Pink Floyd/Italy 1994 Upgrade

Pink Floyd's 1994 "THE DIVISION BELL" The finest AUD sound source from the final stage of the tour will finally be revived in its ideal form this weekend!! If Floyd is to be categorized as a live performance, its de facto end came with the release of the album "Tai" This is a tour from March 1993 to October 1994. In terms of popularity and demand, it cannot be denied that the songs from the 70's are overwhelming, but speaking of the 1994 performance, "Madness", which was completely reproduced for the first time in 19 years since 1975, was performed in the latter half of the show. Its inclusion became a big topic of conversation, and it was something that fans of Floyd in the 70s could enjoy. (*This complete reproduction was not attempted for all of the 1994 performances, but is a very rare set, only twice in America and only six times in various parts of Europe). The official live album "p.u.l.s.e" is considered important as a live sound source from this period, but the video version includes the performance at Earl's Court in London on October 20, 1994, while the album contains only audio. The album version was a compilation of the best parts of the 1994 concerts held in Europe and the UK, so in a sense it was an edited version of the best live show. Of course, it is a wonderful live album that remains unchanged even today, but since it does not consist purely of the performances of that day, it is certain that it still feels a little strange. Unofficial sound sources are the only ones that allow you to listen to all original performances from that day, but the most representative title is ``DEFINITIVE TORINO 1994'', which is the only SBD leaked sound source from the ``VS'' tour and is of the highest quality that exceeds the official one. Probably. However, it is also true that many of the sound sources that represent 1994 are hidden not only in this monumental SBD title, but also in the AUD recording, which is the royal road to live recording. However, despite the high degree of musical perfection and maturity of the performances in the live shows of this period, perhaps because of this, fans tended to avoid the sound sources of this period. However, there are also discs with excellent sound quality such as ``OPTICAL ASTRONOMY'' and ``BELL ENDS AT COURT'' where you can listen to some of the best performances that could only have been done in 1994, so you can get away with it without listening to them. I have to say that it is a waste. However, on the other hand, when it comes to the 1994 title that includes a rare set of complete reproductions of "Madness", the current situation is that not many AUD recordings have been released. So this weekend, a very connected 1994 AUD recording will appear that will shake things up. This latest work is a complete recording of the performance in Modena, Italy, on September 17, 1994, but this sound source was actually a two-disc set that was released in 2006 under the title "DARK MOON ARISE". It was a CD. When it was released, it was highly praised as an excellent record that vividly conveyed Floyd's final live performance in 1994, but the only drawback was that the input in the bass range was a little too loud overall, so the sound was poor in some songs. Problems with the sound quality were that it was muddy, and that listening to just one disc was tiring. However, other than that point, it was an outstanding AUD recording among the 1994 sound sources, so leaving it as is would be a big loss in the history of Floyd sound sources. Therefore, this time, the sound source provider himself at the time reconsidered the sound quality from the ground up and tackled the various sound quality issues head-on with the latest equipment and software from 2016. I won't go into details because it's a list of technical terms, but roughly speaking, the master volume was lowered by about 40% to reduce excessive bass, and the treble was carefully raised. As a result, the overly loud sound changed to a hard and tough sound, becoming well-balanced and tight, and the original potential of the original sound appeared in its ideal form, resulting in a dramatic improvement in sound quality! The way the drums and bass sound, which were outstanding even on the previous releases, have become even more balanced, and you will be amazed at the extremely transparent sound image that will not make you tired of listening even though it is a close-range sound. What also characterizes this Modena performance is that “Time” and “Money” played on this day are included in the official edition “p.u.l.s.e”. Only the intro of "Time" was adopted by "p.u.l.s.e", but if you listen to the entire song, most people may wonder why only the intro was included (* As you know, "p.u.l.s.e" Most of the songs that can be heard on ``20th September'' were performed in Rome on September 20th, and the ending and the scene where the plane explodes are played at Earl's Court on October 20th). On the other hand, "Money" is an original performance that was adopted in "p.u.l.s.e" in its entirety, and you can enjoy the very high quality sound from the different perspective of listening to that performance from the audience seat side. The way Dick Barry's saxophone and Gilmore's guitar play create an extremely tense atmosphere is even more vivid than on the official version, and the way the final song continues into "Us And Them" is a musical masterpiece. The transformation can be followed perfectly. So what kind of vivid sound is heard from the audience seat side? Also, how has the sound changed since the previous release, and how has it improved? From now on, let's take note of the sound quality that concerns us. First of all, on Disc 1, "Shine On You...", the depth and breadth of the introductory synth sounds mellower than on the previous release, but the difference is clearly noticeable when the drums come in (* 4 It will be around minute 02 seconds ~). The excessive bass that was peaky in the previously released version has been transformed into a moderate fat sound. Gilmore's voice still appears from a very close position, but it also comes out with the ideal sound that should have originally reached the ear, and the ease of listening has improved dramatically. I think you can understand. “Learning To Fly” also had a significant change in the drum approach and the way the bass sounded at the beginning. The musicality that oozes out from the mid-tempo becomes even easier to grasp, and you should feel that the listening comfort has improved significantly. In "High Hopes", the sound of the bell played throughout lacks the harsh excess of the previous release, and the original descriptive power of the recording, which changes and sways in the large flow of the ensemble, has greatly increased. In “Take It Back,” the high-pitched guitar and vocals reverberate amidst the massive bass, appearing in an ideal sound image, and you can feel its