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NEWS EVENT SPECIAL SERIES

The Final Curtain for the Heritage 3000: Sound Engineering Masters Speak on Live Sound Evolution

2025.1.10

#MUSIC

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.

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.

Sachio Sasaki
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.

Naoyuki Uchida
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.

Dub Master X (born Izumi Miyazaki in 1963, Sapporo)
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.

“Acoustic Crew, Led by Mr. Sasaki, Feels Like Family” (Uchida)

What is the relationship between Dub Master X and Sasaki?

DMX: I’ve had connections with the Acoustic crew since I was younger. Acoustic is an interesting company. They have a team deeply involved in major rock and pop music, and another one more focused on rave and club music… we call them the “Yama team.” The major music team is a very strict one [laughs].

Sasaki: The proper team [laughs]. The “Yama team” is the one that’s less organized [laughs]. We’ve been involved since the “RAINBOW 2000” days, so we’re more attuned to rave and club music styles.

(RAINBOW 2000 was the first outdoor dance music festival in Japan, held in August 1996, with around 18,000 participants.)

DMX: The “Yama team” was led by an engineer named Ono (Shiro), who has since passed away. Sasaki was part of Ono’s team. I originally worked with the more strict team, but since we were all part of the same company, I eventually started interacting with the Yama team as well. It was like, “Sasaki’s got great sound. I get that low-end vibe.”

Sasaki: The way the sound is constructed is properly “pyramid-shaped,” so to speak. I think that’s where the common ground was. You can tell immediately when you listen to the sound made by someone like that. They’ve definitely been through the club and rave scenes. It’s a huge difference from people who haven’t been through it.

DMX: Exactly, people who build sound like a pyramid are easy to spot. The sound stacked on top of the bass doesn’t get overwhelming.

Sasaki: And then, Uchii and I have known each other since the time he started coming in and out of LIQUIDROOM for DRY & HEAVY’s live shows. My company also manages the sound for live venues, so our engineers are always at the scene. In that situation, we couldn’t just leave the visiting PA people unattended. Uchii was often at LIQUIDROOM, so I’d watch him, and at first, I honestly thought, “Is he okay?” (laughs). At that time, I was doing PA for Audio Active* as well, so there was also a connection there. Listening to Uchii’s PA work for DRY & HEAVY, I thought, “He’s probably not getting it exactly how he wants it.”

*Audio Active: A dub band that has been active since 1987. In 1993, they recorded under the production of Adrian Sherwood, and in 1994, they performed at the UK’s largest rock festival, Glastonbury Festival.

DMX: At events like battle-of-the-bands or festivals, the difference in sound is brutally obvious. It’s really different. I mean, the sound systems are the same, but when the sound is blasted out, the difference in skill is immense. I truly think it’s terrifying.

Uchida: Exactly. So, when Audio Active and DRY & HEAVY toured together, I would ask Sasaki-san tons of questions at after-party izakayas. The things I learned from him have really become a part of who I am today. DRY & HEAVY’s first proper live performance was at LIQUIDROOM, so Sasaki-san and everyone from Acoustic feel like family to me. I was thoroughly taught by them—Sasaki-san, Takeda-san, and Taruya-san. I owe them so much. When I was young, I watched their PA work like crazy. Sasaki-san taught me two really important things.

DMX: Oh really?

Uchida: It’s about the mic preamp (the equipment that amplifies the sound captured by the microphone) settings and how to use the EQ (equipment that adjusts the sound frequencies). I still stick to those principles today.

DMX: The late Ono-san also told me when I was struggling at a gig, “Miyazaki-kun, you should handle this area like this.” The people from Acoustic, they would say, “This guy has potential,” and would give me some advice about PA here and there.

Sasaki: Maybe they only tell people they feel a connection with [laughs].

DMX: Hahaha! Well, we’ve all been through our own mistakes in the past, so we know better.

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