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Daniel Forro
» label: unsigned
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Forrotronics
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Forrotronics
December 2009 - purchased vintage Casio Digital Guitar DG7.
December 2009 - purchased vintage Casio Digital Guitar DG7.
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Variations on Czech national anthem - Part 1
Variations on Czech national anthem - Part 2
Film Music Nr. 10 - Nr. 1
Film Music Nr. 10 - Nr. 2
Film Music Nr. 10 - Nr. 3
Film Music Nr. 10 - Nr. 4
Film Music Nr. 11
Nr. 1 for G-10
Hot Bronze - Horky Bronz
Karma Impro 2002
check all 491 songs on the music page
Daniel Forro - born as Karel Horky on 19.2.1958 in Jihlava, Czechoslovakia (now Czech Republic), M.A., Ph.D. He has been living in Jihlava for his first 15 years until 1973, then he continued his study and has been living in Brno for next 30 years until September 2003, when he moved to his dreamland Japan to follow his Japanese wife. Since April 2006 they are happy parents of a girl Karen (in Japanese language "Elegant Lotus Flower"), in September 2008 son Saimon (Gate of Knowledge) was born.
Studies
He has studied piano, flute and music theory (1965-73) in Art School in Jihlava, continued with flute, pipe organ, music theory and composition at the Brno Conservatory (1973-79). He finished his studies cum laude by performing J. Zimmer's Concerto, J. S. Bach's Passacaglia C minor on pipe organ and writing dissertation work "Electronics & Sound".
1975-79 he has been studying composition privately with Alois Pinos, 1979-86 with the same professor at JAMU - Janacek's Academy of Music in Brno.
In 1982 during this study he got information about the rare possibility in those uneasy times behind iron curtain to take part in a Summer Composition Master Class at Academia Chigiana in Sienna, Italy, with Franco Donatoni - scholarships were offered by Italian Ministry of Education. To his big surprise he was selected by Czech authorities as an excellent student - rather unusual in those times when political activity was more important then gift, knowledge and ability. He or his parents didn't cooperate in any sense with official establishment (usual way how to show loyality was to be a member of Communist Party, they weren't). It was his the only journey to the West until 1994 (when his extensive travelling as Yamaha Product Specialist started). But expectations were not fulfilled - so after two days he stopped to visit the lessons finding that class was targeted to the music amateurs, beginners and rich diletants. Small scholarship allowed him to be only a passive visitor so there was no chance to be in a direct contact to Mr. Donatoni as teaching was done by his assistents. Daniel then spent two beautiful months in Tuscany for culture and language study, making some money playing flute on the streets of Sienna, Florence and other cities he visited, and returned to the grey zone of Czechoslovakian totality of "real socialism" with traces of Italian sun on the skin and in the mind. Since this visit he hadn't visited "bellissima Italia" again but he hopes to return one day...
He finished Academy study cum laude with his "Concerto for synthesizers, computer and large orchestra" (25', he performed solo part himself) and thesis "Electronics & Music" (over 200 pages - later used as a base material for his expert books).
1999 he finished a postgradual study of "Theory of music composition" at JAMU and obtained Ph.D. He started another Ph.D. study at Department of Musicology of Masaryk University Brno (planned thesis "Chromaticism in European Music 1000-2000") but study was not finished because of moving to Japan.
Composition
Daniel Forro started to compose music in the age of 10, has been regularly composing since his 14 and has created more thousand works in the most different music genres (right now he tries to figure out the exact number) - he can write music in any style. He writes autonome New Music, where he often combines acoustic and electronic instruments. In each work he tries to use different principles and ideas, very often based on extra-musical material, complex mathematical structures or totally opposite on improvisation. He considers polystylistic electro-acoustic, computer and microtonal music to be his main stream - not always and necessarily experimental but very often it's so. Since 1985 he has been a pioneer in the use of MIDI and computers in the New music in former Czechoslovakia.
