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General Discussion Thread

lIlI

Staff member
Administrator
Apr 6, 2018
1,169
Kanru's walls
For those that enjoy seeing traditional music journalism's coverage of the vocal synth community, Billboard's year end article is always an interesting read. Mio Komachi's work shows an insider's understanding of the medium.

My one criticism is how the author downplays controversies involving the musicians. For example, criticism regarding Kaai Yuki being used in sexually provocative songs did not stem from her being 'characterised as a nine year old', but from being voiced by one. 'Characterised' implies fiction, and obfuscates the involvement of a real child. This is deliberately misleading - bias typical of an outlet closely tied to the promotion of artists.

On the other hand, their analysis of trends in Vocaloid is very observant and well-put:
And with platforms consolidating around YouTube and TikTok, global connections have naturally become part of the landscape. Amala’s “DaiDaiDaiDaiDaikirai” (No. 7), conceived as a successor to “Mesmerizer” and again featuring Hatsune Miku and Kasane Teto, also highlights how the pair are often portrayed as opposites, a depiction that may stem from their differing origins as a Vocaloid and an UTAU-born voicebank. The internet memes and the layers of sentiment that have accumulated around these virtual singer characters can themselves function as a force that broadens the expressive range available to them.
Even if you're deep enough in the fandom that these articles won't reveal anything new, I consider them worth a read!
 

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