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We recorded the CD album over three days from August 22 to 24. The recording location is the Echigo-Tsumari Cultural Hall “Danjuro” in Niigata Prefecture, and the pianist is Ryoko Sugaya. [Ryoko Sugaya profile] Born in Fukuoka city. Studied at the Fukuoka Academy of Music. Graduated from the diploma course of Fukuoka Jogakuin High School and Toho Gakuen University. Graduated from Keio University Faculty of Letters (majoring in aesthetics and art history). Graduated from Toho Gakuen Graduate School. Studied under the late Minoru Nojima, a world-renowned pianist. In 2007, a solo concert was held at the main branch of Fukuoka Bank. In July 2012, a series of concerts featuring the complete piano works of JS Bach will be held at Sundial Hill Hall, scheduled to be completed in 2024. He has given concerts in Fukuoka, Tokyo, Nasu, Sendai, etc. A solo concert sponsored by the Japanese Culture Salon will take place in Tokyo in February and April 2023. Part-time lecturer at the Faculty of Design, Kyushu University. Ryoko Sugaya: https://ryoko-sugaya.com/ The recorded programs include Liszt: Piano Sonata in B minor, Brahms: Piano Sonata No. 3, and several pieces by Chopin, Schubert, Debussy, Ravel, and Bach. The piano used for the recording was a 1912 New York Steinway CD368. Brought in by Takagi Piano Co., Ltd. The CD in CD368 is an abbreviation for Concert D Type, and it is an instrument that was used on loan at the concert department of Steinway headquarters at the time. Steinways from the early 20th century were of such high quality that they were called the Golden Age, and were the instruments of the era of great masters. When you hear the sound up close, you feel that this piano piece was made for that sound. Tokamachi in Niigata Prefecture is famous for its Jomon ruins. The deep bowl-shaped pottery unearthed in the Sasayama ruins, including the famous Kaengata pottery that everyone has seen in textbooks, has been designated as a national treasure and serves as a valuable historical document that helps us understand the life of the Jomon people. I tell you. Due to the nature of the area, Danjuro, where the film was shot, was built with the motif of the flame-shaped earthenware of the national treasure, creating a tranquil space where you can feel the warmth of the wood. I think the acoustics of the hall were perfect for this program, with a reverberation that highlighted the resonance of the instruments. The two main songs by Liszt and Brahms have a large number of notes and many technical aspects, so the quality and degree of reverberation is closely linked to the image of the song. It was Mr. Kanaya's first time to do a full recording, so he was a little worried before the recording, but with the relevant instruction from Mr. Eitaro Ogawa, the representative of the organizer "Japanese Culture Salon", everything went smoothly and I was able to finish the work. The sound source recorded this time will be edited and mastered and will be released on CD by the end of the year. We will briefly present some of the recordings. Mr Kantani's piano solo concert is also planned. If you are interested, please contact us below. Performance in Fukuoka October 8, 2023 (Sunday) 2:00 p.m. start (doors open at 1:30 p.m.) FFG Hall (formerly the main hall of the main branch of Fukuoka Bank) Beethoven: Piano Sonata No. 1 in F minor, Op. Chopin: Ballade No. 4 in F minor, Op. 52 List: Piano Sonata in B minor Tickets General: 3,000 Yen Students: 1,000 Yen Ticket inquiries: 090-4213-8775 (Secretariat of the fan association “Sundial Hill”) Performance in Tokyo October 26, 2023 (Thursday) 7:00 p.m. start (doors open at 6:30 p.m.) Hakuju Hall (7F, Hakuju Bioscience Research Institute Main Building, 1-37-5 Tomigaya, Shibuya-ku, Tokyo) Beethoven: Piano Sonata No. 1 in F minor, Op. Chopin: Ballade No. 4 in F minor, Op. 52 List: Piano Sonata in B minor Free tickets for all seats: 5,000 yen Ticket inquiries: https://nipponbunkasalon.com/ Email: office@nipponbunkasalon.com Telephone: 070-4006-2975 (Direct to the staff in the office, weekdays 9:00 a.m. to 6:00 p.m.) 090-4213-8775 (Ryoko Sugaya Supporters Association “Sundial Hill”)

On October 14th, we recorded a joint concert at the Odawara Sannomaru Hall. This concert consisted of two parts: a violin concerto by Somora Tibor and a concerto by the Budapest Vonosh Trio. Aki Fujii was the guest pianist and many guests enjoyed the performance. Violinist Somora Tibor is from Budapest, Hungary. Born into a gypsy music family with a 150-year history, he has performed in chamber music concerts and music festivals in major cities around the world. He is currently active in Japanese music activities. Our guest, Aki Fujii, is a pianist with a wide repertoire from baroque to contemporary music, and has been with us since we recorded a CD album of Chopin's Etudes on an 1843 Pleyel. In recent years it has been used extensively across borders, including the complete series of Bach's harpsichord