This is the second half of the Kanogi OST liner notes. I posted nao’s notes a while back – now it’s sat’s turn. By the way, these are formatted the same way they are in the booklet.

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“Music” is relative to each person’s being, therefore it’s impossible to have one correct interpretation:
This is my musical style and my own motto.

As for music for work, I have some kind of apparition. If composition is thought of as work, then for me it is apparition. [1]
Because I am a man who makes music depending on how I feel, there are times when I can’t put in a certain feeling, so I cannot make anything.
And the fixed deadline for the work is certainly still there. And thus for work, the [undesired] day called “date of delivery” certainly exists.[1]

Also, sometimes there are works where I cannot make any sort of compromises.
I don’t want to show that kind of work to the world. So when I am feeling those thoughts, I’m not very good at putting together music, which is the challenge of combining the puzzle of chords, rhythm, and melodies.

In 2005, when “Red-reduction division-” was born, I had felt a feeling of achievement that I’d never had before. The game’s character’s and scenarios combined with my own feelings and I felt an intercerebral spark.
When recording was over, I thought, “this is a huge success.”
Now more than one year has passed and there are a lot of places that I want to tweak as I listen to it over again. I’m thinking about wanting to remake it for our own album.

Changing the topic, my environment for digital music work changed in a big way in this one year.
The days of upgrading my computer continue. I removed the vocals and guitar from the two new songs on the soundtrack and made myself reproduce everything via computer. This era has accomplished a change from hardware synthesizers to soft synths. [2]
Because I am able to play “Red” and “true eternity” with hard synths, it might be interesting to listen and compare between the two mediums.
Of course hardware synths produce high pitched tones even now, whereas I won’t lie that there are certain times a soft synth can’t.
My favorite to use, access indigo2 [3], has a thick harsh sound that, at the present, a soft synth simply cannot express. However, I think that tactics for things such as editting and data treatment for soft synths are getting better. I think integrating and using the two together currently is wise, but this time I dared to go against that and tried to use nothing but soft synths.

Digressing from that, I don’t like my personal computer that much. But it’s somewhat necessary to use it when it’s late at night and I’m faced with making music with just my pc alone.
Therefore it has an indispensable seal for creating my own music, but nothing more or less than that.
On the other hand, when I’m putting the lines between two notes on the screen like the old days, I don’t want to record with 4 track MTR. (haha) [4]
By the way, this soundtrack’s Disc 2 was dependant on it: because my computer froze up, a large amount of repetition work was unavoidable (true eternity), due to a hardware failure and needing to replace it. When everyone helped me out, even just a little bit, I was happy.
I’m still really feeling all the efforts everyone on the sound staff had given me.

Lastly, I will take this opportunity to give my deep and profound thanks to the company president UYE!, miyama zero and the original staff at 130cm, the game players, and all of fripSide’s fans.

8/2006　at the home studio
fripSide　　Satoshi Yaginuma

Some of my own notes:
[1] These are the two lines that really got me for some reason. I feel like these are badly translated, so the original text is: 仕事としての作曲は、僕にとっては魔物である。 and そして、仕事には納期という期日が確実に存在するからである。Sheng Shi clarified these lines in the comments, so what’s written above are his words ^_^
[2] For those who may not know, a soft synth is a computer instrument and a hard synth is usually a keyboard.
[3] I think access makes his favorite brand of synths. On stage he uses access’s Virus synths including a Virus TI which was described in LisAni Vol 1 as fripSide’s sound.
[4] MTR stands for multi-track recording. It means recording one track at time. For example, recording the song’s bass, then piano, then vocals, etc etc. Sounds like a lot of work for one person, especially considering fripSongs have many layers of sound