{"id":246,"date":"2013-12-21T20:47:49","date_gmt":"2013-12-21T11:47:49","guid":{"rendered":"http:\/\/unamas-label.net\/?p=246"},"modified":"2017-08-02T21:47:38","modified_gmt":"2017-08-02T12:47:38","slug":"sozen-atsuya-okuda-192khz24bit-surround-by-hqm-store","status":"publish","type":"post","link":"https:\/\/unamas-en.yohichi-tsuchiya.com\/?p=246","title":{"rendered":"&#8220;SOZEN&#8221; Atsuya Okuda : Hocchiku (Jinashi-nobe Shakuhachi) 192kHz\/24bit Hi-Res &#038; Surround"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-96\" alt=\"Sozen 192kHz\/24bit surround\" src=\"http:\/\/unamas-en.yohichi-tsuchiya.com\/wp-content\/uploads\/2013\/11\/UNAHQ-2001SOZEN-300x269.jpg\" width=\"300\" height=\"269\" srcset=\"https:\/\/unamas-en.yohichi-tsuchiya.com\/wp-content\/uploads\/2013\/11\/UNAHQ-2001SOZEN-300x269.jpg 300w, https:\/\/unamas-en.yohichi-tsuchiya.com\/wp-content\/uploads\/2013\/11\/UNAHQ-2001SOZEN-1024x920.jpg 1024w, https:\/\/unamas-en.yohichi-tsuchiya.com\/wp-content\/uploads\/2013\/11\/UNAHQ-2001SOZEN.jpg 1086w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p><span style=\"font-size: x-large;\">SOZEN<\/span><br \/>\nAtsuya Okuda<br \/>\nUNAHQ-2001( UNAMAS J )<br \/>\nTraditional Japanese music<\/p>\n<p><span style=\"font-size: large;\"><strong><a href=\"https:\/\/www.highresaudio.com\/en\/album\/view\/tfohnq\/atsuya-okuda-so-zen\" target=\"_blank\">HIGHRESAUDIO<\/a><br \/>\n<\/strong><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Format :<\/p>\n<p>High-Resolution<\/p>\n<p>FLAC 96kHz\/24bit<br \/>\nFLAC 192kHz\/24bit<br \/>\nFLAC 96kHz\/24bit surround<br \/>\nFLAC 192kHz\/24bit surround<\/p>\n<p>Artist :<br \/>\nAtsuya Okuda : Hotchiku<\/p>\n<p>192kHz\/24bit Recording<br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/132179337&amp;color=ff9900&amp;auto_play=false&amp;hide_related=false&amp;show_artwork=true\" height=\"166\" width=\"100%\" frameborder=\"no\" scrolling=\"no\"><\/iframe><br \/>\n<a href=\"http:\/\/www01.hqm-store.com\/store\/item_new.php?album_no=UNAHQ-2001\" target=\"_blank\">trial listening of the other songs [HQM STORE site]<\/a><br \/>\n<strong>Content notes:<\/strong><\/p>\n<p>1. Koten Suzuru &#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Being also named\u201c Godan Suzuru\u201d, referring to the episode in Sukago Innenkyo about cranes cutting\u00a0their body for the sake for growing their babies, this piece was said to express the behavior of\u00a0self-sacrificing parents.<\/p>\n<p>2. Honte no Shirabe &#8230;&#8230;&#8230;&#8230; Tune to practice for long period of time. It reminds the players of the challenging subject of<\/p>\n<p>breathing. Other similar equivalents include the traditional piece in Fudaiji Temple of Mt. Rintaku in\u00a0Hamamatsu and the<\/p>\n<p>piece in Meianji Temple of Mt. Kyorei in Kyoto.<\/p>\n<p>3. Nerisaji&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..Legendarily this set of tunes was originally composed by Shinhichi Maki who was a samurai of<\/p>\n<p>Kuroda domain and belonged to Hakata Icchoken school in Kyushu. Three pieces survived to date\u00a0that are\u201c Bousaji&#8221;\u201c, Yurisaji\u201d and\u201c Nerisaji&#8221;. Saji means the Mercy of Bodhisattva that represents the\u00a0spirit of Mahayana. Among\u201c Shin&#8221;,\u201c Gyou\u201d and\u201c Sou\u201d in Saji,\u201c Sou\u201d is the most extraordinary and\u00a0complex composition through repeated tempering and polishing (=\u201cneri\u201d), and that is why it is called\u00a0Nerisaji.<\/p>\n<p>4. Kyorei &#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230; The title means imaginery [=kyo] bell [=rei] and is sometimes referred as imaginery spirit. The most\u00a0classical piece among the works of Fukeshu budhism sect.<\/p>\n<p>5. Kudariha-Kaede &#8230;&#8230;&#8230;&#8230;.. Traditionally inherited in Kyushu area with two versions of Honte and Kaede. This recording is the\u00a0piece for Kaede.