Pink Floyd / Wembley 1974 Pre FM Master 3 Source Mix / 1CD+Tour Programme Replica

Pink Floyd / Wembley 1974 Pre FM Master 3 Source Mix / 1CD+Tour Programme Replica / Sigma
Live at Empire Pool, Wembley, London, UK 16th November 1974 STEREO SBD

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The origin of Sigma label finally renewed !! Pink Floyd The best sound board of BBC representing 1974 is a remarkable rank up with the waves of the presence full of presence! One piece of shock far beyond that Sigma 1 shock It is an appearance!

During the whole floor of Floyd’s 74 years, Wembley · Empire Pool performances performed for the longest four-day continuous booking. The performance on November 16, which will be the third day, was recorded at that time by the UK public broadcaster BBC and was broadcasted on BBC Radio 1 on January 11, 1975, and for sound source fans it has long been known It was recorded stereo sound board recording. It is the sound source file “HRV CDR 033” which was released by Floyd’s fan site Harvested that threw a stone on this in the Internet era. This Pre-FM sound source which exposed the appearance of “before” for the first time under the white day was a big topic as a master sound all exceeding the same day sound source which had been distributed to the underground until then, and the ultra high sound quality was obvious , Including the monologue in the middle of the “Speak To Me” cut by the main broadcast (* “I ‘ve been mad for fucking years, absolutely years, already over the edge for yonks”), It was a sound source that grabbed the hearts of fans with a number of contents that expanded. The first bullet titled “BBC ARCHIVES 1974 (Sigma 1)” of this Sigma label also adopts this source and decorates the label, and its polite finish which raised the accuracy of the original sound with the high technical force unique to the special label Has given Sigma shocks to fans all over the world and has laid the foundation to be supported.

On this Sigma 1 board, the master sound by this BBC line recording was recorded in such a best condition, On the other hand, the sound image of Pre-FM is similar to the sound of studio recording rather than live sound Because of that, it was a fact that I was lacking in the sense of realism and live recording of the scene on that day as a fate. If you are accustomed to an unofficial sound source, it is also a reason to be able to capture the meaning of the sound image as the material quality of the sound source, but you can get hot as you listen, while maintaining high precision as such a performance sound If it is also a live tone generator, it can be said to be an ideal form of recording sound source. On the other hand, speaking of the realistic presence on the scene is naturally an audience recording, but as is well known, there are two excellent audience recordings that inhaled plenty of air in the day as this is well known. Including that, again to organize these three same-day sound sources …


【Pre-FM source (※ stereo · sound board recording)】

Fansite Harvested publicly released “HRV CDR 033” widely known sound source. It is an original sound source recorded the appearance of the broadcast “before” of the program on January 11, 1975 by the British BBC Radio 1. It is a gemstone sound itself live recorded for business broadcasting by setting for BBC recording, HRV CDR 033 was dropped directly from reel to reel from its master reel tape. Of course, it is recorded with excellent stereo sound which is incredible enough, it can be said that it is a sound source representing the Wembley performance of 74 years as a material as well as sound quality. There was a disc 4 of Sigma 1 and Sirene label “RAVING LUNATICS (Sirene-185)” mentioned above as the already launched board.


【Recorder 1 (※ Audience recording)】

Recording by Mr. Gary Hurley. Of the audience recording of the same November 16, 74 same year whose existence has been confirmed at the present moment, it is the source of those with excellent sound quality. It has a good balance that it is close to the PA stack rather than Recorder 2 which will be described later and has a good dynamic range but there is almost no hiss noise but the biggest drawback is that Angkor’s “Echoes” is not recorded yet Let’s see. Also, since traces of tape flip are seen slightly at certain intervals, this master is presumed to be a 120 minute cassette tape. There was a previously released board such as “BLACK HOLES IN THE SKY (No Label)” (apart from the same title of Great Dane Records).


