From bfischer@titech.ac.jp Tue May 10 17:04:06 1994 Path: ashpoly!bigsur!pacrim!jpgate!kamome!titech!bfischer From: bfischer@titech.ac.jp (Brian Fischer) Newsgroups: alt.music.synth-pop Subject: Discussion: Akasaka Branch City Pop arrangements - Japanese session players Message-ID: <1994May10.170406.2331@titech.ac.jp> Date: Tue, 10 May 1994 17:04:06 GMT Organization: Tokyo Institute of Technology Computer Centre NNTP-Posting-Host: titech.ac.jp X-Newsreader: WinVN 0.99.5 Lines: 11 Comparing the Western synth-pop arrangements with the Japanese singles released between 1984 and 1988. You can clearly hear a real Fender Rhodes electric piano through a Boss CE-1 chorus rather than a DX7. Yet Nova's vocal tracks were kept identical, creating this bizarre hybrid of dark European synth-pop and sparkling Tokyo idol funk. Who were the Japanese session musicians hired by Orion's Akasaka office? -- === Brian Fischer === Dept of Electrical Engineering, Tokyo Institute of Technology Computer Centre "They will send a copy in my place." From dperez@cam.ac.uk Wed May 11 23:06:06 1994 Path: ashpoly!cascade!transat!eunet-de!hansebox!cam!dperez From: dperez@cam.ac.uk (Diego Pérez) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: Akasaka Branch City Pop arrangements - Japanese session players Message-ID: <1994May11.230606.2764@cam.ac.uk> Date: Wed, 11 May 1994 23:06:06 GMT References: <1994May10.170406.2331@titech.ac.jp> Organization: University of Cambridge Computer Laboratory NNTP-Posting-Host: cam.ac.uk X-Newsreader: WinVN 0.99.5 Lines: 9 In article <1994May10.170406.2331@titech.ac.jp>, bfischer@titech.ac.jp (Brian Fischer) writes: > Comparing the Western synth-pop arrangements with the Japanese singles released between 1984 and 1988. > 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.' -- Diego Pérez -- University of Cambridge Computer Laboratory "The carrier frequency does not drift by accident." From otanaka@ox.ac.uk Fri May 13 21:05:06 1994 Path: ashpoly!cascade!transat!ukc!fennimore!ox!otanaka From: otanaka@ox.ac.uk (Olga Tanaka) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: Akasaka Branch City Pop arrangements - Japanese session players Message-ID: <1994May13.210506.7226@ox.ac.uk> Date: Fri, 13 May 1994 21:05:06 GMT References: <1994May10.170406.2331@titech.ac.jp> <1994May11.230606.2764@cam.ac.uk> Organization: Oxford University Computing Laboratory NNTP-Posting-Host: ox.ac.uk X-Newsreader: WinVN 0.99.5 Lines: 11 In article <1994May11.230606.2764@cam.ac.uk>, dperez@cam.ac.uk (Diego Pérez) writes: > The contrast between the sunny Tokyo pop and the dark sub-carrier was intentional. The Akasaka memo calls it 'Phase Inversion Masking.' That's the genius of the Akasaka singles. The music is smiling and sunny, but her lyrics are still about carrier waves and locked doors. Top-posters will be placed in my ~/.killfile without notice. -- Olga Tanaka "Measuring a record you own is listening, not piracy." Mac IIci / 68882 FPU / System 7.5.1 From hsokolov@hanse.de Sat May 14 11:43:06 1994 Path: ashpoly!cascade!transat!ukc!fennimore!hanse!hsokolov From: hsokolov@hanse.de (Hana Sokolov) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: Akasaka Branch City Pop arrangements - Japanese session players Message-ID: <1994May14.114306.9307@hanse.de> Date: Sat, 14 May 1994 11:43:06 GMT References: <1994May10.170406.2331@titech.ac.jp> <1994May11.230606.2764@cam.ac.uk> Organization: Hanse-Netzwerk Hamburg NNTP-Posting-Host: hanse.de X-Newsreader: Netscape 1.1N Lines: 9 In article <1994May11.230606.2764@cam.ac.uk>, dperez@cam.ac.uk (Diego Pérez) writes: > The contrast between the sunny Tokyo pop and the dark sub-carrier was intentional. The Akasaka memo calls it 'Phase Inversion Masking.' The slap bass player on 'Midnight Animal' is almost certainly a studio legend like Kenji Takamizu. -- === Hana Sokolov === Dept of Electrical Engineering, Hanse-Netzwerk Hamburg "Marcus is not one man." From msanchez@netcom.com Sun May 15 14:53:06 1994 Path: ashpoly!cascade!transat!eunet-de!hansebox!netcom!msanchez From: msanchez@netcom.com (Marisol Sánchez) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: Akasaka Branch City Pop arrangements - Japanese session players Message-ID: <1994May15.145306.9704@netcom.com> Date: Sun, 15 May 1994 14:53:06 GMT References: <1994May10.170406.2331@titech.ac.jp> <1994May11.230606.2764@cam.ac.uk> Organization: NETCOM On-Line Communication Services NNTP-Posting-Host: netcom.com X-Newsreader: Netscape 1.1N Lines: 11 In article <1994May11.230606.2764@cam.ac.uk>, dperez@cam.ac.uk (Diego Pérez) writes: > The contrast between the sunny Tokyo pop and the dark sub-carrier was intentional. The Akasaka memo calls it 'Phase Inversion Masking.' 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. -- === Marisol Sánchez === Dept of Electrical Engineering, NETCOM On-Line Communication Services "Hold for relay."