<\/p>\n<p>6. Sokkan&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.. The wind blows toward decaying bamboos in thicket. The sense of this desolateness overlaps to the\u00a0state of the spirit with this tune. We overview the world through the breath, the wind, and the bamboo.<\/p>\n<p>7. Sanya&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;. One of theories explains that this term originally meant mendicancy.<\/p>\n<p>8. Betsuden, Shika no Tone&#8230; The tune extends itself as inspired by the sound of deer that reside in distant mountains and by their\u00a0behavior of running around. A challenging piece of music to play with the register as wide as 4 octaves.<\/p>\n<p>9. Shinya &#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Prevailing quietness in the midnight transitions to bright enlightment in the dawn.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>On the Production of\u201c So-Zen\u201d Album<\/strong><\/p>\n<p>One finds something essential with Japanese traditional instruments, and it is\u201c sawari\u201d\u201c. Sawari\u201d is the\u00a0intimacy to the nature as compared to the voices of cicadas in the sense that their tunes are\u00a0heavily complex almost like a noise but they blend well with variety of natural sounds. Other tunes of\u00a0\u201csawari\u201d are, for example, a clear click of a wind-bell or a profound bell of temples that brings us the\u00a0sense of beauty and emptiness of life as well.<\/p>\n<p>The fascinating character of\u201c Hocchiku\u201d instrument, Jinashi-nobe Shakuhachi by definition, used in\u00a0this recording is its deep softness featuring\u201c sawari\u201d. Two-piece, Jiari Shakuhachi that is most\u00a0commonly popular today is the result of pursuing the sound pitch and volume suited for ensembles at\u00a0the sacrifice of tones.<\/p>\n<p>The natural form of Hocchiku is rich with\u201c sawari\u201d bringing the tone of distance that we Japanese\u00a0continued to be particular with. The slower rise of notes and extremely fine, subtle sounds are\u00a0interestingly quite audible. Inverse proportional to the sound volume, the taste and profoundness of\u00a0its tones are even more vivid.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: medium;\">Atsuya Okuda<\/span><\/p>\n<p><span style=\"font-size: small;\">Born in 1945, Atsuya Okuda was active as jazz\u00a0trumpet player for 20 years since 1965, and\u00a0<\/span>thereafter has he studied\u201c hocchiku\u201d, an\u00a0authentic Japanese bamboo flute, with the\u00a0inspiration of its infinite potential in forming his\u00a0original world of music.<\/p>\n<p>In 1985, he set up Zen-Sabo in Kokubunji, Tokyo\u00a0as the foundation of teaching\u201c hocchiku\u201d as wellas focal training of himself, and started workshop\u00a0activities and tours to such countries as\u00a0Switzerland, Austria, England, Canada, USA and\u00a0Finland since 2003. He has received many\u00a0foreign country students who aspire to master\u00a0hocchiku at Zen-Sabo.<\/p>\n<p>The instrument is plainly natural like a bare bone\u00a0bamboo tree, and in order to play it, not only the\u00a0high level of skills but also the spirit to resonate\u00a0only with essentials among excesses are\u00a0required, similar to Zen\u2019s spirit. Okuda is the\u00a0single only player of Hocchiku inheriting the\u00a0spirituality of Watazumi Doso who died in 1992.\u00a0His CD album\u201c Sound of Zen\u201d released in 2002\u00a0was a participating work in Japan Arts Festival\u00a0by Agency for Cultural Affairs.<\/p>\n<p>Okuda had ceased his recordings because the\u00a0sound quality did not meet his expectations, but\u00a0the concept of\u201c Surround Scape\u201d promoted by\u00a0Mick Sawaguchi convinced him with its totally\u00a0new aspect of presentation as well as its sound\u00a0quality. Hence, this collaboration resulted.