To be honest, I've been planning to cover this song for a long time. Yes, this actually is not quite in my style, but still the composition is pleasant, so I decided to make it even more pleasant by making it in my own arrangement.
Btw, all the instruments here are kinda legendary for me. Let's take a brief look.
Guitar in interlude - well, it's hard not to recognize it, it's the guitar from arashi. Although, in fact, the first time I used it was on my still unfinished track, which I started at the end of May last year.
The EP in the bridge and the chorus - oh yeah, the EP that I created myself in FM8 for tsuki. There it was a solo instrument, but now I put it into a full-fledged multi-instrument arrangement. And yeah, it sounds awesome. Btw, EP is Electric Piano, since I was four years this name has been associated with such a synth for me.
The background melody is exactly the same kinda dirty-oiled old-styled lead that plays the melody of IROSEKA's intro!
Well, those who do not recognize the main pad are immediately banned. My favorite "space" pad, which I used for the first time in the planet, and after that in a coupleof other (as well as unfinished) tracks.
There is also a second pad, but you probably have to listen more attentively to distinguish it. For reference, it sounds in the intro, not in the verse, and again in the chorus. It's one of those pads that you don't even pay attention to, they sound like something self-evident. I don't remember exactly in which track I used it for the first time (most likely in this one), but thesearethebest ones. Hmm, if you look closely, all these tracks from late 2016 - early 2017 ... Well, then I somehow got off the FM8 (where this pad comes from) and switched to Sytrus for a while. But no matter how much I love Sytrus, FM8 is no less awesome.
Bass. Like the pad on top, it can be ranked among those that you don't pay attention to, but here if you pay attention and if the arranger has thought out the texture well, it will tighten your head and you'll listen to the track for a while, purely to enjoy to the bass part. Especially these climbing ups with slides, mmm, salivation started to flow... Ahem, in short, here Hiko just washed down such bass, so you can enjoy a lot. Oh yeah, that bass can also be heard here.
So, what else is there... Oh, drums. Of course. Just a classic of the classic, a standard rock set, revised and enhanced by Hiko.
After all, I am definitely more of an arranger than anyone else ...
Well, a couple more interesting facts.
First, this time the track turned out to be as pure as a... virgin? In short, as never before, there are fewer curves and other tinsel in it. Speaking about the automation, there's just a little bit of filter control on the pad and a tempo drop at the end. Secondly, this kinda virginity also touched the recording of my vocals: the tuner was resting this time. No, of course, I tuned the most egregious jambs, but that's all. I didn't even do general centering of the notes.
And finally, I made this cover bilingual, that is, in addition to this version with the original text, there is also a Japanese one, translated by me. And, which has already become a pattern for me, the translation was ready in less than a day. As far as I understand, my logic is this: my lyric poetry is extremely tight, but if the rooster already bites in the head, then the text will be ready in a day.