So gorgeous, so amazing (the usual formula for her level of performing). Artistically and aesthetically satisfying in every way - a perfect piece of modern culture: the artist, the performance, the songs, the ambience, the high-tech products, that grey floor covering. - There is no use in stating that this is my favourite Kanade video because meanwhile there are so many of them. But this one has an additional dimension for me: It conveys a special form of intimacy; making music at home on a compact and slightly mousy drum kit (it's like a pet you have to love - because it's yours), not created for the monstrous festival stage, but serving its purpose and serving Kanade - bravely and convincingly. And the master drummer girl, so nice and lovely, is well prepared and smartly dressed - she wants to entertain the kin. And the world is allowed to attend. Indeed, this seems to be a quaint place: Miss Sato is acting in front of an untouched room wall with a home plant in one corner and a bookshelf in the other, hosting a little family of ornamental plants (while Kanade is presenting her little family of drum sets) - that's what the private part of the post-industrial civilisation looks like after day's hard labour (dinner is in the works - the tom-toms almost look like saucepans, and we know what Kanade is cooking). Wherever you're active, music making means ecstasy; and I truly have known that before: When Miss Kanade Sato is playing, even clock's time is awestruck and stands still (early at 11:40 a. m.) - in a living room that needs moderate sounds to not get rattled and also needs some musical verve and passion to remain the solid and vivid inner sanctum of the one family house. So the drummer girl does not invite to a tea dance, she rather mounts and spurs her horse of many hooves (well, it's adjustable and electronic, but you better keep the windows closed - the horse might neigh...). (Question: Are you sure that Kanade is doing that after hours? The performance shows that her daily output and concentration level is obviously at its peak. - Answer: Kanade is in concert mode here, in that purest and most attentive state of mind she can play anything at any time.) And that lucky person on the other side of the screen may also feel comfortable, being alone with Kanade and relishing her irresistible artistry that casts a spell over so many listeners. It's her devotion to what she's hearing and creating, the entity of artist and song, the symbiosis of performance and expression, some of the things that allow her to master three perfectly dosed pieces which are well selected (or even tailor-made), three slim arrangements which correspond nicely with the cosy scenery (I adore that squeaking organ register). Two times distinctive fusion stuff (moderate, but still animating syncopation, sharp accents and swift drum rolls, the tasteful instrumentation, some austere harmonising and a general jazzy, funky attitude), artfully punched into the drumheads and dynamically refined. Kanade's contribution is the perfectly fitting suit for the sonic image, the tones, vibes and moods of those impressive backing tracks. And then the last one... which grips me in a way - a soulful and atmospheric carefree tune with a rather sober and sort of frisky, nonetheless mature sounding first musical statement, followed by a lovely, mellow main theme, flowing on, providing a gentle pulse, emitting a gush of euphony, gracefully guided by the princess, who just as gracefully swings along, shaping another piece of art and relishing it at the same time, being enfolded by the aura of sound and rhythm, as if she were the one to float dreamily across the dance floor. Wonderful... (I would like to get some information about compositions and composers - this is high quality material. But - whoever is responsible for fading out piece three during the chorus deserves an admonitory note in the class register.) And as if that blessing music were not enough, Kanade turns to those who are enchanted and tells them, modest and prudent as she is, of the valuable devices she's hitting. (I don't have to understand a word to know that she is competent. I only need to see how she touches her work tool while explaining. Yes, girl, believe me that I believe you - everything you say.) Kanade and Roland - this seems to be a love affair. And it's clear to me who is the queen (princess regent) of the castle here.
@lundsweden2 күн бұрын
It's like Roland's version of the Korg Volcas, but in many ways they're better. Built in battery, mix in and really stand out sound. Well done Roland with the new Rolca series!
