I’ve covered an extremely elusive (in a good way) song ”Toninho Horta - Aquelas Coisas Toads" which boundlessly has been sung and played by a number of musicians regardless of the genre. For club music lover, this would be famous as LUISITO QUINTERO (a member of LOUIE VEGA ELEMENTS OF LIFE band) cover version. The addictive Amp lo-fi electric piano sound that I posted last time seduced me into producing some 70s-like sound; I’ve crammed it with old beat box (e.g. TR-33/55/66/77, DR-55, ) , Mellotron (I’ve used flute sound which is well-known as Beatles -Strawberry Fields Forever/Pink Floyd - Julia Dream/FPM - Beautiful Days) and old movie sound samples of those days etc.
Lately I’m hooked on ableton live new audio effect “Amp" which is available to live 8 suite user when they download the latest Live update, 8.2. (and is also available separately for EUR 99/USD 129 from the Ableton web shop) This time I covered well-known Mario music by Amp-plugged Electric (physical modeling synthesizer) . I’d selected “Blues” model which seems to be modeled after 70s Fender amp. Pretty good sound. Fostering the proficiency in this could lead me to be able to produce Rhodes-esque fabulous warm and drive sound within the DAW.
A song which firstly aims to be sold well and to be famous as much as possible.
A song which firstly aims to please and to be listened to as many people as possible.
Generally the latter tends to be valued more than the former in terms of pureness, but it seems to me that an unnecessary priority that these two have before pursuing best music quality finally almost equalizes each impurity on both works.
In what is called Jazz circles, the predominant concept over it seems “Jazz must be constituted by only improvisation which has an aesthetics of what is done cannot be undone” ; seems a trivial sticking to me before pursuing good music.
External sound source could help spruce my old works up a bit. So I just re-re-edited “Unknown World (from Dragon Quest 1)" which I’d managed to rustle up some sound sources and made it in 2008, by Miroslav Philharmonik Cinema Strings ; highly cost performance one. I love whole this sound and articulation, but the instruments panning seems to reproduce ” Stokowski's seating plans” that is used by most orchestras today, vividly, so roughly use on dance music and the like needs thorough review on panning.
Red Bull car no.5 made it: 2010 Formula1 World Champion . As compared with the legendary uncrowned fastest car “Newey's Red 5” that I posted just before the season, “Newey’s Red Bull 5”, which has not only Red but Bull, seemed to have one more ability that enables him to bull his way, literally. Thank you for the greatest championship for the first time in about 20 years.
Lately I’ve been trying a new challenge. Pilip Linden, A Swedish music creator (as a job) and artist (he is now joining concurrently in two bands; Private Kitchen and KONTA BAND.) in Sendai, who I met on a mixi (Japanese SNS) community and have been keeping friendly relations through mutual music, let me have another power of production; collaboration. We hope to form our style while producing some opuscules. (since Im green at the cooperation.) This is our first demo, made it through file exchange on web. Mainly made by Philip. I added drums part that I diverted from my cover “FPM-without you” which thankfully he’d let have a word of praise. and altered chord progression in same main melody to give it a slight variation in the latter part.
On the occasion of having hit on this cover, I was trying to gather as many information as possible about the tune “Estrangera”, but it failed. (Even the knowledgeable Google hadn’t reacted almost anything about “Estrangera” except for the information of the mix CD. and besides, “Did you mean” indication hadn’t worked well!) So I had been making the cover with some blurred feeling; who are they? when was it released? who sang?.. somehow I was very curious to know what it is. Well, when it approaches the last stage of the production, I’d realized the possibility of error on the CD track list. I gather it was Estrange”i”ra (Actually it hits some results though it’s few.) Therefore finally I arrived at this and this, so now I can get a glimpse of another angle of this tune, but meanwhile, I’d been soaked in something like a feeling of “a little bit pleasant idealization and intoxication arises from misunderstood-wise recognition for a stuff caused by indistinctness” which often happened at the before Internet era, after a long time. I thought the yearning to “Era without the Internet and cloud computing” is exaggeratedly decorated and recited by the people who would like to use it as a tool that helps their vivid positioning of the denial of surfeit of information. but when it comes to being my experience actually, in all honesty, that was not that bad. Anyway, because of the above process, the all idea of this cover is confined to “Estrangera”, I mean the mixed version that shines magnificently and was cramped up between track 6 and 8 only about three minutes.
trumpet : Mojo Horn Section piano : ableton live Grand Piano strings : Miroslav Philharmonik (U-SUKE OGURA recomended!) bass : Trilian Acoustic full range drums : Sampling Sources
Hilarious! I installed PS3 for mainly the upcoming Gran Turismo 5, Just then it was postponed (I’m now deeply interested in what else they have up their sleeves…hmm..). Is this so-called “a dispensation”?;which seems to indicate I should not stop pursuing my music production to go after another diversion. Anyway, I was extremely disappointed to hear of that. But in hard time, there will be another luck. Bought with PS3, F1 2010 which I want after GT5 had luckily enough fun to console my disappointment. please watch this.
Uploaded mp3 ver. of the last post “Charlie Parker - Donna Lee (aslan+ re-edit)”. Appendix; mashed it up with “Back Home Again in Indiana (by Marlene Dietrich from “The Montecarlo Story” on youtube)” which is guestimated as the original chord progression of it.
