Host Applications


Main DAW has been ProTools since latter of 1990’s. In those days if I remember correctly, I started to use ProTools TDM2.x in Namco limited and later on I bought ProTools III (nu-bus). And then I have been upgrading it continuously and now use ProTools HDX1 + HD I/O 8x8x8 with ProTools Ultimate. EuControl is used for ProTools navigation with iPad Pro 10.5 and ProTools|Control. This can switch Input monitor On/Off via iPad and this is the reason why I use it. In the future I’d like to use it for Cubase as well. Xpand II is frequently used when I composing and decide the melody and bass line. In AIR Instruments Bundle only mini Grand is still used for initial composition. Addutional Value Content us Avid’s audio processors suite and includes Reverb One and ReVibe I used frequently in the past but now in almost cases I don’t use these now.

  • ProTools Ultimate
  • EuControl
  • Xpand II
  • AIR Effects Bundle
  • AIR Instruments Bundle
  • Additional Value Content

Vienna Symphonic Library

Vienna Symphonic Library’s orchestral instruments samples are the one most frequently used for my orchestra songs. Recently on Vienna Ensemble Pro I necessarily use MIR Pro and simulate orchestra hall acoustic. MIR Pro’s acoustic simulation is used for Sample Modeling’s brass section as well. And Vienna Ensemble Pro is used for virtual instruments only available as VST/AU.

  • Vienna Ensemble Pro 6
  • Vienna Instruments Pro2
  • Vienna MIR Pro (Room Pack 1-5)
  • Vienna Symphonic Library


Since 1990’s to early 2000 years, I have been using Apple (Emagic) Logic for MIDI recording/editing and using ProTools for audio recording/editing but for these 15 years I’ve been using only ProTools both for MIDI and Audio. But recently again many NON-AAX, only supporting AU/VST virtual instruments appearing and now I feel again I need to use AU/VST host DAW and intentionally to avoid Logic Pro X and now trying Steinberg Cubase. Getting familiar with this DAW, but if I will use Cubase more or not, it depends on how much ProTools MIDI features will be improved. WaveLab Elements is now my main audio editing software. I don’t create surround sound effects now and if necessary I will use ProTools so this stereo limited version is enough.

  • Cubase Pro 9.5
  • WaveLab Elements 9.5


I’ve been using Sound Forge since Sonic Foundry era. This audio editing software was acquired by Sony Software and now Magix! But still survive. I guess the reason is for Windows PC users, Sound Forge is only one choice for audio editing. In the past I used this so frequently for sound effects and dialogs editing as batch processor but recently I use this for other purpose, not music production. I have Mac version as well but recently I use WaveLab Elements more frequently.

  • Sound Forge Pro 11
  • Sound Forge Pro Mac 2

Audio Processors

Waves Audio ltd.

I’m one of the old users since 1993 when Q10 was released as Sound Designer II plug-in in Japan. Still I use her processors most frequently on my music production. I love both of modeling and cutting edge digital processors. Mercury, Abbey Road Collection, SSL 4000 Collection, all line up I have.

  • Mercury
  • Abbey Road Collection
  • SSL 4000 Collection


SoundToys’ company name was WaveMechanics in early 90s and I’m one of the early adopters of her first release of ‘Pure Pitch’ in those days. The most frequently used product was Pitch Blender for me and it was used so frequently for guitar recording and mixing. Recent products are still very good for the purpose of ‘guitar effects which are added on the console’ so frequently used for guitar, bass, synthesizer and keyboards as ‘effector’. I have all products only by Waves and Soundtoys. Waves and Sonnox is for me like ‘tool for mixing engineers’ and SoundToys is ‘effector for instruments’ and no conflicts between them. Micro Shift, Primal Tap, Tremolator is very good for guitar. Devil-Loc Deluxe, Decapitator, Radiator is good for drumloop process. FilterFreak is good for EDM filtering syncing with BPM. So I use these very frequently next to Waves. Little Plate was released recently and this is awesome as plate-reverb. If SoundToys will be available on SoundGrid, I’d be very happy to use them during recording in realtime.

  • Soundtoys 5


Since Oxford era, I have been using to get ‘solid, console sound’ with Sonnox. When recording, recently sometimes I use Oxford EQ and Dynamics assigned on HDX DSP and monitor the performance in realtime with Sonnox. This unique manufacturer can reproduce ‘digital console sound’ which is different sound from Waves and McDSP.

