I heard two impressive 45 rpm vinyl LPs [containing the music from Yuko Mabuchi plays Miles Davis] in late 2020. The CD version had been previously released and the DSD version was released on the famous DSD music sales website NativeDSD.com which awarded Yuko Mabuchi plays Miles Davis the Best Jazz Recording of the Year.
The American record label Yarlung Records is responsible for the production and distribution of this album. Yuko Mabuchi plays Miles Davis is one of those albums that can be appreciated just as much for its recording quality as it can for its musical success. The booklet notes mention the use of SonoruS Holographic Imaging Technology in the recording process.
In researching the label I learned that Yarlung sets itself apart in three particular ways:
1. Yarlung tends to record live performances.
2. The label records simultaneously in analog and digital media. (The analog chain utilizes the SonoruS ATR12 analog tape recorder and the engineers chose Agfa-formula 468 reel to reel tape. The digital uses the Merging Technologies HAPI to record the DSD format, and a proprietary SonoruS DAC for PCM.)
3. Yarlung utilizes SonoruS Holographic Imaging Technology in the recording chain. I don’t think there is much need to introduce the first two items. This last item is worth a bit of explanation. I believe readers have heard of the classic “Decca tree” microphone array and “One-point recording”. The common ground between the two techniques is precise location of the performers and careful control of acoustic reverb in the venue. The same applies for Holographic Imaging Technology. This is real-time full-analog 3D recording, which requires careful microphone placement and analog SonoruS Holographic Imaging processing in real time. The final sound is carefully curated and processed not only for phase and decay, but for enhancing the listener’s perceptions so that on playback, if the speakers are properly placed, the listener has the potential to experience the music as if the performers were physically right in front of the listener.
It is worth remembering that sound recorded by different microphones varies dramatically. This album uses two AKG classic microphones, a C24 and a C12. The former is a stereo design with two sets of high and low films, suitable for XY or MS mode recording. (Mastering engineer Doug Sax used a single C24 to record Harry James and his big jazz band. It was Direct to Disc, which reveals the quality and power of the C24.) The C12 is a monophonic design with rich mid-bass. With these two microphones, the sound of Yuko Mabuchi plays Miles Davis is already very good. With the addition of the Schoeps M 222, the texture of the instrument is even more powerful and effective. I watched a video of this concert on the Internet and I noted that the placement of the four instruments on the small stage is very different from that of ordinary jazz performances. The piano is placed close to the middle position, and the other instruments, the trumpet, drums and double bass surround the pianist. For the piano, the microphone is placed on a stand over the instrument’s soundboard. Because of the camera angle from high above the stage, I can only vaguely see the XY mode. The reason I mention this point is that it confirms what I was hearing when I listened to the vinyl. I initially felt strange when I heard the first two songs. Normally, drums are placed in the back position, but in this recording, the drummer sits to the right of the pianist. After understanding all aspects of recording, I realized that the so-called holographic sound effect is 360°, which explains the acoustic position of the drums. Assuming that the microphone is set up at the center of the stage, the drums and trumpet are placed at a distance from the others. Therefore, the Toe-in angle of the speaker and the emperor’s position are 45°. I don’t know if this is the intent of Holographic Imaging, but I can assure you that the sound is very realistic.
I think this album is a tribute to the musical spirit of Miles Davis. After these four jazz musicians digested the master’s work, they reprised the songs from their own musical frames of reference. There is a strong sense of improvisation. It is undeniable that Yuko Mabuchi, who has been training since the age of 4, has a solid technical foundation. However, I admire her freedom even more. The sound of the piano expresses self-confidence and unrestrained spontaneity. She and her colleagues inspire each other and play off of each other’s musical sparks. The Japanese female pianists I know always have extreme styles. They either follow the rules or focus on flamboyant virtuosity; it is very difficult to compete in the classical music world otherwise. Jazz pianists likewise feel these same pressures. In my opinion and in fact, Yuko Mabuchi exudes a sunny sense of charm in this concert. Audiophiles should not miss this “full holographic version” 45RPM vinyl pressing and experience hall ambience in a 360° effect on your favorite audio system!
–馬田
音響技術 Audiotechnique magazine
audiotechnique.com
Thank you 馬田for your terrific article and many thanks to Billy and Desmond at Silk Road Music, Yarlung’s valiant distributor in Hong Kong. Working with musicians like Yuko, JJ, Del and Bobby is always a pleasure. Recording engineer Arian Jansen worked with me to record this concert in the acoustically wonderful Camilleri Hall at the Brain and Creativity Institute at USC. Arian is also the inventor of SonoruS Holographic Imaging and designed our analog tape recorder and PCM DAC specially for Yarlung Records. We are blessed to work with such a team, including Billy Mitchell and Elliot Midwood as associate producers of this album, and Craig & Diane Martin, Randy Bellous and Toyota North America for their executive producership and financial support.
