Pink Floyd/CA, USA 10.23.1970

An incredible new title is coming to Sigma this weekend! The Santa Monica performance was held on October 23rd, the final day of the second North American tour in 1970, which was held for about a month in conjunction with the release of the album "Atom Shinbo"...The fans are already familiar with this performance. It's probably a performance. After all, in the early 1970s, it was probably known for Floyd's first bootleg LP ``LIVE'' released on TMOQ, and ``CREATURES OF THE DEEP'', which used a different source from the same day than that used by TMOQ. was released in 2009 and has been popular for a long time. However, the sources used for discs 1 and 2 of this ``CREATURES OF THE DEEP'' (hereinafter referred to as ``already released edition'') are missing ``Taiyou Hymn'', partial tape deterioration, and cuts and inserts. It was by far the best title out there at the time, but I honestly couldn't deny that it was a bit underwhelming. Since then, this issue has been bothering me, and I kept wishing for a new standard of the day with a different source than the one used on the TMOQ version...but this month, I finally got the reel I used for the already released version after 6 years.・We succeeded in obtaining the finest tape made reel-to-reel from the master's 1st Gen. And I listened to the sound without any deterioration at the label...I don't know how to convey my excitement at that time. After all, the label staff who were present there, all Floyd's boot addicts who are no longer surprised by ordinary things, were astounded by the super-excellent sound accompanied by the emotion rarely seen in recent years! It was sealed for exactly 45 years! This sound, which can be called Pandora's box, is characterized by the overwhelming closeness and clarity of the performance sound, extremely high transparency, rich texture of the tone, and surprisingly wide dynamic range, so there is no distortion, distortion, or blurring. With a magnificent sound image, it is an amazing master sound that can be said to be the pinnacle of audience recording. Naturally, "Taiyo Hymn", which was missing from the previously released source material, is present in its perfect position and in its proper form, and another major feature is that the scene before the performance is recorded for a much longer time than previously released. It becomes. Furthermore, in the previously released source, the left channel was silent and the sound localization was slightly to the right, but it is firmly fixed in the center from the beginning (*Of course, it is perfect until the end). The sound image is so perfect that there's no room for me to touch it, so I tried remastering it with the latest equipment, but nothing other than very slight noise removal and adjustments were made to the extent that it didn't affect the original sound. To be honest, this is no longer an upper version, but a musical experience in another dimension, and it is no exaggeration to say that you can experience the excitement of the venue 45 years ago.It is an outstanding title of ultra-class!!First of all, the opening However, the already released version contains about 46 seconds of the state before the performance started, including a light sound check that was not yet collected, and there is already an advantage from the start of the disc. When "Astronomy Domine" begins, the rhythm with a low center of gravity boldly jumps up, and the music suddenly explodes with surprise as it opens up (or is freed), but even with strong sounds, it doesn't become muddy or crushed at all, surprisingly. You will be stunned by the sound of the performance that will appear up close. Even in the quiet part from 4 minutes 29 seconds, when the song's thoughts quieten down, there is overwhelming clarity, and I think you will clearly notice that it is a sound experience in a different dimension from the previous sound, where the sound was distant and muddy. In "Green Is The Colour," the singing melody that evokes a melting curvaceous beauty appears with overwhelming closeness and clarity, captivating the listener. When the background performance starts to move, the sound becomes even more dense and rich, but since this scene on the previously released version had a muddy sound and was somewhat difficult to listen to, you should be surprised by its upper feeling. In “Eugene, Watch Out for the Axe,” you can perfectly follow the changes in tone throughout the song. Since you can perfectly follow the expression of soft notes, you will be able to feel the expression of the song down to the minute details, and you will be able to fully enjoy the charm of the rich resonant lines between the lines that reach the musical convergence and end after the scream. In "Fat Old Sun," you'll notice that the bass and tom movements, which were subdued on the previous release, don't blur at all here, and on the contrary, the sound floats beautifully. The singing voice is very close, and the overall luster and clarity of the performance sound is on a different level than before. This allows you to feel the dynamic feeling unique to slow tempo even more closely, and I think you will be able to more clearly understand the way the sound rests and the skill of restarting the theme melody from the middle of the song. “Taiyo Sanka” is an unrecorded song that was omitted from the source used for the previously released “CREATURES OF THE DEEP”, and this is its first appearance. From