PINK FLOYD – MONTREUX 1971 STEREO PRE-FM MASTER (2CD)
$49.00
SIGMA – 2 CD
Description
Festival de Musique Classique, Pavillon De Montreux, Montreux, Switzerland 18th September 1971
★UPGRADE!!!
This is amazing! A new stereo version has been discovered for the legendary FM sound source that has handed down the precious “Atom Heart Mother with Chorus/Brass”! A long-awaited super-large upgrade master finished by “GRAF ZEPPELIN” is now available on 2CD!
What is permanently preserved in this work is the “Montreux Performance on September 18, 1971”. It is a stereo FM broadcast sound source that recorded the entire performance. At this point, you may be wondering, “What? An FM broadcast sound board?” But the story is not that simple. In order to explain the situation around here, let’s start by organizing the sound sources that remained on this day.
■RECORDER 1 (Audience Recording: Stereo)
– A stereo audience recording unearthed in the 2000s.
– Recorded using a Sennheiser MD-421 microphone and a Uher 4200 reel deck, our previously released “MONTREUX 1971 REVISITED (Sigma 317)” is the longest and best version of this recording.
– A stereo audience recording unearthed in the 2000s.
– Recorded using a Sennheiser MD-421 microphone and a Uher 4200 reel deck, our previously released “MONTREUX 1971 REVISITED (Sigma 317)” is the longest and best version of this recording.
■RECORDER 2-1 (FM broadcast sound source: mono)
Broadcast sound source from the Swiss FM station “Radio Suisse Romande.”
Recorded with an ambient microphone instead of a line microphone, and previously known as an air check recorded on three reel tapes.
Broadcast sound source from the Swiss FM station “Radio Suisse Romande.”
Recorded with an ambient microphone instead of a line microphone, and previously known as an air check recorded on three reel tapes.
●RECORDER 2-2 (FM broadcast sound source: stereo) ←★ This! ★
・Although it is a broadcast sound source using the same ambient microphone as “RECORDER 2-1”, it is a pre-FM master recorded in stereo.
・It is not just stereo, but also an ultra-upgrade master that is overwhelmingly clear.
・Although it is a broadcast sound source using the same ambient microphone as “RECORDER 2-1”, it is a pre-FM master recorded in stereo.
・It is not just stereo, but also an ultra-upgrade master that is overwhelmingly clear.
…and so on. This broadcast was not recorded with a line microphone, but with an ambient microphone like a classical concert. In other words, while it is a spatial recording that physically connects to the audience, the separate feel created by using multiple microphones and the zero-distance feel created by microphones placed on the stage give it a so-called soundboard feel. Until now, only air checks of such broadcast audio sources were known, but what has been unearthed this time is a pre-broadcast Pre-FM master. What’s more, it is a stereo master that is completely different from conventional mono!
[Newly discovered stereo FM master that shocked the world]
The sound is overwhelming. First of all, there’s the sense of width that’s unique to stereo. It’s clearly not a pseudo-stereo effect, and the three-dimensional feel of the central rhythm section surrounded by the guitar (left) and keyboard (right) is something that’s never been experienced before. “RECORDER 1” was also stereo, but it’s a spatial spectacle on a different level from an audience recording made with a single microphone.
Moreover, it’s not just wide, but changes along with the mood of the song. Depending on the song, the keyboard is in the center and the guitar spreads left and right. There is no detailed data, but the fact that the balance and positioning change probably means that the sounds recorded with each microphone are mixed on the soundboard console. This is also the reason why I didn’t assert “audience / soundboard” at the beginning.
And because the star of this album is 1971’s Pink Floyd, this stereo effect is especially pleasing. At the time, Floyd was a force that advanced rock by revolutionizing three-dimensional venue acoustics. This album accurately portrays the band’s stereo effect, giving a clear sense of what they were aiming for and what kind of sound world they were trying to create.
[Pre-FM fully mastered sound]
Equal to that stereo feeling… no, even more striking is the freshness that comes from before broadcasting. Until now, I’ve been concerned about the dubbing generation of air check tapes, but this work has no trace of being on the airwaves, let alone dubbing marks. The literal master sound is on a completely different level from the superiority and inferiority that has been discussed conventionally.
In fact, the sound is clearer and more natural than anything I’ve ever experienced before. The resolution of each and every note is on a completely different level, even the tiniest sound effects are beautifully preserved, and long notes that stretch into the void don’t distort until they disappear. It’s so delicate you can almost feel the body of the instrument resonating, and it’s so natural it almost brings the concert space itself back to life.
[The complete version, which breaks the previous record by more than 3 minutes]
This is an amazing new discovery, but it’s also the longest and highest-rated update. It’s meticulously mastered by GRAF ZEPPELIN down to the finest details, but even more impressive is its length. Utilizing the previous RECORDER 1 and RECORDER 2-1, all existing scenes have been reprinted. It’s the longest record by more than three minutes.
Of course, there is no need to worry about any discomfort. In the first place, the new master itself completely recorded all the songs of the show, and there were plenty of first appearance scenes that could not be heard in previous recordings. After utilizing all of them, it was the inter-song and a few seconds of MC that were complemented with other sound sources. In the first place, it is not a scene where the difference in sound quality is questioned, and further careful mastering has eliminated the discomfort.
