Roger Waters / Louisville 2017 Matrix / 2CD+1Bonus DVDR

Roger Waters / Louisville 2017 Matrix / 2CD+1Bonus DVDR / Sigma
Translated text:
Live at KFC Yum! Center, Louisville, KY. USA 28th May 2017 plus Bonus DVDR “Louisville 2017 The Video”

Click Image To Enlarge

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), Recording location: Section 311, row A
Roger Waters’ US + THEM tour, which is taking a topic that exceeds expectations every day. In the US Kansas’ performance on the first day of the tour last week, its decision version “ROGER WATERS – KANSAS CITY 2017 (Sigma 183)” came out, but on the second day, the Louisville show was a Ultra class special class with two ultra- I will appear in sound quality !!

This Louisville show last week was released as “ROGER WATERS – LOUISVILLE 2017 (Amity 400)” by AMITY label. This is a worldwide name taper which will cease now, 4 tape set title (Mr. Tapehead 2 recorded at the same position using ultra-luxurious microphones AT943s and Schoeps MK 4s (* discs 1 and 2 recorded with “AT 943s”, disc 3 and 4 recorded with “Schoeps MK 4s”), it received great popularity as a title that pleases the difference in nuance of sound by two kinds of luxury microphones by the same location recording.

…. By the way, do you know the recording technique “pair mike”? It is a valid recording method when picking up sounds of moving objects such as F – 1 race car running sound, takeoff and landing sound of jet aircraft. I have a microphone like two pistols in both hands, I move the direction of the microphone with my body according to the object to move and record, but since there is a distance as far as the width of the body between the microphone and the microphone, it is surround It is a translation that can make a realistic sound a thing.

With that in mind, let’s think about “ROGER WATERS – LOUISVILLE 2017” that appeared last week. The title of this title is “same position recording using two super high performance microphones” as mentioned above, but although it is the same position, it is no doubt that two recording machines and two microphones are piled up and bundled and it goes to recording I do not think so. Although it is nominally the same position, it is almost certain that the microphone and the microphone were separated by about several tens of centimeters. And in such cases, is not it natural to place a microphone on your right hand side and left hand side across your body? In other words, the fact that the taper of this recording is doing (although it does not move the microphone toward the object), it is the same as the above-mentioned pair-microphone recording method. As a matter of course, even if it is the same position recording in the sound image, a slight parallax / distance difference like the right eye and the left eye will occur, and the sound heard actually at his own standing position for the first time by overlapping this It will be lifted with a sense of wide / surround feeling. This is a real synthesis of this matrix, and not only the difference in the nuance of the sound by the two ultra-high performance microphones, but also the acoustic characteristics obtained by such a small distance of such two microphones was reproduced Tone quality special class A press board 2 set CD has become!

However, even if we say two sources obtained with ultra-high performance microphones, we will not talk about muddling the sound with a matrix work synthesizing this. This time I was in charge of professional use equipment at home and I am a leading Floyd researcher living in Europe who has a skill as an acoustic engineer. He elaborately reviewed and redesigned the precise sound by this high-performance microphone unit to the Sigma label carefully, but the finish has reached a level of astonishing anymore. Even though it is a single unit, each microphone recording boasting unparalleled sound quality was perfectly synthesized and its playing power realized the angry documentary sound of which sound comes out two or three steps ahead !!!