He wrote chansons, theatre, cabaret, pop, rock, folk, jazz and other songs (over 550 pieces), jazz, pop, rock and Latin works. He did a pretty great deal of functional music - 19 musicals and over 200 items of incidental music for theatre and ballet performances, TV and radio artistic or documentary programs, film, video, sports, groups of historical dancing and fencing, happenings and many other. Each item consists usually from many musical sequences, so real number of works is much higher. He has authored Brno municipal fanfares. He is able to write music in the style of composers of the past centuries as well as jazz, rock, pop, Latin, ethnic, fusion, microtonal, electronic, minimal and other music. He believes that only a composer of such wide and deep knowledge and ability deserves to be called "composer". He is both experimental and synthetic type of composer - on one side he did extremely experimental and unusual music, on the other side he is able to write quite eclectically in historical or ethnical styles. All his creative life he tries to find some balance between these two totally different
Studies
He has studied piano, flute and music theory (1965-73) in Art School in Jihlava, continued with flute, pipe organ, music theory and composition at the Brno Conservatory (1973-79). He finished his studies cum laude by performing J. Zimmer's Concerto, J. S. Bach's Passacaglia C minor on pipe organ and writing dissertation work "Electronics & Sound".
1975-79 he has been studying composition privately with Alois Pinos, 1979-86 with the same professor at JAMU - Janacek's Academy of Music in Brno.
In 1982 during this study he got information about the rare possibility in those uneasy times behind iron curtain to take part in a Summer Composition Master Class at Academia Chigiana in Sienna, Italy, with Franco Donatoni - scholarships were offered by Italian Ministry of Education. To his big surprise he was selected by Czech authorities as an excellent student - rather unusual in those times when political activity was more important then gift, knowledge and ability. He or his parents didn't cooperate in any sense with official establishment (usual way how to show loyality was to be a member of Communist Party, they weren't). It was his the only journey to the West until 1994 (when his extensive travelling as Yamaha Product Specialist started). But expectations were not fulfilled - so after two days he stopped to visit the lessons finding that class was targeted to the music amateurs, beginners and rich diletants. Small scholarship allowed him to be only a passive visitor so there was no chance to be in a direct contact to Mr. Donatoni as teaching was done by his assistents. Daniel then spent two beautiful months in Tuscany for culture and language study, making some money playing flute on the streets of Sienna, Florence and other cities he visited, and returned to the grey zone of Czechoslovakian totality of "real socialism" with traces of Italian sun on the skin and in the mind. Since this visit he hadn't visited "bellissima Italia" again but he hopes to return one day...
He finished Academy study cum laude with his "Concerto for synthesizers, computer and large orchestra" (25', he performed solo part himself) and thesis "Electronics & Music" (over 200 pages - later used as a base material for his expert books).
1999 he finished a postgradual study of "Theory of music composition" at JAMU and obtained Ph.D. He started another Ph.D. study at Department of Musicology of Masaryk University Brno (planned thesis "Chromaticism in European Music 1000-2000") but study was not finished because of moving to Japan.
Composition
Daniel Forro started to compose music in the age of 10, has been regularly composing since his 14 and has created more thousand works in the most different music genres (right now he tries to figure out the exact number) - he can write music in any style. He writes autonome New Music, where he often combines acoustic and electronic instruments. In each work he tries to use different principles and ideas, very often based on extra-musical material, complex mathematical structures or totally opposite on improvisation. He considers polystylistic electro-acoustic, computer and microtonal music to be his main stream - not always and necessarily experimental but very often it's so. Since 1985 he has been a pioneer in the use of MIDI and computers in the New music in former Czechoslovakia.
He wrote chansons, theatre, cabaret, pop, rock, folk, jazz and other songs (over 550 pieces), jazz, pop, rock and Latin works. He did a pretty great deal of functional music - 19 musicals and over 200 items of incidental music for theatre and ballet performances, TV and radio artistic or documentary programs, film, video, sports, groups of historical dancing and fencing, happenings and many other. Each item consists usually from many musical sequences, so real number of works is much higher. He has authored Brno municipal fanfares. He is able to write music in the style of composers of the past centuries as well as jazz, rock, pop, Latin, ethnic, fusion, microtonal, electronic, minimal and other music. He believes that only a composer of such wide and deep knowledge and ability deserves to be called "composer". He is both experimental and synthetic type of composer - on one side he did extremely experimental and unusual music, on the other side he is able to write quite eclectically in historical or ethnical styles. All his creative life he tries to find some balance between these two totally different
Why this name?