【Recorder 2 (※ Audience recording)】

Recording by Mr. Nigel Bradder. It is a sound source by the original cassette master, digitized 1st Gen sound source with noise reduction and pitch correction. Because of a tape change or a reverse point I missed about 33 seconds from around 1:36 of “Any Color You Like”, and it turned out that it was recorded from the back of the Wembley venue, so punch of sound from Recorder 1 Although there are aspects that are somewhat weak, but the point that the complete recording of “Echoes” which was the biggest disadvantage of Recorder 1 is characterized by being a big big advantage. In addition, the documentary feeling is outstanding as it plays the performance of the day and plenty of air in the place with a wide perspective. As a preexisting sound source, a net sound source file “NO ROOM UPON THE HILL (No Label)” exists.


· · · If it is synchronized like 2 kinds of audience recording like this pre-FM’s perfect sound board as much as possible, the documentary feeling is perfect as well while maintaining high sound quality as a sound source for broadcasting A sound image should be made. The one that realized this is the ultimate 74-year BBC Wembley which made this latest work, three existing same-day recording material “3 in 1” perfect matrix.

Although this 3in 1 sauce is a sound source which was buried though it was open to the public a few years ago, the ultimate feeling of the real sense of realistic quality is stunned by the quality staff Sigma label staff as well. Remaster is completely unprocessed at the discretion that it is not necessary, but this 74 years Wembley is reviving with the super-specialized sound quality and presence that is suitable for the press board. For example, in Sigma 1, the beating sound of the heart began to appear in front of the disc at the beginning of the disc and the sound inside the hall was slightly heard (※ really, only slightly, unnoticeable unless the headphones were played), but in this 3 in 1 source From the start of the disc filled with enthusiasm and cheers inside the club, that sharp beating sound from the BBC master recording comes up with a corey sound. In actual broadcasting, the monologue that was cut also flows with mega and clear sounds, and finally “Breathe” starts, but as you know, the inside of the hall usually gets stuck at once here as it is known. However, with Sigma 1 = Pre-FM sound source, the audience seems to boil almost completely, and only the sharpened performance sound was conspicuous. However, as the spectator ‘s vivid reactions were first matrixed on the same day as this witnessed the situation, the dumentary nature that was being driven to the corner adds further truth and responsiveness to the performance.

Also at “Time”, a chorus from Vanetta and Carlina comes in from the left side of a song of a thin Rick that connects the sound at the center, but even in such a scene where musical delicateness is required, It is noteworthy that it is a live sound that does not disturb and it is worth noting. Also in the “The Great Gig In The Sky”, the live reactions in the plaza overlap with the voices of both ladies separated into left and right channels, The real amount of heat is reviving. Incidentally, there is a missing about 4 seconds in the original Pre-FM source between this “The Great Gig In The Sky” and the next song “Money”, but here we adjust both audience sources The fade which makes the trace of editing smooth has been done, and its finish has become perfection which can not be distinguished at first by the auditory sense. “Any color You Like” was recorded with a splendid direct hit feeling of the ensemble with a wonderful sound even in Sigma 1, but this time also the real time reaction of the audience who matched the progress of the song was added to the sound image at this time You will be able to realize how dazzling the radiation of the power that the performance of you was releasing was once again realized. “Brain Damage” is a pre-FM sound board source, the reverb effect hanging on the vocal of Roger which sound was not able to be picked up was also finely compensated by the audience source. The original sound that was spreading to the venue revives clearly. “Echoes” has also become a rise in historical overlap of venue recordings and is further tightening the Pre-FM sound. Moreover, sometimes it is noticed the effect that it gives even the surround feeling, and surely it must become hot in the end of the song.

Add another dimension to the soundboard for business broadcasting. Let’s say that it is work to sharpen high-quality sound brightness with realism even by using the atmosphere of audience recording. Because the elements of the sound that should be in place are complete, the wave of one sound is stronger than listening with the Pre-FM sound source alone, and the amount of information included in the sound is high in density of the information , It is certain that you will be able to grab the euphoric euphoria of original live recording in even higher level. This deep blend feeling that the three sources overlap in the best form, the fit of the sound …. What we wanted for this sound source is exactly this sound, it is this sound listening response. This is the real sound of Wembley in 74 years, the completed form of the Pre-FM sound source which shows the difference from the moment you heard!

★ We will mark the 1974 British tour · brochure · replica (16 pages in all) for the first delivery.

Sigmaレーベルの原点が遂にリニューアル!! ピンク・フロイド1974年を代表するBBCの極上サウンドボードが、臨場感溢れる音の波動で格段のランクアップ!! あのSigma 1ショックを遥かに越える衝撃の一枚が登場です!!

