Roger Waters/CA,USA 10.16.2016

“DESERT TRIP 2016” is a mega festival where rock giants gathered at once. For the past few weeks, the sound sources from the event, such as the Rolling Stones and Paul McCartney, have been a hit among unofficial sound source fans, but this weekend, the stage of Roger Waters, who lined up Pink Floyd songs and stole the show, will finally be released! This work was recorded with the same taper as the Stones’ “DESERT TRIP 2016 WEEKEND 2” which was released last week with amazing sound and sold out immediately. The characteristic of these two sound sources is that they are recorded on and clear so that the sound is close and “too good”, and just the other day, the stage of Paul McCartney and THE WHO (both DESERT TRIP WEEKEND 2) was also released on the Internet with the same level of capture. This work is a Roger edition recorded with this taper, so the question should arise as to why this person was able to make such a series of special A-class recordings in such a short period of time. The main reason for this is the “recording microphone and unexpected recording position”, but first, let’s look at the difference in the microphone compared to the Roger edition “COACHELLA 2016: DESERT TRIP WEEKEND 2” released last week on the same day. The microphone used for last week’s recording source was the SP-CMC-8 microphone, which is popular with tapers. This work (Amity version) was also a high-quality record that was more than enough, but the microphone used for this work was the “MK4” made by Schoeps, which can be said to be the pinnacle of modern live recording. Including this recording, cases where it is used in actual recordings in recent years are gradually increasing, but this is a professional capsule microphone that is mainly used by recording companies and industry engineers for business purposes, and if the conditions of the setting and recording position are right, it is a premium microphone that can obtain an amazingly real sound that easily exceeds line recording. However, no matter how good the MK4 is, it alone cannot produce a good recording. The key is the “recording position”, and this is exactly what makes the super-class sound of this recording stand out. This recording was recorded in the pit space (the passageway/space where cameramen and related parties come and go for photos and videos) between the stage and the audience space. In other words, the microphone is in a special position even further in front of the front row (and it’s right in the middle!!!), and there is nothing blocking the sound more than the front row, and the direct hit sound that hits at a shorter distance than the front row is grabbed raw, so the ultimate ultra-high resolution high-grade sound that cannot be imagined any more for AUD recording is a reality. Another topic is the fact that the recorder used is the Tascam “DR-2d”, a famous machine that can record noiselessly, transparently, and widely without any distortion from soft to loud sounds. With all these favorable conditions, it is no longer accurate to say that the sound hits you directly at zero distance, and the transparent, close-up loud sound that comes from zero distance comes flying in from all directions with a perfect panoramic feeling, and you can feel the detailed depiction of the loud and soft sounds of each instrument building a three-dimensional sound. This sound image that explodes up close with a sense of weight, which can never be conveyed with mediocre equipment and recording position, is the live sound itself at the scene, and even more so, it can be said that this is the sound that is closest to the true intention of Roger, who oversees everything. Another thing to note is the good sound quality. As you know, this event is an outdoor live performance, and outdoor recordings often have a light and dry sound. However, since this recording hits the sound coming out of the stage directly at the shortest distance (※ Note 1), it also has the pleasure of a moist, rich, ultra-clear sound that goes through with zero turbidity. To be honest, while this is on the same level in terms of zero distance, it completely surpasses line recording in that it has a natural sense of realism and good sound balance. It is not “like an SBD recording”, but “line recording is not worth talking about” in front of this super-real sound, and the only thing that can compare to this is a very well-combined IEM (ear monitor matrix). Once again, the aforementioned Amity board recorded with the SP-CMC-8 microphone is also really wonderful. But no matter what you do, it cannot overcome the grade of the equipment or the fact that it was recorded from the audience. However, the sound of this work is so different that even those who are not very particular about