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SAITAMA SUPER ARENA 2020
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2 CD |
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 Front cover |
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 Back cover |
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SAITAMA SUPER ARENA 2020
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2 CD |
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Front cover |
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Back cover |
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Review from internet. QUEEN + Adam Rampart’s “THE RHAPSODY TOUR” showed a lift during the
heyday following the big boom that started with the movie “Bohemian
Rhapsody”. The best original recording that preserves the first day forever!
This show was already reported last week as part of the four-piece masterpiece masterpiece “SAITAMA SUPER ARENA 2020” (hereafter, “previous work”), but in fact, this work refined the first day with meticulous mastering Things … wait a minute! You might have thought that it was a remastered board, but it was too quick to decide. This is a new board that has been reborn into a ridiculous sound. Even if you say “remaster” in the first place, there is a wide range of failures. That would have been felt in the experience by many collectors. Of course, it depends on your mastering skills, but more importantly, the original sound. In particular, audience recordings vary in personality, and even if they have a similar sound, it is completely different if you carefully check the type of sound, the directivity, the stereo feeling, and the sense of separation in each range. And each one is a type that can be improved by mastering, and there is something that can not be done even if it is too much (meaning that it will not be physically changeable, but if it is processed even a little, it will become unpredictable). In addition, the determination is quite troublesome. You can get some eye-catching stars in the waveform, but you don’t know how much it will improve without actually working. Although the extra talk has become longer, the recording that became the basis of this work is the one with the best compatibility with mastering. It’s like being reborn. The previous work was a name recording with a strong core and detailed details, but the sound was somewhat rounded and the vividness was not fully conveyed. On the other hand, this work suppresses the thick sound and raises the core, and the outline is also sharp. In addition, the applause that was too loud in some places was reduced. As a result, the powerful core of the performance sound roars more directly and the edges are extremely sharp. The sound of the previous work is crystal clear as if it were over frosted glass. The point here is that “the sound was not completely wiped away.” Of course, I think that it feels much thinner than the previous work, but it still gives the core a luster and feels the depth of the bass. The result is a sound with a natural balance that is different from simply extracting the peak, and a generous response to each range. If you do not know the previous work, the explanation will be refreshing, but those who listen only to this work can only say “excellent”. It doesn’t mistake for a sound board because it sucks fresh cheers and harmony, but it is comparable to a sound board in terms of thickness, clarity and closeness. The tone of the snare, which tends to give a sense of distance, does not seem to be an audience, and the deep bass kicks up the five organs and the midrange shakes the six sounds. And the treble that extends beautifully over it. Adam’s singing Vivrath is super clear, not to mention the lyrics, but Roger’s shout is a breathtaking level. And Brian’s orchestration is thick, but not cloudy or cloudy, giving off a golden glow like a temple on the scene screen. Well, imagine a film concert with an official album, for example. The sound of the performance is just superb, and the mood to rejoice is just vivid. This work is a live album spelled with such a sound. |