Here is the original article in Chinese:
2020年終於過去了，臨結束的一個月份收到兩張45轉黑膠，專輯在較早前發行 了CD版本，數碼音樂版DSD同步上架，並在著名DSD音樂販賣網站NativeDSD.com， 奪得爵士樂類別年度大
「Yuko Mabuchi Plays Miles Davis」
負責專輯的製作和發行是美國唱片品牌Yarlung Records，實說實話，這專輯可從錄音技術和演繹兩種角度來欣賞，文案中輕描淡寫地提及使用Sonorus Holographic Imaging Technology，姑且譯為「全息結像錄音技術」，翻查資料所知，這品牌錄製音樂有三大堅持;1. 只錄製現場演奏。 2. 模擬及數碼同步進行，模擬使用Sonorus ART 12開捲帶機和Agfa 468開捲帶，數碼分別用 了Merging Technologies HAPI以DSD 格式記錄，Sonorus DAC負責PCM格式。 3. 採用「全息結像錄音技術」。首兩項我認為無需多介紹，最後一項值得花點筆墨描述，我相信讀者們有聽聞過經典的「Decca tree」和「One-point recording」，兩者的共通點是收集現場樂器的位置及殘響，「全息結像錄音技術」亦然，這是 實時以全模擬3D錄音，當中分成前期麥克風擺位及後期處理，收集得來的聲響 不僅進行了相位及延遲處理，還因應聆聽的心理因素調整EQ曲線，從而讓聆聽 者接收到聲音後，在腦中產生幻覺，呈現舞台的深與闊，及現場樂器擺位，假 如發燒友的喇叭有妥當擺位，便會出現預期效果。
值得留意是由不同麥克風收錄出的聲音質感是有分別，本專輯動用兩支AKG經 典膽咪，C24 和 C12，前者是立體聲設計，配有高低兩組薄膜，適合XY或MS模式錄音， 已故大師 Doug Saz曾使用單一支C24為Harry James和他的爵士大樂隊錄音，那是Direct to Disc，由此可知C24的威力如何強大。C12是單聲道 設計，擁有中低音豐富這特質，用了這兩支膽麥克風，錄音效果已很不錯，配合另一支舊款膽麥克風Schoeps M 222後樂器的質感更強大。在網上我搏得一 段這演奏會的視頻，看見四款樂器在細小舞台上的擺位與一般爵士樂演出有很大分別，鋼琴放置接近中間位置，其他小號、爵士鼓和低音大提琴像圍著鋼琴 擺放，而麥克風設於鋼琴側邊與大牛筋之間，由於拍攝角度從高處影向舞台， 只能隱約看到是XY模式，我提出上述重點的原因是符合了黑膠音效，初聽頭兩 首歌曲我感覺怪怪，正常情況爵士鼓是安排在較後位置，如今卻在右邊前方位 置，直到了解錄音各方面後，我才意會出所謂全息是360°聲效，正好解釋了爵 士鼓的位置問題，假設麥克風架設的位置是舞台中心，那麼爵士鼓和小號是合 理地距離較其他樂器遠，因此，我推敲喇叭的Toe-in角度與皇帝位呈45°，我不知這樣就是否Holographic Imaging的真正意思，但可以肯定聲音非常逼真! 拋開製作，純以音樂演奏的角度來聽本專輯，我覺得是向Miles Davis的音樂精神 致敬，4位爵士樂能手消化了大師的作品後，從自身體會重新演奏出歌曲，富 有強烈即興味道，無可否認，由4歲開始訓練的Yuko Mabuchi，彈奏技巧固然 底子深厚，然而我欣賞她跳脱的一面，琴聲表現了自信和無約束那種奔放，她 與樂隊成員互有火花，說起來也覺有趣，我認識的日籍女鋼琴手，總是風格極 端，要麼循規蹈矩，要麼赤裸地釋放琴技，或者在古典樂壇裡競爭是很困難， 轉到爵士樂範疇，對於曾經接受正規培訓的琴手來說，會較為駕輕就熟，當 然，這是我個人的觀點，實際上Yuko Mabuchi在這場演奏會裡散發出動人魅 力，發燒友不應錯過這套「足本全息版」45轉黑膠，且聽在您的心愛組合上播 放 360°效果會是怎樣的吸引!