sound can instantly tell the difference in potential, making it a special high-grade sound that cannot be measured simply by being a different source. (※ Note 1: This is a bit technical, but judging from the sound, it seems that the microphone uses a unidirectional cartridge, and therefore the direct hit of the moist and sharp live sound from this extremely close distance gives off an even more unknown surprise.) For example, the sound spread and transparency of “Breathe” and the superb sound are already amazing right from the start, and you can instantly tell that the recording position was the super best position, not to mention the quality of the recording equipment. The performance sound and singing voice are abnormally close, and a super AUD recording that exceeds SBD spreads from the beginning of the disc. In the unexpected “Set the Controls for the Heart of the Sun”, Roger’s voice and bass sound are stunned close, and the synth and two female choruses in the background are recorded with silky smoothness. The keyboard invitation from the middle and the sudden beat that turns into a rock arrangement moisten the ears with formidable resolution, and the way this song, which was prone to sagging in the middle, has been given a new breath of life can be enjoyed with a satisfying master sound. “One of These Days” is interesting in its shortened form of about 5 minutes and 20 seconds in full length, but even though it is short, all of the sounds are vivid, and everyone will be astonished by the incredible resolution and closeness of the overall sound after the monologue. In “Time”, each percussion beat boasts ultra-class clarity, Roger’s singing voice is amazingly close, and the female chorus in the background is captured with such clarity that it seems to have been mixed at the desk, and you will be overwhelmed by the potential of this recording once again. “The Great Gig in the Sky” is a female twin chorus that passes by with a clear, close-range sound, and the enchanting vocalization of mysterious beauties facing each other while layering their voices should have a vivid image-evoking power. On the other hand, in “Money”, the bass that moves along with the male twin vocals is recorded with the best sound, and the richness of the song with the saxophone and twin guitars that come in during the development section makes the overall sound gorgeous, which I think is conveyed more than the Amity version. “Us and Them” is also notable for its deep resonance and good sound penetration, and you will surely be fascinated by the high-quality sound image where the singing voice and each instrument that came out close by spreads smoothly in all directions. In addition, the balance of the sound is also a big attraction of this song, and it is also worth checking out the fact that you can grasp the high performance of this lineup in the real feeling of the sound. The excellent song “Fearless” also has a strong attack guitar melody that stretches out, and the fusion of Robbie’s lead vocals and female chorus is outstanding. And “Shine On You Crazy Diamond” that appears on Disc 2 is sure to take all listeners’ breath away. The arrangement is also innovative, with the sound of the piano sparkling and the singing starting with the sound of the twin guitars, and you will be stunned by the ultra-class tone that instantly exceeds SBD. “Welcome to the Machine” also perfectly captures that rough and cold tone, which allows you to see very clearly how the essence of the song is expressed in the present tense arrangement, and you will be able to fully enjoy the vivid sound spectacle. “Have a Cigar” hits you with a strong bass at zero distance, and you will be excited by the sight of Roger singing passionately. The vividness of the female chorus in the background and the guitar solo in the middle of the song appear from a close distance that hurts your ears, and it is full of power. “Wish You Were Here” has a super high-resolution guitar sound, but Roger’s singing voice is mellowed on it, and the musical flight and prayer different from Gilmour’s is strongly felt, making it an outstanding scene where you can touch the immortal soul of Floyd even after the band has disappeared. “Dogs” begins with a siren sound, and the exquisite ensemble that runs through your ears with its incredible transparency and sound penetration will awaken the hot excitement that can be said to be a legitimate continuation of Floyd’s 1977 performance. Since there are no noisy voices around, the gaps between the sounds during the guitar solo are very beautiful, and the rise and spread of the modern interpretation of the synthesizer that appears in the middle of the song is a high-quality scene that is full of listening satisfaction, and it is a famous scene where you