00:00 Introduction 00:28 Overview 01:07 Basic Operation 04:43 Introduction to sounds (Piano) 06:30 Introduction of sounds (Electric Piano) 07:15 Introduction of Strings 08:31 Sound introduction (Brass) 09:11 Sound introduction (Organ) 09:48 Sound introduction (Synthesizer) 11:09 Scene Remain Function 11:48 Sound introduction summary 12:11 Sequencer function 15:29 PAD function 16:31 Other recommended functions 17:48 Linkage with Roland Cloud 18:37 FANTOM-0 series lineup 19:17 Performance of music produced by Mr. Uto 22:11 Ending
A veritable artistic epiphany: Kanade - The Verve, The Pulse, The Backbone... (of any ensemble you can imagine). No matter how much Roland pays her - it's not enough. This young lady is priceless, invaluable, a gift to the world. It's an abundant pleasure (I'm sure, those amazingly natural sounding V-Drums feel the pleasure, too) and also a high level entertainment experience to witness Miss Sato's already accomplished artistry and her elegant playing (I see that this performance is meanwhile almost three years old - and I know that she has not got worse). But it's not just her exceptional technique, accuracy, precision and musicality that cast a spell over the recipient, there are some things in her drumming and performing that are just as salient, that give the whole phenomenon a lovely dimension of joyousness and confidence. - Man is able to commiserate, but he mostly prefers to head his empathy to the positive pole. And in this video clip I notice a dynamic climax of the evolving musical dramaturgy which is easily perceptible and comprehensible (augmented by a singular synthesizer sound effect), the rising tension is rhythmically reflected in Miss Sato's intense triplets percussion work. (The subsequent brief pause is logical - the question of progress or return is asked, the familiar theme is the answer and closes the circle.) And when on the subjective side body and soul unite with the particular musical moment, when its ecstatic realisation and the knowledge about this composed artistic fulfilment conjure a smile on the energetic lady's face, then it's obvious that something extraordinary is happening - because you need the biggest talent to make it real. However, affective emphasis could be a problem - what's in general going on is sort of magical circle of action and perception: When you are making music, when you are playing your instrument, then you are not only a sender but also a receiver. When you notice what you are playing it has an impact on you - and will possibly alter your proceeding performance to a certain extent, as well as the following impression of what you've just done. The more professional you are, the more control you have and the less such affect has an (undesired) influence on you (unless dynamic interplay is the programme); the well internalised routine should be solid enough. - But Kanade Sato is not only able to monitor all essential parameters, to dose her playing in the most effective way, she also mirrors and unfolds the whole tonal action in her rhythm arrangement and so adds a perfectly corresponding texture to the general musical shape. Things like that are rarely found in popular music drumming and need a deep understanding of the different musical structures and their interaction. To be honest, this musical effort sounds better to me than 85 percent of the songs that are sold off in the commercial domain. Miss Sato obviously does not throw pearls before swine. Good to know, since a strong awareness of quality is as important as talent, discipline, diligence and steady nerves. - Meanwhile (year 2024) I have learned one or two things about Miss Sato's artistic appearance and I know that she is involved in at least four musical combo projects and all of them are impressive (Muses, Koiai, Almondot - my favourite is still The Ear Candy Jazz Factory, new stuff is overdue, i would like to hear much more from them). However, the question that seems most fascinating to me is - considering her stupendous abilities - if Miss Sato were interested in doing some hitting in the classical and avant-garde format. There is enough worthwhile percussion literature around (e. g. Xenakis, Ishii, Zivkovic), demanding, effective and mostly a challenge even to the master. - That could become your most special love, Miss Sato...
You need to use an SD card up to 32GB - it won’t work with larger cards.
@k110142 ай бұрын
@@esenbi Thanks 😊
@skijbeats2 ай бұрын
vibin to this 🔥
@bkkfst2 ай бұрын
happy late 404 day !
@ruffiankickloops2 ай бұрын
🔥🔥🔥🔥🔥
@fengguo8152 ай бұрын
👏👏👏crazy
@VincentMuijres2 ай бұрын
Great
@cozysakuma63432 ай бұрын
Roland and Boss is my Life
@Wagoo2 ай бұрын
*〣( ºΔº )〣*
@user-np7js5xp2x3 ай бұрын
ジャイロってスゴい🎉
@Savan_Triveda3 ай бұрын
こんにちは、ローランド社です。 実際、音が悪いのはスネアではありません。 リムショットの音が悪くなります。 プラスチック片を叩くような感じです。 なんとエレガントでイマジネーション豊かなドラマー、佐藤奏さん。 Hi Roland company. In fact it is not the snare that sounds bad. The rim shots sounds bad. Like to hit a piece of plastic. What an elegant and imaginativ drummer, Kanade Sato.