Bokaro P ni Naritai, vol. 15

(Images used for review purposes only.)

I want to be a Vocaloid Producer, vol. 15, 1,500 yen, plus tax.
Well, we’re finally half way through the planned series of 30 volumes. Be interesting to see what the publisher has in mind when we get to issue 25.

New magazine features:
In the 4-panel comic, Rana happily announces that her first song is done, and therefore she is now a Vocaloid Producer. Robo-Panda reminds her that you can’t be a producer until you actually have something uploaded to the net. Rana panics because she has no idea how to do that. The classroom section then goes into a little more detail, talking about using movie editing software like Microsoft’s Movie Maker to add the song title text and closing credits, and explains the differences between Nico Nico regular accounts, Nico Nico Premium and youtube. There’s a feature on the Mixture Pop genre, and an interview with Pinocchio P. The MMD tutorial section breaks down the video you’ll be making into song segments, identifying where each motion file will be copied into the MMD keyframes chart. Finally, there’s a highlight on the Lily package (which came out in 2010), and a comment on the pop up artist for this volume, Takashige Tsukada.

New DVD Features:
The MMD model file is for the Outer Space dance stage. The comment on this stage in the magazine states that you can change the gravity settings in the room to allow for high jumps and fluttery landings. In actuality, you’ll have to handle this level of detail yourself, but that’s just a matter of how you set the keyframes, and the Gravity setting in the options menu (the Gravity setting will affect how long it takes clothes and hair to come to rest after the character moves).

The pop-up song is “Donna Fuu ni Sayonara wo iena Yoin Darou” (What’s the Best Way to Say Goodbye?) It’s a simple pop ballad with a melancholy edge. Audio track only, no dance video.

(4-panel comic, and one-half of the classroom section.)

There are a number of plug-in apps that are available for Vocaloid. One of which is Job, apparently based on the English word for “to do a job”. It is used as another interface to the automation tools. The first part of the tutorial just talks about the need for making Rana’s voice louder in the demo song. Rather than adjusting Dyn manually, you can use Job just by clicking on Execute Job Plug-in from the Job menu tab, and the option you want is Adjust Gain. Enter a positive or negative integer to change Dyn from its current value for the song time range you want, and you’re done. The next section is to use Job to change the type of Vibrato used in the song. This is followed by instructions on how to get Job for free from the online Vocaloid plug-in store, and then the tutorial finishes with a playback of the full demo song, “Chikyuu no Kaiten” (The Earth Turns).

The main focus of this lesson is on taking an analog MIDI track, saving it to file, then chopping it up into pieces and rearranging them as you like. The target is an existing drum rhythm track. To make the task easier, we’re also shown how to go into the properties menu and assign a short-cut (Alt-D) key to the “Split Track” command. Along with pasting in the desired bits of the track you want, you can shorten the bit so the full phrase plays in less time; with the drums, the result is what sounds like DJ scratching. This seems like a lot of work for what you get, but it is one approach to making something with a techno or House feel.

(Rana in space.)

Time to make a video. The publishers have included a series of pre-built poses and walk cycles that you can stitch together. First, load the Rana model, and the demo song wave file. Each of the cycles is based on a 1:8 beat pattern, and the song is divided up into an intro, the A and B melodies and the ending. Based on this information, you can write out the approximate start points for each set of pose or motion keyframes, and then copy them into the project file. In some cases, the keyframe data includes keys that you don’t need for the work you’re doing, so identify them in the preview stage and delete what you don’t want. When you get to the ending, just paste in the pose you want to close on. After that’s done, pick the stage(s) you want to use, and register it (them) as desired. All that’s left is putting in the camera and lighting effects. The editors suggest coming up with your own ideas, tweaking some of the keyframes to personalize the motions for each cycle, and then uploading the finished video to nico nico douga. The tutorial is only 7 minutes long, including the finished demo video, but you could spend weeks on this one project to create something really polished. Me? I’m just going through the motions prior to starting my own project.