  • Oxford EQ (HDX)
  • Oxford Dynamics (HDX)
  • Oxford Inflator (HDX)
  • Oxford Reverb (HDX)

Eventide Audio

When I tell about Eventide, always I remember H3000 which I used for famous ‘Tekken’ punch and kick sound and since then I love Eventide sound but I don’t have budget to pay for hardware processors and now I use software bundle. In the past I loved H3000 Factory, Instant Phase and Ultra Reverb but recently I found out processors based on ‘H9’ and ‘H9000’ such as BlackHole, MangledVerb and UltraTap are very good for ‘cutting edge’ synth songs and now I love this bundle more than ever.

  • Anthology XI


My understanding about iZotope is a competitor of Waves’ cutting edge plug-ins and their advantage is more deeply we can edit audio. In other words, more maniac. But for me their instruments line is fine. In audioworkshop, Stutter Edit is the most frequently used processor in iZotope. Guitar and drum track processed with Stutter Edit and I can get very complex delay or repeat effects. In early days I used ‘free’ Vinyl plug-ins as well.

  • Stutter Edit
  • Break Tweaker(全ライブラリ含む)
  • Vinyl
  • DDLY Dynamic Delay
  • Nector Elements
  • Master and Repair Suite
  • Trash 2
  • pHATmatik Pro

Virtual Instruments


Synthogy’s Ivory has a reputation that ‘all background music composer uses it’. Of course in audioworkshop this is the main acoustic piano module and most frequently used one. I have many expansion library as well. In the near future I’d like to buy Upright piano version. The reason why it sounds so excellent is, Joe Ierardi and George Taylor, who was in charge of Kurzweil K250 (!) development in Kurzweil as engineers. It has already says, yes, great. But in addition, after leaving Kurzweil, Joe has been a mastering engineer for classic piano. Then he established Synthogy based on these background and experience. It is invincible, isn’t it? Overall impression of this piano library for me is ‘Cool Piano Sound’ so when I need warmer piano sound I use other ones, but it’s rare case. In almost cases I use Ivory for my piano sound. In Ivory my favorite is Ivory II Italian Grand. It reproduces Fazioli’s dark and deep sound very well.

  • Ivory II Grand Pianos
  • Ivory II Italian Grand
  • Ivory II American Concert D

Native Instruments

I’m one of the early adopter who purchased the initial version of Reaktor when they are established but I use Kontakt 90% and more in Native Instruments’ product for playback of Kontakt sound library such as 8dio. In the past I have been using Battery as well but recently not so much.

  • Komplete 11

Sample Modeling

Sample Modeling/SWAM is the best vendor whose products are practical as physical modeling sound module, so I have brass and saxphones mainly. Recently I found the best way to perform this physical modeling software is to use both TEC Control USB breath control and Roli Seaboard Rise 49 at the same time so I use both to perform these software sound module. Seems like SWAM Engine separated from SampleModeling. I’d like to try the rest of woodwinds such as Flutes, Oboes and Clarinets in the future.

  • The Trumpet 3
  • The Trombone 3
  • French Horn & Tuba 3
  • The Sax Brothers
  • SWAN Saxphones


Spectrasonics was one of my favorite sample library vendors in the past. I’ve been using their sound library for long years. Atmosphere/Omnisphere is my favorite as well and most frequently used synthesizer software for me. These are very useful for ‘the contemporary Hollywood cinema’ style, fusing classic orchestra with synthesizers and guitars style songs and for the trance style dance music songs. Mostly I cannot find out this texture in any other physical modeling software synthesizers. This is sample-based synthesizer, but still the quality is dramatically better. I use Trillian’s acoustic bass for my jazz songs so frequently.

  • Omnisphere2
  • Trillian
  • Stylus RMX


In the past I used Fxpansion BFD1 more frequently than this but after v2.0 I use Superior Drummer 2.0 much more frequently than others. For perfect ‘acoustic’ drum simulation, only Superior 2.0 can do. The reason is when bouncing multi drum tracks to audio, ‘bleed’ sound is added to ALL tracks and I can get multi drum track with bleed as same as actual drum recording. I have all SDX Expansions library by v2 and choose according to the song direction. V1 library is still available. I also have many of Toontrack’s MIDI groove data as well and when necessary I don’t input by myself and use these MIDI grooves. In the near future I will upgrade this to Superior Drummer 3.0.