Forro + electronics = Forrotronics
Main idea behind this is: man/machine synergy.
Main idea behind this is: man/machine synergy.
Do you play live?
Yes, of course. Everywhere where possible and when I or somebody else organize it. I love it as much as my listeners do. There were many special moments for all - especially at the open air concerts, or planetariums, galleries, castles, caves, boats, churches, buddhistic temples, shrines, restaurants, clubs, huge concert halls, stadiums, schools, TV studios, festivals, matsuri...
How, do you think, does the internet (or mp3) change the music industry?
For sure there is some shift in the way how music is distributed, and because nowadays organized noise called music can be done by anybody (and because of my knowledge and experience in music I would not hesitate to use a term "by any idiot"), even without any theoretical or practical music education, and anybody can publish his results immediately, I'm not sure if this development is positive at all. Redundance is huge, it can't be compared even with pre-internet times, nothing to say about situation 50 or 100 years ago.
Also I'm not quite sure about copyright and royalties payment issues... It has to be solved as soon as possible, as the artist has a right to have an income from his work if somebody is willing to pay for it. Idealistic approach to give music as a present, as a spiritual thing would be nice but it's not acceptable in the case you make your living from music creating as a professional composer, performer or publisher. In such case music becomes a ware. Internet can change this totally as artist doesn't need to belong to some agency and can have direct contact with possible customers for his music. This way even some small and special communities can find and share even very unusual and highly artistic music which stays out of interest of big labels because it's not money attractive to them. But copying is a real problem. Even if the price is very reasonable and general level of moral inside each person more higher then now, always there will be some people who will copy (music, sofware) = steal.
All these advantages of the digital era have of course their price - to find something valuable we have to go through the oceans of real shit. That means it's pretty difficult to find something nice and interesting, it's time consuming and nobody has time for it. So the situation on Internet is a bit ridiculous - there's a huge amount of music ever growing, some of it possibly at very high artistic level but nobody is able to listen it, because it's difficult to find it, and people are unable to evaluate it properly. People (unfortunately including me) have no time, energy and maybe even desire and need to listen to the music of the other creators. It will be worse and worse, and I can imagine clearly the situation when everybody will have his/her music on Internet, but nobody will listen to it. Like small isolated isles, culture cells... Concerning me, I'm ready for it, name of my wife is Kojima (= small isle in Japanese).
Also I'm not quite sure about copyright and royalties payment issues... It has to be solved as soon as possible, as the artist has a right to have an income from his work if somebody is willing to pay for it. Idealistic approach to give music as a present, as a spiritual thing would be nice but it's not acceptable in the case you make your living from music creating as a professional composer, performer or publisher. In such case music becomes a ware. Internet can change this totally as artist doesn't need to belong to some agency and can have direct contact with possible customers for his music. This way even some small and special communities can find and share even very unusual and highly artistic music which stays out of interest of big labels because it's not money attractive to them. But copying is a real problem. Even if the price is very reasonable and general level of moral inside each person more higher then now, always there will be some people who will copy (music, sofware) = steal.
All these advantages of the digital era have of course their price - to find something valuable we have to go through the oceans of real shit. That means it's pretty difficult to find something nice and interesting, it's time consuming and nobody has time for it. So the situation on Internet is a bit ridiculous - there's a huge amount of music ever growing, some of it possibly at very high artistic level but nobody is able to listen it, because it's difficult to find it, and people are unable to evaluate it properly. People (unfortunately including me) have no time, energy and maybe even desire and need to listen to the music of the other creators. It will be worse and worse, and I can imagine clearly the situation when everybody will have his/her music on Internet, but nobody will listen to it. Like small isolated isles, culture cells... Concerning me, I'm ready for it, name of my wife is Kojima (= small isle in Japanese).
Would you sign a record contract with a major label?