Perhaps as an unofficial sound source matrix synthesis by the strongest microphone matching in history … The sound image is royal with transparent feeling full of transparency with weight, dampness and spatiality though there is absolutely no sense of exaggeration of the sound which matrix works are prone to fall at all sound. Even if it is described as “there is spreading in sound”, the sound is not merely spreading, for example, like “Breathe” here, a vivid dye which gloss cools up is sucked into high class handmade Japanese paper It is an organic and visual spread like something to go on. Even with “One of These Days”, the base gorilla sound has soft quality and it feels like a weak surround sound with elasticity rather than a strong attack sound. The place where the music moves greatly after the monologue has also become a massive sound accompanied by precise sharpness and it is fruited as an unexperienced high resolution sound in which its musical motility lives unbelievable mellowness and weight and sharpness It is. At “Time” the surrounding sound of Tam coming out at the beginning will be surprisingly close to sharp and striking three-dimensional sound. Furthermore, when the ensemble starts to move, the very fine-minded performance sound and the dynamic dynamics of the moderate midrange carry the excitement that is not yet experienced. In “The Great Gig in the Sky” female twin · chorus jumps out with colorful feelings and sounds, while the bass and bass drum sounds behind it are also outstanding with a strong response to sound pressure, I think that you can experience the contrast by 2 voice lines and rhythm with dazzling which can not be experienced in normal single unit recording. “Welcome to the Machine” has a breadth of bass range and power that is intense, and a precise performance sound that progresses in a thick sound pressure like a front row is a big appeal. Especially filling up and spreading of the dense sound of the synthesizer close up in the middle stage has become an astonishing sound image so please expect it. “The Last Refugee” is also a sound in which the transition from a quiet sound to a sound is precisely appearing, the spatiality and depth amplified by the matrix is ​​blurred out, and “Picture That” is a musical movement I am supposed to be captivating all those who listen to the dynamic transformation that is going to be released. It is also noteworthy that the movement and sound of the base which stands out in the latter half comes out with a very elastic wide tone. “Wish You Were Here” is also a transcendental sound image impossible with one source, and one sound of the guitar crosses the texture beautifully. Even though the sound is extremely clear and accompanied by a high quality mellowness, the expressions by light chalking continuation are everywhere and everywhere, and this one song is certain to make everyone look astound and listen carefully.

“Battersea Rises SFX” introduced disk 2 which will be the start of the latter half of the show is also a strong sound image. I do not know if I changed the direction of each microphone or the recording position slightly, but surprisingly each original sound is further raising the quality from here, and the future will be able to shake the sound image accompanied by a vision up to the disk end. In “Dogs” I think that the closeness of singing voice and the way the street jumps much more than the disc 1, the transparency of the sound image · the sound of the guitar is also equipped with deep sharpness like two blades than listening with the source alone. The sound pressure of the low frequency range is also outstanding weight feeling, the volume feeling of the depth and the sound of the synthesizer developed from around the middle 10 minutes 03 seconds is also surprisingly dense and this is the highest in the matrix effect This work, the first listening It is not an exaggeration to say anything. This is similar to the rich sound and sharpness of saxophone that comes out in the middle of “Money”, and the brilliant sound of the guitar taken over from this is also tremendous in matrix effect. “Us and Them” will also be overwhelmed by transparency and the floating feeling of the sound. I think that pianissimo like a whisper in a tranquil scene will be played with vivid brightness of overwhelming powerful overwhelming powerful overlapping ensemble, so please be sure to pay attention. “Brain Damage” with the part of female chorus added for introduction is also unusually beautiful in its locus of the voice, you will feel the high quality of each original recording in the reverberation of the tone. It seems to be a mistake that this day is mistaken something or midfield, but you should not hide the marvel at the scrutiny of cutting edge sounds that can be grasped real to such a rare scene. “Bring the Boys Back Home” is also a moving scene to be handed over by female chorus team, the elongation and diffusion of beautiful voice tells the power of the matrix, and “Comfortably Numb” also shows outstanding transparency of sound and sound change Since it comes out with the depth of the tone, it will be clearly clear that this song is focusing on a further next level. It is no doubt that you can feel the fact that the listening impression of the matrix is ​​the only thing that can be grasped at this level.

