After acquiring the Vocaloid 2 speech synthesis engine from Yamaha, Crypton Future Media began to develop their third Vocaloid. Miku Hatsune's voice was created by taking vocal samples from the voice actress Saki Fujita at a controlled pitch and tone. These different samples all contained a single Japanese phonic which when strung together would create full words and eventually phrases. The pitch of the samples was to be altered by the synthesizer engine itself and was constructed into a keyboard style instrument within the Vocaloid 2 program.
Clarity is the debut studio album by Russian-German electronic music producer Zedd, released on 5 October 2012 by Interscope Records. Upon its release, the album garnered mixed reviews from critics. Clarity spawned five officially-released singles ("Shave It", "Spectrum" and "Clarity" for the original release, and "Stay the Night" and "Push Play" for the deluxe edition) and two promotional singles, "Stache" and "Fall Into the Sky". "Shave It", the album's lead single, peaked at number four on the US Hot Dance Club Songs chart. It was followed by "Spectrum", which topped the Hot Dance Club Songs chart. "Clarity", the record's title track and third single, was issued in 2013, and reached into the top 10 of the Billboard Hot 100 at number eight…
Nakajima Megumi (中島愛) is a seiyuu and Japanese pop singer affiliated with e-stone music. She was managed by Stardust Promotion talent agency from 2003 up until 2014. She is best known for her role of Ranka Lee in the hit anime series Macross Frontier.
In the midst of the artistic debate between the German and Italian styles, as the Age of Enlightenment was lighting its final fires during the reign of Louis XVI and Marie Antoinette, Johann Christian Bach was presenting his Amadis de Gaule to Paris. Reduced and revised from a libretto of Quinault for Lully, this operatic work is shot through from one end to the other with the first frissons of the awakening Romanticism.
When Stephen Hough’s disc of Hummel piano concertos came out in the early 1990s, it was a revelation. Here was a much neglected composer whose music responded to Hough’s treatment and made us realise that there was rather more to this man than we might have thought. Having not come across any of Hummel’s fifteen operas on disc before, I had high hopes of this recording. – Robert Hugill, MusicWeb International