フロイド74年の全公演中、唯一4日間連続の最長ブッキングで行われたウェンブリー・エンパイア・プール公演。その3日目となる11月16日の演奏は英国の公共放送局BBCによって当時録音され、翌1975年1月11日にBBC Radio 1で放送されたこともあり、音源ファンには古くから知られたステレオ・サウンドボード録音でした。インターネット時代になってこれに一石を投じたのがフロイドのファンサイトHarvestedによって公開された” HRV CDR 033 “という音源ファイルでしょう。オンエア” 前 “の姿を初めて白日の下に晒したこのPre-FM音源はそれまでアンダーグラウンドに流通していた同日音源を全て超えるマスター・サウンドとして大きな話題となり、その超高音質ぶりは勿論のこと、本放送でカットされた「Speak To Me」中盤のモノローグ(※ ” I’ve been mad for fucking years, absolutely years, been over the edge for yonks “)を含んでいたなど、聴き手の知見を拡げる数々の内容でファンの心を鷲掴みにした音源でした。当Sigmaレーベルの第1弾タイトル『BBC ARCHIVES 1974 (Sigma 1)』もこのソースを採用してレーベルの船出を飾っており、専門レーベルならではの高い技術力で原音の精度を高めたその丁寧な仕上がりが世界中のファンにSigmaショックを与え、支持される礎を築きました。

このSigma 1盤、そうしたベストな状態でこのBBCライン録音によるマスターサウンドを収録していた訳ですが、その一方でPre-FMの音像はライブ・サウンドというよりもスタジオ・レコーディングの音に似ている為、その宿命として当日現場の臨場感・実況録音感に欠けていたのも事実でした。非公式音源に慣れた方であればそれもまた音源の資料性の高さとして音像の意味を汲み取れる訳ですが、でもそうした演奏音としての精度の高さを維持しつつ、聴く度に熱くなれるライブ音源でもあるのなら、それが記録音源の理想形と言える筈です。一方、現場の臨場感と言えば当然オーディエンス録音となりますが、よく知られている通りこの公演には当日場内の空気をたっぷり吸い込んだ2つの秀逸なオーディエンス録音が現存しています。それも含め、改めてこれら3つの同日音源を整理しますと・・・


【Pre-FMソース (※ ステレオ・サウンドボード録音)】

ファンサイトHarvested公開の” HRV CDR 033 “で広く知られた音源。イギリスBBC Radio 1によって1975年1月11日にオンエアされたプログラムの、放送” 前 “の姿が記録されたオリジナル音源です。BBC録音用のセットアップによって業務放送用にライブ・レコーディングされた原石サウンドそのものであり、HRV CDR 033はそのマスター・リール・テープからリール・トゥ・リールで直落としされたものです。当然ながら信じ難いほど秀逸なステレオ・サウンドで記録されていて、素材としても音質的にも74年のウェンブリー公演を代表する音源と言えるでしょう。既発盤としては前述のSigma 1やSireneレーベル『RAVING LUNATICS (Sirene-185)』のディスク4等がありました。


【Recorder 1 (※ オーディエンス録音)】

Gary Hurley氏による録音。現時点でその存在が2つ確認されている同74年11月16日のオーディエンス録音のうち、音質が優れている方のソースです。後述するRecorder 2よりもPAスタックに近く、良好なダイナミックレンジを持ちながらヒスノイズも殆ど無いというバランスの良さを持っているのですが、最大の欠点はアンコールの「Echoes」が未収録である事でしょう。また或る一定の間隔で僅かにテープ・フリップの痕跡が見受けられる事から、このマスターは120分のカセット・テープだと推測されます。既発盤としては『BLACK HOLES IN THE SKY (No Label)』(Great Dane Recordsの同タイトルとは別)などがありました。