concertos and recordings of works by contemporary composers from Brazil and the UK. The Budapest Vonosh Trio, which hosted this concert, is a string trio consisting of the aforementioned violinist Tibor, violist Hidetoshi Shirai and cellist Aya Shirai. With Hidetoshi Shirai, who studied at the Hungarian Liszt Conservatory, and Aya Shirai, who returned to Japan completely after her collaborations with the Savaglia Symphony Orchestra and the Budapest City Zugrow Symphony Orchestra in 2020, this trio will create a unique sound that is unique to Budapest. It attracts fans. Odawara Sannomaru Hall is a new facility completed in September 2021. Overlooking Odawara Castle, its modern design is impressive. In addition to a large hall and a small hall, it features an exhibition gallery, a practice studio, an open space, a children's area, and more, making it a popular base for artistic, cultural, and creative activities in the Odawara area. The small hall where the performance took place featured a large, deep soundboard that reached to the ceiling and a deep and spacious stage that I thought had good reverberation for a chamber music performance. Unfortunately, there was no hanging microphone system, but I set up a tripod in the front row of audience seats and used it as the main microphone. 【Program】 Saint-Saas: Violin Sonata in D minor Rachmaninoff: “Romance” from two pieces in salon style Sarasate: Zapateado Kodai: Intermezzo Ponce: Starlit Brahms: Piano Quartet ～Encore～ Brahms: Hungarian Dance No. 1 The audience enjoyed the sound of the strings through a balanced program, interspersed with small pieces full of beautiful resonance, sandwiched between the first piece, the Saint-Saas Sonata, and the last piece, the Brahms Quartet. This is the first time that the Budapest Vonosh Trio and Mr. Fujii have worked together, but the intensity of the music and the timing of their breathing were superb, and I look forward to the opportunity to work together again. We would like to present some of the recordings. Saint-Saas: Violin Sonata in D minor Op.75 (3rd movement, 4th movement) Brahms: Piano Quartet Op.25 (3 movements, 4 movements)

Arico Yamashita's (Arico) album, recorded this summer, will be released on December 20th. Arico Yamashita made her major debut in 1999 with the soundtrack "Kanata" for the film "Sennen Traveller" directed by Hitoshige Tsuji. He was officially invited to the Venice Film Festival and has since released CDs such as "image2" and "Between Calmness and Passion" in parallel with composing and providing music for films and television dramas. He is currently active in a variety of art scenes that go beyond music, for example as a personality on FM radio broadcasts. The CD album being released this time is the first original album in 14 years and is therefore a long-awaited release for all fans. The recording took place in the Ensemble Hall Murata of the Kyoto Concert Hall, which was designed by Arata Isozaki, whom Mr. Yamashita has met personally and respects greatly. I was entrusted with the contradictory and contradictory concept of creating a performance space. Mr. Isozaki designed and completed this building from the perspective of what is called "difficult integration," which involves the integration of contradictory elements. And it seems that this "integration" only manifests itself at the moment of playing the music. Mr. Yamashita decided to shoot at this coveted location, so he visited the place in advance and prepared for pre-shoot checks. He decided on the schedule based on his intuition that the music would overflow from this space. As with the recording 14 years ago, a Steinway piano made by Takagi Clavier Co., Ltd. was brought into the hall. Perhaps due to the atmosphere created by the room and the wonderful condition and resonance of the piano, the recording progressed quickly, and as time went on, Mr. Yamashita's performance became clearer, and before I knew it, the two-day recording schedule was almost over and I was finished on the first day. Therefore, on the second day, Mr. Yamashita was allowed to perform his improvisation freely, and we decided to record the video at the same time. Many of Mr. Yamashita's pieces of music depict delicate scenes that somehow remind us of the mental landscape of his hometown. Therefore, we used the unique lighting system of this hall, which has a unique structure, to record it. Currently, before the album release, the new song can be heard on Sundays from 7:00 p.m. to 8:00 p.m. on α-STATION (FM Kyoto) where Mr. Yamashita appears as a personality on the program “Arikopeaters Restaurant”. We deliver to people across the country via the smartphone and PC app (radiko) (fees apply outside the region). 【Arico Peter's Restaurant】 https://fm-kyoto.jp/blog/arico_knows_peters_restaurant/ The album is currently available for pre-order, if you are interested please check it out. CD “inishie” will be released on December 20, 2023♪ https://arico.wwww.jp/inishie.html We present the album PV.

