SoundClick artist: Forrotronics - FORROTRONICS (Forro Electronics) established in 1983. One man band

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 Japan to follow his Japanese wife. Since April 2006 they are happy parents of a girl Karen (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 on "Electronics & Sound".
1975-79 he has been studying composition privately with Alois Pinos, 1979-86 with him 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. 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 - 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 (teaching was done by his assistants). So Daniel 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 "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 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 at Masaryk University 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. In his autonome New Music works he often combines acoustic and electronic instruments and in each work he tries to use different principles and ideas, very often based on extra-musical material, complex mathematical structures or quite opposite - on improvisation. He considers polystylistic electro-acoustic, computer and microtonal music to be his main stream - not always and necessarily experimental. 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 good number of functional music - 19 musicals and over 200 items of incidental music for theatre and ballet, 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 more musical sequences, so real number of works is much higher. He has authored Brno municipal fanfares. He is able to write music in the styles 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 experimental and unusual music, on the other side he is able to write quite eclectically in historical or ethnical styles. He uses complex constructions as well as total improvisation. All his creative life he tries to find some balance between all those extreme approaches and to make an organic synthesis by connecting the elements of the European music since the ancient times until now (time domain) with music from all the world (be it artificial or ethnic, space domain) - in full accordance with his own term "musical cosmopolitanism". Being admirer of Zen Buddhism he believes time and space are united (even science has nothing against this opinion), so for him is not difficult to connect the most distant things. He considers many composers of past to be his living colleagues and friends like any other recently living persons.

Other activities
- Recording artist and arranger - Daniel Forro really loves to work in his studio built since 1982, where he recorded over 500 of his own pieces besides arranging and producing many other works of contemporary and historical composers. Despite the fact he had to sell a lot of rare instruments from his huge collection before moving to Japan still there's a significant number of equipment for creative work (actual list of gear is below). In the last years Daniel managed to connect the most important synthesizers in his studio audio- and MIDI-wise, so finally he can use all of them together as never before. But due to the limited space in his traditional Japanese wooden house with tatami floors still about 25 instruments has to wait for their time coming one day...

- Teaching work (private teaching since many years, courses at his private school FORROTRONICS since 1990, teaching at Janacek's Academy of Music 1990-2003, where he was a head of EA and Computer Music Department 1993-2003 and lead post-gradual classes for music teachers 1993-1995 and Summer Master Classes 1996-2002, teacher at Summer Rock Academy 1998-2003). What he taught: all music theory, history, harmony, counterpoint, forms, analysis, solfeggio, composition, instrumentation, arranging, music styles, jazz, pop, rock, ethnic, minimal, microtonal music, creative improvisation, electronic and computer music theory, history, composition and production, computers in music - software, hardware, MIDI system, sound design, programming synthesizers, samplers and rhythmers, work in recording studio, playing all keyboard instruments, performing stylistics and many others...
It's a pity that after moving to Japan he couldn't find similar academic teaching job as before - his deep knowledge and experience in many music styles is not fully used... But he is Visiting Professor at Nagoya Art University and has private students.

- Research work in the border field of music and connecting music with mathematics.

- Expert and consulting work (1992-2002 narrow cooperation with Yamaha Europe as Product Specialist for synthesizers, keyboards, digital pianos, organs and other EMI, for studio, PA and music software for 22 countries, 2002-03 for Korg CZ and Technics). He did more hundreds public expert lectures, seminars, clinics, concerts, demonstrations at music fairs, in the shops, schools in about 10 European countries... He helped to many people to solve their problems with computers and equipment thanks to numerous private consultations. Last years he is invited as a member of jury in piano competitions.

- Writer's activities (editor and main contributor of Czech music magazine Muzikus 1991-2002, where he wrote more hundreds of educational articles and expert series on synthesizers, MIDI, music software, studio work, music stylistics, new gear tests and reviews - thus he became "Doctor MIDI" by nickname, main guru and pope of MIDI and synthesizers in his country and Slovakia. He published expert books in his own series "Musitronica" in GRADA Publishing Praha - on MIDI, recording studio, computers and music, another bunch of books he published at JAMU - series about electronic musical instruments, and he prepared radio educational programs as well.

- Interpreting, translating and teaching work (his native Czech, Slovak, Russian, Polish, English, German, Italian, Japanese, Esperanto, Ido...)... Linguistics and comparative filology belongs to his biggest hobbies.

- Organisational work (founder and chairman of Society for Microtonal Music in 1995-2003, organizer of Festival of Microtonal Music, founder and owner of the private Museum of Electro-acoustic Instruments 1989-2003, founder and chairman of Society for Creative Music Improvisation 2001-2003, co-owner of the firm MUSITRONICA selling musical instruments 1997-2000).

