Pink Floyd Pink Floyd/Switzerland 1972 2 Source Matrix

Pink Floyd's 1972 Zurich performance is finally available in a two-source matrix! The legendary performance is revived with high-resolution sound with an unprecedented wide field of vision! As you all know, there are two good recordings of Floyd's Zurich performance on December 9, 1972. The prototype performance of "The Dark Side Of The Moon" that continued from January of the same year, and the final version of both were familiar to us Floyd sound fans as being able to enjoy high-quality stereo AUD sound. Just to be sure, I will organize these two sound sources again as follows. <Recorder 1>: The most popular source that saw the light of day on the bootleg LPs "LIVE IN ZURICH (FROG RECORDS - PF1A/B PF2A/B)" and "LIVE IN ZURIGO (WIND RECORDS - BP 0013)" in the early 1980s. Later, the original tape source used for these analog LPs was unearthed, and the full-length version source (also used in this work), including the parts cut during LP recording, is now the standard for Recorder 1. Stereo AUD recording with normal L/R recording. Recorder 2: "Speak To Me" is recorded more than a minute and a half longer than Recorder 1, and it is an amazing recording on the same day that lasts for about 107 minutes, including the completely first-time encore "Childhood's End". The sound quality is also somewhat better than Recorder 1, and when this suddenly appeared on the Internet shortly after the Internet became popular, Floyd sound source fans all over the world were stunned. This is a rare stereo AUD recording with M/S (mid-side) recording, and the recording was probably recorded using a microphone wired to M/S specifications, and decoded into stereo to become the master. "ZURICH 1972" was released in June 2017 as a four-disc set that allows you to listen to these two existing sources in the best possible form, but this work is a matrix version of Recorder 1 and 2 used in it, and it is an amazingly high-quality 1972 Zurich that has been released online in recent years and has been attracting attention from Floyd sound source fans all over the world! [The keywords are "reverberation" and "distance" between the two sources] Naturally, the people who recorded Recorder 1 and 2 are different and the recording positions are different. Unfortunately, the exact recording position is unknown, but since Floyd's live performance has speakers at the front and back of the venue, as well as on the left and right sides to create a quadrophonic effect, if you digitally synchronize the two sources in milliseconds, you can see that the same sound of the same scene is coming out with a delay of different strengths. What this means is that the approximate recording position can be grasped from the difference. For example, the laughter in the lyrics of "Brain Damage" at the part "♪ ...The lunatic is in my head" is known to have come from the back speaker at the rear of the venue, so if the laughter is close, the recorder must have been at the rear of the venue, and if it is not too close, the recorder must have been in the center to the front of the venue. Furthermore, if the laughter is coming from either the left or right channel more strongly, the left/right position can be roughly determined with an L/R stereo recording. Similarly, even if you compare the reverberation of isolated surround effects such as the sea of ​​clocks in "Time" and the register sound in "Money", if you compare the stereo recording, you can roughly identify the location of the recorder, which is difficult to notice with the source alone. When listening to the sound of each source in light of this, it becomes clear that Recorder 1 was almost certainly recorded from the rear of the venue, and Recorder 2 was recorded from a position close to the right front speaker in the center to the front of the venue, but the important thing here is that the recording positions of these two sources are so far apart. In other words, if this is virtually combined digitally, that is, matrixed, a wide sound image that presents the venue in a balanced manner can be created because there is a moderate distance between the recording positions of the two sources. Even with the common two-source matrix, if you matrix recordings of both sources from similar positions, you will not get much effect, and even with recent IEM (in-ear monitor) recordings, it is the blending of the zero-distance actual sound and the distance between the audience recording that creates a realistic sound image, and the matrix effect is tremendous because the two sources of Zurich in 1972 are stereo recordings with a moderate distance from each other. There are often cases where two or more sources are recorded on the same day in unofficial Floyd sound sources, but this is probably why the two sources of Zurich in 1972 were chosen as the matrix. Especially if the sound comes from all directions like Floyd, you can easily imagine what unknown excitement the wideness and three-dimensionality of the virtually combined sound will bring. [Fidelity and completeness of presentation] Speaking of one of Floyd's best matrix titles, many people may recall the 1975 Boston performance "RAVE MASTER MATRIX", which was a matrix of the same-day sources recorded by Steve Hopkins and Dan Lampinski, two of the recording giants representing the 1970s. In fact, the matrix version of this work, the 1972 Zurich version, was produced by the same person who produced the matrix for "RAVE MASTER