It’s been 3 years since the release of TeddyLoid’s collaboration project, “SILENT PLANET”. That original album featured a variety of major players in the Japanese music landscape including Yasutaka Nakata, KOHH, Ko Shibasaki, and Tetsuya Komuro. Its official sequel was released in November in the form of 2 individual albums, “SILENT PLANET: RELOADED” and “SILENT PLANET: INFINITY”. These two albums were developed with a yin & yang perspective, with each representing an opposite side of TeddyLoid’s musical and production sensibilities.
In the time since his last album’s release, TeddyLoid has spent time collaborating with a variety of artists like Momoiro Clover Z, HIKAKIN & SEIKIN, and fan-favorite vocalist DAOKO. He also took this time to expand operations outside of Japan, performing at events in the United States such as ANIME EXPO, ANIME CENTRAL, and ANIME WEEKEND ATLANTA in the past 3 years as a headlining act. Having this experience has given him a unique perspective on music, not only from his home country but also around the world.
Having also experienced activity around the world as performers in the space, ☆Taku ︎Takahashi and TJO sat down with TeddyLoid and asked him about his work, experiences, and why he produces what he does. We’re proud to present this incredible talk by 3 highly influential members of the Japanese electronic music scene translated to English in collaboration with our good friends at block.fm. If you would like to check out the original Japanese interview, you can read it here.
The biggest culture shock even after doing DTM (Desktop Music) for 10 years
☆Taku ︎Takahashi (Here-after TT): In November, you released two albums, “SILENT PLANET: RELOADED” and a few weeks later “SILENT PLANET: INFINITY”. Why did you decide to release 2 albums with a mixture of new tracks and updated versions of previous tracks from “SILENT PLANET”?
TeddyLoid (Here-after TL): Actually, at the beginning, it was planned to only be one album. However, as I proceeded with the production, it turned out that there was too much that I wanted to do and couldn’t just express it properly with only one album. I then decided to do it as 2 separate albums with completely different cuts. This resulted in “RELOADED” being compiled with the content of the dubstep and rap tracks I’ve been working on over the last few years. But on the other hand, as an artist, I’m not limited to just dance music and club music, I also make anime and game music too. I’ve had the opportunity to make various songs with artists such as Yuzu, Momoiro Clover Z, and HIKAKIN & SEIKIN so there is also a pop side. If I had limited it to only one album, I don’t think I would have been able to introduce the sound of TeddyLoid properly, so “INFINITY” is positioned as a variety of rich new EDM content where “RELOADED” is more aggressive dubstep and rap.
TT: Was the original concept always to have dubstep and rap separate?
TL: My previous album “SILENT PLANET” had a combination of melodious tunes and hard rap tunes. It featured artists such as Haruo Chikada, Tofubeats, and JUN 4 SHOT from FIREBALL. I also did sound production for KOHH. I wanted to properly shape the alternative side of work which I have been putting a lot of effort into for the last 4 years.
TJO: For quite some time, you’ve had the reputation for having a pretty fast pace of work when making songs. Why did this time take 3 years?
TL: Over the last 3 years, I’ve made so many new acquaintances and friends, such as AINA THE END from BiSH. Recently, I’ve met Moto Tensai. Rather than the albums taking 3 years to make, it’s more the idea that it was made primarily with artists whom I’ve met in the past 3 years. I still make many songs daily. What’s also different across the last 1 or 2 years I have also been traveling internationally quite a bit more, so I’m either producing while traveling or have the chance to go to a studio while overseas. This process of making music while on the go has increased dramatically, previously I used to just work in my own studio.
TT: You’ve had the opportunity to work with many creators who are popular both in Japan as well as overseas. Do you notice any differences between working with those kinds of creators?
