"TEQ Magazine" is a project that highlights the most recommended records from the collection of the record shop TEQ, interviews people involved, and delves deeper into the content.
Following on from last time, this time we will be welcoming guests from COWBOY FAMILY RECORDS, who have just released the analog record " COWBOY FAMIL BUSINESS " as the label's first release, to ask them about the behind-the-scenes story of the record's production.
The person we spoke to this time is Rio Kawamoto, who provided music for this album and is one of the key members of the label. He is an artist with a wide range of experience in music production, including working at a musical instrument store, teaching at a music school, and providing music for commercial videos and other artists.
We spoke to Rio about the equipment he used for the songs on this album, the things he pays attention to when producing, and advice for people who want to start making music and records.
About the production environment
— First of all, could you tell us about your usual music production environment?
The DAW I use is Ableton Live.
I use Live because I like the way it allows me to create beats and phrases like sketching in the Session View.
Most of the songs I've been making recently have been made using Ableton Live software, but for hardware, I sometimes use the Moog Mother 32 and DFAM synths, as well as a few compact guitar/bass effects.
— Thank you. When I visited Rio's studio before, there were a lot of analog synths, rhythm machines, and other equipment lined up, but is there any reason for the change in your production environment?
I used to work in a music store, and I loved drum machines and synths, but my living environment changed after I got married and had a child, so I've now moved to a more compact production environment. I've also been put off by the recent price hikes on the vintage second-hand market.
I've gotten rid of some of the actual equipment I used, but I had previously recorded the drum machine and synth sounds as samples, and now I use them in Ableto Live's Drum Rack, etc.
Still, I love the sound of Moog, so I often use the real thing.
When I want to create a sound from scratch, or when I'm struggling with the sound, I sometimes feel a ray of hope as I tweak the knobs on the actual instrument (laughs).
It may sound strange, but I think they are a wonderful manufacturer that makes you feel like "this instrument is alive!" even though it is an electronic instrument.
— I see. So you're creating music by taking advantage of the compact convenience of software, while also mixing in the physical feel of analog equipment!
About the newly released song
— So, can you tell us more about the production of B1 "Lock Up" included on this record? It's packed with tight bass and kicks, impressive voice samples and bold drum fills, and I listened to it thinking it's a song that DJs would be happy to use on the dance floor!
Almost the entirety of the newly released Lock Up was made using Ableton Live.
The bass was made using u-he's software synth, DIVA.
(Actual screenshot)
It produces a dense, rich sound so I use it quite a lot.
It includes modeling of Roland and Moog synths, but it's also fun to see combinations that are only possible with a software synth, such as a Jupiter-8 oscillator with a Moog filter.
It's a little expensive, but I think it's a software synth that's worth buying.
I got it as a gift from my wife lol
I really love distortion effects, so on this song I distorted the bass I created with Diva with Soundtoys' Decapitator.
In addition to the Decapitator, I also used a plugin called OMEGA TWK from Kush Audio on the drums on this song.
Another very interesting effect is the distortion effect called Roar, which was recently introduced in the updated Ableton Live 12. It wasn't available when I was making this song, so I didn't use it, but I often use it when creating sounds for new songs I'm making.
Also, Ryosuke Tsuchiya, who I asked to master this record, recommended a plug-in manufacturer called Tone Project, and within that there is a distortion plug-in called Kelvin, which is my current favorite.
I like it because it gives off the same kind of grainy distortion feeling as the real thing.
I like the sound of a bass guitar running through a compact effect like a Bass Bigmuff, and I really like this because it produces the kind of sound I imagine.
I'm going off topic for a second but I really love this video of Bass Bigmuff...lol
— I see! Even with just one bass line, you don't just use a simple software synth, but use effects processing to finely adjust the texture of the sound to add accents!
I love distortion effects, but I was once asked, "Is it okay to make the sound that bad?" Some people who are just starting out in track making, especially those who have no experience with guitars or basses, seem to be resistant to distortion. For these people, there is a kind of curse that good sound = justice, but this word "good sound" seems troublesome.