Ryoko Sugaya's piano recital took place on April 20th at the Takagi Piano Shoto Salon. The program consisted of two parts. Bach: Complete Goldberg Variations Beethoven: “Pathetique”, “Moonlight”, “Passion” This program was to be recorded on CD starting in July so that guests could enjoy it early. Mr Kantani's performance was full of enthusiasm as he played the vintage New York Steinway CD368, previously loaned to Carnegie Hall, and the packed venue was filled with generous applause. After the show there was a social gathering with the fans, it was fun to chat with music and piano lovers and it was a great time to get a feel for what is to come. Mr. Kantani just released his debut album “1853 Piano Sonata Twilight” on March 20th and is already busy with his next schedule. Due to high demand, further performances will take place initially. May 17 (Friday) 19:00 ~ Takagi Piano Shoto Salon https://ws.formzu.net/fgen/S201833793/ ... June 14 (Friday) 19:00 ~ Takagi Piano Shoto Salon https://ws.formzu.net/sfgen/S363122334/ ... In July, we will begin recording our second album at Danjuro Hall in Tokamachi, Niigata Prefecture. On the last day of this recording (July 19), we will hold a public recording with the audience present. The public recording will be an attempt to share a portion of the recording with the audience. Viewers will be able to witness the moment of the recording up close from the audience seats in Danjuro Hall, and we will also be live streaming so that those who live far away or are unable to do so can watch from the comfort of their own homes. We plan to make it available for viewing. Public recording is not just a place where performances are recorded. The enthusiasm of Reiko Kantani and the audience intersect and create a special musical space. After the performance, we plan to provide an opportunity to interact with fans, including taking photos and chatting with them. Please note the details, these will be announced on Mr Kantani's homepage. Ryoko Sugaya homepage https://ryoko-sugaya.com/ We would like to introduce some of the concerts taking place at Shoto Salon.

We recorded a CD album over two days, November 20th and 21st. The recording took place at the Echigo-Tsumari Cultural Hall "Danjuro" in Niigata Prefecture, and the pianist was Ryoko Sugaya. We had a recording session with Kantani in August, but this was a continuation of the recording session. In parallel, we were busy with photo shoots for the album jacket, interviews with the Niigata media, and filming a promotional video, all with minute-by-minute scheduling. Tokamachi is one of the snowiest areas in Japan, so we were worried about snow from mid-November onwards, but we were fortunate to have sunny weather on both days, allowing us to proceed with the recording in comfort. My work with Mr. Kanya started with a salon concert in February this year, and in the meantime, he has been very active, selecting pianos for recording, performing at Fukuoka FFG Hall, holding a recital at Shibuya Hakuju Hall, opening his own website and YouTube channel, starting a supporters club, etc. Mr. Kanya's performances have captured the hearts of discerning music fans, and his reputation is gradually beginning to spread. Reiko Sugaya: https://ryoko-sugaya.com/ Ryoko Sugaya pianist channel https://www.youtube.com/@RyokoSugaya The piano for this performance was also a vintage New York Steinway CD368 (made in 1912), brought in by Takagi Clavia Co., Ltd. This piano, made during the golden age of the piano, is difficult to control and takes time to master, but Mr. Sugatani has practiced it many times since selecting the piano, and gave us a performance in which he has grown to the point where he can call it a good partner. The hall is filled with the piano's distinctive sharp, crisp, and diverse tones, as well as its powerful resonance. The recorded songs will be edited and mastered before being released on CD in March of next spring. [Request for support] We are seeking your support through crowdfunding for the production of Ryoko Sugaya's debut CD. As this CD contains Kantani's thoughts, we would appreciate your cooperation to the extent that you can. [Ryoko Sugaya] 1st album "Twilight of the Piano Sonata (1853)" release support campaign https://www.muevo.jp/campaigns/3857/ Here are some of the recordings.

