──What specifically speaks of the fact that the sound of the high res version compared to the CD is better?
Suzuki: The CD format has a sampling frequency of 44.1 kHz and the number of bits is 16 bits, while the "ALL TIME BEST" high resolution version has a sampling frequency of 96 kHz and a bit number of 24 bits. When digitizing an analog sound source, the higher the sampling frequency, the more it is possible to record up to the sound of the high range. Also, the higher the number of bits, the higher the accuracy will be, which makes it possible to convert faithfully from the original sound. The 96 kHz / 24 bit high resolution sound source has about 3 times the amount of information of the CD, so considerably different will come out in how to hear it in parts such as fine sound change and sound reverberation as well as how to listen to high frequencies Right.
── Does that mean that it will sound more like an analog sound source?
Suzuki: Although I think that it is different whether it points to a record board or what to point even if saying an analog sound source, it is surely able to provide a sound closer to the master tape, is not it?
── Is not it more challenging than ever for an engineer?
Suzuki: No, CD has the challenge of CD. There are various mastering methods accumulated so far, and various things can be done by making full use of them. High res is a feeling that there is a new format that may be different from that. Engineers are always trying to make the most out of the format. Therefore, I think that it is important to exploit new expressions by utilizing the rich potential of the high resorption, which can expand the depth more and can stretch the high region more beautifully.
From master tape until high resolution sound source is created
Mr. Suzuki explained what kind of equipment to use from the analog
master tape and how to perform mastering work and how to create high
reso data.
However, in the case of CD and high resolution, only the format and
media when converted into digital data are different, there is no big
difference in the general mastering process itself.
- Preparation
- Depending on the type of tape and the preservation state, the old analog tape tends to suck moisture and become sticky and may not be able to be reproduced by the tape recorder as it is, so first put it in a dedicated oven (thermostat) and heat treatment for a certain time Do it and skip the moisture. The mastering process begins from this work done first thing in the morning.
- Reproduction of master tape
- Next, play the master tape in the best possible condition. For that, it is first necessary to choose a tape recorder that matches the era in which the master was created. And, since the angle of the playhead in contact with the tape and the tape are spanned more than this time this time, we will make various adjustments, such as balancing the volume, high range and low range. Anyway, it is all the basis of how much the master playing potential can be fully demonstrated and good reproduction can be done here.
- Equalizing
- The sound reproduced by the tape recorder is first passed through an analog equalizer, and the sound is adjusted. Since the tape itself may be in a state of so-called "blunt" due to secular change, at this stage, in order to regain the clearness originally possessed by the sound and tailored to the purpose of remastaring Equalize it.
- digitalization
- The analog signal is converted to a 96 kHz / 24 bit digital signal by the A / D converter. At this stage, the master tone generator that originally entered the analog tape becomes digital data that matches the format of the high resolution.
- After adjustment, drop it to HDD
- The signal then goes through the digital effector that performs the level control. Then it is fine-tuned again and it is dropped on the hard disk of the workstation (computer). This is one flow of mastering, it usually takes about 20 to 30 minutes per song.
Ultimately, rearrange them in the order of the songs, adjust the songs, complete the album as a whole considering the balance and flow.
I wanted to express my feelings and thoughts when I actually worked with Mr. Ozaki
── From the engineering point of view, where do you think the attractiveness of Mr. Ozaki's voice is?
Suzuki: It's an energy feeling. Is it a cry of a song coming from the soul?
The feeling coming straight towards the listener is very attractive.
─ ─ Mr. Suzuki was also involved in Mr. Ozaki 's recording, did not he?
Suzuki: I served as an assistant engineer in the 1985 album "From the Broken Door". Turn the recorder and actually record his song. Well then from the stage of trying to sing it once in a trial he was already in earnest mode (lol), often it was OK at that one.
─ ─ There is a legend that the tenth song "Forget-me-not" of the album
recorded a live dawn in the dawn, waiting for Mr. Ozaki who came out of
the studio after leaving the studio by the inevitable completion of
lyrics.
Suzuki: I have been waiting in the studio forever. When he said "I made it!" When he came back with the lyrics, I forgot the time, but the sun is rising and it is getting brighter ... .... His song at that time was truly amazing. That is unforgettable.
── Have you tried to make use of the experience of actually working with Mr. Ozaki on the mastering for this high resort?
Suzuki: I still remembered feelings and thoughts at the recording site at that time in myself, so I thought like to be able to get it well.
Until the thought in the song, can be conveyed vividly
Items used for audition
- Active speaker
SRS-X9 - Walkman ®
NW - ZX 1 - Stereo Headphone
MDR - 1 RMK 2
Here, Mr. Suzuki, with Walkman R "NW - ZX 1" for high resolution sound
source and stereo headphone "MDR - 1 RMK 2" and wireless speaker "SRS - X
9"
I listened to the "I Love You" high-res sound source just after mastering was over.
The nuance of the song, the delicacy is in place properly. Also, the depth and spreading feeling of the sound is transmitted. In that sense, the spreading feeling is transmitted more by the fact that a song whose originally has space, like this "I LOVE YOU", is converted to a high resolution sound source.
Stereoscopic effect and sense of depth, elongation of high region. In ballad songs, I think that such things are fairly firmly felt. Of course, even with a punchy song, the elongation of the sound is quite felt, and powerful power comes out strongly from the bass to the treble.
I listened to the "I Love You" high-res sound source just after mastering was over.
── What was your impression of listening to the high-res sound source that you mastered?
Suzuki: The nuance of the song, the delicacy is in place properly. Also, the depth and spreading feeling of the sound is transmitted. In that sense, the spreading feeling is transmitted more by the fact that a song whose originally has space, like this "I LOVE YOU", is converted to a high resolution sound source.
─ ─ Now that I heard it actually, I realized that the nuance of the
music with space is more easily transmitted in the high res version.
Suzuki: Stereoscopic effect and sense of depth, elongation of high region. In ballad songs, I think that such things are fairly firmly felt. Of course, even with a punchy song, the elongation of the sound is quite felt, and powerful power comes out strongly from the bass to the treble.
── If the voice remaining on the master tape is the closest to Mr.
Ozaki's real voice, there is no doubt that the best format for reviving
it is a high resolution at the moment.
Suzuki: I think so. I guess it can be conveyed vividly until the thought he put in the song. Even if you listen to the high resolution sound created in this way now, not only the sound you recorded in the recording, but also your own feelings that felt at that time will revive in real. (Hi-reso) has a sense that it is a format that will convey firmly even fine nuances and feeling of air entering the master. Even for fans, I definitely would like you to listen to the first singing of the high res version of 'I LOVE YOU'. I think that you will understand if you listen. It's so good.
Mr. Koji Suzuki, who is an engineer, is challenging how much new
expression can be made by taking advantage of its specifications, not
following specs, while incorporating new technologies.
In retrospect, the artist Ozaki Yutaka did not try to sing it neatly,
but also on how straight it could express the tremor of the intense
soul. The two "expressers" who worked together in 1985 met over again in the possibility of high resorption, as time passed. As a result, the voices left on the master tape, the sound, the air, the thought, the heat, but the smell, the touch revives. "ALL TIME BEST" The meaning of the high res version is not here.