Daniel Forro represents with his incredible wide range of interests, knowledge, experience and versatility a real musician of 21st century. His tolerant, kind and all-embracing attitude to the life, people and music is rather unusual and difficult to understand to many narrow-minded and conservative people or to the average musicians - he can compose and arrange music, perform, improvise, record, program synthesizers, do scientific research, teach, write and talk about music... this all in many music styles on more instruments (and in more languages). Such ability is not so often to see in one person. But he really considers only such wide, deep and serious attitude has sense and is always honest to himself, to the music art and to the public with his perfectionist's approach.

Why this name?

Forro + electronics = Forrotronics. Main idea behind this is: man/machine synergy.

Under this name Daniel Forro has been performing since 1983. Concerts with use of audio playback or computer assisted performing (when sequencer or MIDI player control electronic instruments in real time) represent new type of music presentation. They allow to omit human performers, often unable to perform New Music precisely in its intonation (microtones) or rhythmic complexity (difficult rhythms, polytempo, high tempo, unusual synchronization of instruments or layers). Thanks to the digital technology a composer can hear his/her music without any deformation or artistic compromises which are obvious when working with traditionally educated human performers and their instruments with limited possibilities. Recently one person only can simulate all acoustic instruments convincingly thanks to the physical modeling technology and produce complete orchestral scores, besides electronic instruments offer more rich and more interesting sounds (experimental electronic timbres unheard until now) and a possibility to work with artificial space and microtones. Electronics opens a new world of immense possibilities, gives to the composer absolute creative freedom concerning tuning systems, rhythms, timbres and expression, where the only limitation is composer's fantasy.

Forro combines at Forrotronics concerts music recorded as audio or MIDI with live improvisation on keyboards, wind controller, guitar controller, six stringed bassguitars (fretted one is midified), flutes and less usual MIDI controllers (Kurzweil ExpressionMate, Buchla Lightning, Korg KaosPad and similar). He likes to use voice transformed in audioprocessors (echo, reverb and other FX, harmonizer, vocoders). Creative improvisation is often present in accompaniment layer and many of his works are totally based on improvisation. Thanks to this approach and to the using of polystylistics (elements of many music styles in organic synthesis) these concerts have a human factor - Forro as a composer is not afraid to work with "old-fashioned" emotions and thanks to the live improvisation even the same composition has always different shape.

Forro is an exceptional and outstanding synthesizer virtuoso, he always tried to use synthesizer as a real and expressive instrument with its own distinct character and identity. Besides his unique ability to imitate any acoustic instrument with all its nuances, articulation, voicing, expression and stylistic aspect Forro as a player or composer and arranger can use creatively any electronic sound, be it simple old analog or complex experimental digital one. He has good sense to use sounds in their best sounding form. Great advantage here is his deep knowledge of music theory and programming the synthesizers as well as many years of practical performing experience in many music styles. He is extraordinary and charismatic player performing with astonishing power and drive, in narrow connection and symbiosis with his composing and arranging activities. He did a lot for recognizing synthesizer as an expressive musical instrument of its own, not as an anonymous cool sound chameleon able only to imitate the other sounds without soul and heart.
In this connection it should be mentioned that thanks to his cooperation with Yamaha as a Product Specialist (1992-2002) Daniel Forro was one of the first musician in the world using physical modeling resynthesizers VL1 (since 1994 - he is a proud owner of 4 pieces) and polyphonic VP1 - with a latter one he recorded a double CD of his improvisations in 1997 (VP1 Impressions), probably as the only musician in the world as this very special instrument exists only in few pieces.

Author's performing is well known since the times of bards, Middle Age troubadours or some pop singers. Recently this approach returned in technologically improved form - electronic instruments. Unity of creator and performer is ideal for maximal authenticity, but this method has its limitations as well - electronic and computer music works of Daniel Forro could be hardly performed by the other performers with different level of skills and different equipment exactly as they were intended, deformations in the sound and expression would be unavoidable and it will be too far from original (possibility to use just audio or MIDI playback is not considered of course). Nevertheless synergic connection of human being and machine seems to be an ideal and powerful mean of artistic expression in the beginning of 21st century. Concerts of live electronic music are attractive for public as well. Forrotronics concerts done in 1983-2003 in his native country were always artistic event, spiritual experience exceeding traditional ways of music performing and despite they were not so often and offered unusual music, they were well visited and reactions on compositional and performing mastership of protagonist were more than positive.

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 of us.

