Відео

本当に解説動画ありがとうございます

ハラミちゃんピアノめちゃくちゃ上手で感動しました😆💕4台目~6台目が気に入りました😆💕後8台目が場所取らず一人で色々な音を出しながらバンドの様に弾ける所に魅力を感じました😊最後61Pのハラミちゃん格好良くてノリノリで聴きました😊🎶私は昔ながらのアップロードピアノと新たに4年前に買ったロングロールピアノがあるのですが鍵盤が全て平らなので弾きにくくて電子ピアノが欲しくて、でもどれがいいのかがわからず比較できなかったのをハラミちゃんが検証してくれたので良くわかりました😊今は片手しか弾けませんがピアノは42年してます😊いつかハラミちゃんとデュオしたいです😊ハラミちゃん大好きなのでチャンネル登録しました😊これから宜しくお願いしますm(_ _)m

うん。素敵なのはわかったから　はやく　大阪へかえってきて　電車止まっちゃうよ？　地震がおきてるよ

リズムパータンw

It’s no question - sold!

ハラミお姉さん、こんばんは、ROLAND−LX−708−が、ブラック色で、ハラミお姉さんには、合ってると思いますよ!!またね!!ゆき子！

すごくいい音ですね

ローランドねぇ～ 河合にしたら？

音の伸びが良い

4:19 is this from a released song? It sounds familiar Edit: it is from March Hare

８０８の日か９０９の日にはSystem-8とFantomにローランドJupiter-6のACBプラグアウトが出してほしいな！orz

Can you please tell me what stand is used for the Taiko-1 in this video?

ハラミお姉さん、おはようございます!!めちゃ!!可愛いですよね!!ROLAND・LX・708・は、高級感あるピアノは、一番私も、好きな重低音がありますね!!スーパー超良すぎですよね!!冷たいお水飲んでくださいね!!またね!!ゆき！

ほしい、、、

J’adore ❤ 🙌🏻🫶🏻

誰が弾いてるんだろうか

Well the Japamese know what he is talking about.

AE-30がウインドウ・シンセサイザーの中で群を抜いているのは音源だけではなく、MIDIがOUTもINもある事ですね。 しかし、AE-30のデモンストレーションはサックスプレーヤーばかりなので、MIDI の説明にまでは至らない。(-_-;) 先ず、MIDIのIN があるので、今だったらGX-100等と組み合わせてプログラム・チェンジやCCでAE-30をコントロール出来る。 逆にAE-30からブレス・コントロールやバイト・コントロールをCCで送れば、リバーブのディプスやモジュレーション系エフェクターのモジュレーション・スピード、パン、更にはディストーションを掛けてブレス・コントロールでゲインをコントロールすれば、ブレスに合わせて歪の深さをリアルタイムでコントロール、なんて事も出来るはず。 やらないなんて、とってももったいない事です。(;_;)

Buy a cheap Alto for 400 bucks and you'll get a pretty good case, buy an AE-30 pro and you'll get cheapo cloth soft case offering ZERO protection. Bad show Roland !!

absolute quality! loving this. send a 404 mk2 this way please .....

