成時にカットされるかフェイド処理されていた部分が” 無い “、オリジナルの最長版・完全版として現存しているというのですから、これは驚嘆に値する大・大事件でしょう。しかもこれらは今後数ヶ月のうちに順次公開されるという驚天動地のニュースまで飛び込み、その手始めとしてまず公開されたのがこの本作、ミラードが録音したフロイドとしてあまりにも有名な75年のロサンゼルス公演なのです!!

そのマスターテープ原音の、超高音質という形容でもヌルく感じられる音質の極点ぶりときたらもう…。この興奮をどうお伝えしたら良いか悩ましいのですが、ミラード録音によるこの75年ロサンゼルス公演4日目を収録したタイトルは、これまで当Sigmaから登場した『LOS ANGELES 1975 4TH NIGHT (Sigma 148)』や、そのブラッシュアップ版となる『DEFINITIVE MILLARD (Sigma 228)』が決定盤となっていた訳です。ただこれら既発盤を聴き慣れた方は「遂にマスターテープ登場!!」と言われても、やおら信じ難い思いを抱かれる方も多いのではないでしょうか。というのはそれら既発盤(※ 特にSigma 228盤『DEFINITIVE MILLARD』)もかなりの高音質で収録されている為で、恐らく次の様に感じていると思うのです。「遂に現物マスターテープ登場とは凄い。しかし1st genも素晴らしいサウンドだった。それほどに差が出るものだろうか?」…と。その疑問を解く鍵が、ミラードが使用したテープに隠されているのでちょっと注目してみましょう。

会場となったL.Aフォーラムと言えばミラードのホーム・グラウンド、いつもの様にサポート役のテーパー仲間とフォーメーションを組んだ彼はこの日の録音にも愛機の日本製ナカミチ550を持ち込み、これにオーストリアAKG社製の単一指向性CK1カプセル・マイク451Eを帽子に仕込むという、我々も伝え知っているお決まりのスタイルだった様です。しかし注目したいのはその録音媒体で、この日は彼お決まりのTDKカセットテープ” SA 90 “ではなく同メーカーの” KR “、つまり純粋なクローム・テープを使用している点でしょう。

御存知の通りミラードが好んで使った主力テープは” SA “シリーズです。現在ネット上で見られる1st genテープの実物(※ ミラードが親しい友人達にひとつひとつ丁寧に作成した、手描きの美麗なレタリングが施こされたアレです)の画像を見ても、その殆どにSAが使われていた事が判ります。ここが興味深いところで、実は今回遂に公開された現物のマスターテープを見ると、それはSAではなくKRに録音されているのです。このKRはいわゆる「ハイポジ」とか「クローム・タイプ」と称した後の製品(= SA)とは異なり、磁性体に二酸化クロムを使用した本物のクローム・テープで、当時のTDKカセットのラインナップでも” ブリリアント・シリーズ “として別格の扱いを受けていた製品でした。恐らくミラードもその品質に惚れ込んでいたからこそ初期はKRを好んで使っていたのでしょう。

ところが何の因果か、このL.A公演があった1975年は3月にSAが新発売されると同時にKRの生産と流通もそこで終了、この月を境にしてショップから急速にKRが消えてゆくのです。実際このフロイドの録音(4月26日)の直後から彼が使うマスターテープもKRからSAに取り替わってゆき、以降はマスターもコピー(= 1st gen)もSAで統一され” ミラード = SAテープ “というよく知られたイメージが確立されてゆきます。言い換えればこの録音は彼がKR=純正のクローム・テープを使って録音した最末期のものであると同時に、私達がこれまで既発盤(= 1st gen)で聴いてきた音はそのKRに記録されたマスターサウンドを、磁性体の違うSAテープにコピーした音であった事を知るのです。そこに音質差が生じるのは当然ですし、前述した「現物のマスターテープとはいえ、1st genとそれほどに差があるのだろうか?」という疑問もこれで消えるでしょう。つまり今回解禁された(= 本作で聴ける)マスターサウンドの衝撃とは、純正のクロームテープに記録された驚異的な原音力でもあると言えるのです。

更に、この録音には現物のマスターテープでしか有り得ないトピックが2つある事も特記されるでしょう。1つは、1st genテープにトランスファーされる際に施されたショウの第1部と第2部の終演後がフェイド処理されておらず、ノー・フェイド未加工の状態でシーンが残っている事です。もう1つは収録時間の長さで、ディスク3-(1)で聴けるアンコール待ちの様子がこれまでより約16秒間も長く残っており、史上最長収録版となっている点も無視出来ません。当然どちらも史上初登場シーンであり、その音質だけでなく録音の全体像としてもパーフェクトにしてマキシマムな姿が降臨しているのです!!!