More info:
Among D. Forro's other musical activities should be mentioned giving concerts on keyboards and other instruments since his 9 in the field of classical music and since about his 17 in the other musical styles (pop, rock, jazz, ethnic music, electronic music). As a keyboard player he was a member of top Czech rock groups PROGRES 2 (compositional and arranging cooperation on the very first Czech rock opera "Dialogue with Space") and BRONZ - 1977-84, since 1983 he performed solo as FORROTRONICS, since 1997 also sometimes with Brno percussion ensemble DAMA DAMA. During his concert carrier in Czechoslovakia (1967-2003) he cooperated with many other artists, groups and orchestras. He is well known as an excellent creative improviser in any music style and incredible prima-vista player able to play without any problem even rather difficult classical or contemporary music pieces in standard music notation or some unusual graphical notation on the first sight as well as Baroque numbered bass or jazz leadsheets full of chord signs. Big help here is for him a deep knowledge of music theory and history, excellent playing technique, long-year experience in many styles and perfect pitch.
After moving to Japan in 2003 Daniel Forro continues successfully in concert carrier performing on different instruments and in many music styles. He started new career from zero, which means to some degree a temporary return to his classical roots - recently he is asked to play more classical historical music or jazz on piano or organ then his experimental electronic music. But his carrier in Japan just started, for sure there are circles of electronic music afficionados which will enjoy Daniel's music. Besides his solo performing on piano, pipe organ, reed organ, Hammond organ and synthesizers he cooperated with many other artists - instrumentalists, singers, choirs or chamber groups. He performs in concert halls, churches, temples and shrines, castles, restaurants and cafes, hotels, clubs, ceremonial halls, department stores, hospitals, old people homes, at open air concerts, festivals and matsuri... He likes to do educational and seasonal concerts in the schools and kindergartens. He is always open to any cooperation. Thanks to his life in Japan he started to study and play shakuhachi and koto.

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).

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...

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...

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, percussions, 2x koto, 2x Yamaha reed organ, accordeon

Electrificated instruments
Plucked:
Guitars - Yamaha SG500B, bamboo electro-acoustic 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 YC10, YC45D with pedal unit, B30R 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
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, 2x JD990 + Vintage Synthesizers card
Technics WSA1r
Yamaha TX416, TX816, TX81z, TX802, WT11, TG77, TG500 (1 MB RAM), TG33, SY99 (3 MB RAM), 2x VL1 V2, 2x VL1m V2, EX5 (65 MB RAM, 16 MB Flash ROM, SCSI, digital output + Iomega Jaz drive, CD-ROM drive), EX5 (basic), MU128 (2x VL plug-in, AN plug-in), FS1r, DX7, DX7 II D

Samplers
AKAI S3000XL (32 MB, CD-ROM drive)
EMU E4x (128 MB, HD, FD, CD-ROM, PC kbd)
2x Yamaha TX16W (4.5 + 3 MB RAM)
Sampling in Yamaha SY99, EX5, TG500, PSR9000 Pro, Korg PA80

Digital piano
Yamaha Clavinova P500 + stand
Roland V-piano + USB memory stick 16 GB + stand

Digital organ
Korg CX3 V2

Digital Guitar
Casio DG7

Keyboards
Casio MT65
Korg PA80 (video I/F, Arabian/Turkish ROM card, Flash RAM Sample card, HD, EC5 pedal)
Yamaha PSR9000 Pro (65 MB RAM, HD, Musitronics USB card, Jaz, CD-ROM, 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 MidiBoard V 3.0, ribbon controller ExpressionMate
MOTU USB/MIDI I/F MIDI Express 128
Opcode Serial/MIDI I/F Studio 128X, 2x Studio 5LX, Studio 4
Yamaha 2x Guitar MIDI controller G10 + Converter G10C, Wind Controller WX5, 3x patchbay MJC8, 2x processor MEP4, 2x sequencer QX3, player MDF3, controller MCS2 (updated EPROM), USB/MIDI I/F UX256, Guitar/MIDI converter G50

Audioprocessors
Korg Delay DL8000, 8-channel A/D converter AD880, 8-channel D/A converter DA880, KaosPad KP2, Pandora PX4B, Voice Processor DVP1
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, 8-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, Apple monitor Studio 15), 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 Compaq Presario 1525), with OS 9.2.2, OS X 10.4.11
Another two Apple G4, with OS 9.2.2, OS X 10.4.11 a 10.5
Apple MacBook Pro 13 Intel
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, 8 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
iPod 15 GB

Software
C-lab Notator, X-alyzer, Absynth 2, MetaSynth 4, Sibelius 6, Opcode Studio Vision Pro 4.5, Galaxy 2.5, MOTU Digital Performer 7, MOTU Ethno Instrument, MOTU Symphonic Instrument, TC Spark 2.8

Mics
Shure BG4
AKG stereo tube C24 + all accessories
AKG wireless headset

Sound
Beyerdynamic headphones DT150
Hammond HR40 (tube amplifier)
Kawai rack mixer MX-8SR
Leslie 760 + preamplifier
Roland rack mixer M120
Yamaha rack mixer MV1602, 2x DMP9/16, 2x active box CBX-S3, 2x MSP5, 2x MSP10, SW10, 2x Real Power RP + subwoofer, 2x MS60

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.

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