TL: When I was in Los Angeles this past August I had the opportunity to visit Virtual Riot’s studio and make a track with him, his production speed is unbelievably fast. I thought that my production speed was fast, but he was always pulling ahead of me. When he showed me what he had made, he was already working on the drop and had 16 bars done. He was like “How is this idea”? His ideas were equally impressive. Across the past 10 years that I have been doing DTM (Desktop Music), having sessions with Virtual Riot was one of the most eye-opening culture shocks that I have had. It really showed me how thick the wall is when it comes to the world.
TJO: In the scope of the industry which I’m familiar with, You’re competing for 1st or 2nd place in terms of studio production speed. It’s remarkable.
TL: For sound design, you just have to start up a soft synth and start making sounds, no? Or you can turn on a sampler, from there you can make 2 to 3 minutes with stuff from other songs, then throw a wobble bass or something like that on it or you can play around with the samples themselves. Our trend is slightly different from this thought process. When I was at Virtual Riot’s house making music, Skrillex was walking his dog nearby *laughs*. It’s like the dubstep army is based out of Los Angeles, so everyone is in close proximity *laughs*.
Japan might be following the trends of the rest of the world too much. Myself included.
TT: How is your take on the current trends?
TL: Actually, Virtual Riot wasn’t looking or paying attention to what the latest trend or making something along those lines. We approached it as trying to find a new style of sound while keeping the color of Virtual Riot. I thought he was trying to create a new trend.
TT: On the other hand, how is it compared to Japan?
TL: Personally, I feel that Japan is following the trend too much. They listen to international releases on the internet. They look at the ranking charts. They find the sounds they want to incorporate. It’s something that I personally have become quite conscious of.
TT: But, it’s equally as bad to make something which is too “old fashioned”. I fear that if you don’t keep up with the trends, you can fall into this trap of being too “old fashioned”.
TL: Yeah, there is also that aspect. But Virtual Riot is already at the pinnacle of talent, so I think the trend just comes to him naturally without consciously thinking about it. It was like we didn’t have to dig for trends. It was a completely different environment.
TJO: When you make your own music, do you feel that following the current trend is a necessary element?
TL: I absolutely do. I feel that as long as I am making dance music, that is going to be an eternal task for me. However, dubstep is actually no longer the main trend. Especially in Japan. But to me, dubstep is the hottest music in the EDM genre. This is why all songs on “RELOADED” are “Trends within myself”, I specifically made a new style of sound.
TT: I see. You just mentioned something about someone named Moto Tensai, who exactly is that? *laughs*
TL: *laughs* I get asked that quite often, he is a male vocalist who will have his last live event titled “Funeral” at a fairly large venue next January. *laughs* Taku, you actually just said that Moto Tensai was good.
TT: Your track with him is my favorite song from these 2 albums.
TL: It’s a song in the genre of “sad rap”. Similar to Lil Peep. It’s a song which was inspired by that style.
TT: So it’s a secret, huh?
TL: Yeah, it is. Moto Tensai is also a “Creative Partner” for SKY-HI”s new music video *laughs*. He’s quite the elusive character *laughs*.
TT: So he’s actually not even been discovered on the internet yet either?
TL: Maybe if you check out Twitter a bit *laughs*. You have to decide if it’s the truth or a lie, if you believe it or not *laughs*.
I wanted to have a track featuring m-flo with LISA rapping.
TJO: In regards to your history with block.fm, I believe we first met around 2011 when you were doing remix work for Kou Shibasaki’s track, “Mukei Spirit”. I loved it and I remember pushing it so hard on block.fm programs. From that, the project “galaxias!” with DECO*27 started and we played that remix on block.fm. Just how long ago was that?
TL: Maybe like 8-10 years ago?
TJO: On the new album, there are a couple of new features after a long hiatus with Kou Shibasaki and DECO:27.
TL: This is something that I would only talk about on a block.fm episode, but in 2015 when I released “SILENT PLANET”, I received guitar stems from DECO*27 for a track. But the Kou Shibasaki track “Searching For You” is a straight-up EDM track and I didn’t want to put guitars in the song in order to stay on the trend.
