Keyword to the New Remix: Passion
In remixing the recording of the two nights, Sugano had a precise vision in mind.
Sugano: What I tried was to immortalize the passion Bob showed on stage. It all centered on his vocals; I wanted to recreate the way his voice cut through the audience. However, despite having a multi-track, not all the instruments were perfectly isolated. It must have been a challenge for the mixer.
Live at Budokan in 1978（Photo by Joel Bernstein）After arriving in Japan, Dylan personally authorized the live recording, yet numerous restrictions were imposed on the recording process. The Japanese team wasn't able to maintain their usual meticulousness in microphone placement as they would in a typical live recording.
Suzuki: His PA engineer told us that they would provide all microphones. Consequently, none of us were even on stage; they had full control over the mic positions. We were left with no choice but to record what was diverted from the PA console.
They were extremely particular about the power supply and insisted on grounding the mic lines during recording, emphasizing that any potential issues arising from the difference in power supply between the Budokan and the generator truck could spell disaster for the PA. Their primary concern was to ensure the concert procedure, and we had to adhere to their request. Looking back, it was beneficial that we didn’t do anything on-site but to record the music as it was.
It was my first time recording at the Budokan. In the back of the venue, there's a storage room typically filled with chairs. I cleared out all the chairs to create a space and made myself a makeshift recording area by moving in heavy equipment. Normally, I rely on small monitor speakers for such setups. However, for this occasion, I brought in large speakers from the studio to match the stage's powerful sound.
Sugano: The recording team had no visual cues of the stage performance. Throughout those two days, my sole wish was to capture every single sound produced onstage onto the tape; no missed moments of 'this sound wasn't recorded!' That’s all I thought about for the next two days.
（Photo by Joel Bernstein）While working on the new mix, the keyword “passion,” suggested by Sugano, has become a guiding principle.
Suzuki: We discussed whether to maintain the same balance as heard in the original 1978 “Budokan” or to capture the ‘passion’ that filled the Budokan, as Sugano suggested, considering that these two directions demand distinct approaches. Ultimately, we decided that 'passion' is our guiding keyword and aimed for a lively mix.
Sugano: You can make a simple live album that would merely serve as a memorable document of “performing at Nippon Budokan in 1978.” However, that wasn't my vision. I aspired to craft a live album that would echo Bob's ambitions at that time during his extensive career. While I can't step into Bob's shoes, my aim was to create something that, if I could embody his essence, would express, 'his vision of what he wanted the Japanese fans to experience.' I may not be Bob, but I aimed to top into his spirit. Hence, my concept revolved around placing Bob's voice at the forefront, with clarity and prominence, making it the album's focal point.
Suzuki: The most notable difference from the 1978 “Budokan” lies in the interplay of each instrument, its presence and absence, and the prominence of Dylan's vocals. It's about whether Dylan is within the band or in front of it. In 1978, Dylan was within the band, blending in without individual instruments standing out. However, this time, he is in front of the band. You must emphasize each instrument to maintain the same instrumental balance as Dylan. To secure that balance, significant emphasis on each instrument becomes necessary.
『コンプリート武道館』が初出となる、1978年2月28日録音の未発表曲「アイ・ウォント・ユー」However, when it was time to emphasize certain instruments, not all of them could be cleanly separated for mixing due to the limitations imposed by the mic placement on stage. This is where the engineer's skill becomes essential.
Suzuki: Today, we could set up around 11 mics for each drum of a drumset individually. However, during the “Budokan” era, it was limited to just snare, kick, toms, and perhaps a top, totaling only 4 channels. Despite this, Sugano would say, “Let me hear stormy tom-toms… more raging guitars!” (laugh). As professional mixers, we somehow have a knack for deciphering such verbal requests. So I'd do my job and ask, “How does that sound?” Responses would vary from "It's good" to "mind giving it another shot?.”
I believe there are two types of engineers: those who aim for a balanced sound by placing instruments like a mosaic on the wall and those who prefer to capture a raw sound. Sugano leaned towards the raw sound, so I minimized the use of EQ this time. The only exception was the audience sound, which required extreme EQ and compression to prevent it from getting lost in a venue like Budokan. Overall, I refrained from over-tweaking. Instead, I focused on adjusting the faders and processing the ambiance.
The artwork of "Complete Budokan"
As originally intended, Dylan's voice and guitar have increased their presence, while Billy Cross's lead guitar and Ian Wallace's drums seem to convey the character of the performers more vividly than on the original recording.
Suzuki: Shall I reveal my technique? It’s first to listen and establish a balanced mix. You focus on understanding what each instrument does and analyze how Bob's vocals and guitar align with the song and the band. It's like digging for the roots, tracing the role of each instrument.
The most significant contribution lies in the technological advancements made over the last 45 years. It would have been impossible to fine-tune the sound of a series of tam-tam back then. But today, with digitization, detailed work becomes feasible, allowing us to match the images Sugano conveyed through his words. He had some great phrases, like “Make it sound dreadful”(laughs).
Sugano: It was worth saying because what I said would come back to me sounding exactly like what I said (laughs). It made me realize that the words could be properly conveyed and reproduced in sound, and that's how it all began. For instance, in ‘Maggie’s Farm’ and ‘All Along The Watchtower,’ I'd say things like, “Here comes a raging guitar,” or “There's a sandstorm flying by here,” or “Atmosphere here is really eerie,” and so on. I'm just a listener, not an audio expert, so my descriptions were abstract, but how they were accurately captured in the sound was impressive.
It's symbolic that Dylan, during his MC introducing the band members, refers to his large ensemble as an 'orchestra.' While the band included some of the same musicians as “Hard Rain,” maintaining that dense, rock orchestral sound, this new mix seems to bridge the gap in texture that was noticeable in the original mix.
Sugano: I think it was the direction Bob aimed for at that time. When you review all his live recordings, “Before The Flood”(1974) stands out, but my aim was to make a live album akin to “Hard Rain,” which captures Bob in his full force. That was the starting point.
Back then, playing the original “Budokan” on a budget player didn't quite capture its impact; the intensity of the music suffered because analog disc technology had its limitations. However, this time around, we managed to create a compelling analog disc with impressive sound quality, mainly because we found the tapes in remarkably good condition.
The title “Complete Budokan” signifies the inclusion of all the concerts and represents our achievement in fully realizing Bob’s original vision. In this context, the tagline we’re using to promote the album, “The Bob from that day is here,” is no exaggeration.