It is the acoustic composition of the US + THEM tour by this big production, which uncovers this matrix sound which was born with two super high performance microphones, the latest technology, and professional level acoustic technology. It is because there are many songs of Pink Floyd where importance is attached to the texture of the sound that is not comparable with other bands, and because of the performance of Roger who is his brain, this is the real sound faithful to the scene Let’s say that the attempt to do this is very meaningful. And because it is fruitful in this perfect figure, this work is also an intelligence exciting spoiler title that can never be reached by mediocre recordings. When volume is raised greatly, Sigma latest work, which understands the difference between sound quality and quality by skin feeling, is an ultra high performance title that responds to the listener who is listening to sounds eternally!

★ Two types of sound sources tapered on the net were recorded by matrix processing (the same taper recorded with two microphones, respectively). The best sound quality.
連日、予想を上回る話題をさらっている我らがロジャー・ウォーターズのUS＋THEMツアー。ツアー初日の米国カンザス公演は先週その決定版『ROGER WATERS – KANSAS CITY 2017 (Sigma 183)』が電撃登場しましたが、その2日目、ルイヴィル公演が超高級マイク2種のマトリックスによるウルトラ級の特級音質で登場致します!!

このルイヴィル公演は先週、AMITYレーベルより『ROGER WATERS – LOUISVILLE 2017 (Amity 400)』としてリリースされました。これは今をときめく世界的な名テーパー、Tapehead2氏が超高級マイクAT943sとSchoeps MK4sを使って同位置で録音した4枚組タイトル(※ ディスク1と2には“AT943s”で録音したもの、ディスク3と4には“Schoeps MK4s”で録音したもの)で、同位置録音による2種の高級マイクによる音のニュアンスの違いを愉しめるタイトルとして大好評を戴きました。

….ところで皆様は” ペア・マイク “という録音テクニックを御存知でしょうか。F-1レースカーの走行音やジェット機の離陸・着陸音など、動いている対象の音を収音する時に有効な録音法です。両手に2丁拳銃の様にマイクを持ち、動く対象に合わせて身体ごとマイクの向きを移動させて録音するのですが、マイクとマイクの間に身体の幅ほどの距離があるため、サラウンド的で臨場感ある音をモノにする事が出来る訳です。

それを踏まえたうえで改めて、先週登場した『ROGER WATERS – LOUISVILLE 2017』を考えてみましょう。このタイトルの肝は前述の通り” 2台の超高性能マイクを使用した同位置録音 “ですが、しかし同位置とはいえまさか録音機やマイクを2台積み重ねたり、束ねたりして録音に臨んだとは思えません。名目上は同位置とはいえ、ほぼ間違いなくマイクとマイクは数十センチ程度離れていた筈なのです。そして通常こうした場合、自分の体を挟んで右手側と左手側にマイクを設置するのが自然ではないでしょうか。つまりここで本録音のテーパーがやっている事は( マイクを対象に向けて動かす事はしないものの )、前述のペア・マイク録音法と同じなのです。すると当然ながら、音像には同位置録音ではあっても右目と左目の様に僅かな視差・距離の違いが生じますし、これを重ねる事で初めて自分の立ち位置で実際に聴いたサウンドが自然なワイド感・サラウンド感を伴って浮き上がる事になります。これを現実にマトリックス合成させたものが本作となっており、超高性能マイク2台による音のニュアンスの違いだけでなく、そうしたマイク2台の僅かな距離によって得られる音響特性も再現させた音質特A級のプレス盤2枚組CDとなっているのです!!

とは言え、いかに超高性能マイクで得られた2ソースと言っても、これを合成するマトリックス作業で音を濁らせてしまってはお話になりません。これを今回担当したのが自宅にプロユース機材を持ち、音響エンジニアとしても手腕を振るうヨーロッパ在住のフロイド研究第一人者です。彼はこの高性能マイク・ユニットによる精密サウンドを細部に至るまで入念に精査・再設計して当Sigmaレーベルに提供してくれたのですが、その仕上がりはもはや驚異のレベルに達していました。それ単体でさえ比類なき音質を誇る各マイク録音がパーフェクト合成されたその再生力は、音が2歩も3歩も前に出る怒涛のドキュメンタリー・サウンドを実現していたのです!!!