TT: Wanted to get away from the guitar.
TL: I certainly feel bad for DECO*27, but I chose to go with the trend. But actually, in the remade version, the full power of DECO*27’s guitar can be felt! When I was rearranging the song, I wanted to do it like a “galaxias reunion”! We hadn’t seen each other for quite some time, so when we met I said “I would like to re-do the guitar” and was given the reply of “Sure.” *laughs*
TT: It’s more like a talk session rather than a studio session *laughs*. Does it feel as if there are guitars in the track now?
TL: It does. I feel that it’s my own sound.
TJO: On the “SILENT PLANET” series, I wonder why you didn’t re-make 「All You Ever Need feat. ☆Taku Takahashi (m-flo)」? *laughs*
TT: Shouldn’t we? *laughs*
TL: Actually, I was thinking “I wonder if we could ask VERBAL and LISA to join the project to do a feat. m-flo track” *laughs*. We could ask Taku to sing, LISA to rap, but then what could we have VERBAL do? It’s something that crossed my mind *laughs*.
TT: How about percussion? *laughs*
TJO: It can’t be a real position *laughs*. It’s actually pretty interesting. This time we have Tetsuya Komuro and Marc Panther, so it’s interesting to add more new music.
TL: I actually have a song that I did with Mr. Komuro. I wonder what I would do if I re-made it. Actually, I think it would make Mr. Komuro’s fans really happy if we had Marc Panther rap on it. I didn’t expect him to accept my offer (for this album) but he gave me rap with great content in French.
TJO: Someday, I really expect you to do a track with Taku and m-flo as a featuring track. *laughs*
TT: Absolutely. I would love to make it happen.
When I was ranked number one on MySpace, I reached out to ☆Taku immediately.
TT: When you started playing, your early style was focused on how cool it was, though the comp was distorted and didn’t sound too good on the dancefloor but the sound was still so cool. It sounded like a distorted comp was shaved into the sound. But then you changed your style a bit. Your sound shifted to a direction where it would sound really good for EDM, arena size gigs.
TL：That’s right. In the last 1 or 2 years, the thing that pleased me the most was when I had the opportunity to make a remix of “Luvotomy” and Taku told me “The lows are so thick and the dynamics have increased so much!” It made me so happy. Especially at that time. It helped me break away from the distortion and aim for the stadium. It’s actually all from the DJ experiences from abroad. From venues which can fit tens of thousands of people. I feel that the tracks from “Infinity” will definitely shine in stadiums now with its mixing and mastering.
TT: It sounds good and it makes me wonder that if your past distorted taste was also consciously mixed with good taste.
TL: That makes me so happy…! It’s something that I paid so much attention to. The fact that you noticed it Taku, makes me so happy.
TT: At the beginning, you directly sent me a track which was super heavy electro sound with a bunch of comps stating “Please listen to my track”.
TL: That’s right. I remember thinking “I’m scared of Taku” *laughs*. But because I was ranked number one on MySpace at the time, I was riding high on excitement. I told myself “Let’s send the thing!” *laughs*. After that, I got a response from you saying “It’s good!”. To this day, I feel that that moment was a major turning point in my music career.
TT: While you were telling yourself you were afraid, you were still sending it to 30-40 other DJ’s weren’t you?! *laughs*
TL: But it was you, THE Taku from m-flo whom I had the most admiration for. I was so nervous.
TT: Really? Lol. I introduced you to many people like “I’ve found a genius”. I think this was before we started block.fm. You were what, like 19 when we first met? When we went to that yakiniku spot in Tomigaya lol.
TL: I remember.
It was great to meet another person who knows French electro
TT: Was POWDA (TeddyLoid’s Manager) around during that time?
TL: It was still just the two of us. During that time 10 years ago, I used to go to the studio alone to play around and then we had Yakiniku together. I met POWDA from STEPPASIDE!!! at a club. A friend of mine who was a human beatboxer introduced me to him.