[Introduction] He gave an example of how audio data is affected by post-processing and the process when releasing a master audio source recorded in Hi-Res in April of last year. Specifically, he talked about dithering and noise shapers when reducing the bit depth, and also showed graphs of how the audio changes when uploaded to YouTube. Post-processing of Hi-Res recording - from dithering to uploading to streaming services - However, the change in sound quality due to the codec used by Internet services feels a little undercooked, and we thought that further detailed testing would lead to a better understanding, so we conducted a new test this time, and we hope that you will find it useful. In the previous test, we used a step-like input of a specific frequency signal between 20Hz and 160KHz, but the compression algorithms used by many codecs thin out bits according to the dynamic behavior of the signal, and most of them use knowledge from psychoacoustics. Specifically, there are methods that use equal loudness curves as the compression threshold, and methods that use the masking effect. In simple terms, it is like thinning out sounds that are inaudible to the human ear and omitting sounds that are masked by loud sounds. Actual compression algorithms use more elaborate and complex processing, and mathematical information compression (such as Huffman coding) is used. Considering the above, this time, the main purpose is to upload actual musical sounds and show the difference in hearing sensation, and as additional information, we have prepared a graph that allows you to visually see what happens when a 20Hz to 20KHz sweep signal is input. Also, last time we only looked at YouTube, but since many videos are posted to Facebook and X (formerly Twitter), we also covered the change in sound quality when videos are posted to these sites. [Verification of differences in audio codecs used when creating videos] The audio for the video was created by mastering a piano recording (32bit/352.8KHz) made by the author, down-converting it to 24bit/48KHz as appropriate, and then encoding it into the following three types of videos for uploading. Video and audio ・AAC_LC 256kbps ・Opus 256kbps ・PCM 24bit/48KHz (uncompressed) First, let's look at a graph of a 20Hz to 20KHz sweep signal. [Changes in sound quality due to YouTube] Original (PCM 24bit/48KHz) Audio data created in AAC_LC 256kbps was uploaded to YouTube and then played Audio data created with Opus 256kbps was uploaded to YouTube and then played back. Audio data created in PCM 24bit/48KHz was uploaded to YouTube and then played back. The order of least change compared to the original (least deterioration in sound quality) appears to be PCM → Opus → ACC_LC. In particular, from 500Hz and above, ACC_LC has bleeding over a fairly wide range, and it can be seen that the deterioration in sound quality in the mid-to-high range is more severe than PCM and Opus. On the other hand, it is also interesting to see how audio encoded in Opus is processed by YouTube. Since various audio data is encoded in Opus on YouTube, if you prepare audio encoded in Opus in advance, you may be able to avoid re-encoding on the YouTube server side. However, as you can see from the graph, there is a difference, although it is slight, between PCM and Opus. Therefore, I think it can be said that even if you upload in Opus, it will be re-encoded. [Audible differences when uploading music] Now let's compare the results of uploading a music video with a different codec. To make it easier to understand, we will extract and compare the difference from the original. The quieter the difference sound is, and the less the original music image can be felt, the less the sound quality degradation due to the codec is. *The volume of the difference data is low, so please listen with headphones etc. Original (PCM 24bit/48KHz) Difference from the original: Audio data created in AAC_LC 256kbps uploaded to YouTube Difference from the original: Audio data created with Opus 256kbps uploaded to YouTube Difference from the original: Audio data created in PCM 24bit/48KHz uploaded to YouTube What do you think? As you can see from the sweep graph, the difference between AAC_LC and the original is that the melody and chords of the song are more noticeable than the PCM upload. In other words, I think it can be said that AAC_LC contains more distortion and distortion compared to the original. [Changes in sound quality when posting videos on Facebook] Next, let's look at what happens when you post a video on Facebook. As