Відео

小学生の頃、オープニングのバンジー見て、ほんとに人が落下したのかと怖かった。

昭和の時代に 指原と鶴光が 出てるがな

Wau that second song is terrifying.. what title?

Isao Tomita - a great artist of the Synthesizer... *****

ちょっと戦艦三笠に乗ってあの頃にタイムトラベルして来る😊

最後の銀河の記憶だけがありました。　 懐かしいです。 ありがとうございました。

I listen to his songs since age 7... Its so special and give hope

アナログとデジタルの違いが 理解でしました。

富田勲ほどMOOGをいじり倒した人は居ないだろうね。

「600(ロクマルマル)こちら情報部」は良い番組だったなぁ、この次に人形劇がくるんだったっけ。 時期によっては「どんなモンダイQテレビ」なんて短めのクイズ番組とかもやってた気がする。

うまい！　よくやった

見入る!

愛川欣也さんと、佐藤友美さんの大人の世界が好きでした。

ナゾーの転校生「ロ～ンブロゾ～」

600♪こちら♪ 情報部♪ いまだに 覚えてる

At 5:49 Dvorak's New World Symphony!!!

この人が居たからymoが存在し、テクノ・ハウスを経由してブレイクビーツなど、今のダンス・ポップミュージックへとつながっている。

こんにちは ふと今頃になってあの謎の転校生のテーマソングを聞きたくなり 探したらここに行き着きました 当時この石油コンビナートの画像と曲が不気味さを感じでも頭から離れなかった記憶があります ありがとうございます。

凄いです！ 本気で音源が欲しいです！！ インターネットなんぞない時代に音源欲しくてNHKに問い合わせたところ（もちろんハガキで笑）、音源は渡せないのでとメロディのスコアを郵送してくれたのが忘れられません。

1977年のドラマは音楽が印象的だった。

俺は歩き出した。昭和の時代をもう一度生き直すために。

明治じゃなくて光文？？？

この曲を聞くと、いつも心が何とも言えず騒ぎだすんです。何度も聴かせて戴いています。音作りも映像も、職人技に脱帽です！　感謝を込めて御礼申し上げます。

Great demo of the sounds! I think I may buy one, if it shows up on market.

夜明けの刑事大好きでした。当時の時事ネタを練りこみ今の2時間ドラマにはないタイムリーな番組です。

非情の猿面暗殺集団、これ面白くて一番印象残ってる😂

45年前のABCテレビ製作

Tomita is the reason why I can't listen to Debussy on piano, it doesn't sound as expressive as his arrangements on synthesizers. Bermuda Triangle is a masterpiece. A real genius.

神尾さんはテクノポップブームの際に表立って目立ったわけではないけど当時のテクノポップバンドのメンバーとも割と流行があって何よりシンセサイザーの普及にかなり尽力してたすごい人なんだよね

ENGLISH TRANSLATION (youtube transcript translated through chatgpt): There are many incredible opportunities lined up, and the cords seem a bit chaotic, mixing more than they should. But everyone, this is a synthesizer, or rather, it's a collection of various tools. The second sunrise of tools lasts for a day, and, for example, this doesn't fit in and comes out later. Well, it serves one role. These are all interconnected here with cords, creating sources and sounds. It's quite challenging to explain, but continuing from yesterday, we are focusing on synthesizers today. I visited Mr. Tomita's studio. There are quite a few synthesizers in here, as you can see. Can you take a look? The machines are lined up here. This trainer covers a wide range, from 10 degrees to quite high. It's like a 16-story building. Oh, this is all independent equipment, right? Nowadays, we have much larger synthesizers and even 24 or 32 channels, but when you go to a record company, it's really impressive. Perhaps they could produce records here, so the tape masters made here go directly to the record cutting room. I hope the record companies are having an easy time. Here is a mixer. Each one brings in various sounds, and here, they are mixed together. Also, there are quite a few devices here, although they are not very high-tech. These are various tape recorders and mixers, and there are various cords for them, which can be plugged in here. It can be a hassle to connect them all, so they are gathered here to make it easier. Is this handmade? Did you buy chassis from Akiba and assemble it yourself? Yes, that's right. The numbers here are lined up, like a calculator, but it's not a calculator. In the case of this earthquake seat, everything is controlled by electrical signals. So even if a performer plays the keyboard with their fingers, it ultimately ends up with a cord here, right? Yes, that's right. Then, these electrical signals become instructions for the earthquake station. So, in this case, the electrical signals are processed by this computer and sent to the new Earth Station 3-4. In the case of keyboards, one octave corresponds to a range of sounds, and expressing that range can be quite challenging. But it means that you can handle most of the infinite sounds, right? Exactly. In Mr. Tomita's case, it seems like he's trying to expand it infinitely, or something like that. I see. It's not easy, but I think it's interesting. In general, for example, in works like "Firebird" or "Akasaka," the production period is about one year and four months for one record. Recently, it has become faster, but it's still about seven months, which is roughly half. It's not easy to achieve satisfactory sound production, and it doesn't come easily. I see. So, about three out of four attempts are failures, and only one in four becomes an actual record? Yes, that's right. Some people might say, "Isn't that a lot?" But for us, it's a continuous series of failures. These days, those of you watching TV are probably quite familiar with music. There are always various types of music being broadcast on late-night shows, and electric guitars are also quite popular. This synthesizer is quite challenging to use, isn't it? What do you think about that? In the case of using it for classical music, like Mr. Tomita, it seems to work quite well. Well, we have our own favorite music, and for us, it's rock. Among foreign artists, there are people like Keith Emerson and Jon Lord who use synthesizers and combine them with rock music. So, do you think there's a way to use it like that? I'd like to try that in the future. For example, playing together with drums or collaborating with famous Japanese musicians like Tomoyasu Hotei would be interesting. The key feature of a synthesizer is that you can create your own favorite sounds. So, even though we always try to create our favorite sounds, sometimes, even if we think we've made a good sound, when we set it up like yesterday, it sounds a bit different. That's always a source of frustration for us. What do you think about that, Mr. Tomita? I also find it frustrating. Because you are the performers, right? Yes, we are. We haven't really figured out what's different from yesterday. I think it's just a matter of feeling. In my case, I do a lot of multitrack recording. After creating the sound on the instrument, I actually record it. When I compare both, they are different. So, even if it looks like it's playing fine on the surface, it's actually quite different. I see. Mr. Tomita, how about you? I also find it frustrating. Because it's your performance, it's hard for me to say. Sometimes, it's like, "I don't know what I'm doing wrong," and I'm sure you're also struggling with it. Thank you for the LP today. How do both of you feel? I'm delighted to have had the opportunity to perform today. From now on, we'll play more and do our best. Thank you very much.

