Description
From the North American tour accompanying U2’s hugely successful “ALL THAT YOU CAN’T LEAVE BEHIND,” where they returned to their roots, comes this urgently released matrix recording of their May 2001 Chicago performance, combining ALD and audience recordings! This is truly amazing quality! While there have been two official live DVDs released for this album, this one surpasses them! This title, which allows you to fully enjoy the power of U2’s live performances in the 2000s, is a must-have! In 2001, U2 returned to their band sound with “ALL THAT YOU CAN’T LEAVE BEHIND,” which drew rave reviews. Now, a matrix album has been born that will inject the passion of that return into your brain. Released on 2CDs! This work is engraved with the “May 15, 2001 Chicago performance.” It is a matrix recording of that “superb ALD + audience” performance. This show is also known for the precious, top-quality ALD sound source that was left behind. This work builds on that treasured sound source and combines it with another high-quality audience recording from the same day. It’s a new masterpiece that brings to life a completely official, never-before-seen sound. Some people may be wondering, “What is the ALD sound source, which is essentially a soundboard?” “ALD?” stands for “Assistive Listening Device,” which translates to a hearing aid. Of course, this is not just a regular hearing aid. Some concert venues offer specialized ALDs to accommodate the hearing impaired. While there are various types, such as handouts and seated units, these feature live performances by the band. Collectors refer to these recordings as “ALD sound sources.” These “ALD sound sources” are both valuable and treasured. While there are few venues offering them, the quality is unmatched. Because the mixed audio is played as is, it’s essentially a soundboard reproduction and similar to IEMs (in-ear monitors). However, while IEMs are for staff use, ALD is provided for the audience to enjoy. Although mono, the mix is often carefully tuned. Best of all, there are no staff instructions or clicks. While this ALD recording is truly impressive, it does have its quirks. ALD recordings are intended to be listened to with headphones in a venue pulsating with cheers and thumping bass. Therefore, it’s essentially mono, with no cheers. Listening to it again in a quiet room can feel quite lacking. A new-age matrix reimagines the official production. This album is a new masterpiece that completely eliminates the weak points of the ALD recording through a matrix with the audience. Moreover, it’s not simply layered; it’s a new-generation version utilizing the latest AI technology. Of course, when I say AI, I don’t mean a generated AI that creates things on its own (a common misconception). Each instrument recorded on the sound source was demixed (6 drum parts/guitar/vocals/bass/piano/cheering/other) x 2 sources = a total of 24 tracks, which were then reconstructed and assembled. In other words, every note of the performance was played by the artists themselves, using their hands and throats. “REMASTER & REMIX” has used this technique to elevate various soundboards and classic audiences, but it was especially effective on this “ALD sound source.” The mono original sound is fully stereo (not artificial) by matrixing it with the audience recording, and each instrument’s unique “ideal distribution of the ALD + AUD fusion” can be individually realized. And when it’s mixed, it’s assembled with positioning and balance consistent with the official live production (even in this title, The Edge’s guitar is clearly heard from the left channel, as per the official release). In other words, while the materials are “ALD sound sources” and “audience recordings,” they are based on the same principles and processes as official live albums, combining soundboard multi-tracks and cheers. This work also serves as a testament to what I’ve explained here. The ultra-thick, direct ALD sound source is transformed into a wide, dynamic stereo soundboard, bringing the immersive experience and spectacle of a superb audience. Speaking of the “ELEVATION Tour,” our store’s press masterpiece “COLOGNE 2001 1ST NIGHT: IEM RECORDING (Wardour-641)” was also included, but this work is a full live album comparable to the official works “LIVE FROM BOSTON” and “LIVE FROM SLANE CASTLE, IRELAND.” The true value of the ELEVATION Tour emerges with a different sound