can see the high quality of the recording everywhere in the song. “Pigs (Three Different Ones)” is a perfect sound that is completely sealed from the low to high ranges, and the gradually rising sound drama hits you with the highest sound image, but at the same time, you can’t miss the exquisite sound that makes you feel the resonance of the intellectual excitement of the creator and the listener. The seamless flow of “The Happiest Days of Our Lives” and “Another Brick in the Wall Part 2” on Disc 3, which starts with the sound of a helicopter rotor after the end of “Pigs”, is also recorded with a beautiful and powerful close sound, but the ability to skillfully connect the world view of “ANIMALS” to “THE WALL” with the strongest high sound quality is also a major attraction of this recording. “Mother” is also a mellow, comfortable, mild sound, but the contours of the sound are very clear, which is worth noting (※ You can never record such a sound with mediocre recording equipment and position!). On the other hand, “Run Like Hell” is a song that conveys the three-dimensional sound composition of the song rebuilt in a modern style. The metallic guitar approach also jumps out with a vivid sound, and the clean arrangement that cuts off the development in one chorus at the end will make you tremble with the special listening comfort that is unique to this recording. In “Brain Damage”, which returns to “madness” again, the vividness of the singing voice stands out once again, and you will surely be fascinated by the glamorous arrangement of each vocalization, and in “Eclipse”, the modern approach of the saxophone singing loudly in the middle of the song is also recorded with an ultra-class beautiful sound, leaving a rare hot listening response and deep impression. “Vera” and “Bring the Boys Back Home”, which begin after the thank-you note and the reading of an impressive poem, are also exceptional. Not only can you enjoy the contrast between the singing voice and the simple performance of these two songs with the most transparent sound, but you can also enjoy the dizzying beauty of the female chorus that closes the song with a lustrous finish at the end. “Comfortably Numb” also perfectly records the intonation and grandeur of the song unique to Roger’s version, and you are sure to be overwhelmed by the recording potential that maintains a high level of excitement until the end of the disc. As you may know, Roger started to move this time, coincidentally, when Gilmour reached the end of “RATTLE THAT LOCK WORLD TOUR”. Like two incompatible people who were in the same field passing the baton on the other side of the world, each spotted his own Floyd.The only crucial difference was that while Gilmour’s performances were sprinkled with afterimages of Floyd on his new works, Roger’s performances were performances that gave the latest sound vision to past songs. The latest arrangements that enhance the appeal of the original songs without compromising them at all have the strength to challenge the core of people’s hearts once again, and it is clear that this challenging experiment was not just a nostalgic hobby of simply lining up past Floyd songs. The performances from next May, when the new work currently being produced will definitely be involved, will not be a show filled with Floyd tastes, and because of this special feeling, this work, which caught all the sounds at zero distance with the MK4 microphone installed in the pit space that is not usually accessible, is the ultimate memorial title of Roger’s 2016 performance. This album is packed with interesting things to listen to and extremely pleasant to listen to; these are the two main points of this album, but at the same time, it is also true that this is the highest quality sound among the series of “DESERT TRIP 2016” sound sources that have been released for some time now. Give this album a try this weekend, surrender yourself to the high level of depiction capabilities that this special sound image delivers to deliver a dense performance, and take an amazing “desert trip”!! Live at Empire Polo Club, Indio, CA. USA 16th October 2016 ULTIMATE SOUND Disc 1 (50:13) 1. Intro. 2. Speak to Me 3. Breathe 4. Set the Controls for the Heart of the Sun 5. One of These Days 6. Time 7. Breathe (reprise) 8. The Great Gig in the Sky 9. Money 10. Us and Them 11. Fearless Disc 2 (60:48) 1. MC 2. Shine On You Crazy Diamond 3. Welcome to the Machine 4. Have A Cigar 5. Wish You Were Here 6. Sirens intro/Chimneys go up 7. Dogs 8. Pigs (Three Different Ones) Disc 3 (46:11) 1. The Happiest Days of Our Lives 2. Another Brick in the Wall Part 2 3. Mother 4. Run Like Hell 5. Brain Damage 6. Eclipse 7. MC 8. Why Cannot the Good Prevail 9. Vera 10. Bring the Boys Back Home 11. Comfortably Numb