Description
Roger Waters’ US+THEM tour is becoming more and more thrilling and exciting with the amazing show content as the tour continues. You can feel the awesomeness just by listening to the latest sound sources that have been released one after another recently, but finally the title that will be the real deal is released here! By the way, have you ever thought about it? The tour has started, and in the past few weeks, some titles with good sound have come out, but is that really the sound that Roger intended? Although good sound quality does not necessarily match the sound that the artist intended, there should be some sounds that the artist thinks “Hmm, this is it” when listening to a certain position. For example, even Roger walks around the venue during sound check, stops at a certain position and makes a sound, and checks the sound that actually reaches there, but I think that one of those points is the sound that resonates in the middle of the arena. Because it is the point where the quadrophonic sound coming from all sides reaches and sounds the most balanced, and it is also the point that becomes the standard when considering the sound reverberation and sound image adjustment in the venue, Roger would not have failed to consider this. So what if there was a recording machine there? And what if it was equipped with the highest peak ultra-high performance capsule microphone, Schopes “MK4”? … Yes, the ultra-high performance sound title that materializes it is a surprise appearance! The person who carried out this recording is Daspyknows, a famous taper who has been in the spotlight lately. He is known as a user of MK4 so much that he can already be thought of as MK4, and he continues to release special recordings of various artists with his beloved machine, exciting unofficial sound source fans every day. His latest recording is this work, the Oakland performance on June 10th, but what is surprising this time is the recording position. The information uploaded on the net is “section B row 28 2 seats off dead center”, and if you check this on the seating chart on the website of the actual venue, Oracle Arena, it looks like this. (↓Venue seating chart link) http://www.oraclearena.com/venues-events/seating-charts As you can see, it is the 28th row in the middle of the arena, right in front of the mixboard, and the section with the fewest people (= fewer factors and risks that may interfere with recording). Also, since the sound reaches evenly no matter where the speakers are placed, it is surprising that such a good seat can be taken intentionally like a movie theater seat, but this is exactly “the dream sound that grabs the sound image that Roger intended in this venue with the best position and the best capsule microphone of today”, and a true ultra sound is realized! With such an advantage in the recording position and the microphone, there is no way that the sound does not have an advantage. Moreover, Daspyknows recorded the opening “Speak to Me” for a whopping 15 minutes (!!!) before the performance started on this day, and you can continue to listen to the situation before the performance on the day, including the rare moment when the opening BGM starts. What I want to pay attention to is that even though it is the middle of the arena, there is no voice nearby, and the noise in the hall reaches the recorder in a very quiet place. The advantage of the position of “section B row 28 2 seats off dead center” where there is almost nothing to block even though it is an arena can be confirmed by the surrounding sounds. From 6 minutes 21 seconds, the opening BGM by female harmony appears with a beautiful super clear sound, and it is also an interesting feature that the sound reaching the position of the recorder can be understood and confirmed in three dimensions. The eye-opening surprise hits you at around 12 minutes 42 seconds when the show introduction begins, and first the sound of the waves surges, but the stereo surround feeling that hits you from the left and right is truly amazing, and you can realize that it is the best of the best recording position where you can perfectly grasp the three-dimensional sound by quadrophonic. The superb feeling of “Breathe” that finally appears after all this is overflowing with a high quality that is indescribable, and you will surely faint at the sound that grabs the sound coming out of the speakers. The sea scene of the clock at the beginning of “Time” also has an outstanding sense of floating sound, and the sound of the toms wrapping around the toms is surprisingly three-dimensional, as the sound is picked up simultaneously from speakers that are probably in the rear and on the left and right. The ensemble, especially the elasticity of the rhythm, is also well-expressed, and Roger’s voice is close and clear, so you can enjoy the charm of the thick, clear and powerful mid-range. If you listen carefully to “The Great Gig in the Sky”, you can probably hear that Jess and Holly are singing on different lines (= different speakers) in the venue, but the separation and surround feeling of the voices are also excellent, and the fact that the high-pitched range with a good extension comes out without any distortion is