It has sections for new music and the musicians that create it in the Classictronic section, a Section for Iaso Tomita, Wendy Carlos, Other Past Masters and a buy and sell section if your buying or selling old (or new) records, CD’s etc.

So pop on over and start a topic and lets get more interest in our music style built up

EDITED on 19-Oct-2011

Tomita’s Planets has been re-released on SACD/CD for the 100th Nippon anniversary but rather than just remastering the original, he has remade substantial sections of it. He has taken the best of the original and remade the rest with new instruments, mostly Roland synths including JUPITER-80 / GAIA SH-01,  VP-7, VP-770, SD-50 and his Moog 55.

So whats it like, well after having the album for a while now, at first some of the new sounds did seem a little out of place in parts, this probably becuase I’m so used to listening to the original any changes will stand out. There is a single solo vocal in Venus which is without much reverb compared to Tomita’s original and thus stands out quite a bit but after hearing it now a few times I find that it does work with the rest. Some of the orginal brass has been replaced with what sounds like Roland’s virtually modelled brass from the new Jupiter 80. There is also a bit more of effect processing of some of what sound the original classic Tomita “Boo Baa” Moog vocal sounds as well as others added in Mars which you can hear below. As well as quite a few completely new sounds, Tomita has added an old one but you would only notice it if you have heard the Sound Creature version of the excerpt from the Engulfed Cathedral, where right at the beginning there is a distinctive arpeggio , this has reappeared in the beginning of Mars at 25 seconds in, small detail but I recognised it straight away.

There is a new track called Itokawa and Hayabusa which I have included below which many might consider as an extended filler at 3:25 long and which runs into Saturn but after few listens I find again that it does work with the rest.

All of the tracks on the album have been tweaked with new sounds here and there and cleaned up or are effected original sounds, it sounds is as if it has more bite in areas where the original was a little muted. You still recognise it as Tomita’s Planets as many of the original is still there, it hasn’t been so completely reworked as to be a new version of the old one in same way like Kraftwerk’s “The Mix” was of their original pieces, it’s more of a Planets 2011.

Either way I would still recommend any fan of Tomita’s to get hold of the album as I’m sure they will grow to enjoy it in the same way as the original.

Mars from The Ultimate Planets.

http://www.classitronic.net/wp/wp-content/uploads/2011/09/01_Mars.mp3

Itokawa and Hayabusa, New track from the The Ultimate Planets.

http://www.classitronic.net/wp/wp-content/uploads/2011/09/05_Itokawa and Hayabusa.mp3

The original was released in 1976, though it was banned from sale in the UK for a while because of objections by Imogene Holst. Gustav Holst wrote the music around 1910 but his estate represented by his daughter has been successful in blocking Tomita’s release because they objected to the added material by Tomita and the shorting of the Uranus and Neptune tracks. When interviewed  by Nick Kent about this Tomita replied that he thought the full length versions did not lend themselves well to long synthesizer versions.

Denon originally released a DVD-A 5.1 version of the Planets album in 2003 but it was  region 2 NTSC only and was not released outside of Japan.

What’s also new about this is that it an SACD/CD hybrid, so you can get the full 4 channel surround with the right SACD player and equipment as Tomita originally created it as well as a normal 2 channel stereo CD.

Looking at the Google translation (not brilliant but understandable)  of the Japanese text, it says that this is a culmination of Tomita’s life’s work and  the new track is “Asteroid explorer Hayabusa and Itokawa”.

If you were wondering just what the cover is meant to be, according to the translation it is a “multi-spacecraft structure fish” and was created by Mr. Yoichiro Kawaguchi (Professor, University of Tokyo) .

I got my copy from Far Side Music http://www.farsidemusic.com/acatalog/TOMITA.html as this has the best price I have seen and the service from Paul the owner was excellent.

P.S. It appears that Tomita is planning to release updated versions of Claire De Lune, Pictures at an Exhibition and others so I will be keeping my ears open about that for sure.