MATRIX", and the finished product is of the same level of work as that outstanding board, so it is not to be missed. However, the original sound released online had the impression that the sound pressure was excessively large and too loud, and for some reason, Recorder 2 had a lot of hiss noise but nothing was repaired, so there were some problems with the quality of the sound. In addition, in some places, the pitch deviations that were immediately noticeable when listening were left unadjusted, and while the matrix work itself was extremely excellent, it was an awkward content in which such small defects stood out even more. Therefore, our label carefully corrected these weaknesses with the latest audio software, readjusted the excessive sound pressure of the original sound to an optimal level that does not impair its power, and carried out the latest remastering that also significantly reduced noise. In addition, the pitch was strictly checked and corrected for each measure, so that each song was played with the correct melody, resulting in a matrix sound that surpasses the original sound and is extremely accurate. This is the latest work, a two-disc set that boasts the ultimate sound quality and sound image of Zurich in 1972!!! [Special remastered matrix: its verification] The matrix feeling is overwhelming from the start of the disc. The sound extension that is adjusted and spreads with the best sound pressure is revived with a transparency and wide sound image that exceeds the original sound. From the introduction "Speak To Me", you can see that the vivid realism that floats on the scene has increased significantly, but when "Breathe" starts from here, everyone will be speechless at the matrix high resolution sound that breaks through from the low range. The overwhelming sound radiation power is further enhanced in "On The Run", and the response of each hit of the drums is sharper, and the closeness of the electric piano and the attack of the melody are clearly evident. In "Time", the harmony of Gilmour and Wright appears as an even more vivid intersection of live voices, and you will surely be glued to the bass that bounces around and sings more than the main melody. The three-dimensional effect of the "sea of ​​clocks" that appears at the beginning of the song is also outstanding, and in "The Great Gig In The Sky", even though it is already two channels, you should feel like you are in a surround environment. In "Money", you will be burned by the excitement of the sharpened real sounds hitting you. The thick, deep sound reaches even deeper, giving "Us And Them" a beautiful shadow, and you will notice that the organ tone that comes in in the second half has a completely different depth and scale from the sound you hear with a single source. The sound spread and volume that can be experienced in all directions with "Eclipse" has been achieved with a high-quality finish that completely rejects the original sound, which had a strong sound pressure and a peaky impression. "One Of These Days" also has a thick, meaty sound and a wonderful three-dimensional feel, but what is surprising is that even when the matrix is ​​used and the core of the sound becomes thicker, the sound does not become muddy, and it has acquired a sharpness several ranks higher. "Careful With That Axe, Eugene" also spreads Roger's whispering like a poetry reading with an even denser sound image, and the flow of the image progressing with the words and performance can be grasped with a next-level sound experience, but if you are familiar with listening to the single source of the already released board, you will surely be amazed at the difference. "Echoes" also comes out with a sound that is particularly clear in its acoustic art, and the fusion of the two sources realizes an intoxicating sound with excellent volume and instantaneous power. The midrange is particularly impressive, but what I would like you to pay attention to is the thickness of the quiet part when transitioning to the cry scene, and it is noteworthy that even the faint sound scene has such a three-dimensional volume. The fluctuating pitch has also been corrected, and it can be heard in the correct form, which is an advantage of this work. After the end of this song, there is a sound check of about 1 minute 45 seconds, and then "Childhood's End" begins, which has only one existing source. In other words, this song is the only one with Recorder 2 alone and not a matrix, but the low center of gravity and sticky rhythm have been carefully revived in the latest digital remaster in 2018, and I would like you to pay attention to the sound full of scale. Floyd's 1972 Zurich, which remains in a wonderful form even with each single source original sound. The aim of this board was to fully complement the weaknesses of the public original sound matrix, raising it to a higher level and providing a precise sound presentation, but the performance of the day reaches the ears with a high degree of perfection that exceeds the intention. It is a tremendous matrix title. Don't just listen to the upper notes, listen to this dynamic sound improvement and sound image consistency that goes beyond just being upper-class! Live at Hallenstadion, Zurich, Switzerland 9th December 1972 TRULY PERFECT SOUND Disc 1 (49:12) 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 Colour You Like 10. Brain Damage 11. Eclipse Disc 2 (59:17) 01. One Of These Days 02. Careful With That Axe, Eugene 03. Echoes 04. Childhood's End