  • Superior Drummer 2.0
  • SDX Expansions(除くRock Foundry)
  • MIDI Packs(一部)
  • EZDrummer 1.0
  • Latin & Percussion


I’m also an early adopters of Fxpansion products. The first product was DR008. Actually I used BFD1 as drum sound module and one complaint was BFD involves bleed sound only on kick and snare tracks and first BFD1 library was the best for me and other expansion library doesn’t sound better than BFD1 library recorded in Eldrado Studio. Now usually I choose Toontrack. But recently Strobe 2’s dedicated presets with Roli Seaboard Rise 49 is very good. Geist2 is now one of the best for me as sample-based software drum machine, so I’d like to try these more than ever. Even I don’t use BFD so much now, still Fxpansion is one of the very good audio software vendors.

  • BFD 3
  • BFD Expansions(一部)
  • Geist 2
  • Geist Expanders(一部)
  • Strobe 2
  • Synth Expanders(一部)
  • DCAM Synth Squad


When I was young, ‘synthesizer’ meant hardware synthesizer and I was a user of Roland/Yamaha, but recently I buy Korg products more than ever. Software products are also very excellent and Korg’s modeling synth sounds not adding any color and sounding similar with original hardware so I love them. I also have Gadget as DAW but still on going to try. In addition I would like to try Korg iOS products which I have.

  • Korg Collection
  • Korg Gadget
  • iOS音源


In the past I had no chance to use UVI but recently UVI releases to restore vintage hardware as virtual instruments and I have had interests and first I purchased Darklight IIx. Later on Retro Organs because this sounded good as organ sound module. But another, newer Retro Organ Suite sounds muich better and Acoustic Samples, third party library vendor’s B-5 Organs sounding better than both. So now my plan is as long as it sounds the best, I will use this sample with reamp. B-5 involving not only B-3 but also C-3 and not only Leslie 122 but also other rotary speakers are available, that’s fine.

  • Darklight IIx
  • Digital Synsations
  • Retro Organ Suite
  • Retro Organs
  • B-5 Organ V2 (by Acoustic Samples)

Waves Audio ltd.

Recently Waves has been releasing so many virtual instruments. What’s up? Anyway Electric Piano 88 and Electric Piano 200 may use physical modeling on their body part, really sounding like ‘seasoned’, dry Rhodes and Wurlitzer. Before these my best was Vintage Keys bundled with Komplete and made by Scarbee (I was also an early adopter of Scarbee products) but the texture of these Waves’ virtual instruments sounding completely different from sample-based electric piano library so I’d like to use these for future projects. Waves’ piano library called Grand Rhapsody Piano also uses Fazioli and recorded by Grammy Award engineer, Yoad Nevo and for popular music purpose, this sounds warmer than Synthogy Ivory so sometimes I use this.

  • Mercury

GForce Software

I’ve been a very old user since GMedia Technology era and before U-he and Korg releasing more accurate analog synthesizer modeling products, her Oddity and impOSC was the one which sounding the most similar with analog hardware synthesizer and I used these so often. Recently just M-Tron Pro is frequently used. M-Tron Pro sounds quite different from the mellotron samples attached with sampler instruments and sounds very similar with mellotron sounds which I listened to on vinyl records so when I need mellotron sounds, I use M-Tron Pro.

  • M-Tron Pro
  • Oddyty 2
  • impOSCar 2
  • minimonsta
  • Virtual String Machine


EastWest has been a very famous brand since a kind of ‘sampleCD’ was sold in Japan and in those days I bought her first sample CD called Bob Clearmountain Drums1 and used it. Later on I utilized her Kontakt libraries such as Stormdrum for cinematic sound but recently I don’t use so much. But her ethnic instruments libraries such as Ra and Silk involves very rare middle-eastern and Chinese instruments so when songs need such kind of the instruments, I use these.

  • EastWest Ra
  • EastWest Silk
  • EastWest Stormdrum 2
  • EastWest Symphonic Choirs
  • その他Kontakt/Giga Sampler/CD音源多数所有



As for Arturia, I’m also one of early adopters since she released Moog Modular in those days. Recently I’ve been trying SparkLE. My impression about her virtual instruments is ‘Not bad but all sounds as ‘Arturia sound’’. This is correct as a manufacturer but criterion is ‘how similar’ then it’s different. (So, their original Brute series sounds good for me.) But in the past I used Moog Modular so much. Now I have real Minimoog Model-D so I don’t use like before. As for SparkLE, still on the way. As rhythm machine with various patterns, I think it’s good.

  • Vcollection 5
  • SparkLE

Best Service

I used German Best Service’s sample CD in very early era of Namco Limited. They aquired Yellow Tools and I purchased two ethnic sound library from them. Not so frequent but for some songs, these sounds fit very much so still I keep on it. The sampler instruments called Engine itself is now a bit old-fashioned.