非公式音源としては恐らく史上最強のマイク・マッチングによるマトリックス合成…その音像はマトリックス作品が陥り易いサウンドの誇張感など一切無いのに重みと湿り気と空間性が備わった透明感満点のロイヤル・サウンド。” 音に広がりがある “という形容にしても単に音が広がっているのではなく、例えばここでの「Breathe」の様に、艶が乗りまくった鮮やかな染料が高級手漉き和紙にスウッと吸い込まれてゆく様な、有機的かつ映像的な広がりなのです。「One of These Days」にしても、ベースのゴリゴリ音に柔らかい質の高さが備わっており、アタックの強い音というよりは弾力のある微弱なサラウンド音という感じです。モノローグ後に音楽が大きく動き出すところも精緻な鋭さを伴うマッシヴ・サウンドとなっており、その音楽的運動性が信じ難いまろやかさと重さ、そして鋭さを同居させた未体験の高解像サウンドとして結実しているのです。「Time」では冒頭で出てくるタムの回り込む音が驚くほど近く鮮明、且つ立体的な出音に仰天するでしょう。アンサンブルが動き出すと更に、そのあまりにファイン・モールドな演奏音と弾力ある中音域の躍動感が未体験の興奮を運んでくれるのです。「The Great Gig in the Sky」では女性ツイン・コーラスが色彩感溢れる響きと音色で飛び出す一方、その後ろにあるベースとバスドラムの一音一音も非常に手応えある音圧感で出ている為、2声の旋律線とリズムによるコントラストが通常の単体録音ではまず体験出来ない眩しさで体験出来ると思います。「Welcome to the Machine」では低音域の幅広さと迫力が強烈で、フロント・ロウの様な太い音圧の中で進行する精緻な演奏音が大きな魅力です。特に中盤でクローズアップされるシンセサイザーの濃密な響きの充満と拡散は驚異的な音像となっていますので是非御期待下さい。「The Last Refugee」も静かな音から音への移ろいが精緻に出ているサウンドで、マトリックスによって増幅された空間性と奥行きが麗しく滲み出ていますし、「Picture That」で音楽的な運動性が開放されてゆくダイナミックな音の変容も聴く者全員を虜にする筈です。またここは後半で目立つベースの動きと響きが非常に弾力のあるワイドな音色で出ているのも特筆されるでしょう。「Wish You Were Here」もまた1ソースでは不可能な超絶音像で、ギターの一音一音が質感麗しく交差してゆきます。音が極めて明瞭且つ上質なまろやかさを伴っているだけに軽いチョーキングの連続による表現も随所でいちいち生々しく、この1曲は誰もが目を見張る・耳を澄ますこと確実になっています。

ショウ後半のスタートとなるディスク2導入の「Battersea Rises SFX」も強烈な音像です。それぞれのマイクの向きか録音位置を若干変えたのか分かりませんが、驚く事に各原音がここから更にクオリティを上げており、この先はディスクエンドまで幻視伴う音像に打ち震えるでしょう。「Dogs」では歌声の近さと通り具合がディスク1より格段に跳ね上がり、音像の透明度・ギターの響きもソース単体で聴くより2枚刃の様な深い鋭さが備わっているのが分かると思います。低音域の音圧も抜群の重量感で、中盤10分03秒付近から展開するシンセサイザーの奥行きと響きのボリューム感も驚異的に濃密でこれはマトリックス効果が最高に出た本作一番の聴きどころと言っても過言ではないでしょう。これは「Money」中盤で出てくるサックスの質感豊かな響きと切れ味も同様で、そこから引き継がれるギターの鮮烈な響きもマトリックス効果絶大です。「Us and Them」もまた透明感と響きの浮遊感に打ちのめされるでしょう。ここは静謐なシーンでの囁く様なピアニシモも、アンサンブルが重なる圧倒的迫力の極太フォルテシモも桁違いの鮮やかさで再生されますので是非御注目戴ければと思います。導入に女性コーラスのパートが付加された「Brain Damage」もその声の軌跡が異常なほど麗しく、音色の余韻に各原録音の質の高さを実感されるでしょう。この日は何かの手違いか中盤で展開を間違えてる様子も御愛嬌ですが、そうしたレア・シーンまでリアルに掴み取れる最先端の音の精査に驚嘆を隠せない筈です。「Bring the Boys Back Home」も女性コーラス隊に引き継がれるシーンが感動的で、麗しい声の伸びと拡散がマトリックスの威力を物語っていますし、「Comfortably Numb」も音色と響きの移ろいが抜群の透明度と音色の深さで出ているため、この曲が更なるネクスト・レベルへ照準を合わせている事がハッキリ分かるでしょう。現場に漂う音色の変容がこのレベルで掴み取れてこそマトリックスのリスニング感動がある事を改めて痛感出来るに違いありません。

