Description
Roger Waters’ US+THEM tour has been a hot topic every day, and it has exceeded all expectations. The first day of the tour, the performance in Kansas, USA, was released as the definitive version “ROGER WATERS – KANSAS CITY 2017” last week, but the second day, the Louisville performance, will be released with ultra-class special sound quality by a matrix of two super high-end microphones!! This Louisville performance was released last week as “ROGER WATERS – LOUISVILLE 2017”. This is a four-disc title recorded at the same position by the world-famous taper Tapehead2 using the super high-end microphones AT943s and Schoeps MK4s (discs 1 and 2 were recorded with “AT943s”, and discs 3 and 4 were recorded with “Schoeps MK4s”), and it has been very well received as a title that allows you to enjoy the difference in sound nuances caused by two high-end microphones recorded at the same position. ….By the way, do you know the recording technique called “pair microphone”? It is an effective recording method when recording the sound of a moving object, such as the running sound of an F-1 race car or the takeoff and landing sound of a jet plane. You hold the microphones in both hands like two pistols and move the microphones with your body to record according to the moving object, but since there is a distance between the microphones about the width of your body, you can create a surround-like, immersive sound. With that in mind, let’s take another look at “ROGER WATERS – LOUISVILLE 2017”, which was released last week. As mentioned above, the key to this title is “recording in the same position using two ultra-high performance microphones”, but even though it is in the same position, I don’t think that he would have stacked or bundled two recording machines or microphones to record. Even though they were nominally in the same position, the microphones were almost certainly several tens of centimeters apart. In such cases, wouldn’t it be natural to place the microphones on the right and left sides of your body? In other words, what the taper does here is the same as the pair microphone recording method mentioned above (although the microphone is not moved toward the subject). Naturally, even if the sound image is recorded at the same position, there will be slight differences in parallax and distance, like the right eye and the left eye, and by overlapping these, the sound that you actually hear from your own position will emerge with a natural sense of wideness and surround. This work is a real matrix synthesis of this, and it is a two-disc CD with special A-class sound quality that reproduces not only the difference in sound nuances caused by two ultra-high performance microphones, but also the acoustic characteristics obtained by the slight distance between the two microphones! However, no matter how high-performance the two sources are obtained by the microphones, it is no good if the sound becomes muddy by the matrix process of synthesizing them. The person in charge of this this time is a leading Floyd researcher living in Europe who has professional equipment at home and is also a skilled sound engineer. He carefully examined and redesigned the precise sound of this high-performance microphone unit down to the smallest detail and provided it to our label, and the finished product was already at an astonishing level. The playback power of the perfect synthesis of each microphone recording, which boasts unparalleled sound quality even by itself, realized a raging documentary sound that takes the sound two or three steps forward!!! As an unofficial sound source, it is probably the strongest microphone matching matrix synthesis in history…The sound image is a royal sound with full transparency, with weight, moisture and spatiality, without any of the exaggerated sound that matrix works tend to fall into. Even if you describe it as “sound has a spread”, it is not just a sound that spreads, but an organic and visual spread, like a glossy, vivid dye being absorbed into high-quality handmade Japanese paper, like “Breathe” here. Even in “One of These Days”, the bass rumble has a soft high quality, and it feels like a soft and faint surround sound rather than a sound with a strong attack. The part where the music starts to move after the monologue is a massive sound with precise sharpness, and the musical dynamism is unbelievable, mellow, heavy, and sharp, resulting in an unprecedented high-resolution sound. In “Time”, the sound of the tom drums that wrap around at the beginning is surprisingly close, clear, and three-dimensional, and you will be amazed. When the ensemble starts to move, the fine-molded performance sound and the elastic mid-range dynamism bring you unprecedented excitement. In “The Great Gig in the Sky”, the female twin chorus jumps out with a colorful sound and tone, while the bass and bass drum behind them have a very responsive sound pressure, so you can experience the contrast between the two voices’ melody lines and rhythms with a dazzling quality that you would never experience with a normal single recording. In “Welcome to the Machine”, the bass range is wide and powerful, and the detailed performance sound that progresses in the thick sound pressure like a front row is a big attraction. In particular, the