いまから40年以上前だから、いまはもっと進化しているのかな

何故かふいにメグレ警視の曲が聴きたくなりました。哀愁のあるいい曲ですよね。ドラマの内容も良くて、主演の愛川欽也さんのよさも引き立っていました。今の時代、こうして思い立って懐かしい曲を聴けて有り難い限りです😀

In 1973 I heard his Debussy album on the radio, Ever since, I have bought his creations vinyl after vinyl. To me, Tomita is a musical god.

Thank you Tomita! RIP

高度経済成長で、GNPで日本はアメリカに次ぐ経済大国に、また、全国で海岸は埋め立てられ、石油コンビナートに。その影として、次々と全国的に公害が問題になった時代だった。また国際情勢は冷戦中で、代理戦争のベトナムでは米国の敗北。そんな、社会情勢を背景に、正面から青少年に未来の選択を問いかけるドラマでした。しかし、いつしか少年ドラマは消滅し、メディアは批判的番組はタブーとなってしまった。そして、48年後の未来の今、大本営広報と成り果てたNHKが目の前にある

これは腸捻転後にABC製作でNET系列で放送されましたね。そしてNET系列各局共同制作だったそうです。

他の人も指摘してるけど、これは18部かな。御老公が西村晃さん、弥七(中谷一郎さん)も出演している。大砲撃った敵は、福本清三さん！懐かしい！歴代御老公全員観てきたけど、個人的には、西村晃さんの御老公が1番好きだな。

Planets, .... at the time I was so young I thought Isao was the composer 😀 ... what memories. My preteen mind was blown by the sounds of the record my dad had bought and I secretly heard it from my bedroom as he put that needle on the vinyl (it was supposedly past my bedtime). Who can sleep hearing such wonders from the speakers in the late 70s? ... Thanks Isao, thanks Holst! ... The only thing worth getting addicted to ...

超スーパーウルトラアナログの世界

Translating this transcript is taking me forever but I have to know what’s being said. Iconic is Tomita.

助さんが切られる珍しい回。

最後のタララララーンはどうやって？

Да было 5 китов соло электронной музыки: Jarre Jean michel из Франции, Klaus Shultze из Германии, Vangelis из Греции, Brian Eno из Англии, Tomita из Японии!!!!

黄門様御一行って、みんな強すぎます🤣

富田さんにすごいけど、富田さんの師匠であるウィンディー　カーロスも神だよ

提供のバックで流れていたテレレ〜テレテれれれ〜っていうBGMもちょっと欲しかった😊

Toda mi infancia en Mexico escuché sus álbumes miles de veces. Aún los escucho. Para siempre. Gracias maestro Isao Tomita por compartir tu talento. All my chilhood I heard his albums many thousands times. I still do. For ever. Thank you Master Isao Tomita for sharing your talent!

これがシンセサイザーですか！自己発振音はどれですか？ピッチベンドは上下1オクターブのみですか？鍵盤は弾きやすいんですね！綺麗な波形ですね〜👍

生意気な質問する中学生にも分かりやすく真摯な対応する冨田先生やはり格が違う

素晴らしいです！言葉がでません。