2つの超高性能マイクと最新テクノロジー、そしてプロレベルの音響技術によって誕生したこのマトリックス・サウンドが暴くもの、それはこのビッグ・プロダクションによるUS＋THEMツアーの音響構成でしょう。他のバンドとは比較にならないほど響きの質感が重要視されるピンク・フロイドの曲が多々あるからこそ、そしてその頭脳たるロジャーの公演だからこそ、これをどこまでも現場に忠実なリアル・サウンドで読み解こうとする試みは非常に意義ある事と申せましょう。そしてそれがここに完璧な姿で結実しているが故に、本作は凡庸な録音では決して到達出来ない知性昂ぶる逸材タイトルともなっているのです。ボリュームをグッと上げた時、音質と品質の違いが肌感覚で分かるSigma最新作、音に一途な聴き手に応える超高性能タイトルです!!

★テーパーがネット上に公開した2種の音源を（同一テーパーが2つのマイクでそれぞれ録音）マトリックス処理したもの。最高音質。

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. Deja 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

Sigma 186
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Roger Waters / Louisville 2017 The Video / 1Bonus DVDR / Non Label
Translated text:
Live at KFC Yum! Center, Louisville, KY. USA 28th May 2017

Click Image To Enlarge

The main press 2CD is a superb live album that made the master recorded by the same taper matrix. However, this person did not only publish recording. This work is video footage released by this person. It is the finest audience shot of the same “May 28, 2017 Show” Louisville.
The biggest point of such work is not collection value such as “same show” “same person”. There is a superior quality that blows even such a sense of unity. Actually, this work is ridiculous image beauty. It is a looking down shot from the stand seat on the right side of the stage, but it was the front seat or obstruction zero. And the image quality which shows the power of the latest digital equipment in various ways is super sharp even with zoom. If you go up, you can project as much as you wish from the end to the end of the stage, with the scales of the venue as well as huge screens you can freely draw. It is an image that holds down all kinds of attractions from just the right position.
Moreover, the sense of stability is also abnormal. Although it seems that it is quite a distance if you pull the ending, you do not have camera shake even with bold zooming. It seems that the photographer is pretty accustomed, and neither the left nor the right pan zoom in / out slowly. It keeps staring carefully throughout the show. Of course, the sound is superb. Although this work is not a matrix, it uses the exquisite recording which was very popular also in “LOUISVILLE 2017 (Amity 400)” as it is, it glows a gorgeous scene heavily.
“US + THEM” drawn with such quality is literally “drinking breath” a big spectacle. This photographer is also photographing the sights of the band directly, but never sticks to that. Screen shots are also heavily used, which is truly amazing. “Speak to Me” where cosmic dust gathers to form “the back of the moon”, “The Great Gig in the Sky” where the female voice of Jess & Horley is overwhelming, “Deja Vu” which effectively uses promotional video, Along with “Dogs” where a huge Battersea Power Plant arouses, “Eclipse” even even the latest art of laser beams, a number of image projections shown on the screen curtain dancing in the air … …. Even though we focused on sightseeing places, most of the visual works of the past were mostly made use of smartphotography etc, the whole picture of the show production was sometimes overlooked. However, this work is taking pictures of everything from a great position by mania familiar with Roger’s music, there is no overlook. You can witness plenty of places of interest and extraordinary clearance in the literature.