TT: Then some time passed and now POWDA is in charge of your management, with the work being done by the two of you, right? What I find the most interesting is that the first person/program to really start pushing dubstep on block.fm was POWDA’s show.
TL: Yes, that is one of the things that I really wanted to do, stuff like dubstep and rap *laughs*
TT: You started to introduce various forms of dubstep to Japan at a time where dubstep had yet to break ground in Japan. This is the part where POWDA would say something like “There is this person, Borgore” or “In Israel…” *laughs*. Then this year you made a dubstep album which I find to be an interesting story. He’s actually behind us right now. *laughs* Please say something.
TT: POWDA is kind of shy.
POWDA (Here-after P): You said I’m shy?! *laughs* It was really one-sided. One day ☆Taku Takahashi calls TJO with me and says “We’re going to start a radio station” out of nowhere. “Please bring some music”. Taku also made a script. The way we were supposed to talk on air was very busy. *laughs*
TL: Is that why!? When I listened to STEPPASIDE!!! I couldn’t help but think “That’s the person that I recently met, the one that was a radio DJ or something” *laughs*
P: It was all tailored!! In the beginning, both TJO’s and my voice were super soft. It was really plain. I took it seriously, but I also learned a lot. I also made all of the jingles too. It was like a dream, running our own radio station. At that time I asked Taku “I would like to start the first radio show which would introduce dubstep to Japan”. I was severly hooked on dubstep at that time. I was hooked on either Pinch or Hyperdub, and super deep Bristol style, and introduced dubstep when it wasn’t based on wobble bass sounds at all.
TT: It was kinda like a reggae sound, right?
P: Exactly. It started from Jungle and Drum’n’Bass, all from the sound system culture. In order to explain that everything started from reggae, is the reason that I started the show STEPPASIDE!!! But Taku knew that the EDM scene would accept dubstep, so he told me “POWDA, please take care of all of it properly!” *laughs*. What I’m familiar with isn’t catchy at all, it’s extremely minimal, or a dirty techno which is closer to reggae.
TL: When I heard that, I understood dubstep’s roots. Most people think that dubstep is only Skrillex.
TT: At the time, Teddy, you had a 4 on the floor French Electro feeling. Your sound and POWDA’s sound were completely different, how was there such a drastic change?
TL: From what I can remember, POWDA was the only one who got French Electro.
P: Exactly, going back to what we were talking about before. When I got the mail from Taku saying “I found a genius”, he only attached a link to Teddy’s MySpace. I was like “Again? What the hell”. *laughs*
TL: It’s like it was spam mail.
P: And, once I opened the MySpace link and saw TeddyLoid written. Then I realized that I met him at the club VUENOS a few days before. Back then, Teddy had stubble and a biker jacket.
TT: I couldn’t imagine him with stubble.
P: Right? Also, during that time too, he had a low hanging waist. He handed me a business card which read “TeddyLoid”. I thought he was from a rock band. So when you sent me the link to his MySpace, I first said “Taku, you know this person is from a rock band, right?”, and you replied “No, he does electro.”, I listened to it and thought “it’s electro. And what’s more, it’s French electro!”.
TL: That’s the first time someone’s told me that. It would actually make sense because my parents did work for a rock and roll clothing brand. There was never anyone who can communicate with such crazy stories before. People like that would have only existed on the internet. I thought that if anyone would understand my music, it would be POWDA.
P: I really enjoy French electro very much. Even like Justice, I thought that French Electro is like music with hip-hop and hard rock mixed. Old rock and hip-hop. So Teddy does state of the art rock dance music.
TT: Since you’ve been the closest to him so far POWDA, what would you say was his number one turning point?
P: To be completely honest, when he produced music for the anime “Panty and Stocking with Garterbelt” and Momoiro Clover Z’s “Neo STARGATE”. I actually turned down the work for “Panty and Stocking with Garterbelt” initially.
