Honestly...

Honestly, the only releases I like very very much are the ones only made with analog synthesizers (without any other acoustical instrument !). I don'tlike the live albums not only because there are other instruments, but also because the synth performance isn't obviously live, precisely. I don't like the digital synthesizer releases either 'cause the sounds choosed are too much wellknown. But all the analog releases really show Tomita-San's genious ! The selfmade analog sounds are pure art ! Even when he uses sitar (Firebird) or Mellotron. For me, the very last excellent release is Daphnis &Chloé (Or "Bolero", for the US release)...

 

--- In isaotomita at yahoogroups.com, "Vincent Jacque"
<vincent.jacque at s...> wrote:
> Honestly, the only releases I like very very much are the ones only
made with analog synthesizers (without any other acoustical
instrument !). I don't like the live albums not only because there
are other instruments, but also because the synth performance isn't
obviously live, precisely. I don't like the digital synthesizer
releases either 'cause the sounds choosed are too much wellknown. But
all the analog releases really show Tomita-San's genious ! The
selfmade analog sounds are pure art ! Even when he uses sitar
(Firebird) or Mellotron. For me, the very last excellent release is
Daphnis & Chloé (Or "Bolero", for the US release)...


I agree with you, but don't forget that the Mellotron was used a fair
amount, especially on the earlier recordings. Unless he recorded his
own tapes, the Mellotron fills out a soundscape quickly and
effectively without much (if any) technical programming skill. Thats
not to say Tomita isn't a first-rate programmer, and records like
Bermuda Triangle are hard to beat by anyone, programming-wise.

I was quite disappointed when I realised this, and its why records
like Grand Canyon sound a bit flat to me in parts, though for a
different reason - the prescence of the all-digital Synclavier.

Ben

 

Remember Tomita seems to be using the mellotron as an osc source for his
Moog and runs it through plenty of effects, so he is unquestionably
working it in a unique manner, really the only thing you can fault is
purely from the viewpoint of it not being fair at all to call it
entirely synthesized.

>
> I was quite disappointed when I realised this, and its why records
> like Grand Canyon sound a bit flat to me in parts, though for a
> different reason - the prescence of the all-digital Synclavier.

Though "Storm From the East" from his digital synthesis era makes up a
lot of the deficits his early 80s albums have.





I haven't looked at the "Planets 2003" booklet with someone who can read
it. Has anyone read through it for any interesting info, or is it just a
stock essay on the Holst piece and a short bio?


nick