The 1971 Montreux recording has long been beloved for its “Atom Heart Mother” with choir and brass. However, this Pre-FM master has made it even more than that. The quality of the sound alone makes this a masterpiece from 1971 comparable to “THE COMPLETE BBC ARCHIVES VOL.2 1971-1974 (Sigma 328)” and “M-502 DEFINITIVE EDITION (Sigma 246).”
Although “MONTREUX 1971 REVISITED” is still hard to throw away because it gives the audience a real on-site experience, the existing mono FM broadcast “RECORDER 2-1” system is no longer needed. This is a new masterpiece with a massive upgrade that will be the biggest impact in recent years. Please enjoy the permanent preservation press 2CD that will convey the impact to future generations.
★Pre-FM master of the “Montreux Performance, September 18, 1971.” Until now, only the mono aircheck version was known, but this work is a completely different stereo version. The freshness is overwhelming, with no traces of dubbing or even radio waves, and “GRAF ZEPPELIN” utilized other sound sources to create an ultimate version that is more than three minutes longer than the previous version. This is the birth of a new masterpiece, a significant evolution of the live album that features “Atom Heart Mother with Chorus/Brass.”
REMASTERED BY GRAF ZEPPELIN
★This is truly amazing! This is the most anticipated Floyd item of the year!
This ’71 Montreux performance is familiar to fans, but it’s been given an amazing upgrade, with the Rec2 mono FM sound source now in stereo!
There are two sound sources for this performance (see list below). The Sigma 317 release around the same time mainly featured Rec1 (stereo Audio).
This time, the Rec2 FM sound source is the main focus, but unlike the mono FM sound source we’ve heard up until now, the biggest point is that it’s a super high-quality, delicate recording that is convincingly described as stereo Pre-FM.
There are two sound sources for this performance (see list below). The Sigma 317 release around the same time mainly featured Rec1 (stereo Audio).
This time, the Rec2 FM sound source is the main focus, but unlike the mono FM sound source we’ve heard up until now, the biggest point is that it’s a super high-quality, delicate recording that is convincingly described as stereo Pre-FM.
The separation of the instruments is also very good, with the basic arrangement being guitar on the left, drums and bass roughly in the center, and keyboard on the right, but depending on the song the keyboard will be in the center and the guitar will be spread out to the left and right, giving it an outstanding sense of realism and vividness!
This quality is definitely the arrival of an ultra-high quality title that is sure to be in the top 3 of Floyd in 1971.
★The content has been significantly updated!
Some missing tracks have been filled in with Rec2 FM Mono and Rec1 Stereo, but there are quite a few inter-song and final cheering parts that are new to the album, resulting in a total of over 3 minutes longer than previously released! This is a must-have album, no question about it!
【Audio source arrangement】
Rec1・・・Stereo Aud
Rec2-1・・・Mono FM (Ambient microphone recording at the venue *actually an AUD recording broadcast source)
Rec2-2・・・Stereo Pre-FM ★Main focus this time. Stereo pre-broadcast master recorded at the ambient microphone venue
[Representative titles and recording source simplified version] ★ Rec2 comes first in terms of appearance order
LIVE IN MONTREUX 1971 (2CD) [TSP-CD-071-2] Rec2 Mono *1990
LABYRINTHS OF CORAL CAVES (2CD) [Sigma 18] Rec2 Mono *2000s
ECHOES IN MONTREUX (2CD) [Sigma 53] Rec1 Stereo *2000s
MONTREUX 1971 (2CD) [Sigma 113] Rec2 Mono *2014
DEFINITIVE MONTREUX 1971 (4CD) [Sigma 144] Rec1 Stereo & Rec2 Mono *2015
MONTREUX 1971 REVISITED (2CD) [Sigma 317] Rec1 Stereo based longest release *2023 Rec1 is currently the best
···and
MONTREUX 1971 Stereo Pre-FM Master(2CD) [Sigma 350] Rec2 Stereo Pre-FM←★First Stereo FM Recording
★This is amazing. Is this the first time in a while that all preorders have sold out in one go?
Disc 1 (64:04)
1. Echoes ★0:00-0:07 (MC section) Rec1 / 23:29-23:40 FM Mono
2. Careful With That Axe, Eugene ★11:57-12:12 FM Mono
3. Set The Controls For The Heart Of The Sun ★First appearance 16 seconds after the performance
4. Cymbaline ★First appearance 40 seconds or more after the performance
1. Echoes ★0:00-0:07 (MC section) Rec1 / 23:29-23:40 FM Mono
2. Careful With That Axe, Eugene ★11:57-12:12 FM Mono
3. Set The Controls For The Heart Of The Sun ★First appearance 16 seconds after the performance
4. Cymbaline ★First appearance 40 seconds or more after the performance
Disc 2 (54:48)
1. MC ★ First appearance within a few seconds of the opening MC
2. Atom Heart Mother ★ First appearance within 90 seconds of the song after the performance
3. A Saucerful Of Secrets ★ First appearance within 40 seconds of the applause after the performance