TT: Is that so? *laughs*
P: Back when before it was called block.fm, Taku had TCY Radio. He was the first person to invite Calvin Harris to Japan. He also invited the Electro Hero SHINDEN. For me after seeing that I couldn’t help but think “☆Taku Takahashi is an electro demon”. And this demon does anime music and idol music…so I declined it without thought. *laughs*
TT: What POWDA is saying was actually a common way of thinking at the time. The younger generation now doesn’t think like that and they just want to have fun. At the same time, if you were to make music with a French electro sound and did anime and idol music it was like hesitating to take a step forward. How was it for Teddy?
TL: I was quite concerned at the time. Especially with how to look.
P: I think that the soundtrack for “Panty and Stocking with Garterbelt” was made by 3 people.
TL: At that time I got contacted by ☆Taku and I made 20 songs in one day. I’m still utilizing the drive from then.
P: Exactly, so if we didn’t do “Panty and Stocking with Garterbelt” I wouldn’t have been able to see just how fun it was and the potential that it brought out. I would have declined every single anime job offer from then on, I think. It’s because of that, that we’re able to perform internationally. Over the last 5 years, I’ve grown to understand the scene and what makes it interesting. Now Taku and TeddyLoid are being booked for anime conventions throughout the world together and performing in front of thousands of people. I find that to be a really fascinating thing.
ALL: That it is.
TT: Well then, POWDA, thank you very much!!
P: Let’s do special programs some time. *laughs* Let’s do dubstep again!
TL: Right now there is so much crazy dubstep internationally. I would like to spread it around Japan.
I want to make an album which takes the form of a story.
TJO: This time you made two albums over the span of three years, these days, are there any particular preferences for an album’s format? I also would like to know, do you think that the albums will be wanted in the future?
TL: For myself, I look at albums in the same light as movies. Let’s say a single gets released, the customers that purchase that single will only listen to the song that they like. But for the album format, it’s meant to be listened to from beginning to end, a continuous flow without using shuffle. I like the format of an album because it allows the artist to tell their story.
TJO: Is that something that you want to stick to doing yourself?
TL: It is. For instance, the first song on “INFINITY” is my song with Yasutaka Nakata “Game Changers (LAST BOSS Mix)”. Having the last boss at the beginning is like starting a New Game on a video game. It’s like restarting the game from the beginning all over again. Then the last song is “Winners” so it’s literally like you beat the game and it’s done. This is something that can only be done with an album, give it the feeling of a story.
TT: When you listen to music yourself, what format do you use the most?
TL: I use services like Spotify, completely subscription based.
TT: For that, do you listen to playlists or albums?
TL: I listen to albums. Not so much playlists. Actually though, when I make my next work, I would like to make a 10 track EP with all the styles and spread them out across a pattern of 5 playlists.
TT: Can you elaborate on that a little more?
TL: For starters, put out a 10 track EP without deciding the track order. For example, have “playlist A” be a series of tracks which would be good to listen to in the morning, “Playlist B” could be a series of tracks which are super high energy. I’d like to be able to show a story through the diversity of playlists.
TJO: So you’d have the same songs, but the contrast of the playlist would change depending on song order so you’d hear changes based on the mood of the playlist.
TL: Exactly. Like listening to an action game or an RPG.
Spotify would be interesting if it was like MySpace
TT: You mentioned Spotify just a second ago, where do you look for dance music?
TL: For dance music, I look on EDM.com blogs and I also look at YouTube channels quite a bit. When I’m digging for music, I’ll check a playlist from one end to the other.
TJO: I would like you to tell me like 3 of your recommended playlists/channels.
TL: You’d listen to 3!? *laughs* I always check blogs and interview articles on EDM.com. I also check Spotify playlists for EDM or dubstep.
TT: Do you use the song search?