before, let's look at a graph of a 20Hz to 20KHz sweep signal. Original (PCM 24bit/48KHz) Audio data created in AAC_LC 256kbps was uploaded to Facebook and then played Audio data created with Opus 256kbps was uploaded to Facebook and then played Audio data created in PCM 24bit/48KHz was uploaded to Facebook and then played back. The order of least change (least deterioration in sound quality) compared to the original appears to be PCM → ACC_LC → Opus. What is common to all of them is that they are significantly worse than the ones uploaded to YouTube. Although it is unclear what process causes this, several thin lines that seem to be reflected from the original sound can be seen throughout the entire range, and from 8KHz onwards, a band of overlapping distortion appears at a fairly loud volume, as if scribbled with a magic marker. Also, the high range cannot be reproduced up to 20HKz, and is cut off around 17.5KHz. It is noteworthy that the audio data encoded with Opus is the most degraded, with distortion components spreading widely not only in the high frequencies but also in the low frequencies, making it clear that posting videos to Facebook using Opus is the worst. AAC_LC does not show a significant difference compared to PCM, which is likely related to the fact that Facebook's server encoding is currently AAC_LC. However, it seems that the same codec is re-encoded, and it can be confirmed that distortion around 2KHz to 7KHz has increased with AAC_LC. Now, let's test it with music data, just like we did with YouTube. *The volume of the difference data is low, so please listen with headphones etc. Original (PCM 24bit/48KHz) Difference from the original: Upload the audio data created in AAC_LC 256kbps to Facebook Difference from the original: Audio data created with Opus 256kbps uploaded to Facebook Difference from the original: Audio data created in PCM 24bit/48KHz uploaded to Facebook [Changes in sound quality due to video posting on X (formerly Twitter)] Finally, let's look at the change in sound quality caused by video posts on X (formerly Twitter). X's video posts did not accept PCM or Opus audio, so we will only post videos encoded in AAC_LC. Let's look at a graph of a 20Hz to 20KHz sweep signal. Original (PCM 24bit/48KHz) Audio data created in AAC_LC 256kbps uploaded to X and played back The degradation caused by encoding with X was not as bad as I expected, and the sound was relatively clean. The degradation was significantly reduced compared to Facebook. However, the high frequencies were limited to 15KHz, and were cut off before reaching 20KHz. What if you upload music data? *The volume of the difference data is low, so please listen with headphones etc. Original (PCM 24bit/48KHz) Difference from the original: Upload the audio data created in AAC_LC 256kbps to X In the case of X, it was not possible to compare the different codecs, so try listening to the difference between the audio when uploaded to YouTube and Facebook. There is little blurring, but the afterimage of the original musical image is the strongest. Of course, there is a difference in the degree of degradation, but each compression algorithm has its own quirks, which I think are somehow the cause of the difference in sound quality. 【lastly】 Above, we have examined the change in sound quality when uploading videos to YouTube, Facebook, and X, using concrete materials. Many people choose different SNS audio quality depending on the purpose of their posts. Of course, when it comes to distinguishing conversations or understanding the state of a snapshot video, I think all of the services guarantee impeccable quality. However, if you want people to listen to your music content in high quality, you may need to stop and think for a moment. For example, Facebook and X posts are automatically played on the timeline, which gives them an advantage in terms of frequency of exposure or number of views, so they may be used as initial promotions. Also, it may be necessary to consider the content of posts according to the user demographics of each SNS (age, music genre preferences, etc.). Taking these things into consideration, there may be cases where you choose a social networking site that sacrifices sound quality but can increase the number of views from a marketing perspective. However, you may also want to keep in mind that you will end up spreading a lot of music that contains significant degradation and noise that is unsuitable for playing music. We hope that this information will be of use to you as a reference when making your decision.

