``Page Plant's Nagoya 96? You don't need AUD because you have SBD, right?'' The shocking audience album, ``NAGOYA 1996 DAT MASTER'', which made the maniacs who were skeptical, say, ``NAGOYA 1996 DAT MASTER'' taper will be performing DAT MASTER in Osaka this time. They provided it to me. As the 1996 Japan tour entered its second half, the Osaka performance was held as a sandwich of the previous Nagoya performance, so if you are an enthusiast who was shocked by the high sound quality of "NAGOYA 1996~", you may also want to visit Osaka before and after. I want to listen to it with the same best audience...I can't help but think so. Therefore, this time we will release two days of audience recording provided by Taper of the same work at once. First of all, it is the first day in Osaka, but there is a stereo sound board recording on this day as well as in Nagoya. The first day in Osaka of THIRD EYE PRODUCTION, who shot this tour with the highest level of audience shots at the time and was all the rage, had an audience recording synchronized with the sound board audio as a ``realism agent''. , Actually, that voice is the same sound source as this time. It is likely that it was based on something that was circulating among traders. However, this time, the master DAT was provided by the taper himself who made the recording, and the audience recording itself was released. Therefore, most enthusiasts probably learned of the original sound source by hearing it from between the sound boards, but the audience recording that was revealed in full is completely of the same high quality as "NAGOYA 1996 ~" . On this day, you will be overwhelmed by Jimmy's thick guitar tone in the unfolding first half of the live performance that opened with "Custard Pie". It is true that the sound quality itself was clear even in the stereo sound board recording on the same day, but it was not possible to capture such a thick sound. More than that, speaking of the first day in Osaka, "Ten Years Gone" astounded not only the fans who were present on the day, but also enthusiasts all over the world. As you can see from the video above, the sight of Jimmy traveling back in time to 1977 with a string bender-equipped Brown Telecaster was a tear-jerking scene of mania. This sound source captures the tones he played much more realistically than the soundboard, and if you were an enthusiast who was present at the venue that day, you'd have flashbacks and think, ``This is the sound that I experienced that day.'' That's probably true. Reproduction power unique to the best audience that truly exceeds the sound board. Another charm of this Audience Master is that it properly captures the very peaceful atmosphere of the venue on the day. Unlike America and Europe, where the audience's reaction is enthusiastic, this venue has the characteristics of a country that listens to the music, and yet is overflowing with peace. This is also something that cannot be felt from the sound board, and I can see why THIRD EYE used the original sound source to add the sense of realism that was lacking. It is because of the atmosphere of such a venue that it was possible to perform “Ten Years Gone”, which was the first and last page of Page Plant’s stage. It is also wonderful that he captures the rich and deep sound quality of the orchestra that covers the performance in this song and "Tea For One". Of course, the sound image is also outstanding, for example, the encore performance of the two ZEP classics and the sound pressure of Jimmy's guitar, which should be described as "like a sound board". Despite being so close, it captures the performance and instrument tones more realistically than a soundboard. Unlike the ZEP stage, Plant Page was a stage that used not only the usual band sound but also the previous orchestra and various instruments, so this audience recording was of exceptional quality and you could experience the real tones of the day. I'm just overwhelmed by what they're letting me do. And not only did they have the freedom to perform "Ten Years Gone," but the overall performance was wonderful, brought about by the aggressive attitude that continued to change even as the tour approached its final stage. What was surprising was that even Charlie Jones's bass line was clearly captured. By 1996, recording using DAT had become widespread, but while it was easy to capture a clear and clear sound image, it was difficult to capture the bass sound and lacked depth. DAT recording is also prone to this. However, this time, even the original rich tone of the bass has been beautifully reproduced. As “NAGOYA 1996~” proved, I was surprised to hear it this time as well, with ultra quality that exceeds the sound board! Live at Osaka-Jo Hall, Osaka, Japan 15th February 1996 ULTIMATE SOUND(from Original Masters) Disc 1 (70:29) 1. Intro 2. Egyptian Intro. 3. Custard Pie 4. Bring It On Home 5. Heartbreaker 6. What Is and What Should Never Be 7. Hurdy-Gurdy Solo 8. Gallows Pole 9. Wonderful One 10. Going to California 11. Ten Years Gone 12. Babe, I'm Gonna Leave You 13. Whole Lotta Love incl. You Shook Me, Break On Through (to the Other Side), Dazed and Confused Disc 2 (62:21) 1. Tea for One 2. Band Introductions 3. Friends 4. The Truth Explodes 5. Four Sticks 6. Kashmir 7. Black Dog 8.Rock and Roll
Free Shipping on Every Order!
