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mach1neshop

Member Since 19 Sep 2009
Offline Last Active Today, 01:06 AM

Posts I've Made

In Topic: Suzuki Airi (鈴木愛理)

29 August 2020 - 03:43 PM

^ Interesting opinion - dare I ask, what's your beef with the cabaret/burlesque sequences?


In Topic: Kanazawa Tomoko (金澤朋子)

16 May 2020 - 05:38 PM

^ Disclaimer up front: my exposure to this world was only minimal so most of my insight is secondhand tale.

 

I'm not so certain for every single they make it's as complicated. The vocal training can be done in their own training premises, and from what I can tell, not every instrument is tracked over and over again. The nature of fast cycle pop is that you wind up tracking the things you want quality with guns for hire, everything else is synthesized. If you've got a well meshing fast-cycle crew, you can track things really quickly.

 

More often, unless you're a perfectionist in a studio every day, you want to spend as little cycle time as possible to get a fast-to-market pop record. I remember an NPR article on I think Rihanna or some other pop star where it was something like a swarm attack: get people in a studio for something like a couple of weeks and after all of that money and time, boom, here's basically an entire album she just needs to sing over and be done with it.

 

On the other hand, if I remember correctly, Linkin Park claims it takes 18 months from start to finish to record a new album...now they're different because these guys aren't above doing the tracking on a tour bus or in a bedroom/hotel room with digitools... but still.

 

As for your point, I understand completely, but as much as I am a fan of the stuff, I can't see this stuff ever as high margin as a Rihanna or a Beyonce record...I can see the argument that since they cycle quickly it should be worthwhile, but the amount of insurance, rent, upkeep, and whatnot quickly eats into whatever margin they might have. If you're a corporation looking at short term margins all the time, it always looks cheaper to splurge spend and hope for the best on sales than to invest over long durations of time on what looks like capital with depreciating worth.

 

@yuripop: I think it would be marvelous. I like both their voices: but the contrast should be sublime...I just hope it's not some bubbly cutesy thing lol


In Topic: Kanazawa Tomoko (金澤朋子)

15 May 2020 - 12:37 PM

^ No, think of it as capital you need to keep running. If I were to own one, I'd have rent on the unit, plus upkeep of all of the sound gear, all of the acoustical dampening as necessary, keeping it clean, etc. That stuff adds up if you're only putting out singles every so often. If you're really serious about recording all the time it's maybe a worthwhile investment, but in that biz because the margins are hard to predict (in the sense that I have to spend up front alot of cash to record the vocals, the instrument tracks, the lyricist, the dance coordinator, etc before I understand how it much it truly sold post-mortem) alot of smaller companies choose not to spend that kind of capital on their own facilities.

 

On a slight tangent steer, I hope she stays a bit longer - I want a KNTM/ReiRei duet if possible now that they're groupmates.


In Topic: Dambara Ruru (段原瑠々)

17 August 2019 - 01:35 PM

^ I feel like that kind of opinion is highly oriented around her performances during lives. People generally have a proclivity to raising volume when they can't hear themselves, and I feel like that even with monitors on she's no exception. That being said her tremolo/vibrato live is pretty darned good - kinda shoots that criticism down easily in my opinion.


In Topic: Wada Ayaka (和田彩花)

05 August 2019 - 11:49 PM

...i want one...


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