2011 AQUAPLUS jazz adaptation collection, track 5 'Tarinai Koi' for instrumental version; This work is only related to this track.
| Release date | 2011-05-25 |
|---|---|
| Product number | KIGA 10 |
| The total number of tracks on the entire tray | 11 |
| This work is related to the track | 5；インスト |
Content and inclusion
2011 AQUAPLUS jazz adaptation collection, track 5 'Tarinai Koi' for instrumental version; This work is only related to this track.
Jazz direction and demonstration pieces
The jazz direction of "Pure2" was formed through discussions between Shimokawa and Hashimoto. Hashimoto demonstrated the five-meter "Kimigatame" and arranged the bossa nova of the prototype "Tomoshibi" on site, confirming the original mood and adaptation scale with Shimokawa.
Kobayashi Shuntaro listened to the demo track with Hashimoto, then organized the rhythm patterns, instrument combinations, and passage closures from reference records, transforming them into the arrangement for "Pure2." The minimum requirement is to retain the original melody aroma and avoid turning a melancholic tune into a bright one.
Live performance and recording
The "Pure2" recording scene involved performances with and without beat cues, then selecting a more suitable recording and attempting to take off the headphones. Kobayashi believes that taking off the headphones helps him focus more on the sounds of the musicians around him.
Before producing "Pure2," Hashimoto and Kobayashi transformed the arrangement concepts into a demo track and gave it to the musicians and Suara in advance. Instrumental tracks are recorded on 24-track analog tapes, while vocal tracks are recorded digitally using Pro Tools' 192kHz multitrack digital recording.
Jazz singing and live coaching
While preparing for "Pure2," Suara first consulted Shimokawa and the director, then listened to different jazz tracks brought by Hashimoto. During recording, she compared Hashimoto's guidance to the collaboration between director and actor, striving to achieve his desired expression.
Pure2's "Tomoshibi" allows Suara to freely play guitar in the opening verse. The original plan was for the chorus to gradually get into rhythm, but during recording, the musician continued to play along with her narrative sensibilities, and Hashimoto did not stop it; The preserved recordings thus carried this singing style into the chorus.
Mastering and engraving of the 2018 LP version
During the production of the 2018 double LP of "Pure2," Koji Suzuki mastered the tapes again in the presence of Naoya Shimokawa and Masashi Hashimoto, following the characteristics of vinyl records.
The analog half-inch master tape is played by the STUDER A820, decoded by Dolby 363 for Dolby A noise reduction, then converted to DS904 for SEQUOIA. The treatment does not increase sound pressure, only making minor EQ adjustments.
The die uses Neumann VMS70. Due to different monitoring conditions in the chip room, the team sent the pre-cut test paint discs back to Mastering Room 1 for an audition, prioritizing dynamic range and changing the chip level in 1dB increments, repeatedly comparing the sound of the paint disc and the processed master.
Comparing song selection and specific arrangement choices
Naoya Shimokawa reflected on the song selection for "Pure2," explaining that he and Hashimoto considered changes in rhythm and jazz arrangements, limiting overlapping songs to one or two and arranging about half of the vocal tracks.
Covers of external works also contrasted with the situation: Shimokawa hoped Suara would sing "Yume de Aru ni ni" (Yume de Aru Yoro), originally performed by men, bringing a different atmosphere; Originally performed by a woman, "ガーネット" was converted to instrumental music.
The initial adaptation of 'Garnet' was once rejected by Shimokawa. He demanded the discontinuation of melodic instruments that would ruin the mood of the lyrics, hoping that the jazz adaptation would still evoke the emotions of the original song and the film.
Recording resources and editing requirements
The label's production review of Joe Iwai supplemented the limitations of recording resources: the studio's preserved analog multitrack tapes were insufficient to record the entire disc, and vocals required detailed punch-in/out patching, so some recordings were made using the more user-friendly Pro Tools.
The same review notes that the tape speed of the 2011 Pure2 recording was 38cm/sec to reduce tape consumption at 76cm/sec.
Related entries
- Related works:White Album 2: The Other Side of Happiness
- Tracklist:Unreachable Love (Pure2 Jazz Instrumental Version)
- Demonstration arrangement and communication with musicians (2011 Pure2):Shuntaro Kobayashi
- Received live singing coaching (2011 Pure2):Suara
- Looking back at the song selection and comparing with Garnet's initial draft rejection by Naoya Shimokawa:Naoya Shimokawa
References
- F.I.X. Records: Pure2 Jazz Instrumental Edition - Love That Never Arrives
- Masashi Hashimoto says it was produced in a Pure2-style way
- Shuntaro talks about the arrangement and performance of Pure2
- F.I.X. RECORDS Pure2 production site
- Suara talks about the jazz recording of Pure2
- PHILE WEB: Pure2 LP mastering and engraving live scene
- PHILE WEB: Naoya Shimokawa talks about Pure2's song selection and arrangement choices
- F.I.X. Records: Selection of recording resources in Pure2 production reviews
Data compiled on: 2026-10-12.