"THIS TIME" TunUp with a clear shadow! Kenjiro Sakiya's remaster
「THIS TIME」
崎谷健次郎
from album Realism
"THIS TIME" Kenjiro Sakiya from album Realism
"THIS TIME" Kenjiro Sakiya from album Realism
音が良くなったと絶賛されているのが、崎谷健次郎さんのリマスター盤です。
音響やミックスに関しては詳しくわかりませんが、ライブ感がビシビシ伝わってきます。
もちろん、私の中にある遠い日の「ライブ」の記憶も、とてつもなく補正を欠けているんだと思いますが、1980年代の「カタログのような音」とはあきらかに違いますね。つまり、同じ演奏のままでも、ミックスでこういうふうに変わるのか、という。
楽器を演奏している人なら、エフェクターが利きすぎている音よりも、シンプルで太い音のほうが迫力を感じるかもしれませんね。エフェクターや効果に頼り切らずに、音そのもので勝負しているからこそのダイナミックさ。
もちろん「THIS TIME」は、迫力ある演奏です。うつろな影までクリアに迫ってきます。
Kenjiro Sakiya's remastered version has been praised for its improved sound. I don't know the details about the sound and the mix, but the live feeling is transmitted. Of course, I think that the memory of the "live" of a distant day in me is tremendously lacking in correction, but it is clearly different from the "catalog-like sound" of the 1980s. In other words, does the mix change like this even if the performance remains the same? If you're playing an instrument, a simple, fat sound may be more powerful than a sound with too much effector. It's dynamic because it competes with the sound itself without relying on effectors and effects. Of course, "THIS TIME" is a powerful performance. Even the hollow shadows are approaching clear.
Kenjiro Sakiya's remastered version has been praised for its improved sound. I don't know the details about the sound and the mix, but the live feeling is transmitted. Of course, I think that the memory of the "live" of a distant day in me is tremendously lacking in correction, but it is clearly different from the "catalog-like sound" of the 1980s. In other words, does the mix change like this even if the performance remains the same? If you're playing an instrument, a simple, fat sound may be more powerful than a sound with too much effector. It's dynamic because it competes with the sound itself without relying on effectors and effects. Of course, "THIS TIME" is a powerful performance. Even the hollow shadows are approaching clear.
令和の連休いかがお過ごしですか？1988年Realism 制作中のインタビューです。#崎谷健次郎 #Realism https://t.co/S0M54RyNbXhttps://t.co/AEoUsQR0uR pic.twitter.com/I52GCJ0aQa— 崎谷健次郎 (@sakiyakenjiro) 2019年5月1日
1988年This time remix シングル発売時の女性誌に掲載された記事です。realism のキャンペーンとライブ後に三カ月NYで過ごし、ハウスミュージックに傾倒して行きました。新曲「愛がくれるもの」が日本テレビNNNストレイトニュースで休日含めて毎日流れています。 pic.twitter.com/LezYWAFOJ6— 崎谷健次郎 (@sakiyakenjiro) 2019年4月4日
1988年の「Realism」と、2019年の「Realism Anthology」の間は、ワープが可能なのかというくらい、すんなりと馴染んでしまいます。すごすぎて馴染んでしまうのです。
違和感なく、より自然なサウンド。これこれ、こうだったよ、と知ったかぶりしたくなるほど。
以前は、二階席の後ろのほうで体験していたのが、いよいよ一階最前列で目の当たりにしている、そんな感じです。
音圧を感じます。
ドラムが、風圧かましてくれています。
久しぶりに何度もリピートしてしまいました。ここではない、あの空気がTurn Up しまくりです。
当時よりも、当時っぽい。なんていう表現は、意味不明かもしれませんが。
Between "Realism" in 1988 and "Realism Anthology" in 2019, it's easy to get used to as if warping is possible. It's so amazing that it gets used to it. A more natural sound without any discomfort. It makes me want to know that this was like this. I used to experience it behind the seats on the second floor, and now I'm witnessing it in the front row on the first floor. I feel the sound pressure. The drums are chewing on the wind pressure. I have repeated it many times after a long absence. That air, not here, is turning up. It's more like that time than it was then. The expression may not make sense.
Between "Realism" in 1988 and "Realism Anthology" in 2019, it's easy to get used to as if warping is possible. It's so amazing that it gets used to it. A more natural sound without any discomfort. It makes me want to know that this was like this. I used to experience it behind the seats on the second floor, and now I'm witnessing it in the front row on the first floor. I feel the sound pressure. The drums are chewing on the wind pressure. I have repeated it many times after a long absence. That air, not here, is turning up. It's more like that time than it was then. The expression may not make sense.
written by 水瀬次郎