This an album from a couple of guys I have never heard before, which is all the more strange considering how good it is. It was our newly joined member Jeff Knapp whom first told me of the album and after a bit of searching around I found a copy for sale online in Belgium, this is quite a rare record so it was a good find.

Produced 1977 it is two major works by Tchaikovsky, the 1812 overture and the nutcracker suite. The pair behind it were called Jack Kraft and Larry Alexander, Jack was the keyboard player and Larry the sound engineer, both of them programmed the sounds on the ARP synths. Riding on the backs of the good sales of both Wendy Carlos and Tomita it was the only album they recorded together in this style and was marketed though Decca. After seeing the popularity of Tomita and Carlos, it seemed that every record label wanted their own versions, the demand for this style dried up in the 80′s, which is a shame because Kraft and Alexander created a very good recording, it would have been nice to hear more work from them.

It was created on all an all ARP setup comprising of and ARP 2600, Odyssey and Prosoloist and were one of the few people to create a sound which equalled or even in parts exceeded sound that Tomita did in it depth and detail. On the back cover they state that up 200 tracks where used to create the dense yet detailed sound scape.

Below are some examples from the album.

Expect from 1812 overture.

http://www.classitronic.net/wp/wp-content/uploads/2011/09/kraftAndAlexander_nut_crackerExample2.mp3

Excerpt from Nutcracker Suite.

http://www.classitronic.net/wp/wp-content/uploads/2011/09/kraftAndAlexander_nut_crackerExample1.mp3

This not only put Wendy Carlos on the map, it also popularized classical music which to many of the younger generation of the time had been seen as stuffy and old fashioned. It also did wonders for the Moog synthesizer which Wendy had played the music on and brought forth a flurry of similar works by other artists including being the main influence to Isao Tomita.

It was the first classical album to sell over 500,000 copies and went on to over 1 millions sales, it went into the top 10 and stayed in the top 40 for 17 weeks and in the top 200 for a year. It also won 3 grammy awards.

The music, is as the title suggests composed by Johann Sebastian Bach and consists of 12 pieces with the track listing shown below

Side one

1. “Sinfonia to Cantata No. 29″ – 3:20

http://www.classitronic.net/wp/wp-content/uploads/2009/07/01-Sinfonia-to-Cantata-29.mp3

2. “Air on a G String” (from Orchestral Suite No. 3) – 2:27
3. “Two-Part Invention in F Major” – 0:40
4. “Two-Part Invention in B Flat Major” – 1:30
5. “Two-Part Invention in D Minor” – 0:55
6. “Jesu, Joy of Man’s Desiring” (from Cantata No. 147) – 2:56

http://www.classitronic.net/wp/wp-content/uploads/2009/07/06-Jesu-Joy-of-Mans-Desiring.mp3

7. “Prelude and Fugue No. 7 in E Flat Major” (from Well-Tempered Clavier) – 7:07

Side two

1. “Prelude and Fugue No. 2 in C Minor” (from Well-Tempered Clavier) – 2:43
2. “Chorale Prelude” “Wachet Auf” – 3:37

http://www.classitronic.net/wp/wp-content/uploads/2009/07/09-Chorale-Prelude-_Wachet-Auf_.mp3

3. “Brandenburg Concerto No. 3 in G Major – Allegro” – 6:35

http://www.classitronic.net/wp/wp-content/uploads/2009/07/10-Brandenberg-Cto-3-I-Allegro.mp3

4. “Brandenburg Concerto No. 3 in G Major – Adagio” – 2:50
5. “Brandenburg Concerto No. 3 in G Major – Allegro” – 5:05

There is also a an audio commentary by Wendy Carlos of the initial experiments that went in to creating the album.http://www.classitronic.net/wp/wp-content/uploads/2009/07/14-Initial-Experiments.mp3

As this was the first of a kind, the whole album was recorded by hand, there was no midi or computers to help play the parts like we have today, each track was over dubbed on to an 8 track tape recorder, a process that took a long time and a lot of experimentation to find suitable voicing to match the sounds to the music.

Wendy Carlos worked closely with Robert Moog suggesting many improvements that could be made to the Moog synthesizer.

