The latest in the reprint series that brushes up on legendary recordings. Introducing the ultimate edition of the masterpiece of “IN THE FLESH Tour” refined with high-precision mastering by “GRAF ZEPPELIN”. [Super famous recording that symbolized an era of Floyd] What is recorded in this work is “Oakland performance on May 9, 1977”. This is the legendary audience recording. If you've been paying attention to this article, you've probably already heard of it in some way. It's a classic among classics, but it's surprisingly easy to understand where the "point" of a live album is on the "line" of a tour. There are some things that I haven't done. This is a good opportunity, so let's take a look at his career history from the "ANIMALS" era and check out his position. [“Animals” released on January 21st]・January 23rd – February 4th: Europe #1 (9 performances)・February 17th – March 1st: Europe #2 (11 performances)・March 15th Sunday - 31st: UK (9 performances) April 22nd - May 12th: North America #1 (12 performances) ←★Coco★ June 15th - July 6th: North America #2 (14 performances) This is PINK FLOYD in 1977. The “WISH YOU WERE HERE Tour” album was released after the tour ended, but the “ANIMALS” tour started after its release. It consisted of a European tour until early spring, followed by a North American tour. The North American tour is divided into two with about a month off, and the Oakland performance of this work is at the end of the first half. This was the 10th concert of "North America #1". This show is a symbolic performance that boasts exceptional popularity even on the “IN THE FLESH Tour”, but the reason for this is that the super famous recording was left behind. Its quality and abundance of existing releases are comparable to FM broadcasting, and it has evolved with the progress of history. At our store, past releases such as "OAKLAND", "DEFINITIVE OAKLAND", and "OAKLAND 1977 1ST NIGHT" have been updated with the most advanced and highest sound of each era. This work is the 2021 version. [Paranoid-level high-precision mastering] The concept of this work is high-precision mastering. The same was true for “ULTIMATE MILLARD (Sigma 286)” which was released at the same time, but this recording has already been discovered by the original master. Genetic upgrades have physically reached a dead end, and the stage has moved to "Differences in Polishing". And, for this work, "GRAF ZEPPELIN", which has a reputation for vintage recording archives, is in charge of mastering. We are honing our precision to an unprecedented level. Of course, "polishing" is not "processing". Rather, the methodology is the opposite. If I were to describe this methodology in words, it would be "reproduction of on-site sounds." When it comes to remastering, there are cases where the original sound is manipulated to make it harsher and louder, but at our store, such unscrupulous imitation is prohibited. We place emphasis on the sound that the master itself has maintained, and compensate for "disturbances" such as pitch/phase shifts and physical deterioration of the tape itself. In other words, we are committed to a methodology that is similar to painting restoration work. And "GRAF ZEPPELIN" has outstanding precision backed by a huge amount of work. Pitch correction does not miss even a few percent deviation, and also handles random changes caused by master deterioration. Even for petit noise, we double-checked the waveforms of our ears and eyes dozens of times, and corrected phase shifts down to 1/1000 seconds. For example, "Eugene" in this work. Our store's "OAKLAND 1977 1ST NIGHT" has been known as the highest among the existing ones, but even so, the phase of "Eugene" was slightly out of sync, and the pitch was 1% (!!) higher. If you have experience with waveform editing, you will understand, but a 1% shift is a dimension that cannot be discerned by human hearing (a phase shift may be recognized by subtle differences in the stereo effect. If you have it, please listen to it and compare it with this work.) However, this work is not based on the idea of ``leaving things alone because we don't know,'' but rather with the idea that ``Even dust that you can't see at first glance becomes a mountain when it accumulates.'' It is a mastering that has been pursued to such a degree that it exudes a tenacity that can even be called paranoid (if I say it without fear of misunderstanding). ["Sound on site" exists on a higher level than "good sound"] Another important thing is that the ultimate goal is not "sound that is good (to hear)," but "sound on site." Of course, we are pursuing "good sound" as a musical piece, but the delicate final judgment is made based on historical research. In other words, rather than simply refining a single recording, he utilizes the knowledge and experience he has gained over the years working on PINK FLOYD's...or more specifically, all the records from the 70's other than FLOYD. For example, in this work, the bass of the phono is slightly boosted from the original sound, but this is also a judgment made after verifying that ``1977 equipment would sound like this'' and ``this venue would resonate like this.'' And don't let your preferences interfere with this decision. The majority of mastering in the world, whether official or unofficial, relies on the "engineer's sense", but on the other hand, GRAF ZEPPELIN is just "reasonable". In other words, the sound packed into this work was arrived at by eliminating the "worker's ego" and prioritizing "an insatiable spirit of inquiry into historical facts". I'm sorry that the story ended up being so vague and detailed. However, it will not be helpful to write about the 1977 Oakland recording as ``outside the common sense of audience recording'' and ``as if it were an official work.'' In order to introduce the horizon on which this work stands and the process to get there, it was necessary to tell such a detailed and detailed story. On the contrary, those who can find value in this difference in dimension will be able to experience the true value of this work. The legendary audience recording of the ultimate edition “May 9, 1977 Oakland performance” that exceeds the ultimate. This is a symbolic recording of the “IN THE FLESH Tour” which has been repeatedly upgraded over the years, but this work is the 2021 version. Carefully mastered by "GRAF ZEPPELIN" based on the original master. Pitch correction can handle even 1% deviations and random changes, and phase deviations can be corrected down to 1/1000 seconds. Even when there are disturbances that cannot be detected by human hearing, we correct them based on the idea that ``Even dust that you can't see at first glance can accumulate into a mountain,'' rather than ``I don't know, so I'll leave it alone.'' In addition, the amount of spooning for each task is determined through historical research. We pursued it not based on the engineer's preference, but based on logic such as ``this is how it would sound in 1977'' and ``this is how much it would resonate in this venue.'' It is a cultural heritage album that has been polished from the same perspective and dimension as painting restoration. Live at Alameda Coliseum, Oakland, CA, USA 9th May 1977 ULTIMATE SOUND(UPGRADE) Disc 1(51:53) 1. Sheep 2. Pigs On The Wing Pt. 1 3. Dogs 4. Pigs On The Wing Pt. 2 5 . Pigs (Three Different Ones) Disc 2(56:21) 1. Shine On You Crazy Diamond Pts. 1-5 2. Welcome To The Machine 3. Have A Cigar 4. Wish You Were Here 5. Shine On You Crazy Diamond Pts. 6-9 Disc 3(29:22) Encores 1. Money 2. Us And Them 3. Careful With That Ax, Eugene
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