Of course, why not, if only they offer good conditions. I don't need their studio as I work in my own, but I would expect them to take care about publishing and distribution of my music. But I'm not interested to pay more then 20% to label or agency, why. I have heard things like artist has in the end only 1% of total income - isn't it terrible if it's true? Looks like the creator of work, a person who did something which started generating some money is the last one on payment list. (I will be very happy to hear directly from some responsible person in charge from such agencies or publisher houses that I'm wrong and they pay more!) I always considered all those people from agencies and labels, including distributors and sellers to be like parasites without creativity sucking us creative artists, taking us only as their milking cows. But if they really take care about my career, concerts, promotion, selling my art, will not influence me and limit what I am to do artistically or force me to do what I don't want to do, will get the best opportunities and pay me well, why not to sign for year or two? And maybe if there's some person with really good knowledge of music or good sense and intuition (which I doubt), I will even listen his opinion about my music sometimes (I didn't tell I will follow his advice) and cooperation can continue for years... But generally to take a music as a ware for selling is really difficult and artist is forced to do a lot of compromises for sake of mass success which is unacceptable for me. I mean in my artistic projects - of course I can do music for masses, but I'm not interested much in it. Too easy way for me, wasting a gift I got from Mother nature.
Band History:
FORROTRONICS started in 1983 in difficult conditions - so called "real socialistic" Czechoslovakia. Culture was controlled by state, fortunately classical or folklore music were not so much under control with the exception of some church music. But rock music as an import from decadent imperialistic West was considered to be rather dangerous, one of the reasons why no Western rock stars and groups were officially invited to perform there. Leaders were aware that culture can be a powerful weapon. Also contemporary, New music, especially electronic, was suspicious. In those pre-Internet times behind the iron curtain was very difficult to get any information or to buy musical instruments from the West. Forrotronics was the only one experimental electronic music group doing regular live concerts even in such conditions despite the fact that Daniel Forro never cooperated with establishment. Partly thanks to the fact it was purely instrumental music, where only work titles could be problematic (but I had no reason to use some provocative titles), partly because the authorities didn't understand this music genre, were unsure how to take it, but finally considered it to be art music and didn't prohibited public performing, partly because lot of such concerts were done for very low payment or quite voluntarily, from pure enthusiasm. Also second half of 80ies was little bit more free in the field of art, according to the final and rather tired state of that establishment. But Daniel Forro and Forrotronics were never officially recognized and until 1989 (after change of political system) hadn't even theoretical chance to be broadcasted on TV or radio, or to publish CD's (unfortunately this was not so much different even AFTER 1989), nothing to say about possibility to make a living from it. His status was more like underground culture. Despite uneasy conditions there were over 180 concerts until 2003, often in less usual environment (planetarium, exhibition hall, gallery, historical object, castle court, church, synagogue, festivals etc.), often like half secret or hidden, often without any open official promotion, without payment or for very low payment not covering even the expenses for transport... Besides about 160 his own compositions Daniel Forro premiered 35 creations of other living composers and many works of 14th to 19th centuries in his electronic arrangement and realization.
15 years anniversary of the project was documented on CD sampler "Forrotronics - 15 years ", published in 1998 - in fact first solo CD of Daniel Forro. In the year of 20th anniversary all activities of FORROTRONICS in Czech Republic were closed and Daniel Forro moved to Japan, where he started from zero to establish new career as a composer, performing and recording artist. Tough task...
15 years anniversary of the project was documented on CD sampler "Forrotronics - 15 years ", published in 1998 - in fact first solo CD of Daniel Forro. In the year of 20th anniversary all activities of FORROTRONICS in Czech Republic were closed and Daniel Forro moved to Japan, where he started from zero to establish new career as a composer, performing and recording artist. Tough task...
Your influences?
Old liturgical music, like Gregorian Chant, Byzantinian Chant, Orthodox Chant, European classical music (since Medieval to Contemporary), experimental electronic music and musique concrete, microtonal music, minimal music, all world ethnic music and folklore, some elements of jazz, rock and pop culture.
Some names:
G. de Machaut, Solage, Mattheo da Perugia, Trevor, G. Dufay, Carlo Gesualdo da Venosa, O. di Lasso, C. Monteverdi, J.S. Bach, G. F. Handel, D. Scarlatti, J. Myslivecek, J. L. Dusik, W. A. Mozart, L. van Beethoven, A. Rejcha, F. Chopin, F. Liszt, M. P. Musorgskij, E. Satie, C. Debussy, L. Janacek, A. N. Skriabin, S. Rachmaninoff, G. Mahler, M. Ravel, E. Schulhoff, B. Bartok, I. Stravinskij, G. Holst, A. Berg, O. Messiaen, A. Honegger, C. Orff, Ch. Ives, H. Partch, L. Bernstein, G. Ligeti, A. Part, S. Reich, K. Slavicky, ...