Additional comments:
The sections on Vocaloid and Singer-Song Writer are pretty rudimentary and are “nice things to know”. If you already compose your own music, you’ll probably glance these over and decide what you want to keep in mind for later. However, the MMD tutorial is pretty much a “must-see” if you’re going to do animation in the future, because it’s all about creating a library of stock motion cycles to be reused when the storyboard calls for them, and includes the steps for stitching the separate cycles together to make them transition smoothly. Good stuff.

Bokaro P ni Naritai, vol. 11

(Images used for review purposes only.)

I want to be a Vocaloid Producer, vol. 11, 1,500 yen, plus tax.
New magazine features:

In the 4-panel comic, Rana succeeds at learning how to dance, so Robo-panda gives her his promised present – her own room. The classroom section builds on the new room model conversation, as well as discussing the next “I can compose music” PDF, and closes by talking about a new online download page (mentioned below). The artist interview is with Mitchie M again, and the highlighted music genre is 90’s era pop. There’s no “back page” this time, so no mention of any of the Vocaloid voice software packages or of the pick-up artist.

New DVD Features:
First off, we have the next installment of “I can compose music”. This consists of a folder on the DVD containing a second PDF instruction file, and another set of music work files for Vocaloid. Then, we have the link to download the updater for Vocaloid, to bring it up to ver. 3.2.1. (I’m assuming that if you bought the commercial package, you’d be running edition 4. I only have edition 3.) The biggest feature, though, is the link to the online song library. Yamaha has the rights to a number of commercial songs (including stuff from YMO, Exile, Queen, and Mr. Children) that we can load into SSW for studying music composition and the use of chords. To access the site you need a valid SSW serial number and a working email address. There’s also a link to VocaloNet, a file sharing service for people that want to get feedback on the Vocaloid songs they write.

Finally, there’s the model files for Rana’s new dance room – Rana’s Room. Unlike with the live stage and the practice rooms, there’s no skin for door #4 to replace the blank door from the default Warp Room model.

Note that there’s no pick-up artist song or video in this issue.

(List of recommended Vocaloid music videos.)

This one is an interesting concept – breathing. Normal human singers inhale prior to starting a particular lyric, and that inhale sound is picked up by the microphone. Human listeners expect this short intake, and not hearing it on a Vocaloid song makes the final product somewhat artificial sounding. To remedy this, we can drag and drop breath sound .wav files from the DVD-ROM into the mono WAV track of the work file.

Every volume of the magazine has come with voice sample wav files with Rana speaking fixed phrases with varying intonations, from the simple counting numbers, to saying “hello” and “good bye”, plus certain stock phrases. The current volume has 12 breath sounds, including short inhales and longer exhales. To use them, just drag the desired sound into the Vocaloid mono WAV track, and slide the sound with the mouse to a point just prior to where Rana starts singing, where a normal person would take a short breath, or let out a long sigh at the end of a solo.

As they are, the breath sounds on the completed demo (“Never Ever Love”) aren’t perfect, but that gets addressed in the next tutorial.

Rather than doing all the work on the sounds and effects in Vocaloid and then importing them to SSW, you can do editing directly in SSW. The lesson builds on breathing, by copy-pasting the breath track from measure 51 to measure 2. This introduces a problem, though – the waveform looks flat in the track editor. We have to use Gain or Normalize to make the sounds visible, but if we close either of those windows, the sound level of the original breathing track changes. As a temporary step, we save the modded waves to disk as separate files with “save wave as filename”. Volume for the track as a whole can be corrected from the mixer, and the copied waveform can be trimmed without affecting the breathing effects elsewhere in the song. Once you’ve isolated a specific breath, you can use “PitchTime”->”TimeComp” to stretch the sound out to make it longer, which makes the breath intakes less robotic and mechanical. Just save the modded waveform to a new filename each time.

(Part of Rana’s side-to-side dance step, and her new bedroom/dance stage.)