On March 16th, I recorded a violin recital at Kioicho Salon Hall. The violinist was Mana Kobayashi, and the recital was part of the "Young Artist Support Project" organized by Sakura Music Office. The Young Artist Support Project is a project to support the promising young generation. Its aim is to support the growth of performers from various angles, from the perspective of the performers, by providing them with stimulating opportunities to expand their repertoire, gain a real sense of awareness as a performer, and become aware of new discoveries and possibilities through experiences such as performing with famous artists and solo recitals. This recital was held to commemorate winning the Grand Prix and Best Award at the 10th Saitama String Competition. Mana Kobayashi: Profile 3rd place in the 31st All-Japan Junior Classical Music Competition; 4th place in the 28th Japan Classical Music Competition, upper elementary school division; 3rd place in the 14th International Junior Music Competition, junior high school division; Special Prize in the 23rd Japan Performers Competition; 4th place in the junior high school division of the 1st Yokohama International Violin Competition; 1st place and runner-up in the SAKURA JAPAN MUSIC COMPETITION 2022 category B; Grand Prize and overall grand prize in the Sainokuni String Competition 10th category D; 1st place in the high school division of the 2nd Yokohama International Violin Competition; 1st place in the general division of the 19th Czech Music Competition 2023. She studied violin under Sachika Mizuno and Naori Tamai, and is currently in her first year at the Tokyo University of the Arts Music High School. I have been to Kioicho Salon Hall several times for recordings, and it is an elegant salon with a capacity of 80 people. The permanent Steinway (1989/made in Hamburg) was once used at the Karuizawa hall when Russian pianists Vladimir Ashkenazy and Vovka Ashkenazy performed in Japan, and inside the piano you can still see the signatures of the father and son, who praised the piano as a wonderful instrument after their performance. The location is in Kioicho, Chiyoda Ward, in the heart of Tokyo. It is easily accessible, just a five-minute walk from Nagatacho, and I felt it was a great place to hold such a recital. I thought that Mana Kobayashi's performance was charming with her flexible bowing and lively, powerful sound. I think the guests who came to the concert were pleased with the ambitious program. As she is only a first year high school student, she has plenty of room to grow, so I am looking forward to seeing what the future holds. We'd like to introduce two songs from the recording that day.

On April 30th, I recorded a piano solo and video at Kanagawa Art Hall. The pianist is Junko Massaglia. Junko Massaglia is a musician who is active in Italy, and she asked me to record her during her temporary return to Japan. Piano Player's Memo (Junko Massaglia's blog) https://gmmpiano.theblog.me/ Junko Massaglia is not only a pianist, but also an artist who has performed world premieres of comprehensive performing arts that integrate contemporary art, dance, poetry, and music, creating a new worldview that transcends genres. She has been awarded the Italian Presidential Prize and is active mainly in Europe. Junko Massaglia is originally from Yokohama and is very familiar with the Kanagawa Art Hall, where the recording took place, which was helpful in making preparations for the recording go smoothly. The tuning was done by Peter Yokoyama, the representative of Piano Clinic Yokohama, who was appointed by Junko Massaglia. It was my first time working with him. Junko, Yokoyama, myself, and the Art Hall are all from Yokohama, so we were fortunate to work with the Yokohama recording team. Perhaps because she lives in Italy, Junko Massaglia has a cheerful and bright personality, but when she sits down to play the piano, she is like a completely different person. You can sense her intense concentration and delicate touch as she paints her own unique musical world. With just one note, she is able to create a worldview with a tone that captivates the listener, which is truly impressive. Although the recording time on this day was limited, ending in the evening, they were able to complete all the scheduled songs and even had time to play one more song, making for a very dense recording. We'd like to introduce two songs from the album. Turina: The casino of Algeciras Op 15 No 2 Rachmaninoff: Tableau Etude Op. 33 No. 9