その音艶の鮮やかさは真に衝撃。御存知の通りこの録音はミラード本人の”テス、テス、テス・・”の声に続いて約3分30秒間に渡る開演前の音出しから録音が始まっている訳ですが、音像の鮮明さと拡がり、透明度の高さから判る奥行きの深さ、そして何よりチェック中の楽器音のダイレクトな直撃感がディスク冒頭から驚異的なレベルに達しています。「Raving And Drooling」も音に更なる硬い芯が入った上での明瞭さが漲り、リフの反復による旋律の慟哭が胸の奥深くに染み渡るのです。特にベースのゴリゴリしたアタック音はこれまで以上に硬質で鮮やかに鳴っている点は要注目でしょう。「You Gotta Be Crazy」にはミュートを掛けないギターの旋律にヴェールを剥ぎ取った原色の色彩感があり、シンバルの刻みも鮮やかになって粒立ちの良い感動的な音の像を結びます。ツインギターの鳴き上げにも驚天動地のマスター・ダイレクト感がありますが、鈍い音でうねる力強いシンセサイザーの出音にもその直撃感に唸らされること確実です。「Have A Cigar」の間奏中にある僅かなカット部分(※ テープチェンジに起因するもの)もマスターに残るそのままの姿で登場しますが、この部分的な劣化シーンにも異様な生々しさが滲み出て録音の現場感を格上げしているのです。「Shine On You Crazy Diamond」も音という言語手段を通して情感を構築してゆくプロセスが眩い超絶サウンドで展開し、クローム・テープ特有の高音の伸びの良さが耳を潤します。特に(Part 6-9)で聴ける音色の陶酔感は既存の1st genで聴き慣れていても戦慄が走るほどで、音と音の間にある余韻の深さと鋭さに息を呑むに違いありません。更に終曲後、休憩を告げるロジャーのMCの後で音像がフェイドアウトせず、録音がブツ切れて終わる事も大きなトピックです。これもまさにマスターテープ未加工ならではの初登場シーンであり、その生々しい未体験のブツ切れ感に胸ざわめくこと間違い無しです。

ディスク2の狂気セットでは出音レスポンスの鋭さもグッと際立ちます。冒頭で周囲のオーディエンスが話している様子や0:24、0:47付近に遠くで爆竹が鳴っている音が聞こえますが、当日の場内にあったこれらの情景も既発盤と比べると単に鮮やかさがランクアップした近い音ではなく、凹凸のある奥行きを伴った鮮明な至近距離サウンドである事に気付かれるでしょう。マッシヴで弾力感のある中~低音域が凹凸豊かに展開する「On The Run」はその極みですし、「Time」に到っては中盤ギター・ソロのむせび泣く音色に胸焦がされる方が全国で続出するのが目に見える様です。「The Great Gig In The Sky」は音密度の濃い歌声の力強さが耳元で幾重にも展開し、それが抜けの良い細かい音の流れになって融解してゆく姿が圧巻で、ここではこの女性コーラスを微動だにせず捉え続ける当日のミラードの姿を見るに違いありません。中音域のサウンド・パワーが全開になる「Money」は既発盤でも上質な音で聴けましたが、ここではその上をゆく響きの炸裂感と拡散力が耳を惹きます。3:43付近から展開するギター・ソロを聴くと判り易いのですが、既発盤とシンクロさせてみると明らかに高音域の音抜けの良さが上がっており、クローム・テープ特有の閉塞感の無いウルトラ・クリアのサウンドを堪能出来るでしょう。同時に「Us And Them」も伸びて冴え渡る高域感度の良さに仰天される筈です。「Any Colour You Like」の4:59~5:01には1st gen=既発盤にも存在していた右チャンネルの僅かな劣化とシーン欠落が生じていますが
(※ テープ・フリップに起因)、これも欠点というよりは当日の録音ドキュメンタリーとして愉しめますし、終盤でアップテンポになる区

Disc 1 (63:33)
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 ★最後フェードが掛かってない

Disc 2 (56:54)
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 ★最後フェードが掛かってない

Disc 3 (24:39)
1. Audience ★冒頭16秒長く収録
2. Echoes


Sigma 242

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