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Comments
Nice work! Love some of the effects you used in your re-creation/cover.
Have a listen to Bolero by Tomita, it will raise goose bumps…..use headphones and watch out for the bass line, it is noted as the most powerful bass line without clipping for its time.
Enjoy🙂
https://youtu.be/3iqyskHZO0M?si=_cqorvZirh4YWFEW
Also listen to Tomita's 'Snowflakes Are Dancing' album which is all Debussy's music. To my remembrance, it was the first album that brought him to prominence. It was a staple of the early FM radio stations. It was also featured as audio backdrop in the early Lasarium shows.
Oh my goodness! I didn't know Cubasis 3 had those presets.
Then again, SM2 is a good choice to play around with as well.
I was referring to Cubasis being ideal for Tomita type projects, all the Tomita presets are in Synthmaster 2 and you have to purchase the Nori Ubukata Historic Synth Giants Vol4 as in-app purchase.
Btw, I made a mistake saying the Bu-Bah preset was in there, it isn’t, but it is in another pack and I will go through them all.
Ah, now I got you. Yes, Cubasis is definitely ideal.
My favourite DAW, next to FLSM.
Wow, don't make me blush. I'm still an amateur with no SONY deal in my pocket. But I try my best.
Well, that's still an unsolved mystery, he used the typical Mellotron sounds, but in the old albums it's layered with other real choirs as well, that he might have recorded himself and then transfered to the Mellotron to play it with this "sampler". Later albums contain other equipment that he could create artificial choirs, but yes, the Moog was mainly for the crazy stuff.
Well, the system to use for production is like you use a hammer from this or that company. At the end most of today's DAWs are more than overadvanced to make Tomita-ish stuff, I myself use Reaper, a superold version, outdated since ca. 10 years - and still it does what I need it to do. More important is to use as few as possible VSTi and gear or one gets lost in tech instead of lost in music - I think.
Thanks for your feedback!
Never ever give up if you have a vision or it will haunt you forever for not trying it at least. I started also from zero and took my time and believe me, I still have to climb the mountain up, still learning and there is ALWAYS so much doubt. But we keep on walking, that's what restless minds do, no?! 
No idea if I would even fill his socks...
But I've spent so much time listening to goddam details of his patches and mixing architecture, that I had at least so much confidence to start doing something. Since no one really knows what he did when it was about realizing this or that effect, we can only guess and try to get as close as possible. My big advantage is that I use musical pieces he hasn't adapted. For two reasons, first, I would find it boring to "remix" an adaption by Tomita, since ONLY the original can be good. Second, to use an "unknown" gives me total freedom. I can allocate the sounds I think they fit, as long it's sounds known from Tomita's productions. That's basically the only familarity with what he did back then. No one then can say, no, this sounds totally not like Tomita, because Tomita is the sounds he created PLUS the tunes he picked for adaption. So, whatever I do it's NOT Tomita, it is an adaption inspired by Tomita with a lot of patches that are close to what he did, in best case. It would be a hell of pressure to sound "exactly" like him. Today not even Tomita would sound like himself in the 70s, since the final recording contains not only the advantages of a production, but also all the problems that gear and technology itself brought along when he created his masterpieces. I like the "lofi" sound, the noise in the background and some cuts from editing is part of the mix. Thus I'm really a bit relaxed if this or that in my own mix might not go along with today's recording standards. And at the end, I won't have a fat record deal for what I do as a hobby. 
Well, it was important for me to create the patches, since while you do so you learn a lot. And it makes you stick to the limitations Tomita had to deal with. Btw I had a listen to a soundcloud and some YTs that introduced the sounds by reproducing some well known Tomita tunes. It was pretty impressive, but use the same sounds for an unknown piece and the magic will be gone, at least partly. It's the mix of the well known sounds plus the tunes we all know so well. That's why I use my own sounds, since I use them on a musical piece Tomita never adapted. When it still sounds Tomita-ish I'm more than happy then.
That makes sense actually.