Beatles, Genesis, ELP, Pink Floyd, Yes, Kansas, King Crimson, Collegium Musicum (Marian Varga), Tangerine Dream, Kraftwerk, Dream Theater, Spyro Gyra, Steps Ahead, Weather Report, Jan Hammer, Vangelis, Kitaro, Tomita, W. Carlos, Chick Corea, Pat Metheny, Jimmy Smith, Casiopea and many others...
Some names:
G. de Machaut, Solage, Mattheo da Perugia, Trevor, G. Dufay, Carlo Gesualdo da Venosa, O. di Lasso, C. Monteverdi, J.S. Bach, G. F. Handel, D. Scarlatti, J. Myslivecek, J. L. Dusik, W. A. Mozart, L. van Beethoven, A. Rejcha, F. Chopin, F. Liszt, M. P. Musorgskij, E. Satie, C. Debussy, L. Janacek, A. N. Skriabin, S. Rachmaninoff, G. Mahler, M. Ravel, E. Schulhoff, B. Bartok, I. Stravinskij, G. Holst, A. Berg, O. Messiaen, A. Honegger, C. Orff, Ch. Ives, H. Partch, L. Bernstein, G. Ligeti, A. Part, S. Reich, K. Slavicky, ...
Beatles, Genesis, ELP, Pink Floyd, Yes, Kansas, King Crimson, Collegium Musicum (Marian Varga), Tangerine Dream, Kraftwerk, Dream Theater, Spyro Gyra, Steps Ahead, Weather Report, Jan Hammer, Vangelis, Kitaro, Tomita, W. Carlos, Chick Corea, Pat Metheny, Jimmy Smith, Casiopea and many others...
Favorite spot?
There are many. I never complain, I feel good in all conditions, everywhere on this planet, without doubt I would feel good even on Mars or Jupiter. In my opinion feeling good is internal thing independent on external conditions - some people feel O.K. even in very bad conditions. But I feel the best in the mountains and near the sea, as I love wide prospect and fresh air. I really like Yatsugatake region north from Tokyo. I prefer nature against cities. I love Spring, even Japanese rainy season has some charm... Weather in my new homeland Japan is great for me as we have here 6 seasons in fact (right time to reflect it in some composition like Vivaldi or Haydn did). Of course I don't need too much typhoons and earthquakes. Summer here is sometimes pretty hot and humid in comparison with a middle Europe where I was born and lived for 45 years, but I got used to it quickly. In Japan I was very quickly infected by Japanese onsen-mania - visiting thermal baths, and whenever possible I enjoy some.
Equipment used:
Actual list
Acoustic instruments
Different flutes, drums and percussions, 2x koto, Yamaha reed organ
Electrificated instruments
Plucked:
Yamaha guitar SG500B, bamboo electro-acoustic guitar Yamaha FGXB1, custom-made 6-string bassguitar K+K with MIDI pick-up Yamaha B1D, custom-made 6-string fretless bassguitar K+K
Stringed keyboard:
Yamaha Electric Grand Piano CP80
Electromechanic instruments - tonewheel organ:
Hammond CV (1945)
Hammond M3 (1960)
Various electronic keyboard analog instruments
Organ:
Hammond Commodore (Japan 1985)
Yamaha YC45D double manual with pedal, B30R double manual with pedal
Hybrids:
Formanta EMS1 (USSR 1990)
Yamaha SK20
Electronic piano:
ARP 16 Voice
Analog and A/D synthesizers
ARP PRO/DGX
Elka Synthex
Kawai K3
KORG Sigma, EX800, Guitar Synthesizer X911
Moog MultiMoog
Oberheim Matrix 6R
PPG Wave 2.2
Roland Jupiter 6, SH2000, MKS70 + PG800
SCI Prophet V2
Yamaha SY1, CS10, CS15D, 2x CS40m, CS80
Digital synthesizers