So gorgeous, so amazing (the usual formula for her level of performing). Artistically and aesthetically satisfying in every way - a perfect piece of modern culture: the artist, the performance, the songs, the ambience, the high-tech products, that grey floor covering. - There is no use in stating that this is my favourite Kanade video because meanwhile there are so many of them. But this one has an additional dimension for me: It conveys a special form of intimacy; making music at home on a compact and slightly mousy drum kit (it's like a pet you have to love - because it's yours), not created for the monstrous festival stage, but serving its purpose and serving Kanade - bravely and convincingly. And the master drummer girl, so nice and lovely, is well prepared and smartly dressed - she wants to entertain the kin. And the world is allowed to attend. Indeed, this seems to be a quaint place: Miss Sato is acting in front of an untouched room wall with a home plant in one corner and a bookshelf in the other, hosting a little family of ornamental plants (while Kanade is presenting her little family of drum sets) - that's what the private part of the post-industrial civilisation looks like after day's hard labour (dinner is in the works - the tom-toms almost look like saucepans, and we know what Kanade is cooking). Wherever you're active, music making means ecstasy; and I truly have known that before: When Miss Kanade Sato is playing, even clock's time is awestruck and stands still (early at 11:40 a. m.) - in a living room that needs moderate sounds to not get rattled and also needs some musical verve and passion to remain the solid and vivid inner sanctum of the one family house. So the drummer girl does not invite to a tea dance, she rather mounts and spurs her horse of many hooves (well, it's adjustable and electronic, but you better keep the windows closed - the horse might neigh...). (Question: Are you sure that Kanade is doing that after hours? The performance shows that her daily output and concentration level is obviously at its peak. - Answer: Kanade is in concert mode here, in that purest and most attentive state of mind she can play anything at any time.) And that lucky person on the other side of the screen may also feel comfortable, being alone with Kanade and relishing her irresistible artistry that casts a spell over so many listeners. It's her devotion to what she's hearing and creating, the entity of artist and song, the symbiosis of performance and expression, some of the things that allow her to master three perfectly dosed pieces which are well selected (or even tailor-made), three slim arrangements which correspond nicely with the cosy scenery (I adore that squeaking organ register). Two times distinctive fusion stuff (moderate, but still animating syncopation, sharp accents and swift drum rolls, the tasteful instrumentation, some austere harmonising and a general jazzy, funky attitude), artfully punched into the drumheads and dynamically refined. Kanade's contribution is the perfectly fitting suit for the sonic image, the tones, vibes and moods of those impressive backing tracks. And then the last one... which grips me in a way - a soulful and atmospheric carefree tune with a rather sober and sort of frisky, nonetheless mature sounding first musical statement, followed by a lovely, mellow main theme, flowing on, providing a gentle pulse, emitting a gush of euphony, gracefully guided by the princess, who just as gracefully swings along, shaping another piece of art and relishing it at the same time, being enfolded by the aura of sound and rhythm, as if she were the one to float dreamily across the dance floor. Wonderful... (I would like to get some information about compositions and composers - this is high quality material. But - whoever is responsible for fading out piece three during the chorus deserves an admonitory note in the class register.) And as if that blessing music were not enough, Kanade turns to those who are enchanted and tells them, modest and prudent as she is, of the valuable devices she's hitting. (I don't have to understand a word to know that she is competent. I only need to see how she touches her work tool while explaining. Yes, girl, believe me that I believe you - everything you say.) Kanade and Roland - this seems to be a love affair. And it's clear to me who is the queen (princess regent) of the castle here.

It's like Roland's version of the Korg Volcas, but in many ways they're better. Built in battery, mix in and really stand out sound. Well done Roland with the new Rolca series!

ハラミちゃんが楽しそうにレビューしててわかりやすかったです。 電子ピアノってアコースティックに近づける方向で作られるけどBluetoothや練習機能は電子として独自に進化してて昔の電子のイメージと違いますね👍

ありがとうございます😊マニュアル見てもなかなか設定出来ずに悩んでました。お陰様で設定できました🙏

ドラムリズム、新規作成する時、シャッフルリズムや3連符にするにはどうするのですか？3連系のリズム選んで、プログラム打ち直しし、1/12♪選択した所、どうしても８ビート系になります。詳しく回答お願いいたします。

00:00 Introduction 00:28 Overview 01:07 Basic Operation 04:43 Introduction to sounds (Piano) 06:30 Introduction of sounds (Electric Piano) 07:15 Introduction of Strings 08:31 Sound introduction (Brass) 09:11 Sound introduction (Organ) 09:48 Sound introduction (Synthesizer) 11:09 Scene Remain Function 11:48 Sound introduction summary 12:11 Sequencer function 15:29 PAD function 16:31 Other recommended functions 17:48 Linkage with Roland Cloud 18:37 FANTOM-0 series lineup 19:17 Performance of music produced by Mr. Uto 22:11 Ending

SMFをパターンとしてインポートしましたが頭の１小節しかありません。 パターンが１小節だからでしょうか？インポート前に長さを設定する必要があったりするのでしょうか？わからない 誰かたすけて

カッコいい～、音もリズムもシャープですね

Hailey plays great 👏👏👏

いい音しますね(*´ω｀*)もうハモンドいらんわ

初心者にはまだまだ分かりづらい説明です

これと全く同じようにやったのに電源を切ったら消えていたのですがどうしたら復活もしくは消えないようにできますか？

Sounds like RattaTat

Can you share the sax sample sound from the phantom, so I can try it with my AE-30.