TL: I don’t search for songs. Also, rather than digging for songs myself, Virtual Riot and other friends recommend songs to me.
TT: Getting information directly from the creators is the fastest way.
TL: The people which Virtual Riot recommends to me have not even hit a few hundred plays on Spotify yet and he’s like “Isn’t this sound nuts?!”. So that’s really interesting. It reminds me of the early days of MySpace. I think Spotify would be really interesting if was like MySpace. You could edit your profile page, upload songs, etc. It would be great if it was like that.
TeddyLoid’s music is “EDM”
TT: I see I see. Next question. What do you say to people about your music when you first meet them?
TL: I say I am EDM *laughs*
TJO: Doesn’t that have a bit of resistance?
TL: Not really. It’s also easy to understand.
TT: Is that for both Japan and internationally?
TL: Yes. I already think electro music, and all songs with popular synths or four on the floor songs are EDM. *laughs* I mentioned that Taku is hype earlier, but I’m also quite hype as well. *laughs* I do work with Yuzu and Momoclo, I’m the most hype. *laughs* I’m like the representative for hype in Japan. *laughs* But in addition to that, I’ve also worked with Virtual Riot, I have the feeling that not just anyone can do that.
TJO: It means that you can get by with your level of hype.
TL: I’m now 29 and still going with hype. I feel like I still have some hype to continue on with. But in interviews, I absolutely always say “dance music”.
TT: What do you think the difference is between dance music and pop music now?
TL: For me it’s the sound of the kick. *laughs* I feel that dance music has heavier kicks. Compared to pop music where the kick is lighter.
TT: Does that go for America too? Just Japan?
TL: I think America is the same. *laughs* It’s pretty difficult, I’ve never really thought about it before. If it wasn’t, I don’t think it would translate to the younger crowd. When I was younger, I never found it difficult. For example, if I think about it now the m-flo song “Come Again” is a pop song, no? But it also has dance music elements. It’s simply cool.
TT: I think its dance music which is hard to dance to. *laughs* “Come Again” that is. How do you feel that the role of being a DJ will change in the future? I feel that more and more people are going to festivals, but I suppose also clubs too.
TL: Personally, my stance is that I’m not a DJ in the first place. Only the live format is to DJ. I DJ because I feel that it’s the place to present my songs. It’s almost like a live event, in Japan its easier to understand who is called a “DJ”. But internationally, no one uses the name “DJ”. Skrillex and Virtual Riot as well. As long as you DJ as a platform to display your songs, whether it be at a festival, club, live house or even outdoors, it won’t change. It’s like a recital in the form of DJing. So that’s why in performance it tends to have the flow of a live set.
I did not expect to be carrying an $8,000 MacBook.
TT: Including this album, you’ve collaborated with many vocalists, rappers, and creators. Who are you closest with?
TL: In Japan, I’ve recently been quite good friends with Yasutaka Nakata. He likes games and we wander around arcades together.
TT: So talking about games is the most exciting?
TL: Yes, it is.
TT: What game are you hooked on right now?
TL: Right now? Hmmm. I play quite a bit of Splatoon 2. I’m the highest rank. *laughs*
TT: My friend broke up with his girlfriend so he could reach that rank. *laughs*
TJO: That’s nuts!!
TL: Internationally, this year my best friend is Virtual Riot. He plays my new songs out in various places. He’s also a game and anime maniac. So much anime!
TT: Most creators tend to be a geek of some sort, right? Like games, or liking anime.
TL: You’re pretty knowledgeable in that field too, right Taku?
TT: I can’t get close with anyone who doesn’t like games or anime. *laughs* It’s hard to carry a conversation. *laughs* What is your most important equipment right now? Do you have something like a specific tool or utility? Something which helped you through 2018.
TL: My top of the line 4TB SSD MacBook Pro. I never thought that I would be walking around carrying $8,000 on hand. *laughs*
TT: When you put the 4TB configuration on, the price skyrockets instantly.
