A thread 🧵 about the way NFTs seem to be seen in Japan, and why, when making your case against them, you probably should NOT be using all the usual arguments that work here, and what would probably get you more success instead.
There is a HUGE cultural gap in the way NFTs are viewed in Japan vs. in the West, and it's way bigger than you guys even think. This is leading to obvious problems when someone says they're interested in them and you all have a sudden, massive cow without explaining yourselves.
So you're actually making the problem worse when you do this, because the end result is that it's being perceived as Westerners getting reactionary and angry for no good reason and throwing a tantrum for being ignorant (not for having seven months of discourse already).
All right, here's a long incoming thread from your girl here about what "Miku no longer being a Vocaloid" means for the benefit of those not as deeply in the circuit, and why that's actually not as terrifying or world-ending as it sounds (bear with me)
So as much as "Hatsune Miku" has been considered synonymous with "Vocaloid" for a long time now, that wasn't actually the case from a technical standpoint. Miku and co. are licensed VBs from Crypton that worked off the Vocaloid engine from Yamaha.
This is basically akin to how a lot of virtual instruments run on the Kontakt sampler, or how games run on different consoles. These analogies are gonna get real important in a bit, so hang tight.
Unfortunately, Crypton having to be dependent on Yamaha's engine for their --
This will probably be another long thread, but since CC2 is finally done and I probably have a new Vocaloid release on the horizon, I kind of want to talk about the difference between how I approach ARM work vs. how I approach Vocaloid work
I think there's really no denying it that any work I make for ARM, musically, is probably significantly higher in complexity, and possibly overall better quality than anything I make with Vocaloid at an equivalent point in time
So the most obvious potential reason is that Vocaloid's hard to work with, so I won't make complex work with it, but that's actually not the case at all -- working with vocalists isn't as "easy" as it sounds (you still have to do vocal re-centering and post-processing and --
This is going to be another long thread (I'm sorry), but in light of some recent projects and conversations with friends, I kind of want to muse a little bit about the background behind my perspective as a Vocaloid producer in the West and what it's like making amateur music...
For a sense of background, right now I identify, to the end, as a "hobbyist" musician; I have no intention of going into this professionally as a career, or to even remotely pursue it, and despite the difficulty of finding free time, still prefer to do it for personal enjoyment
I do not expect I will ever be as good as a professional and although that's frustrating in its own way, I've made my peace with it, because in the end my end goal is to just have fun with my work and make cool things as it comes, whenever I have that kind of time