Robert  Moog gave a paper at the annual Audio Engineering Society conference, where he played one of Carlos’ completed recordings and said this of what happened at the meeting.

“At the end of the talk I said to this fairly big audience, ‘As an example of multi-track electronic music studio composition technique, I would like to play an excerpt of a record that’s about to be released of some music by Bach.’ It was the last movement of Wendy’s Brandenburg No. 3. I walked off the stage and went to the back of the auditorium while people were listening, and I could feel it in the air. They were jumping out of their skins. These technical people were involved in so much flim-flam, so much shoddy, opportunistic stuff, and here was something that was just impeccably done and had obvious musical content and was totally innovative. The tape got a standing ovation.”

The album received a mixed reaction at the time of its release. Some critics reviled it for trivialising the work of one of the most revered classical composers of all time, but others were excited by the sound and the virtuosity that went into its creation. Regardless of the negative reviews, the album caught the public attention and sold better than anyone had expected.  This had a welcome side effect to Moogs business as it was suddenly found itself inundated with requests from record producers for Moog systems, and a rash of synthesizer albums were released to capitalise on the popularity of the new sound.

Wendy Carlos followed the release of the album with a number of other classical Moog albums including

• The Well-Tempered Synthesizer (Columbia 1969)
• Switched-On Bach II (Columbia 1974)
• By Request (Columbia 1975)
• Switched-On Brandenburgs Vol 1 & 2 (Columbia 1979)

Something that is also shown in the video is a picture of the Sound Creature album from 1977.

Now this is something you don’t see others artists doing and that is giving a detailed breakdown of how they made their music. Not only did it give the listener an audio deconstruction of the sounds he made but it also came with a booklet albeit in Japanese (though I have found a couple of pages that have been translated in to English)  telling the listener how he created his trade mark sounds with diagrams of the synthesizer modules required to do it, effects processing, even the stereo placement within the track, the example below goes through part of the track “Day Break” from the  “Daphnis and Chloe” album. Initially this was released in Japan but I have seen it on CD.

And some sketches illustrating how he got some of the effects on his albums.

This was when synth’s like the Moog where the reserve of the few who could afford them and were much more of a mystery than they are now, much like the way he gave a listing of all the equipment he used to make an album though he stopped this after the release of Dawn chorus in 1982.

Japanese to English translations of Sound Creature by Peter Lenehan niport@ozemail.com.au and English document production by Lance Lenehan lance@soundscapemusic.com.

Two years earlier in 1972 he made a cover album of pop music around that time under the name of  “Electric Samurai” called “Switched on rock”.

Track listing with some listenable ones

01 – Yesterday
02 – Let It Be http://www.classitronic.net/wp/wp-content/uploads/2009/07/02-Let-It-Be.mp3
03 – Imagine
04 – Hey Jude
05 – Jail House Rock
06 – Love Me Tender http://www.classitronic.net/wp/wp-content/uploads/2009/07/06-Love-Me-Tender.mp3
07 – Pork Salad Annie
08 – You Dont Have To Say You Love Me http://www.classitronic.net/wp/wp-content/uploads/2009/07/08-You-Dont-Have-To-Say-You-Love-Me.mp3
09 – Sound Of Silence
10 – Mrs Robinson
11 – El Condor Pasa
12 – Bridge Over Troubled Water http://www.classitronic.net/wp/wp-content/uploads/2009/07/12-Bridge-Over-Troubled-Water.mp3

We know that he had heard Wendy Carlos’s  “Switched on Bach” and was so impressed that he got his own Moog modular in 1971 and this must have been his reply to that but doing his own versions of current music of the day with the styles we would hear in “Snowflakes are dancing” and “Pictures at an Exhibition”.

Listen to the beginning of “Bridge over troubled water” and tell me that you cant hear the latter “Great Gate of Kiev” from Pictures.

Some of the tracks work better than others but that early Tomita musical style is all there and you can see that when he used it on the later classical music it worked much better, probably because the ones on this album were so well known it would have been difficult for many to take his new sound seriously.