TL: For me, it’s the best. It’s like having a pocket studio. I can use it anywhere. You’ve also been using a laptop for the last 1 or 2 years haven’t you, Taku? 4TB is the best. You don’t have to stick anything on the outside.
TT: Exactly, I don’t want to have to attach anything to it. Plus it can fall off if you’re on the plane or Shinkansen.
TL: I agree 100%! That’s why I recommend 4TB.
TJO: Exactly, how much did it cost you?
TL: $8,000 (lol)
TT: But it’s important for an artist to demonstrate the dream like that. *laughs*
TJO: It is, it is!
TT: If anyone wants to become an EDM artist, in this generation a 4TB computer costs $8,000… *laughs* it’s crazy. *laughs*
TT: So crazy~ *laughs*
TL: But you’d be more surprised if you saw Afrojack’s laptop. He has SSDs attached to his laptop with velcro. Four 2TB SSD drives.
TJO&TT: Really!? *laughs*
TL: At that time only small SSD sizes just started being sold, so one of them had to be at least $3,000. That makes it a $20,000 laptop. *laughs* Of course, this was overseas, so it’s over the top. *laughs* But as Taku said, I don’t want to have to stick something to the outside. *laughs*
TT: Hahahaha!! *laughs* Well, he is an artist with his own private jet. So that amount. *laughs* But using velcro. *laughs*
TL: This is very true. But after all, Apple products are fun. You just bought a new iPad also, right Taku?
TT: That thing is fantastic! It’s so good! Previous ones didn’t change so much. But this time I feel that it’s changed so much!
TL: I like the design too.
TT: I liked the iPhone from that era, and it went with that design. But I understand the likes and dislikes. For me, I like it.
TL: You get so much inspiration just from touching it.
TT: Do you do anything on the iPad?
TL: I talked on it a little bit today. I like that it has an SSD also, so I will buy the 1TB iPad.
TT: The 1TB iPad is good! That’s what I have.
TL: It is good, right? But I’m only going to use it to watch movies, browse the internet, and take memos. *laughs* Such a great use of 1TB…*laughs*
TT: I have the same problem. I’m always asking myself “what am I going to use this for.” I use the pencil to take memos… *laughs* But when writing an album I like to make a complete diagram or a list like “X series, X series” so I can keep a balance.
TL: That’s really cool.
TT: Even though I could also input it using the keyboard too. *laughs*
TL: *laughs* Next time I want to do a radio special about Music Creation Software. Wouldn’t it be interesting if a song was made using only the iPad?
TT: KIMPER and FL Studio are available. Afrojack and banvox use FL. If Ableton came out on iPad, I’d likely use it.
TL: If only it ran MacOS. *laughs+
TT: Hack it! Then it would void the warranty! *laughs*
TL: I used to use it for voice memos, but not so much anymore. I already have my laptop open. But now I like the “Playground” application. Inside there are a bunch of instrument sounds that play when you tap on the screen and it turns into like a sampler. What’s even more amazing is that the sound of the samples are so cool!
TT: Playground is great. I know some of the people who made it. Can you not release songs with the app?
TL: That”s awesome! I change the melodies or patterns around a little bit.
TT: I’m still working on it, but if anyone touches the screen and spins their fingers around it becomes a song. I really think this should be looked into more.
TL: That’s fantastic. Your idea is really fantastic Taku. Playground has given me inspiration.
TT: If it was possible, I would like to use Playground during a live show.
TJO: That would be awesome!
TT: Have you already started planning your next work?
TL: This time I was putting out as much as possible. But there are still so many songs that I want to make. I want to make more and more. I also want to do instrumentals.
TJO: Time to wait 3 years again. *laughs*
TT: You think it’ll be 3 years again?
TL: No, I think it would be good if I released something sooner. *laughs* I want to release something, the next one.
TT: I look forward to it! Thank you.
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