dimension. This new-dimensional matrix sound depicts a full show that differs from both official works. To explain its contents, let’s confirm the show’s position from the overview of activities at the time. March 24th – June 22nd: North America #1 (50 shows) ←★here★ July 6th – August 8th: Europe (20 shows) ←※COLOGNE 2001 August 11th – September 1st: UK (12 shows) ←※Official U2 GO HOME October 10th – December 2nd: North America #2 (30 shows) ←※MSG 2001 This is the “ELEVATION Tour” that swept the globe in 2001. This Chicago performance was the 29th show of the early “North America #1” tour. It was a concert three weeks before the official “ELEVATION 2001: LIVE FROM BOSTON.” While it may seem like the same set as “LIVE FROM BOSTON” since it’s the latest official release, it’s actually not. Let’s organize it by comparing it with another official release, “U2 GO HOME: LIVE FROM SLANE CASTLE, IRELAND.” All That You Can’t Leave Behind (7 songs) Elevation / Beautiful Day / New York (*) / Stuck In A Moment You Can’t Get Out Of / Kite / In A Little While (*) / Walk On Others (15 songs) Joshua Tree: Where the Streets Have No Name / Bullet The Blue Sky / With or Without You Achtung Baby: Until The End Of The World / Mysterious Ways (★) / The Fly (*) / One (★) Others: Discothèque (★*) / 11 O’Clock Tick Tock (★*) / Out Of Control (★) / Sunday Bloody Sunday / Desire / Stay (Faraway, So Close!) (*) / Bad (*) / Pride (In The Name Of Love) (★) *Note: * indicates songs from the official album “ELEVATION 2001: LIVE FROM “BOSTON,” and “*” indicates songs not heard on “U2 GO HOME: LIVE FROM SLANE CASTLE, IRELAND.” …and so on. There are five songs in the repertoire not heard on the most recent “LIVE FROM BOSTON,” including “Discothèque” and “11 O’Clock Tick Tock,” which were not even performed on “LIVE FROM SLANE CASTLE, IRELAND.” “Discothèque” is one of the album’s greatest highlights. While it’s not performed often, the arrangement is excellent. In stark contrast to the “PopMart Tour,” the wild band ensemble is brought to the forefront, and The Edge’s riffs powerfully drive the album. This rock version seems to embody the goal of the “ELEVATION Tour,” which returns to its roots. Furthermore, the transition from “Bad” to “Where the Streets Have No Name” resonates with the heart with its church-like majesty, and the closing track, “Walk On,” is also moving. I’m reminded again that the “ELEVATION Tour” is truly amazing. In the 2000s, the rock scene itself tended to lose sight of its goals and become stale, but U2 was completely different. The “ELEVATION Tour” wasn’t just a change of direction; it brought back rock passion to their performances, pouring every show into them with the same energy as if they were thinking, “This is the last day.” While the two official videos from a single tour showed their high level of ambition, listening to this album reveals a dynamism that is different from either of those. Years after becoming a global phenomenon, the “ELEVATION Tour” maintained its scale while recapturing its original passion. This album is a new masterpiece that reinvents that special era with a new dimension of sound. It’s a revolutionary work that greatly expands the possibilities of the “ALD+AUD Matrix.” This is the Matrix album from the “May 15, 2001 Chicago Concert.” This new era album utilizes cutting-edge AI technology to refine and remix the “ultimate audio/high-quality audience” sound for each individual instrument. Mono audio is restored to vibrant stereo, capturing the immersive sound and dynamism of a premium audience. While rivaling the quality of official releases, this new album offers a whole new dimension of classics, including classics like “Discothèque” and “11 O’Clock Tick Tock” that aren’t available on “LIVE FROM BOSTON” or “U2 GO HOME.” United Center, Chicago, IL, USA 15th May 2001 Remaster & Remix of In-Ear Monitor & Audience Recordings Disc:1 (68:59) 1. Elevation Intro 2. Elevation 3. Beautiful Day 4. Until The End Of The World 5. Discothèque 6. New York 7. Stuck In A Moment You Can’t Get Out Of 8. Kite 9. 11 O’Clock Tick Tock 10. Out Of Control 11. Sunday Bloody Sunday 12. In A Little While 13. Desire 14. Stay (Faraway, So Close!) Disc:2 (60:53) 1. Bad 2. Where The Streets Have No Name 3. Mysterious Ways 4. The Fly 5. Bullet The Blue Sky 6. With Or Without You 7. Pride (In The Name Of Love) 8. One 9.Walk On
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