  • Desert Winds
  • Gu Zheng


Roli Seaboard attaches controls software called Roli Dashboard. In addition, it attaches a sample-based + physical modeling virtual instruments called as Equator and it’s very interesting. We can get very mysterious expression with Seboard’s 5D controls. Fxpansion’s Strobe 2 supports Seaboard 5D controls as well and is also interesting but analog synthesizer modeling only. Equator is more interesting in making full use of samples and getting hybrid, mysterious sound.

  • Equator


As brass/woodwind physical simulator I was surprised when I heard the sound of Sample Modeling/SWAM. As physical simulator of analog synthesizer, U-he surprised me. Awesome Repro-1 and Diva impressed me and I purchased Repro bundle and Diva. Still on the way but I’m impressed with these virtual instruments that prove physical simulator can reproduce analog synthesizer like this.

  • Diva
  • Repro


I got DAW application called Waveform from Tracktion with free but I cannot try it at all. On the other hand her BioTek interested me very much. Using X-Y pad of Roli Seaboard Rise 49 and Korg Nano Key Studio and I can control BioTek’s X-Y controls in realtime. Then I can get the effect of ‘cutting edge, body sound changing with time’. It depends on the songs but I’d like to try this in the future.

  • BioTek
  • Tracktion


<English Below>
今日は中川奈美さん歌う「ちきゅうのこども (Children of the Earth)」の演奏者についてお話しようと思います





Hi there,
Today I’d like to talk ‘bout a player on Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’

Although I played and programmed almost basic tracks, the solo violin which can be heard from a bit left of Nami’s vocal is played as ad-lib by Yuri Endo, really active violinist
She is genuine and plays on the string quartet concert and so on. Before COVID-19, I was invited to her concert and her play was really amazing

She was born in Uwajima as same as Nami and that’s the reason why she joined to the project

Her violin tone has gentle and great sound. I feel her violin contributed to the quality up of the song

Before recording her violin, I prepared another strings track for this song, but after the recording, I muted the strings track and stop on using ‘cause I don’t want to disturb her violin with another strings sound

This track is improvisation so I didn’t direct her at all. Nami and Yuri Endo’s ability is excellent so just recording and then it’s oK. It was an easy recording session for me.

I did something for all the other tracks so I will talk ‘bout this later.
Have fun!

You can access with your favorite streaming service from the URL below.
<English Below>

中川奈美さんが歌う「ちきゅうのこども (Children of the Earth)」ですが、Spotifyにて曲をスマホで再生すると短い動画が出てくるCANVASに対応しました!


Hi there,
I have an update for Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’. 
This song now supports Spotify CANVAS, which is the short video for Spotify. 
It appears when the song is played on Spotify of your smartphone!

And I added Nami’s detailed information to her Artist Page on Spotify as well!
Have fun, Spotify users!
<English Below>







Hi guys! 
Today I’m gonna talking ‘bout Nami Nakagawa’s vocal!

She’s professional and has been working for backyard jobs and backing vocals and have many careers so her vocal is always stable.
No need direction.

I have no experience to direct her vocal.
This time she sings softly and gently but on the very famous animation, Demon Slayer, she sings with very characteristic style like ‘Asian Bulgarian Voice???’

In Japan very few singers can do it. 
The reason why Nami can do it is she has background of Minnyo, Japanese traditional folk song.

Yes, she’s a Japanese traditional folk singer.

Actually she sings one Uwajima folk song in her produced CD called ‘West Japan Torrential Rain Charity CD 'AI’’

When I accompanied her the guitar at her live event, she was too great and I was very impressed.

I’m lucky. Nami and many excellent singers I worked with.

I appreciate all of them.
<English Below>
中川奈美「ちきゅうのこども (Children of the Earth)」のMVが公開されました!



Music Video of Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’

I played the guitar aside her.

Everyone can watch it!

And now URL link works but just for 4 streaming services.

But these are available now.

This is just the announcement of music video and URL likes available.

Have fun!
<English Below>
中川奈美さん「ちきゅうのこども (Children of the Earth)リリース日です!


Apple Music -

iTunes Store (ダウンロード販売) - 上記リンクから画面右丸3つのアイコンをクリックしてメニューを開き、「iTunes Storeで表示」を選択すると購入できます。

Spotify -

YouTube Music -

現在なぜかAmazon Musicで配信されてません。上記リンクからお楽しみ下さい。

Today is the release day of Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’!