First of all, what is a "good sound"? I consciously avoid using the phrase "good sound."
That's because there are people who describe "clean sound, clear sound" as "good sound" and people who describe "the sound they like" as "good sound", so when I say "good sound", it can be taken to mean something different than what I intended. Distorted sounds may not be clean, but they are definitely sounds I like, so I use them a lot.
Nowadays, there are all kinds of music production articles and tutorials on the internet, but it seems like there is a mixture of people who are referring to a clean sound as a good sound, and people who are referring to a sound they like as a good sound.
I feel like if everyone was conscious of what they use as "clean sound" and what they like, all the arguments that occur periodically would end. Like CDJs vs turntables. Arguments arise because people say "this one sounds better!", but it's fine to just say "this one sounds better!".
—You don't judge music based on the absolute standard of "good/bad," but instead value your own sense of "like/dislike" when it comes to music! I think that reflects the originality of your songs, and it was very helpful.
For those who are just starting to make music
— Finally, can you give one piece of advice to people who want to start making music and releasing a record?
This Ableton site is amazing. You don't need any software to create beats, you can input them on the site, so if you want to start making music, please give it a try. https://learningmusic.ableton.com/ja/
When it comes to music production, I think many people give up because it is a bit of a high hurdle. I have seen many people like that, and I actually have the experience of getting Ableton Live and leaving it for two years... lol So, I think it's best not to set lofty goals or think about complicated things, but to start by making a song, even if it's just with a sample loop.
The moment when I played the beat and bass that I created at the same time.
It's that feeling, that process of layering phrases that come to mind or voice samples that you've wanted to try, and it starts to sound like a song!
That moment may sound exaggerated, but it's a very precious moment. If you keep this in mind while you continue creating, I'm sure you'll have a breakthrough experience soon, when you think, "Hmm, I think I'm starting to figure out how to do it well!"
These days there's a lot of advice and tips on music production on the internet, and you might think it's difficult, but I think the important thing is to just try doing what you find fun and keep on creating.
Fortunately, I think club music is a genre of music with a high degree of freedom. You can do it however you like without being bound by the framework or stylistic beauty of "this is better." I feel like I've become able to make songs that can be released if I continue doing that. I still have a lot of areas to improve, but I want to keep making music without forgetting the feeling that it's fun.
※Reference links for equipment used
Ableton Live
https://www.ableton.com/en/live/
U-HE - DIVA
https://u-he.com/products/diva/
Soundtoys - Decapitator
https://www.soundtoys.com/product/decapitator/
Kush Audio - OMEGA TWK
https://thehouseofkush.com/products/omega-twk
Tone Project - Kelvin
https://www.toneprojects.com/kelvin-tone-shaper.html
Rio Kawamoto
Born in Yokohama.
He started his DJ career in 2007. After working in a variety of genres, he became interested in dance music, especially Techno/House.
In May 2015, he released his first EP, "Lemmings EP", through Sakadat Records in London.
Since then, he has released works mainly on European labels in Germany, Italy, Spain, Russia, etc.
As a DJ, he has expanded his horizons by performing not only in various venues around Tokyo, but also at Elevator Club and 44KW in Shanghai in Korea, Studio 9 in Taiwan, and at the Epizode Festival held on Phu Quoc Island in Vietnam in January 2017.
In 2020, he released the 12-inch EP "Chabu" from Teffebu, a notable Mexican collective managed by buffete. He has also been featured in overseas media such as XLR8R and meoko.
In 2024, he participated in a VA work released by COWBOY FAMILY RECORDS, the label he belongs to, along with Mr. HO and Takashi Himeoka.
Cowboy Family Business / COWBOY FAMILY RECORDS 001
https://teq-tokyo.com/products/cowboy-family-business
Cowboy Family Business / COWBOY FAMILY RECORDS 001
https://teq-tokyo.com/products/cowboy-family-business
Cowboy Family Records Tour
https://teq-tokyo.com/blogs/news/cbf-tour