the crescendo effect of the introductory pounding (a gong or a crash cymbal with a mallet?), an amazing sound image spreads all at once, and even in the sound collage in the middle, where the rhythm is erased, the sound of each instrument is different from the previous release. It jumps out with incomparable sharpness and clarity. In addition, the performance here has a hook performance with the bass and guitar, and the rhythm that progresses in a fixed pattern has a rapid and characteristic part (from 3 minutes 50 seconds), so there is a lot to listen to in terms of performance. That must be attractive. ``Cymbaline'' has a heavy rhythm and Gilmore's powerful singing voice that pops out with a luxurious and refined sound, and the scene in the middle of the song with footsteps and doors opening and closing also conveys a sense of urgency. The surprising and interesting way these scenes and music are connected, the visual and auditory articulation, is at its peak here. “Mystery” is also a song where you can enjoy the remarkable upper feeling. The scattered avant-garde piano chords and melodies that develop until the middle, the ferocious guitar feedback effect, and the repeated, spell-like flashy beats of the drums and gongs, all of which are powerful, without becoming muddy or crushed. All of them come out with a sharp sound. When a sudden strong sound or a volume that exceeds the limit is input like in this song, the level normally saturates and the waveform becomes distorted, but this master sound from 45 years ago sounds without the slightest blurring. stands out strongly, and it is a scene that strongly demonstrates how deep the range tolerance of the recorded reel tape was. Of course, even at the end when the music is guided by the organ and ascends to the heavens, each musical note is emitted with a dignified and lustrous tone, and this scene shows how each musical decoration filled with inspiration turns into an innocent prayer and ascends to heaven. You should feel like you can see in the sound. And when it comes to the orchestral version of “Atom Heart Mother,” I can clearly say that this has the best sound among the existing audience recordings. The sounds of the mixed chorus and brass band are clear and blend well with the band sound, and their dense concerto-like dialogue has come to fruition on a far higher level than any other title recorded in the orchestral version that I have been able to listen to thus far. It is. In addition, we have discovered that the sound quality has improved significantly.For example, in the scene where the slide guitar that was singing as if threading through the orchestral music disappears (*6 minutes 03 seconds to 09 seconds), the faint sound that is on the verge of disappearing is heard. It can be heard clearly, and this is a scene where the sound was far away and unclear in the same scene on the previously released version. Also, in the scene where the idea of ​​the song disappears and it becomes like a sound collage (* around 18 minutes 47 seconds), I noticed that Gilmour's guitar play, which was not originally there on the previous release, was inserted (*previous release 17 (equivalent to around minute 25 seconds to 18 minutes 34 seconds), and the oriental string melody that appears from 22 minutes 00 seconds to 12 seconds, the sound is muddy and I can't follow the melody as clearly as before. However, this time there are many scenes where you can notice various things, such as being able to clearly follow the sound of each string. "Interstellar Overdrive" will amaze you with its thick, dense sound from 3:01, when the performance begins at 3:01, guided by a thin guitar. As you can see from the contrast in sound output, the expression on this day had a wide range of strengths and weaknesses, but at the same time, it is interesting that the ensemble has a sharp and rapid sense of drive. Please fully enjoy the scene where the aggressive performance gradually distorts the expression and transforms into an unpredictable state with the spectacular close-up, high-resolution sound. What is the upper version anyway? I think it can be interpreted in various ways depending on the level of exposure to bootlegs and one's sensitivity, but at Sigma we think of it as a "sound image that reduces the abstraction that comes from poor sound quality and brings more concreteness." What we have here is exactly that, and in fact, it's filled with a musical experience of another dimension that easily surpasses even that definition. Please be careful when listening to this sound. That familiar sound image has been overwritten with a surprising sound, and you can clearly feel that the real melody that Floyd was emitting at that time shines here with pure beauty. The fullness of this vivid sound that has abolished all abstraction is the reverberation of the Civic Auditorium that existed that night 45 years ago = Echoes itself, and we continue to think of Floyd from 45 years ago. It can be said to be a genuine response received. Live at Santa Monica Civic Auditorium, Santa Monica, California, USA 23rd October 1970 PERFECT/TRULY PERFECT SOUND(HUGE UPGRADE) Disc 1(65:47) 1. Introduction 2. Astronomy Domine 3. Green Is The Colour 4. Careful With That Ax, Eugene 5. Fat Old Sun 6. Set The Controls For The Heart Of The Sun 7. Cymbaline Disc 2(71:50) 1. A Saucerful Of Secrets 2. Roger Introduction 3. Atom Heart Mother (with orchestra and choir) 4. Interstellar Overdrive