Casio CZ3000
EMU UltraProteus
Kawai K5000W (+ ME1)
KORG 2x Prophecy, WaveStation EX, WaveStation A/D, MS2000
Kurzweil K250
Novation SuperNova
Roland JD800, JD990 + Vintage Synthesizers card
Technics WSA1r
Yamaha TX416, TX816, TX81z, TX802, WT11, TG77, TG500 (+ 1 MB RAM), TG33, SY99 (+ 3 MB RAM), 2x VL1 Version 2, VL1m Version 2, EX5 (65 MB RAM, 16 MB Flash ROM, SCSI, digital output + IOMEGA JAZ drive, CD-ROM drive), MU128 (2x VL plug-in, AN plug-in), FS1r, DX7, DX7 II D
Samplers
AKAI S3000XL (32 MB, CD-ROM drive)
2x Yamaha TX16W (4,5 and 3 MB)
Sampling function in Yamaha SY99, EX5, TG500, PSR9000 Pro, Korg PA80
Digital piano
Yamaha Clavinova P500
Digital organ
KORG CX3
Digital Guitar
Casio DG7
Keyboards
Casio MT65
KORG PA80 (video I/F, Arabian/Turkish ROM card, Flash RAM Sample card, HD)
Yamaha PSR9000 Pro (65 MB RAM, HD, Musitronics USB card, Jaz Drive, CD-ROM drive, AN + DX plug-in cards)
Rhythmers
Fricke MFB 712
KORG Electribe ER1
Roland TR808 + MIDI Retrofit CHD
Yamaha RX5 + Wave ROM cartridges, RM50 (512 kB RAM, Wave cards)
MIDI peripherals
CME WiDi Wireless MIDI (2 stations)
Encore Electronics Expressionist (MIDI/CV Interface)
Kurzweil Ribbon Controller ExpressionMate
MOTU USB/MIDI interface MIDI Express 128
Opcode Serial/MIDI interface Studio 128X, 2x Serial/MIDI interface Studio 5LX, Studio 4
Yamaha 2x Guitar MIDI controller G10 + Converter G10C, Wind Controller WX5, 3x patchbay MJC8, 2x processor MEP4, sequencer QX3, player MDF3, controller MCS2 (updated EPROM), USB/MIDI interface UX256, Guitar/MIDI converter G50
Audioprocessors
KORG Delay DL8000, eight channel A/D converter AD880, eight channel D/A converter DA880, KaosPad KP2, Pandora PX4B, DVP1 Voice Processor
Roland Voice Processor VP70
TC Electronics Voice Prisma Helicon
Yamaha compressor GC2020BII, digital guitar preamplifier and valve simulator DG1000, FX processor FX900 + pedal unit FC900, audio patchbay PLS1
Recording
KORG digital mixer Soundlink 168RC
Panasonic MD recorder SJ-MR230
Sony cassette deck TC-W490
Yamaha HDR studio AW4416 (HD 12 GB, CD-ROM, ADAT Card), CD recorder CDR1000, eight track MOD recorder D24 + ADAT card
Computer hardware
APPLE G4 Mirrored Drive Doors (1.25 MHz, Dual Processor, 2 GB RAM, CD drive, DVD drive, 4x HD 120 GB, USB 2.0 HD IO DATA 1 TB, USB 2.0 PCI card, Stealth Serial card, KORG 1212 I/O audio card, USB hub, LCD monitor DELL 2005FPW 21") with OS 9.2.2, OS X 10.4.11
APPLE G4 Quick Silver (800 MHz, 1.5 GB RAM, 2x HD 40 GB, CD drive, SCSI card, Stealth Serial card, KORG Oasys PCI audio card, FireWire DVD drive LaCie, SCSI CD recorder Yamaha CRW4416SX, USB Hub, A3 laser printer Epson Ofirio LP-V1000, monitor Mitsubishi Diamondtron RD21G II), with OS 9.2.2, OS X 10.4.11
APPLE iBook G3 (366 MHz, 512 MB RAM, HD 40 GB, USB Floppy, printer Epson Stylus Color 880, printer Canon iP4500, scanner HP Scanjet 5400c), with OS 9.2.2, OS X 10.4.11
Buffalo USB Card Reader, CF card 128 MB, USB Pendrive 4 GB
ATARI MEGA ST (HD 30 MB, HD 20 MB), monitor SM124, UltraSatan card reader
2x ATARI ST1040, 2x monitor SM124, 2x C-lab ExPort
notebook PC ESCOM Paradigma Greymate, HD 30 GB, DOS, Windows 95
