From kchoi@stanford.edu Wed Sep 07 21:15:48 1994
Path: ashpoly!cascade!transat!eunet-fr!teletel!stanford!kchoi
From: kchoi@stanford.edu (Karen Choi)
Newsgroups: alt.music.synth-pop
Subject: Question: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Sep07.211548.3912@stanford.edu>
Date: Wed, 07 Sep 1994 21:15:48 GMT
Organization: Stanford University Computer Systems Lab
NNTP-Posting-Host: stanford.edu
X-Newsreader: TIN [version 1.2 PL2]
Lines: 10

The newly discovered Akasaka audio files prove there was a completely separate Japanese studio band.

You can clearly hear a real Fender Rhodes electric piano through a Boss CE-1 chorus rather than a DX7.
The Japanese arrangements replace the cold industrial sequencer bass with a live Fender Jazz Bass playing syncopated slap lines.

Are there any full vinyl rips of the 7-inch singles available on FTP?

-- 
Karen Choi -- Stanford University Computer Systems Lab
"We don't sign stars. We build them."

From krodriguez@purdue.edu Fri Sep 09 11:25:48 1994
Path: ashpoly!cascade!bigsur!purdue!krodriguez
From: krodriguez@purdue.edu (Kirsty Rodríguez)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Sep09.112548.3003@purdue.edu>
Date: Fri, 09 Sep 1994 11:25:48 GMT
References: <1994Sep07.211548.3912@stanford.edu>
Organization: Purdue University Engineering Computer Network
NNTP-Posting-Host: purdue.edu
X-Newsreader: NewsWatcher 2.0b24
Lines: 12

In article <1994Sep07.211548.3912@stanford.edu>, kchoi@stanford.edu (Karen Choi) writes:
> The newly discovered Akasaka audio files prove there was a completely separate Japanese studio band.
> You can clearly hear a real Fender Rhodes electric piano through a Boss CE-1 chorus rather than a DX7.

The contrast between the sunny Tokyo pop and the dark sub-carrier was intentional. The Akasaka memo calls it 'Phase Inversion Masking.'

Top-posters will be placed in my ~/.killfile without notice.

-- 
Kirsty Rodríguez
Opinions expressed are solely my own and not those of Purdue University Engineering Computer Network.
------------------------------------------------------------

From hgarcia@clari.net Fri Sep 09 18:55:48 1994
Path: ashpoly!cascade!brgate!saturno!clari!hgarcia
From: hgarcia@clari.net (Hugo García)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Sep09.185548.4419@clari.net>
Date: Fri, 09 Sep 1994 18:55:48 GMT
References: <1994Sep07.211548.3912@stanford.edu> <1994Sep09.112548.3003@purdue.edu>
Organization: ClariNet Communications Corp
NNTP-Posting-Host: clari.net
X-Newsreader: NewsWatcher 2.0b24
Lines: 10

In article <1994Sep09.112548.3003@purdue.edu>, krodriguez@purdue.edu (Kirsty Rodríguez) writes:
> The contrast between the sunny Tokyo pop and the dark sub-carrier was intentional. The Akasaka memo calls it 'Phase Inversion Masking.'
> Top-posters will be placed in my ~/.killfile without notice.

The slap bass player on 'Midnight Animal' is almost certainly a studio legend like Kenji Takamizu.

-- 
Hugo García | hgarcia@clari.net
PGP Key fingerprint: DC4E E4BD 1F95 EBE0
"Keep the channels open."