The task for MMD is to create a more complex dance cycle, this one stepping from side to side while Rana swings her arms. In order to keep the video length at 12 minutes, the editors chose to break it up into 2 parts, with the lower body movements in this volume, and the upper half next time. The tasks themselves are pretty much the same as last issue’s walk cycle, it’s just that there’s more of them and the timing is getting more complicated. In essence, Rana’s feet are going to follow a simple left-right bouncing ball path, while she crouches down on the beats and stands up in the middle so that her hips follow an “m” path. The tutorial starts out with the theory of the movements, then the bulk of the instructions are on how to make little tweaks to Rana’s ankle or knee positions to get a more “cute girl” result. Finally, there’s a lot of manipulation of the motion curves for the x- and y-axes and rotation to get a snappier movement closer to the keyframes.

As with the last volume, the editing on the tutorial video is really sloppy. The instruction text blocks the motion curves screen, making it almost impossible to determine if they’re talking about changing the rotation or x-axis curves, and the instruction text itself doesn’t identify the curve to be edited. Plus, a number of the screen caps are wrong. The magazine has the information right, though, so it’s actually better to ignore the video and just use the magazine when there’s any confusion.

Additional comments:
I’ve kind of mentioned this before, but SSW isn’t being used as a note writing composition tool. Rather, a lot of the tasks so far have been with existing .wav sound samples (and the pattern editor) and just cutting-pasting pieces of those samples throughout the score. It’s very similar to using Microsoft Word in this sense.

Bokaro P ni Naritai, vol. 5

(Images used for review purposes only.)

I want to be a Vocaloid Producer, vol. 5, 1,500 yen, plus tax.
The magazine is falling into pretty much of a routine now, with the bulk being a repeat of the videos on the DVD. The new material consists of the 4-panel manga showing Rana learning something new at the “school” (getting the synth flute), a short conversation between Rana and the robo-panda on music theory (this time, reading sheet music and the concept of octaves), the write-up on one of the Vocaloid producers (this time, Chouchou) with examples of his previous works, and a page or two on other Vocaloid products.

The DVD has the regular tutorial videos (6-10 minutes each) on Singer-Song Writer, Vocaloid, and Miku Miku Dance, plus more voice samples of Rana speaking short phrases with different inflections, and a demo music video from the featured producer (Heart Break). Heart Break is a hard rock piece that comes close to sounding like death metal, and the graphics are just still images that spin around a lot. The pictures of Rana portray her as an older teenager, and are a bit disturbing as to how hard-edged she’s become. The music’s good, though.

The DVD does have extra model files, one for a small theater stage, and then a microphone and the electronic flute synth (pictured above).

(Rana gives up on the piano and gets the flute synth as a present instead. Plus, Robo-panda teaches Rana about octaves.)

I have to be honest, I’ve been busy for the last 2 weeks (new video games) and haven’t had time to watch either tutorial for MMD or Vocaloid all the way through. MMD takes the walking march cycle created in the last volume, and places Rana on the theater stage. Most of the tutorial is on how to get Rana to hold the microphone correctly and have it track her hand movements.

For Vocaloid, the demo walks you through the use of the Dynamics setting to make Rana’s voice sound even more realistic. Like some of the other controls, Dyn can be displayed as a magnitude level throughout the entire song. You use the mouse to drag control points to increase or decrease Dyn either linearly, or with curves. The final demo sounds very human-like.

My main interest this time was with SSW because it shows how to place notes on the sheet music. The demo song has a section that was left blank, and the video shows you the process of selecting the type of note to use from the note window, apply the notes to the score, and select, copy, paste, and adjust them. One of the projects I was working on last week is an animation of complex numbers, and I want to create some background music for it. I tried making a song from scratch in SSW, but I couldn’t figure out how to change octaves. I want a base guitar at the very bottom end of the instrument, and the default octave is way, way too high (sounds like a regular acoustic guitar, or almost a piano). I need to rewatch the SSW tutorial, and maybe the one from vol. 6, and then I’ll try again. I can say right now, though, that when I sit down to write music, I get really depressed fast, and want to give up immediately. Composition is not a natural activity for me.