前回ポストしたCharlie Parker - Donna Lee (aslan+ re-edit)をアップしました。そしてそのコード進行の原曲と目されるBack Home Again Indianaをほぼアカペラでマレーネ・ディートリッヒが歌っているyoutubeを見つけたので試しにマッシュアップしてみました。
On the occasion of popular artist’s death, there would be excessive lament shown for “works that might exist in the future if he/she were alive and well, but that doesn’t exist in reality”, which always makes me discomfort mood that is produced by seeing people’s tremendous amount of laments for works that doesn’t exist, and seems to me that it corresponds to the outline that is inseparably combined by “indifference to right or wrong of works’ content generated by subordinating to blind belief in artists”. and at the same time, the fact that such kind of people are generally called as music/art lover makes me shiver.
I made a tune for my nephew who turned one year old. Through making this, I tried to search the vibration of the effect that is attributed to sprinkling a simple structure with a strange and a bit poisonous sounds that I think it would amuse the children.
Laughter that can be listened at the end of this tune is his voice I sampled.
Including this Cristal Baschet (Le Cristal) I’ve introduced a MIDI sound source that is named “GLASSWORKS" that sampled three very unique glass musical instruments. By using this, I covered “YAEN feat. CA - First impression" which is released ten years ago and is still my favorite tune. (Drums are SampleTank2 World Instruments Collection that I bought last month, and Strings sound is SYMPHONIC ENSEMBLE STRINGS which I introduced last autumn) I think this complex, unique composition can hardly find a similar work in the circle of So-called J-POP scene. When you are going to see the limit of freedom of the composition within the frame of the tonal music, I think one answer seems to be seen off and on here.
このCristal Baschet (Le Cristal) を含め、非常にユニークなガラス楽器3つをサンプリング収録したGLASSWORKSという音源を導入しました。 これを使って10年前にリリースされ、今でも大好きな曲”野猿 feat. CA - First impression"をカバーしました。(ドラムパートは先日買ったSampleTank2のWorld Instruments Collection、ストリングスは去年秋手に入れたSYMPHONIC ENSEMBLE STRINGSを使用しています。) いわゆるJ-POPのシーンにおいて同類の作品をみつけるのはほぼ不可能といえるほど複雑でユニークな構成がなされており、調性音楽の枠内における作曲の自由度の極限を見ようとした時のひとつの答えがここにあるように思います。
I think the chord progression is like the above. I’ve indicated bold and italic alternately in the part where a clear modulation had occurred. ( In each of secondary dominant chords; harmony change in diatonic chord into 7th, I don’t think them as a tonality disturbance thing.)
From the point of view, there are at least 15 times clearly modulation.This vast change seems to produce mysterious sense that looks as if several songs were joined without coherence. I feel this exquisite arrangement of sound which has bewildering modulation and mostly lands in unexpected position (for instance, as for the dominant chord, the dominant motion that is the main role of it is disregarded all the way.) has been producing an atomosphere that seems throwing a question in 2000, namely the end of 20th century, towards us about common and hackneyed composition process that prevailed in 20th century. I’m definitely willing to insist on that this is too dazzling and fantastic to neglect as eccentric comedy tune by the persons who are not professional musicians.
Thanks to this fabulous campaign that allows us to buy eight sound samples in only one piece of payout, I’ve got many great rhythm sample loops. And I’ve covered a Beatles song “I’m a Loser" with one of them "Sixties Motown Groove"
It seems that infinite information has been overflowing on the Internet. Various production under the digital environment can be infinitely undo by the action history. In various phases, So as not to bury oneself into “Infinity”, the technique positively voluntarily “delimiting” will become important. For instance, When producing “FPM” which is FPM latest album, First of all, he decided the allotment of the time that had been counted backward to the album release date to the production work. He decided the limit by doing so. Mr. Shinichi Osawa is cutting out “limit” from “infinity” by giving the priority level from the tweet of infinity to the tweet of 100 people. I think it might be a key to decide the “end” voluntarily in the future. I drafted the motif from such consideration and produced “Terminal”.
Human being’s voice is probably the first in the history of mankind musical instruments, and it is likely to be used at the same time through all eternity. Musical instruments with such a background, I had it do a meaningless pronunciation to describe primitive scenery before man’s development of the language. And then in it, I had it do the pronunciation “…Is the limit” that only had a meaning to obtain the contrast between Infinity and limit. Turning sideways of the character of “TR808” expresses two “Infinity”,so I used it as the main material of the drum part. and what is more ,”TR808” is called “[Yaoya]” in Japan, and “[Yao]” part of “[Yaoya]” means many vaguely. It seems to me that this is just a little strange coinciding and I borrowed the movie consisted of the globe to which the appearance was considered by the surd Π as PV .
In the railway, the airplane, and the bus,the terminal is a starting point at the same time. So I think a new start can be found by positively deciding the end.
It is possible to download it from the above link for three days. Please check it.
まず人類の歴史上最初に使用され、同時に未来永劫使無限に用されるであろう楽器である人の声に人が言葉もつ以前における原始的風景を髣髴とさせる無意味な発音を延々と続けさせ、その中に”is the limit”という意味を持つ唯一の発音させ、無限と有限のコントラストを得ようと試み、その文字の90度回転は2個の無限を現出させるTR808は日本でヤオヤという愛称で親しまれ、ヤオとは漠然と数が大きいことを表す日本語であるという符合からドラムに起用し、無理数Π(パイ)によってその様子が考察される球体により構成されるムービーをPVとして拝借しました。
MATERIALS: Fantastic Plastic Machine - Whistle Song Fantastic Plastic Machine - City Lights Daft Punk - One More Time ableton Live “Grand Piano”, “Upright Bass” SONiVOX “DVI Symphonic Ensemble Strings” iPhone App “Manetron” House Beat Loop