But trouble happens on URL Link called Artist Hub. Now URL for each shop doesn’t appear on the web page.
So please jump from the links below.
Sorry for inconvenience. Once solving this problem, I will announce.

Apple Music -

iTunes Store (purchase) - From Apple Music link above, click 3 dots icon in the right side of the window and open the menu and choose ‘show in the iTunes Store’ then you can purchase this song.

Spotify -

YouTube Music -
<English Below>
明日22.10.07はいよいよ中川奈美「ちきゅうのこども (Children of the Earth)」のリリース日です!
アレンジについては、奈美さんの頭の中で漠然と超有名チャリティソング「We’re the World」のイメージがあったそうなので、オリジナル版はThe 80’sという感じのアレンジでした。今回奈美さんのソロ作品として配信するにあたって、もっとパーソナルな印象になるよう楽器を差し替えたり、ミックスを変えたりしました。アレンジの話はまた後日もっとディープな話をしようかと思います。



Tomorrow, on Oct 7th, 2022, Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’ will be released! Hurrah!
So I will talk about the details that I wrote this song though some are mentioned in the interview video with Nami. (Interview video is here:
The original ‘Children of the Earth’ was one of two songs which I wrote for her produced ‘West Japan Torrential Rain Charity CD 'AI (Love)’. Nami requested this song to be the center which expresses the purpose of the CD and according to the request, I wrote this song. The song is assumed to be sung by various artists and to be charity song so I didn’t add too technical elements and intended to be the melody repeatedly, which anyone can remember easily, once listening to. And chord progression is very classic style, standard vocal song as well.
About song arrangement, Nami’s request was the similar style with super famous charity song, ‘We’re the World’, so the original version based on the 80’s style arrangement. This time the song will be delivered as Nami’s solo song, to be more personal, I replaced some instruments and changed mix style (more vintage style!). Later on I will talk more and deeper about arrangement.
Wait till tomorrow’s song release!

You can access with your favorite streaming service from the URL below.
<English Below>
中川奈美さんが歌う「ちきゅうのこども (Children of the Earth)」にまつわるお話、今日は少しマニアックです。ボーカルトラックの処理についてです。Neumann M49の音がとてもよかったのでこちらでの処理は必要最小限にしています。
リードボーカルに当たっている音響処理系エフェクターは往年のアナログ機材をモデリングした、Waves Audio @wavesaudio のSheps 73/NLS Channel/AbbeyRoad RS124/IR-Liveを使いました。IR-LiveはLexicon 300のP01 Hallです。これでまんま昔のコンソールで録音、再生している音になるわけです。簡単に言うと音を汚して逆にいい音にするんですね。



As for the story of Nam’i Nakagawa’s ちきゅうのこども (Children of the Earth)’, today it’s a bit technical. About vocal track process. As Neumann M49 sounded very excellent, I didn’t add too much process.
The audio processors on Lead Vocal track are what modeled classic famous analog equipments. Waves Audio Sheps 73/NLS Channel/AbbeyRoad RS124/IR-Live are used. IR-Live uses Lexicon 300’s P01 Hall. This reproduces the classic analog sound recording/playing with classic console. Simply to say, making the sound a bit dirty but it sounds good.
Many engineers prefer to maintain lead vocal clean but I prefer not too much but a bit analog sound then it match with other tracks. And I feel good with such analog sound which I listened to in the past.

You can access with your favorite streaming service from the URL below.
<English Below>
中川奈美さんが歌う「ちきゅうのこども (Children of the Earth)」のリリース日22.10.07まで後一週間切りましたので、ここから曲にまつわるお話をしていこうと思います。
収録は奈美さんがよく利用されるコサエル・クリエイティブスタジオ  で行いました。なんとビンテージのNeumann M49が常設されていて、そちらで録音しました。真空管マイクらしく超高域まで録音されるのでカリッとしたビンテージサウンドになりました。



It’s less than one week the song called ‘ちきゅうのこども (Children of the Earth)’, which Nami Nakagawa sings, will be released (22.Oct.07th release). So I’d like to talk about something related with this song.
The original version released as CD was a troll style but this time Nami sang all parts by herself and her friends joined and sang together in the latter part. This picture was captured in the recording studio.
The studio is Nami’s favorite Cosaell studio Amazingly, the studio has a vintage Neumann M49 microphone as standing equipment and the mic was used for this recording. The recorded sound was crispy, vintage sound which has very high frequency range as tube microphone.

You can access with your favorite streaming service from the URL below.