I usually start music ideas with a piano sound, then I put down the melody, chords, and bass (not necessarily in that exact order though). But then once I have the music laid out, then it boils down to sound design and cool shit like that. 
Thanks mate, I'm happy about every feedback.
🎹🎹🎹🎹🎹🎹🎹🎹 JUST A NOTE - I'll be offline for the next ca. two months to work on the next movement. So, I won't be able to answer here. Pls bear with me, I will catch up as soon as I'm back. 🎹🎹🎹🎹🎹🎹🎹🎹
Fantastic. I fell in love with synthesized music when I first heard switched on Bach in the early 70’s. Tomita was next. I loved and still do love the purity of synthesized music. In my music I try to apply a traditional, serious compositional approach using synthesized sounds. Sounds that fill the sonic space of acoustic instruments while avoiding realistic samples of acoustic instruments. You have done this brilliantly. Bravo!
Best of luck mate! Sounds like a lot of work, but will be worth it in the end.
If you sat a person or even a group of people in a room and randomly played tracks that you created along with TOMITA tracks and asked them which tracks they thought were TOMITA, the answer would most definitely be ALL OF THEM
Btw, see how much interest you have created with your music, you have awakened the mighty Analog Beast that is Moog, it just goes to show that there is so much brilliant music around from the mid 60s and onwards that many among us have never heard before.
I raise a glass to you Felsenstein 🥃 and wish you the best of luck with the rest of your magnificent project.
Mike
I appreciate you are probably offline but just wanted to say how much I enjoyed this 🙏
I still remember my dad coming home with the Snowflakes are Dancing LP, putting it on the turntable and us both just sitting there in amazement.
Especially enjoyed the vocal patches and the classic rising last note.
Btw, just uploaded the second movement to my YT channel. With an on-the-fly-mastering, so, all but perfect. Sry for this.
Hey Geo, I'm online again for the next few weeks until I go and "hibernate" in the bushes for the 3rd movement. But thx for the feedback!
Yes, we all had this experience, that someone came around the corner with this brandnew record, full of weird, never heard, out of this world electronic sounds. For me it was Tomita's Pictures at an Exhibition and Jarre's Oxygene. This feeling of nostalgia we all share in some way, I guess...
Haha, the second movement has such a (even though a bit different) rising last note too, indeed! 😁 Couldn't resist...
I recently lost a friend to ALS who introduced me to Tomita back in our prehistoric teenage days. Your interpretations are fantastic.
RIP Rick.
Well done and dedicated.
Strange coincidence. The musician, who introduced me ages ago to Tomita and Jarre via "brandnew" records died in March this year. Looks like, a whole generation of those who "know" is about to disappear. Sad. And one day it will be us. I wonder, who will remember those 70s heroes after us....
Thanks, tried my best.
Just finished the 3rd part of my Tomita-inspired adaption of B. Smetana's "My Fatherland". For those who want to follow the progress of the project, here is the Sarka-video:
Unlike for the former movements, I decided to share from now rather snippets instead of the full piece (10 min 22 sec). Keeps curiousity alive for the final album, I think.
PS.: As usual, the audio is NOT fully compatible with mono, ergo not suitable for mobile phone speakers. The surround/spatial effects do NOT work under headphones. Means, you need speakers for best listening experience.
Hi @Felsenstein,
Are you sure you’re not a reincarnation of the great Tomita? Your music really….really….really is so precise, every little nuance, every Filter sweep, the swirling phased strings….just everything is just perfect, I remember this second movement and you have absolutely nailed it! Tomita was no doubt a magician with analog synths, so what does that make you 😉
Your fan Mike
Hi @Felsenstein,
Here was I listening so intently to all the many parts, I was so engrossed listening to the very quiet sections and then my wife spoke and I almost jumped out of my skin lol, the lest section ended and I waited for the next section unaware it has finished lol
This third recording is as excellent as the first two, Magnificent👌
Impressive! Does anyone know was this all done just on iPad?
Fantastic! I also would like to know what platform/synths etc you used.