PINK FLOYD, a giant in rock history, and Mike Millard, a great figure in audience recording culture. A brush-up of the super famous recording created by the crystallization of two great talents. Introducing the ultimate edition, which has been refined with tenacious mastering by "GRAF ZEPPELIN". [The history of the legendary recording that has evolved in the same way as the official work] Of course, what is engraved in this work is “Los Angeles performance on April 26, 1975”. Along with LED ZEPPELIN and YES, this is a super masterpiece audience recording that solidified the reputation of the absolute master Millard. If this article has caught your attention, there is no doubt that you have not heard this recording. It is a masterpiece of Millard Abe, and it is a classic among the classics that has produced countless existing groups. However, even if you have heard about the live performance, there may be some people who do not understand the position of the show. This is also a good opportunity, so let’s check the show position from the overall picture of “WISH YOU WERE HERE Tour”.・April 8-21: North America #1a (8 performances) ・April 23-27: North America #1b (LA5 performances) ←★Coco★ ・June 7-28: North America #2 (15 Performance) July 5th: Performance at Knebworth Festival [“WISH YOU WERE HERE” released on September 12th] This is PINK FLOYD in 1975. April edition ``North America #1'' and June edition ``North America #2'' were held in North America, except for Knebworth in July. The last of “North America #1” was 5 consecutive performances at “Los Angeles Memorial Sports Arena”, and this work was recorded on the 4th day. And the reason why a large number of existing groups were born from this recording is because it has been repeatedly upgraded. For example, official studio masterpieces are repeatedly reissued with new media, new technology, remastering, etc., and this is because the ``ultimate sound'' is required. The horizon on which Mirrored Recording stands is the same, and every possibility has been tested, opening up ``even better'' and ``unknown territory beyond the ultimate.'' Following its fate, this recording has been repeatedly upgraded to coincide with the long history of collectors, and has been used to create records such as ``PINK MILLARD'', ``LOS ANGELSE 1975 4TH NIGHT'', ``DEFINITIVE MILLARD'', and ``LOS ANGELES 1975 4TH NIGHT: MIKE MILLARD ORIGINAL MASTER TAPES''. The existing group has been making progress in its evolution. And this work is the latest and cutting-edge version of 2021. [Passionate mastering that does not overlook the deterioration of the original over time] This is a legendary recording that shines in the history of recording, so there is no point in talking about it being ``like an official'' or ``the core is ○○ and the sound is ◇◇.'' . Of course it's outstanding, but the question is, ``Where was there room for improvement?'' The best way to understand this is to explain the work involved. The base of this work is, of course, the original master. It is a master that also has the real voice of Millard himself testing the microphone. On top of that, the key point is the painstaking mastering by GRAF ZEPPELIN. The amazing thing about it is its obsessive precision. The basic pitch adjustment is so precise that random changes are not overlooked, and the leveling of volume and sound pressure is instantaneous and stable. Noise processing is carefully controlled to the very limit that does not affect the sound of the performance, and phase shifts are adjusted down to 1/1000 of a second. And its true power shines in the archive of vintage sound sources. The other day, Hakone Aphrodite's highest peak album "HAKONE APHRODITE 1971 2ND NIGHT: 50TH ANNIVERSARY" received great acclaim, and this was a testament to the precision of "GRAF ZEPPELIN" finishing. Also, the biggest point of this work is the replacement of the master. Currently, there is a blind belief in the world that ``Mirror's Omoto Master is the best of all time.'' That's true (overall), but it's not absolutely correct. To go into more detail, Millard's original master also shows signs of deterioration over time (though only slightly), and some sound blurring occurs. Of course, it's a small thing that you won't notice if you listen to it with BGM, but the performance and vocals are swaying in the beginning of "Breathe" and the second half of "Any Colour". Therefore, in this work, such parts are replaced with the conventional "1st Gene Master". Of course, as a result of replacing it, it would be unreasonable if the switching was more noticeable than the sound blurring. Replacement parts have been kept to a minimum, and they have been polished with the same precision mastering as the main part before being connected. It is finished as a seamless live album without any discomfort. [The one who could surpass the ultimate was the ultimate himself] The legendary recording that was revived was truly the best in history. Each task is based on the basics and is not groundbreaking, but when the dust accumulates, it becomes a mountain. This feeling is similar to listening to high-quality discs of official works, such as ``Mobile Fidelity'' and ``Nimbus Supercut.'' The rise of each note has the presence of ``the strings and leather trembling'', and this remains beautifully until the very end where it disappears into the void. The sharp outlines are natural because they are not created by digital processing, and the jet-black depth of the silent parts shines as a contrast. A quest for the ultimate sound that was thought to have been concluded by discovering Millard's original master. However, there was still a long way to go. The “truth of the master” including deterioration over time is engraved in “LOS ANGELES 1975 4TH NIGHT: MIKE MILLARD ORIGINAL MASTER TAPES”, but this work is superior as a “musical work with good sound”. ``The ultimate that exceeds the ultimate'' was created through painstaking work. A 3-disc set to preserve the cutting edge forever. Legendary audience recording of "April 26, 1975 Los Angeles Performance" by the absolute master Mike Millard. This is a supreme disc that has been refined by the highest-quality Omoto master through careful mastering by GRAF ZEPPELIN. The basic pitch adjustment is so precise that random changes are not overlooked, and the leveling of volume and sound pressure is instantaneous and stable. Noise processing has been determined to the very limit that will not affect the performance sound, and phase shift has been investigated down to 1/1000 seconds. Another point is that the part that had slightly deteriorated over time has been replaced with the 1st Gene Master. It is blindly believed that ``Omoto Master is the best of all time'', but this is an ``ultimate beyond ultimate'' album that has been found and corrected even the slightest flaws. Live at Los Angeles Memorial Sports Arena, Los Angeles, CA, USA 26th April 1975 ULTIMATE SOUND(UPGRADE) Disc 1 (63:14) 01. Millard Mic Test 02. Introduction 03. Raving And Drooling 04. You Gotta Be Crazy 05. Shine On You Crazy Diamond Part 1-5 06. Have A Cigar 07. Shine On You Crazy Diamond Part 6-9 Disc 2 (56:34) The Dark Side Of The Moon 01. Speak To Me 02. Breathe 03. On The Run 04. Time 05. Breathe (Reprise) 06. The Great Gig In The Sky 07. Money 08. Us And Them 09. Any Color You Like 10. Brain Damage 11. Eclipse Disc 3 (24:34) 01. Audience / MC 02. Echoes
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