Yamaha PC music laptop C1, DOS
iPod 15 GB
Software
C-lab Notator, X-alyzer, Absynth 2, MetaSynth 4, Sibelius 5, Opcode Studio Vision Pro 4.5, Galaxy 2.5, MOTU Digital Performer 6, MOTU Ethno Instrument, MOTU Symphonic Instrument, TC Spark 2.8
Microphones
Shure BG4
AKG stereo tube C24 + all accessories
AKG wireless headset
Sound
Beyerdynamic headphones DT150
Hammond HR40 (tube amplifier)
Kawai analog rack mixer MX-8SR
Leslie 760
Roland analog rack mixer M120
Yamaha analog rack mixer MV1602, 2x rack digital mixer DMP9/16, 2x active box CBX-S3, 2x active box MSP5, 2x active box MSP10 + subwoofer SW10, 2x active box MS60S + stands, 2x active box RealPower + subwoofer + stands
Acoustic instruments
Different flutes, drums and percussions, 2x koto, Yamaha reed organ
Electrificated instruments
Plucked:
Yamaha guitar SG500B, bamboo electro-acoustic guitar Yamaha FGXB1, custom-made 6-string bassguitar K+K with MIDI pick-up Yamaha B1D, custom-made 6-string fretless bassguitar K+K
Stringed keyboard:
Yamaha Electric Grand Piano CP80
Electromechanic instruments - tonewheel organ:
Hammond CV (1945)
Hammond M3 (1960)
Various electronic keyboard analog instruments
Organ:
Hammond Commodore (Japan 1985)
Yamaha YC45D double manual with pedal, B30R double manual with pedal
Hybrids:
Formanta EMS1 (USSR 1990)
Yamaha SK20
Electronic piano:
ARP 16 Voice
Analog and A/D synthesizers
ARP PRO/DGX
Elka Synthex
Kawai K3
KORG Sigma, EX800, Guitar Synthesizer X911
Moog MultiMoog
Oberheim Matrix 6R
PPG Wave 2.2
Roland Jupiter 6, SH2000, MKS70 + PG800
SCI Prophet V2
Yamaha SY1, CS10, CS15D, 2x CS40m, CS80
Digital synthesizers
Casio CZ3000
EMU UltraProteus
Kawai K5000W (+ ME1)
KORG 2x Prophecy, WaveStation EX, WaveStation A/D, MS2000
Kurzweil K250
Novation SuperNova
Roland JD800, JD990 + Vintage Synthesizers card
Technics WSA1r
Yamaha TX416, TX816, TX81z, TX802, WT11, TG77, TG500 (+ 1 MB RAM), TG33, SY99 (+ 3 MB RAM), 2x VL1 Version 2, VL1m Version 2, EX5 (65 MB RAM, 16 MB Flash ROM, SCSI, digital output + IOMEGA JAZ drive, CD-ROM drive), MU128 (2x VL plug-in, AN plug-in), FS1r, DX7, DX7 II D
Samplers
AKAI S3000XL (32 MB, CD-ROM drive)
2x Yamaha TX16W (4,5 and 3 MB)
Sampling function in Yamaha SY99, EX5, TG500, PSR9000 Pro, Korg PA80
Digital piano
Yamaha Clavinova P500
Digital organ
KORG CX3
Digital Guitar
Casio DG7
Keyboards
Casio MT65
KORG PA80 (video I/F, Arabian/Turkish ROM card, Flash RAM Sample card, HD)
Yamaha PSR9000 Pro (65 MB RAM, HD, Musitronics USB card, Jaz Drive, CD-ROM drive, AN + DX plug-in cards)
Rhythmers
Fricke MFB 712
KORG Electribe ER1
Roland TR808 + MIDI Retrofit CHD
Yamaha RX5 + Wave ROM cartridges, RM50 (512 kB RAM, Wave cards)
MIDI peripherals
CME WiDi Wireless MIDI (2 stations)
Encore Electronics Expressionist (MIDI/CV Interface)
Kurzweil Ribbon Controller ExpressionMate
MOTU USB/MIDI interface MIDI Express 128
Opcode Serial/MIDI interface Studio 128X, 2x Serial/MIDI interface Studio 5LX, Studio 4
Yamaha 2x Guitar MIDI controller G10 + Converter G10C, Wind Controller WX5, 3x patchbay MJC8, 2x processor MEP4, sequencer QX3, player MDF3, controller MCS2 (updated EPROM), USB/MIDI interface UX256, Guitar/MIDI converter G50