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: medium;\">Comment from Atsuya Okuda<\/span><\/p>\n<p>As attributed as the most natural form of instrument, Hocchiku is\u00a0gifted with the tone of distance that we Japanese continued to be\u00a0traditionally particular with. Interestingly, the slower rise of notes\u00a0and extremely fine, subtle sounds are rather powerful to be heard.\u00a0I was fully delighted and astonished to have triggered mutual\u00a0stimulations and realized the \u201ctone of distance\u201d in collaborating my\u00a0Hocchiku with Mick Sawaguchi who works for Producer &amp; engineer\u00a0on it promotes as the new technological format of artistic expression.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: medium;\">Mick Sawaguchi, UNAMAS HUG<\/span><\/p>\n<p>In this recording, we captured \u201cHocchiku\u201d in surround with 192kHz\/24 bit .Finally it was\u00a0mix down with surround scape as 96KHz-24bit resolution as release format. This instrument is the original\u00a0form of Shakuhachi, dened as Jinashi-nobekan, with no additional treatment of inner pipe surface for\u00a0ne pitch-tuning. The sound that Atsuya Okuda generates at some times was almost indicational, and\u00a0the dynamic range of its air burst was hugely broad particularly when he concealed his breath, therefore\u00a0the subject was a tough challenge for the recording engineer. The highest priority was focused to realize\u00a0the ultimate environment for playing in the studio room, and we asked Nittobo prepare a modied version\u00a0of AGS the day before that managed to equalize the wave motion. The rest was the equipment as usual,\u00a0and the following microphones of Microtech and Royer\u2019s ribbon were chosen for the main, and CO-100K\u00a0for surround that went in to Pyramix DAW. Please see the line-up below for your reference.<\/p>\n<p>Microphone Microtech Gefell UM-900\u00a0Royer R-122, Sanken CO-100K<\/p>\n<p>Mic Pre-amp SSL 9000j<\/p>\n<p>Audio Interface RME Fireface UC<\/p>\n<p>DAW PYRAMIX Native+MacBook Pro<\/p>\n<p>Power-supply Isolation Soundnite<\/p>\n<p>Studio Acoustic Treatment Nittobo AGS Sound Diffusing Absorber<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/unamas-en.yohichi-tsuchiya.com\/wp-content\/uploads\/2013\/12\/30ade44156d26b456109f17d7c4f951d.pdf\">&#8220;Sozen&#8221; Atsuya Okuda Booklet-Eng<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: x-large;\">SOZEN<\/span><br \/>\nAtsuya Okuda<br \/>\nUNAHQ-2001( UNAMAS J )<br \/>\nTraditional Japanese music<\/p>\n<p><span style=\"font-size: large;\"><strong><a href=\"https:\/\/www.highresaudio.com\/en\/album\/view\/tfohnq\/atsuya-okuda-so-zen\" target=\"_blank\">HIGHRESAUDIO<\/a><br \/>\n<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>SOZEN Atsuya Okuda UNAHQ-2001( UNAMAS J ) Traditional Japanese music HIGHRE [&hellip;]<\/p>\n<p><a class=\"more-link\" href=\"https:\/\/unamas-en.yohichi-tsuchiya.com\/?p=246\">\u7d9a\u304d\u3092\u8aad\u3080<\/a><\/p>\n","protected":false},"author":2,"featured_media":96,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[14],"tags":[5,6],"class_list":["post-246","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-unamas-j-by-highresaudio","tag-5","tag-6"],"_links":{"self":[{"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=\/wp\/v2\/posts\/246","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=246"}],"version-history":[{"count":20,"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=\/wp\/v2\/posts\/246\/revisions"}],"predecessor-version":[{"id":1032,"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=\/wp\/v2\/posts\/246\/revisions\/1032"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=\/wp\/v2\/media\/96"}],"wp:attachment":[{"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=246"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=246"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/unamas-en.yohichi-tsuchiya.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=246"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}