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Without Miku, they would have to hire real, human singers in order to get the tunes correct. However, with Hatsune Miku the software they can create songs with a human singing voice quickly at a lower cost.
A co-creation platform protected by rules to form a healthy chain of creation for quality work: CFM operates a platform Piapro a pun on peer production that allows creators to share and co-create works of Hatsune Miku.
And this culture similar to what we know as co-creation. This approach is significantly different from any other company that applies conventional copyright licensing. With the Piapro co-creation platform and PCL creative common license, Hatsune Miku is crowdsourced by numerous pieces of content, including illustration, music, lyrics and 3D Models, and more.
These fans took snapshots from the screen, blueprinted it, and built it. If you do a simple search, you will find 4. Amazingly most of the work is done by creators instead of CFM, who remains a relatively small team. Music as a common language for cross-culture: you can say Hatsune Miku is Japanese, but she learns new languages quickly.
When her fans released this as a Flash music animation in , it went viral on YouTube in Asia and the traffic even led back to the origin Finnish quartet Loituma — which brought the group renewed fame. This inspires me. I would like to sign up for more engaging content. Hatsune Miku would have taken on a completely different appearance if I had not had the DX7 as a motif. The response, after Hatsune Miku was released in , was rapid and more successful than expected. I think one reason is that it happened to dovetail neatly with lifestyle changes taking place in Japan at the time.
In the United States, I understand that people have various places to sing out loud, such as at church on Sundays, and they can gather friends for home parties on weekends. But most people in Japan live in small houses, condominiums, or apartments, and there are few places where they can sing openly or get together to play instruments and the like.
Around then, people had begun to notice a tendency among young men to avoid going out drinking with their workmates as had been the norm in the past , but to minimize communication with older or younger co-workers.
In that environment, the desire among such men--dubbed soshoku danshi "grass-eating," as opposed to "carnivore" men --to spend their time alone, writing music and using Vocaloid to sing their songs, was gradually building. Another important factor propelling the success of Hatsune Miku was the expansion of communications infrastructure capable of distributing high-volume data via the Internet.
It was just about the time that people began to communicate mainly via the Internet and posting of original video works online via YouTube and the like had begun to spread. As a result, the activity of writing songs and using Hatsune Miku to sing them for posting online gained even further momentum. It wasn't long until we began to receive offers from the big Tokyo-based companies to make CDs of Hatsune Miku songs or register her as an "idol" star with their studio.
Japan's music world is centered almost completely on Tokyo. But we refused these offers. Our company is based in Sapporo, you see, and it's made up of people who are above all attached to the Internet. Our idea was that it would be better to let Hatsune Miku spread via the Internet as far as it could go, and then think about CDs, singers on contract, and so forth.
In a way, it was easier to refuse the offers, arguing that "Well, we're based in Hokkaido. It may not be quite an "urban legend," but the Hatsune Miku Vocaloid went on to spread rapidly through the Internet, and for a while everyone was asking "who's Hatsune Miku? Some music fans were critical of the voice, saying it was mechanical and hard on the ears. There was the "anti-Hatsune Miku" camp, but the pros-and-cons debate helped stir up discussion and word spread.
Some figure fans enjoyed the dynamic compositions that could be created with her long hair, and many people learned about her via games, cosplay, and karaoke. We at Crypton were not necessarily keeping up with everything that was going on and no one really knew the whole picture. But the situation in which there was actually no one person who was the "authority" on Hatsune Miku turned out to be a good thing, at least for users; it was better that there was no one claiming to have all the right answers.
Ways of encountering and enjoying Hatsune Miku were as numerous as there were users, and so everyone was doing just that. In , in order to respond to the wishes of fans, a series of live concerts, serving as offline meeting events, began. In , a concert was held in Yokohama at which the performance by Hatsune Miku was a light show projected on a screen formed by jets of water sprayed into the air.
We've done many experiments--projecting Hatsune Miku onto the clouds, onto window screens, and so forth, crossing her with all sorts of new technologies. I think having Hatsune Miku introduce the delights of digital technology--she herself being ditigal--would be much more likely to gain acceptance than if attempted by humans. A Vocaloid voice does have a clumsiness, but also an appeal distinct from a human voice.
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