【Recorder 2 (※ オーディエンス録音)】

Nigel Bradder氏による録音。オリジナルのカセット・マスターによる音源で、ノイズ低減とピッチ補正が施されデジタル化された1st Gen音源です。テープチェンジかリバース・ポイントのため「Any Colour You Like」の1:36付近から約33秒間ほど欠落しおり、またウェンブリー会場の後方から録音されていた事が判明しているためRecorder 1より音のパンチが若干弱いという側面もあるのですが、しかしRecorder 1最大の欠点だった「Echoes」を完全収録している点は大きな大きなアドヴァンテージとなっているのが特徴です。しかも広い視野で当日の演奏と場内の空気をたっぷり吸い込んでいるためドキュメンタリー感も抜群です。既発音源としては『NO ROOM UPON THE HILL (No Label)』というネット音源ファイルが存在しています。


・・となる訳ですが、このPre-FMの完璧サウンドボードを主軸に置いて2種のオーディエンス録音を程好く同期させれば、放送用音源としての高音質を保ちながらドキュメンタリー感も満点の音像が出来る筈です。これを実現させたものが本最新作、現存する3つの同日録音素材を” 3 in 1 “でパーフェクト・マトリックスさせた究極の74年BBCウェンブリーなのです!!!

この3in1ソースは数年前にネット公開されていたものの埋もれてしまっていた音源なのですが、その臨場感極まる音質の究極感は品質に厳しいSigmaレーベルのスタッフ達も唖然としたほど。リマスターは必要無しという判断で完全未加工ですが、これぞプレス盤に相応しい超特級の音質と臨場感であの74年ウェンブリーが甦っているのです。例えばSigma 1ではディスクスタートから心臓の鼓動音がグッと前に出て場内の音は微か(※ 本当に僅かに。ヘッドホンをしていなければ気付かないほど)に聞こえる程度でしたが、この3in1ソースではディスクスタートから場内の熱狂と歓声で満ち溢れ、その中からBBCマスター録音によるあの鋭い鼓動音が芯のある音で浮き上がってくるのです。実際の放送ではカットされたモノローグもメガ・クリアな音で流れた後、いよいよ「Breathe」が始まる訳ですが、御存知の通り通常ここで場内が一気に沸き立つものです。ところがSigma 1=Pre-FM音源では観客が沸き立つあの様子がほぼ全く聴こえず、研ぎ澄まされた演奏音だけが目立っていた訳です。しかしこれもその様子を目の当たりにした当日観客の生々しい反応が初めてマトリックスされた事により、隅に追いやられていたドュメンタリー性が演奏に更なる真実味と手応えを添えているのです。

また「Time」では、センターで音を結ぶ線の細いリックの歌声の左側からヴァネッタとカーリーナ両嬢によるコーラスがスッと入ってきますが、こうした音楽的なデリケートさが求められるシーンでも弱音の動きを邪魔しない実況サウンドとなっているのは注目に値しますし、「The Great Gig In The Sky」でも左右チャンネルに分離した両嬢の声に場内の生の反応が重なる事で、その場にあったリアルな熱量が甦っています。ちなみにこの「The Great Gig In The Sky」と次曲「Money」の間には大元のPre-FMソースに約4秒間ほどの欠落があるのですが、ここは両方のオーディエンス・ソースを調整して編集の痕跡を滑らかにするフェードが行われており、その仕上がりも聴感上まず判別出来ないほどの完璧さとなっています。「Any Colour You Like」はそのアンサンブルの凄まじい直撃感がSigma 1でも素晴らしいサウンドで収録されていましたが、これも曲の進行にマッチした観客のリアルタイムな反応が音像に添えられた事でこの時の演奏が放っていた理力の放射がどれだけ眩いものであったかを改めて実感出来るでしょう。「Brain Damage」は、Pre-FMのサウンドボードソースでは音が拾いきれていなかったロジャーのボーカルに掛かったリバーブエフェクトもオーディエンス・ソースで見事に補填。会場に広がっていた本来の音がクリアに蘇ります。「Echoes」も会場録音の重なりが史実性の高まりとなってPre-FMサウンドを更に引き締めています。しかも時にそれがサラウンド感すら付与している効果に気付かされ、楽曲終盤で必ずや胸熱くなるに違いありません。




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. Echoes

David Gilmour – guitar, vocals Roger Waters – bass, vocals
Richard Wright – keyboards, vocals Nick Mason – drums, percussions
Dick Perry – saxophone Vanetta Fields – backing vocals Carlena Williams – backing vocals


Sigma 227

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