After nearly 15 years of shaping the live sound experience at Shibuya’s iconic WWW, the legendary MIDAS Heritage 3000 console is set to “graduate” as the venue upgrades its system. Revered for its unmatched sound quality and intuitive design, the analog console has been a favorite of engineers and musicians alike since its 1990s debut. As digital consoles dominate the scene, the Heritage 3000 is now a rare gem, with few venues still relying on analog sound setups.
To honor the console’s legacy, WWW will present the “Heritage 3000 Farewell Series” from January 5 to 13, 2025. Featuring performances by some of Japan’s most groundbreaking acts—OGRE YOU ASSHOLE, MERZBOW, Saho Terao, Tabito Nanao, and many more—the series offers a rare chance to experience the unique sound of the Heritage 3000 in action.
In this article, we dive deep into the enduring appeal of the Heritage 3000 and what truly makes live sound extraordinary, with insights from top PA engineers Naoyuki Uchida, Yukio Sasaki, and Dub Master X. Join us for a behind-the-scenes look at the artistry of live sound and the console that captured the hearts of so many.
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The Pioneers: Sound Engineers Who Helped Shape Japan’s Live Music Scene
This interview was inspired by the farewell of the Heritage 3000 at WWW, but since it’s such a rare opportunity for everyone to come together, we’re excited to have a chance to discuss sound systems and live sound more broadly. Each of you has had your own unique career, but how long have you been working?
DMX: I started when I was 20, and I’ll be 62 after the new year… so, I guess that makes it 42 years? Time really flies! [laughs]. Sanchan (Sasaki), you’ve been at it about the same length, right? Since we’re the same age.
Sasaki: I joined the company (Acoustic Inc., where I’m now the CEO) when I was 22, so I’ve been doing this for 40 years.
President and CEO of Acoustic Inc. He has worked with a wide range of artists, including YMO, Sakanaction, Hitsujibungaku, Ayano Kaneko, Shinichiro Sakamoto, OGRE YOU ASSHOLE, and more. Sasaki is known for his versatile live mixing skills, working across music genres and both major and indie labels, handling everything from live houses to stadiums.
Uchida: I started working part-time at a recording studio when I was 20, so my first experience was in recording. I ended up getting into this work when the band DRY & HEAVY, who I was working with at the time, told me, “You should handle it.” I was around 25 or 26 at the time. I had no real knowledge, so it felt like I was driving without a license.
Born in 1972 in Sayama City, Saitama. Uchida began working at a recording studio in 1992, learning recording techniques. At the same time, he started working as a DUB engineer for DRY & HEAVY, a pioneering Japanese Roots Rock Reggae band. While participating as a band member and performing live, he self-taught live sound engineer techniques. He has also been a member of several domestic DUB bands such as LITTLE TEMPO and OKI DUB AINU BAND, continuously honing his skills to advance Japan’s DUB MUSIC scene.
You all seem to have a good relationship. How did you meet?
Uchida: I’ll start since I’m the youngest [laughs]. When I was younger, I was a huge fan of MUTE BEAT, and Miyazaki (DMX) was like an idol to me.
DMX: You flatter me [laughs].
Uchida: I really listened to them a lot when I was a student. If it weren’t for MUTE BEAT, I wouldn’t have even known about dub music. I couldn’t see them live, but I listened to their records like crazy. Miyazaki-san was truly a pioneer.
DMX: It’s true that I was a pioneer, but it was just because I happened to be doing it for a long time. I wasn’t trying to master reggae dub, I just liked the dub elements as sound effects. MUTE BEAT was just what I happened to be doing. People call me Japan’s King Tubby, Lee Perry, or Mad Professor, but I wasn’t really into those guys. I was more interested in people like Steven Stanley or Alex Sadkin, who brought the essence of dub into pop, rock, and punk. So, I think nowadays Uchida (Uchida) has taken dub to a whole new level.
Moved to Tokyo after graduating high school and studied audio engineering at a technical college. In 1983, he joined the now-legendary club “Pithecanthropus Erectus” as a mixing engineer. He became involved as a dub engineer with MUTE BEAT, and also worked as a DJ and PA engineer. From the 1990s onward, he collaborated with Hiroshi Fujiwara, Koji Asahito, and others, producing numerous remixes and arrangements.