sweetness and flexible movement at a high level. In addition, the spatiality unique to this song also shows a natural expansion, and the attractive sound diffusion unique to AUD recordings is increasingly felt. “Coming Back To Life” is also a sound image that will give you deeper musical euphoria than ever before. In particular, Gilmore's voice comes out with an even and sweet sound due to the tightened midrange, and the way the guitar solo ends with a crisp sound is exquisite. In "Sorrow," the dynamics of the ensemble, which had previously sounded a little muddy, have been improved to a neater sound, further stimulating the listener's five senses. Gilmore's guitar that roars from the beginning has a neat sound with a perfect focus, so be sure to check it out. In "Keep Talking", the female chorus that follows in canon regains its natural sound, and the keyboard melody that starts at 3 minutes 26 seconds has also become sharper. Please pay attention to Gilmore's real voice, which is distorted by the vocoder in the second half, and it comes out with a tone that you won't get tired of listening to. In "Another Brick...Part 2", the chorus and guitar jump in as if to break through the singalong that filled the venue, but compared to the previously released version, the sound image is different due to the elimination of the muddy bass. It's an understandable scene. Even in the second half of the guitar solo, where the baton is passed from Gilmore to Renwick (*Gilmore from 4:00, Renwick from 5:14), the difference in touch and tone between the two is revived with a sound that is even easier to grasp. In "One Of These Days," Guy's bass sound, which was too direct, transforms into a richly textured sound, and the power of the mid to low range produced by the ensemble behind him can be felt as a clear strength. Also, in the second half, where the music starts to move at once with Nick's monologue, you can feel the closer sound where the core of the sound becomes even harder. Disc 2, which is the second half of the show, is a rare set that includes a complete reproduction of “Madness”, which was revived only 8 times in 19 years since 1975. This is also the crisply organized performance of the 1994 model that appears in the strongest AUD sound, making it a disc that allows you to fully explore challenging musical considerations. In "Breath In The Air", the surrounding handclaps at the beginning, which were a little harsh on the previously released version, are suppressed to a slightly off level, and the visibility of the sound is greatly increased, and "On The Run" is also compressed by relaxing the bass component. The feeling of collage that was originally emitted by that day's performance was resolved, and the natural sound reached my ears. "Time", which was partially adopted in the official edition "p.u.l.s.e", has increased consistency of sound output, and you will get a straight satisfaction that is different from the official edition, which consisted of multiple days of performance. On the other hand, "Money" is an original performance that was used in "p.u.l.s.e" in its entirety, and the attack of the sound is revived with a direct sound that is completely different from the previous release, and the fresh excitement of listening to it from the audience seat is the best listening experience ever. It hits me in the chest. "Us And Them" also has a thick wall of sound in the quiet part and the chorus that is simpler and thicker than ever before, and we are sure that you will be captivated by the 2016 version of the sound image, which has been carefully examined with the latest equipment. is. In addition, in "Any Color You Like," which has a new interpretation and ornamentation notes, the synthesizer main melody spelled out in canon has been reborn into a sound that is easy on the ears, and the guitar with the hook that enters in the middle has been enhanced in the mid to high range components. The effect creates a sound that is easier to empathize with. "Brain Damage" and "Eclipse" have been released in the 1970s, with a sense of consistency created from the slightly unbalanced sound, and a deeper sense of musical convergence that has been completely reproduced. You will definitely be shocked by the open feeling of the 1994 model. In “Wish You Were Here”, the sound quality becomes even sharper and fresher, perhaps because the direction of the microphone was changed. The pleasant sound of an acoustic guitar explodes at close range, and a huge chorus rises from the venue along with Gilmore. This familiar scene from overseas performances is revived with vivid sounds directly connected to the scene. "Comfortably Numb" has a good sense of fusion between the heavy mid-low range movement and the dancing guitar in the high range, and the guitar solo that continues endlessly from the second half has a long melody and a rich sound. It will resonate even more. On this day, Guy sang the last part of the second verse of "Run Like Hell" in a standard manner (*As you know, on this tour, at the end of the second verse, he sang "♪ Send You Back To ○○", ○○ It was standard practice to sing with the location of the performance at the time included), and you can listen to this scene with the most textured sound image ever. Near the end of the song, you can hear fireworks going off several times and the performance ending with the loud sound of a pyro, and even the visual information from the venue on that day jumps out with a completely new sound. This is the first AUD recording of the 1994 title, but the consistent, transparent sound and euphoria of the performance are a fitting finish. In fact, if you look at the existing AUD recordings of the entire THE DIVISION BELL tour, it is definitely among the best, and it is the best 1994 sound source that will meet the expectations of a wide range of listeners, from beginners to hard collectors. Masu. If you are a beginner listener, we recommend that you take this opportunity to pick up this work, and also have ``DEFINITIVE TORINO 1994'', the only SBD definitive edition of 1994, on hand. And if you are an intermediate or higher listener who already has "DEFINITIVE TORINO 1994", I would like to have this latest work next to it this weekend. In either case, this work is sure to be the strongest pair of 1994 SBD and AUD recordings that will stand out in your Floyd collection. Live at Festa Nazionale dell Unita, Modena, Italy 17th September 1994 ULTIMATE SOUND(UPGRADE) Disc 1 (74:24) 1. Shine On You Crazy Diamond 2. Learning To Fly 3. High Hopes 4. Take It Back 5. Coming Back To Life 6. Sorrow 7. Keep Talking 8. Another Brick In The Wall Part 2 9. One Of These Days Disc 2 (71:23) The Dark Side Of The Moon 1. Speak To Me 2. Breath In The Air 3. On The Run 4. Time 5. Breathe Reprise 6. The Great Gig In The Sky 7. Money 8. Us And Them 9. Any Color You Like 10. Brain Damage 11. Eclipse 12. Wish You Were Here 13. Comfortably Numb 14 .Run Like Hell