Overall, though, this series is still really good, and I recommend it to anyone wanting to make their own music videos by themselves, if they don’t have to pay the import markup.

Bokaro P ni Naritai, vol. 3

(Images used for review purposes only.)

I want to be a Vocaloid Producer, vol. 3, 1,500 yen, plus tax.
One reason I expect that this series is going to stop coming with the DVD-ROMs is that their instructions for cutting the proof-of-purchase seals, for use in getting the full-version serial numbers at the end of the series run, states that the seals are on the inside of the hard cardboard cover sheets for volumes 1-3, and then on a different sheet for the remaining volumes (meaning that the packaging is going to change). Since the “training course” relies so heavily on movie files and editing the supplied demo songs, I’d expect that the files for the later volumes would have to be provided some other way to make up for the absence of the DVDs, or, that they’d all be zipped onto the third DVD. However, the DVD-ROM that came with this issue just has the regular demo files, plus copies with the edits already made so you can compare what you did against what you were supposed to do. That, and there’s a “pick-up artist song” by Hachiko-P, and the next MMD model, this time for “Satchan” (Speaker). Vol. 4 will hit Kyushu around the 23rd, so I’ll find out then what’s going on.

The movie files have been covering the usage of the different apps in small bits and pieces. For Vocaloid, we’re taught how to change the lengths of different vocal components and add new phonemes to make Rana sound more natural. Unfortunately, my version of Vocaloid Lite seems to be slightly different than what’s in the video, and I couldn’t insert one of the phonemes as demonstrated. And in fact, part of the starting demo file already had some of the edits in place before I opened it.

(Pick-up Artist interview with Hachiko-P.)

With Singer-Song Writer, we’re treated to more of the mixer functionality, specifically, adding reverb, and playing with compression and the maximizer-limiter. SSW is very powerful, yes, but so far all the work has been on modifying finished songs. I’d like to go into the process of composing music from scratch pretty soon.

The really impressive package, though, is Miku-Miku Dance. The lesson this time is to take the Rana model from volume 1 and change the pose to match the volume 3 cover. There’s a lot of twisting and pulling on specific joints, but the connections are designed so that the rest of the model stretches or bends in a fairly natural way in response. You don’t have to adjust every single joint individually, which simplifies the operations a lot. The video is 8 minutes long, but because I was pausing it to work on the model, the entire lesson took an hour. When you’re done, you’re instructed to import the bird-like speaker creature, Satchan, and fix its pose on your own. As kind of a cheat, rather than adjust Rana’s fingers to make a fist or curve them somewhat, we’re given “pose” files to import for both the right and left hands.

Again, the magazine mirrors the movies on how to use Vocaloid, SSW and MMD. Additionally, there’s the interview and introduction of Hachiko-P’s Vocaloid songs, some joking between Rana and Robo-Panda about what reverb is, and a couple pages dedicated to some of the other Vocaloid products. I’m looking forward to the next issue to see what else MMD can do.

A few days ago, I got to wondering if I could find English user manuals online, given that both Vocaloid and MMD are running on my PC in English. Turns out that Yamaha has been packaging the English PDF with Vocaloid Lite, and that’s found by going to the help menu. I haven’t located anything for SSW, but there’s a dedicated website called Learn MMD that has a number of tutorials for Miku-Miku Dance in English, which makes up for the lack of a manual for MMD on the DVD-ROM.