also a topic of discussion. Similarly, “Welcome to the Machine” perfectly captures the way the synthesizer rhythm sound is introduced, alternating between the left and right, and you will be amazed by the ultra-clear surround feeling. The dynamic range is also well-balanced and wide, and the thick sound of the synthesizer that appears in the middle of the song (※ This is also vivid!!) is perfectly picked up as it dances in the space, and the occasional female harmony is also perfectly picked up, so you can enjoy the position and the good microphone performance. “When We Were Young” also has a beautiful sound that shakes your mind, and its dynamic range that gives a sense of silence and bottomless space grabs the listener’s senses and soul, and the blend of Roger and female harmony that unfolds in the second half of “The Last Refugee”, as if exploring an unknown territory, also comes out with a simple and powerful sound, and this is also a sound image that overflows with the high recording power. “Picture That” has a dense sound that can be obtained even at low volume, and the consecutive attack sounds in the middle have a massive volume, leaving a high-quality listening experience that sets it apart from mediocre microphone recordings. The three songs from THE WALL following “The Happiest Days of Our Lives” have a sense of scale in the sound, and the scenes where you are surprised by the rich presence of the recording sound created by the superiority of the location and microphone occur one after another. The sound grain is also excellent, and everyone will be astonished by the super-resolution sound that can trace the guitar cutting and the ensemble gathered in the mid-range to the fine details. “Dogs” shows an ideal fusion of the movement of the fluttering rhythm and the lustrous sound of the melody line. The guitar sounds that enter twice in the middle, and the singing voice has a piercing high range, and the “tea party” scene that is probably being held in the middle of the show perfectly captures the subtle hall tone in the hall that is attenuated and amplified. “Pigs (Three Different Ones)” is also a good scene where you can listen to the scale of the dynamic sound up close, and here you will be overwhelmed by the sound image where the low range pops out clearly with a voluminous feeling. On the other hand, the high range is also well-balanced, and the sound is wide-scale, with a core guitar tone, distorted synth tone, and bass movement that is just as good as this one. Each instrument and voice is breathtakingly balanced. “Money” has a collage of human voices added to the introductory register sound, and the floating feeling and rotation of the sound are perfectly recorded, and you will be overwhelmed by the dense sea of sound information. The contrast between the voluminous saxophone’s pulsative high tones and the raging guitar has a dazzling sound that cannot be felt in other recordings, making it a great listening point. “Us and Them” also captures the nostalgic organ tone seeping into the venue with a colorful and dense sound, and you will be sure to be overwhelmed by the crystal sound of the piano, the saxophone, and the gorgeousness and tone of the back-up chorus ornaments. The flow from “Brain Damage” to “Eclipse” is also not half-hearted in sound performance, and you can enjoy the pleasure of the mega-crystal sound slowly seeping into your body, and you will notice that this is clearly a different listening experience from mediocre microphone recordings. The reverberation and sound extension of “Bring the Boys Back Home” and the overwhelming transparency are also intense, and “Comfortably Numb” also takes the listener’s sensibilities even higher and farther with the vivid sound recorded by the MK4 and the high separation of each instrument. The US + THEM performance can only be experienced with the high-performance capsule microphone MK4 and the advantage of the recording position in the middle of the arena. If you think about it, when we enjoy unofficial sound sources, it is most likely that we are not experiencing the sound of the center of the venue, where all the sounds collide at equal intervals. Of course, there are advantages to be gained from that position, for example, the sound pressure of a recording from the front row is irresistible, and you can only experience it from that position. But that gives off too much of a live feeling of wanting to see, hear, and experience it up close, and it’s probably a little different from the sound the artist intended. Especially when confronted head-on with something that emphasizes sound, like Floyd’s, especially Roger’s, it can sometimes be a musical hindrance. Experience all of this in the right position, with the highest peak MK4 microphone, and experience the real sound full of sound vibrations and intoxication with this work this weekend. Live at Oracle Arena, Oakland, CA. USA 10th June 2017 ULTIMATE SOUND Disc 1(72:44) 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. Deja Vu 10. The Last Refugee 11. Picture That W 12. ish 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(74:48) 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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