😀😃😄😄

叩いた感触はどうなんでしょうか？ 例えばリハーサルスタジオのドラムがこれらだったら、ドラマーはゲンナリするのでしょうか？

4分の2拍子１小節を４分の４拍子の曲の途中に録音するには、どうしたらいいですか？

なにが驚きかというと、最後のピアノ弾いたときです。プロのすごさでしょうか。

クリック音を出すにはどうしたらよいですか？

定期的に聴きたくなる

I love this SP beatmaker + dancer combo!🙏🙌

今日、初めてテレビで拝見しましたが最高😃⤴️⤴️に格好良くて一目でファンになりました❗最高です

Very good, sensational.

本物は真空管の音 コレはコピー商品をピックアップして再現したものを演奏者が個性的に演奏です。オリジナルカラオケで歌うのど自慢みたいな物

面白いな

Roland for life! 🧡

A veritable artistic epiphany: Kanade - The Verve, The Pulse, The Backbone... (of any ensemble you can imagine). No matter how much Roland pays her - it's not enough. This young lady is priceless, invaluable, a gift to the world. It's an abundant pleasure (I'm sure, those amazingly natural sounding V-Drums feel the pleasure, too) and also a high level entertainment experience to witness Miss Sato's already accomplished artistry and her elegant playing (I see that this performance is meanwhile almost three years old - and I know that she has not got worse). But it's not just her exceptional technique, accuracy, precision and musicality that cast a spell over the recipient, there are some things in her drumming and performing that are just as salient, that give the whole phenomenon a lovely dimension of joyousness and confidence. - Man is able to commiserate, but he mostly prefers to head his empathy to the positive pole. And in this video clip I notice a dynamic climax of the evolving musical dramaturgy which is easily perceptible and comprehensible (augmented by a singular synthesizer sound effect), the rising tension is rhythmically reflected in Miss Sato's intense triplets percussion work. (The subsequent brief pause is logical - the question of progress or return is asked, the familiar theme is the answer and closes the circle.) And when on the subjective side body and soul unite with the particular musical moment, when its ecstatic realisation and the knowledge about this composed artistic fulfilment conjure a smile on the energetic lady's face, then it's obvious that something extraordinary is happening - because you need the biggest talent to make it real. However, affective emphasis could be a problem - what's in general going on is sort of magical circle of action and perception: When you are making music, when you are playing your instrument, then you are not only a sender but also a receiver. When you notice what you are playing it has an impact on you - and will possibly alter your proceeding performance to a certain extent, as well as the following impression of what you've just done. The more professional you are, the more control you have and the less such affect has an (undesired) influence on you (unless dynamic interplay is the programme); the well internalised routine should be solid enough. - But Kanade Sato is not only able to monitor all essential parameters, to dose her playing in the most effective way, she also mirrors and unfolds the whole tonal action in her rhythm arrangement and so adds a perfectly corresponding texture to the general musical shape. Things like that are rarely found in popular music drumming and need a deep understanding of the different musical structures and their interaction. To be honest, this musical effort sounds better to me than 85 percent of the songs that are sold off in the commercial domain. Miss Sato obviously does not throw pearls before swine. Good to know, since a strong awareness of quality is as important as talent, discipline, diligence and steady nerves. - Meanwhile (year 2024) I have learned one or two things about Miss Sato's artistic appearance and I know that she is involved in at least four musical combo projects and all of them are impressive (Muses, Koiai, Almondot - my favourite is still The Ear Candy Jazz Factory, new stuff is overdue, i would like to hear much more from them). However, the question that seems most fascinating to me is - considering her stupendous abilities - if Miss Sato were interested in doing some hitting in the classical and avant-garde format. There is enough worthwhile percussion literature around (e. g. Xenakis, Ishii, Zivkovic), demanding, effective and mostly a challenge even to the master. - That could become your most special love, Miss Sato...

Pretty cool how her dress matches the piano

唐突に神動画に出会ってしまった...

*Promosm* ☹️