That sound, image beauty. To tell the truth, this work itself is a press work classic work that is a waste for the bonus. Performing art of sound and image that Roger, a contemporary stage artist reached after “THE WALL LIVE”. A mania who can understand it all the way to the best of his ability. Please do not worry about the video work that does not stop to inflate the image of the main press press 2CD, please please.

★ It is the highest and the strongest image of the tour.
本編プレス２CDは、同じテーパーが記録したマスターをマトリクスさせた極上ライヴアルバムです。しかし、この人物が公開したのは録音だけではありませんでした。本作は、この人物が公開した映像編。同じ「2017年５月28日ルイビル公演」の極上オーディエンス・ショットです。
そんな本作最大のポイントは「同じショウ」「同じ人物」といったコレクション価値ではありません。そんな統一感さえも吹っ飛ばす極上のクオリティにこそある。実際、本作はとんでもない映像美。ステージ右寄りのスタンド席から見下ろしショットなのですが、最前席だったのか遮蔽物ゼロ。そして、最新デジタル機材の威力をまざまざと見せつける画質はズームでも超鮮明。アップに寄ればステージの端から端まで望むままに映し出せ、引けば会場のスケール感も巨大スクリーンも自由自在。まさに絶好のポジションからありとあらゆる見どころを押さえきっている映像なのです。
しかも、安定感も異常。思い切り引くと結構距離があるようにも見えるのですが、果敢なズームでも手ブレなし。撮影者もかなり慣れていると見えて、左右のパンもズームイン／アウトもゆっくりと慌てない。ショウ全編にわたってじっくりと見つめ続けられるのです。もちろん、サウンドも極上。本作はマトリクスではありませんが、『LOUISVILLE 2017（Amity 400）』でも大好評だった極上録音をそのまま使用しており、ゴージャスな光景を重厚に彩ってくれるのです。
そんなクオリティで描かれる“US + THEM”は、文字通り“息を飲む”一大スペクタクル。この撮影者はバンドの見どころを直視撮影してもいますが、決してそれだけにこだわっていない。スクリーン・ショットも多用しており、それが本当に素晴らしい。宇宙塵が集まって“月の裏側”を形づくる「Speak to Me」、ジェス＆ホーリーの女声が圧倒的な「The Great Gig in the Sky」、プロモーション・ビデオを効果的に使った「Deja Vu」、地鳴りと共に巨大なバタシー発電所がそそり立つ「Dogs」、レーザー光線の最新アートでさえある「Eclipse」、空中を舞うスクリーン幕に映し出される数々の映像演出……。これまでの映像作品はスマホ映像なども駆使したものがほとんどだっただけに、見どころに集中はしても、ショウ演出の全体像は見逃されることもありました。しかし、本作はロジャーの音楽を熟知するマニアが絶好ポジションからすべて撮影しており、見逃しがない。枚挙に暇のない見どころがたっぷり＆超鮮明に目撃できるのです。

そのサウンド、映像美。実のところ、本作自体がボーナスにはもったいないプレス級の芸術作品なのです。当代きってのステージ・アーティストであるロジャーが“THE WALL LIVE”を経てたどり着いた音と映像の舞台芸術。それを隅々まで理解するマニアが極上クオリティで描ききった１枚。本編プレス２CDのイメージを膨らませるに止まらない映像作品、どうぞ刮目してご覧ください。

★ツアー最高・最強の映像です。

(112:40)
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 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
16. Battersea Rises SFX 17. Dogs 18. Pigs (Three Different Ones) 19. Money 20. Us and Them
21. Smell the Roses 22. Brain Damage 23. Eclipse 24. Vera 25. Bring the Boys Back Home
26. Comfortably Numb

COLOUR NTSC Approx.113min.