Audioprocessors
KORG Delay DL8000, eight channel A/D converter AD880, eight channel D/A converter DA880, KaosPad KP2, Pandora PX4B, DVP1 Voice Processor
Roland Voice Processor VP70
TC Electronics Voice Prisma Helicon
Yamaha compressor GC2020BII, digital guitar preamplifier and valve simulator DG1000, FX processor FX900 + pedal unit FC900, audio patchbay PLS1
Recording
KORG digital mixer Soundlink 168RC
Panasonic MD recorder SJ-MR230
Sony cassette deck TC-W490
Yamaha HDR studio AW4416 (HD 12 GB, CD-ROM, ADAT Card), CD recorder CDR1000, eight track MOD recorder D24 + ADAT card
Computer hardware
APPLE G4 Mirrored Drive Doors (1.25 MHz, Dual Processor, 2 GB RAM, CD drive, DVD drive, 4x HD 120 GB, USB 2.0 HD IO DATA 1 TB, USB 2.0 PCI card, Stealth Serial card, KORG 1212 I/O audio card, USB hub, LCD monitor DELL 2005FPW 21") with OS 9.2.2, OS X 10.4.11
APPLE G4 Quick Silver (800 MHz, 1.5 GB RAM, 2x HD 40 GB, CD drive, SCSI card, Stealth Serial card, KORG Oasys PCI audio card, FireWire DVD drive LaCie, SCSI CD recorder Yamaha CRW4416SX, USB Hub, A3 laser printer Epson Ofirio LP-V1000, monitor Mitsubishi Diamondtron RD21G II), with OS 9.2.2, OS X 10.4.11
APPLE iBook G3 (366 MHz, 512 MB RAM, HD 40 GB, USB Floppy, printer Epson Stylus Color 880, printer Canon iP4500, scanner HP Scanjet 5400c), with OS 9.2.2, OS X 10.4.11
Buffalo USB Card Reader, CF card 128 MB, USB Pendrive 4 GB
ATARI MEGA ST (HD 30 MB, HD 20 MB), monitor SM124, UltraSatan card reader
2x ATARI ST1040, 2x monitor SM124, 2x C-lab ExPort
notebook PC ESCOM Paradigma Greymate, HD 30 GB, DOS, Windows 95
Yamaha PC music laptop C1, DOS
iPod 15 GB
Software
C-lab Notator, X-alyzer, Absynth 2, MetaSynth 4, Sibelius 5, Opcode Studio Vision Pro 4.5, Galaxy 2.5, MOTU Digital Performer 6, MOTU Ethno Instrument, MOTU Symphonic Instrument, TC Spark 2.8
Microphones
Shure BG4
AKG stereo tube C24 + all accessories
AKG wireless headset
Sound
Beyerdynamic headphones DT150
Hammond HR40 (tube amplifier)
Kawai analog rack mixer MX-8SR
Leslie 760
Roland analog rack mixer M120
Yamaha analog rack mixer MV1602, 2x rack digital mixer DMP9/16, 2x active box CBX-S3, 2x active box MSP5, 2x active box MSP10 + subwoofer SW10, 2x active box MS60S + stands, 2x active box RealPower + subwoofer + stands
Anything else...?
I love my wife Chieko, our lovely children - daughter Karen-chan and son Saimon-kun, and our dog Daikichi, when he is not too noisy!
I'm happy to be born as a musician - music is one of the best things in this imperfect world, real gift from gods! It brings only good feelings into the heart, harmony into the mind and positive vibrations into the body. Well done music brings order in chaos, consoles desperate souls and loads us with energy.
I'm happy to be born as a musician - music is one of the best things in this imperfect world, real gift from gods! It brings only good feelings into the heart, harmony into the mind and positive vibrations into the body. Well done music brings order in chaos, consoles desperate souls and loads us with energy.