dense sound of the synthesizer, which is closed up in the middle part, is filled and diffused, so please look forward to it. “The Last Refugee” also has a sound that transitions from quiet to sound in a precise manner, and the spatiality and depth amplified by the matrix are beautifully exuded, and the dynamic sound transformation in “Picture That”, where the musical movement is released, should captivate all listeners. It is also worth noting that the movement and sound of the bass, which stands out in the latter half, comes out with a very elastic and wide tone. “Wish You Were Here” also has a transcendent sound image that is impossible with one source, and each sound of the guitar intersects with a beautiful texture. The sound is extremely clear and has a high-quality mellowness, and the expression of the continuous light choking is vivid everywhere, so this song is sure to make everyone’s eyes and ears wide open. “Battersea Rises SFX”, which is introduced on Disc 2, which starts the second half of the show, also has a strong sound image. I don’t know if the direction of each microphone or the recording position was slightly changed, but surprisingly, the quality of each original sound has improved from here, and you will be trembling with the sound image accompanied by hallucinations until the end of the disc. In “Dogs”, the closeness and passing of the singing voice jumps up significantly from Disc 1, and you can see that the transparency of the sound image and the sound of the guitar are deeper and sharper like two blades than listening to the source alone. The sound pressure in the low range is also outstandingly heavy, and the depth of the synthesizer that unfolds from around 10 minutes and 3 seconds in the middle and the volume of the sound are amazingly dense, and it is no exaggeration to say that this is the best listening point of this work where the matrix effect is at its best. The same goes for the rich texture and sharpness of the saxophone that appears in the middle of “Money”, and the vivid sound of the guitar that follows from there is also a tremendous matrix effect. “Us and Them” will also be overwhelmed by the transparency and floating feeling of the sound. Here, the whispering pianissimo in the quiet scene and the overwhelmingly powerful super thick fortissimo where the ensemble overlaps are reproduced with extraordinary vividness, so please pay attention to it. “Brain Damage”, which has a female chorus part added to the introduction, also has an unusually beautiful trajectory of the voice, and you will feel the high quality of each original recording in the lingering sound. It was a charm that there was some mistake or a mistake in the development in the middle of the day, but you should not be able to hide your amazement at the scrutiny of the cutting-edge sound that can realistically grasp such rare scenes. The scene where “Bring the Boys Back Home” is handed over to the female chorus is also moving, and the beautiful voice growth and diffusion speaks of the power of the Matrix, and “Comfortably Numb” also has outstanding transparency and depth of tone, so it is clear that this song is aiming for the next level. Only when you can grasp the transformation of the tone floating in the scene at this level can you truly feel the excitement of listening to the Matrix. What this Matrix sound, born from two ultra-high performance microphones, the latest technology, and professional-level sound technology, reveals is the sound composition of this big production’s US + THEM tour. Because there are many Pink Floyd songs in which the texture of the sound is important to a degree that cannot be compared to other bands, and because it is the performance of Roger, the brains behind it, it is very meaningful to try to interpret this with real sound that is faithful to the scene. And because it has come to fruition here in perfect form, this work is also an intellectually exciting title that can never be reached with mediocre recordings. When you turn up the volume, you can feel the difference in sound quality and quality with your skin, and it is a super high-performance title that responds to listeners who are devoted to sound! ★Two types of sound sources released by Taper on the Internet (recorded by the same Taper with two microphones) are matrix processed. Highest sound quality. Live at KFC Yum! Center, Louisville, KY. USA 28th May 2017 TRULY PERFECT/ULTIMATE SOUND The Louisville matrix was mixed out of two sources: source 1: AT943s > SP-SPSB-10 > Sony M10 (24/48), Recording location: Section 311, row A source 2: Schoeps MK4s > actives > tinybox > Sony M10 (24/48), location: Section 311, row A Disc 1(59:42) 1. Speak to Me 2. Breathe 3. One of These Days 4. Time 5. Breathe (Reprise) 6. The Great Gig in the Sky 7. Welcome to the Machine 8. When We Were Young 9. Déjà vu 10. The Last Refugee 11. Picture That 12. Wish You Were Here 13. The Happiest Days of Our Lives 14. Another Brick in the Wall Part 2 15. Another Brick in the Wall Part 3 Disc 2(75:36) 1. Battersea Rises SFX 2. Dogs 3. Pigs (Three Different Ones) 4. Money 5. Us and Them 6. Smell the Roses 7. Brain Damage 8. Eclipse 9. Band Introductions 10. Vera 11. Bring the Boys Back Home 12. Comfortably Numb
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