About Japanese phonemes:
The Japanese alphabet is comprised of consonant-vowel combinations, rather than the smaller components we see in English. That is, we have “ah”, “ee”, “ooh”, “eh”, “oh”, “kah”, “key”, “coo”, “keh”, “co”, “sah”, “she”, “sue”, “seh”, “sew”, etc. You can double up on some of the consonants to emphasize the “t” or “s” sounds, and you can lengthen the time you hold the vowels. Usually, a lengthened vowel (“to” compared with “tou”) is just one sound, rather than separating them into two individual sounds (“to” + “u”). This is relevant to Vocaloid because it doesn’t recognize certain sounds. You can extend a note, so that the vowel part sounds like it’s longer, but many times you need to enter “to” + “u” as two individual letters, as if they’re separate notes. On top of this, Vocaloid doesn’t recognize kanji, so all of the lyrics have to be entered in the phonetic alphabetic system called hiragana. Having a Japanese wordprocessor like NJ-Star, or the Japanese IME character entry software is important here.

Bokaro P ni Naritai, vol. 1

Hmm. You’d think that a company that sells books and stuff would WANT people to cross link to images in their bookstores, but no…

(Image used for review purposes only.)

Bokaro P ni naritai is a new installment series out from Shopro, the same conglomerate that operates the Weekly Shonen Sunday manga magazine. The title translates to “I want to become a Vocaloid P”, where “P” presumably stands for “Producer”. If you’re not familiar with the Vocaloid series (and if you’ve been reading my blog, you should at least know about Miku Hatsune), it’s a collection of “singing synthesizer” packages. You type out the lyrics, and instead of just having some instruments plus a singer on a separate voice track, Vocaloid sings the lyrics as well. There are several voice styles on the market now, both male and female, with Miku being the most popular in Japan.

The installment magazine from Shopro introduces a new Vocaloid character – Rana. Over the course of the 30 magazines, which are scheduled to come out every other week, you get to learn how to use the Vocaloid engine, Singer-Songwriter for Rana, and Miku-Miku Dance (a 3-D modelling program that lets you create your own dance videos using the Rana model). The first 10 issues bring you up to speed as a beginner on all three packages. The next 10 walk you through the writing process for different music genres (rock, j-pop, jazz, etc.), and then the last 10 focus on the finer points of the applications.

The first issue is 800 yen ($8 USD), while the rest are all 1,500 yen. So, the full series is going to be close to $450 USD, spread out over a little more than 1 year. You may be tempted to skip issues and only buy the ones you need. However, the idea is to clip the proof of purchase markers from the magazine covers and glue them onto the included postcard. If you collect all 30 issues and send in the postcard, you’ll receive serial numbers for upgrading to the fully-functional versions of the Vocaloid software (rather than the crippled “lite” versions that come with the magazine). The first 3 volumes have DVD-ROMs, and after that it’s just going to be the magazine by itself.

Vol. 1 comes with the DVD-ROM with the installers of all three packages (Vocaloid, Singer-Song Writer and MMD), with movie files showing how to do the installs and then dabble with the included demo data files. The movie for MMD is particularly necessary, since there’s no install wizard for it – you have to do some weird tweaking in Visual Studio by hand, instead. I haven’t tried that yet – it took over an hour just to get the other two done.

The magazine is part advertising for the installment series, and part Vocaloid history lesson. The only really necessary sections are those describing how to get the upgrade serial numbers, and the page on how to get the limited-edition (not free) calendar (end of October deadline). You can personalize Rana in MMD with a unique serial number that appears on her cheek, by clicking on the “Get Rana SN” button from the DVD-ROM menu screen.

It is possible to get a head start on each of the software packages – once you activate them with the included serial numbers, they’re ready to go, and the DVD-ROM also has sample music files you can play with. On the other hand, the volume 2 magazine is a step-by-step guide on how to run and use Singer SongWriter Lite, and that’s actually being released on Sept. 23. It should be reaching Kyushu by the 25th, and I’ll start seriously playing with Vocaloid at that point. Interestingly, the Vocaloid installer lets you pick Japanese or English, so there’s no language barrier there on that count.

If you live in Japan (to avoid the 2x’s import mark-up) and want to learn how to make music using the vocaloid system, and ultimately uploading your own dance videos to youtube (or the Japanese version, Nico-Nico Douga), it may be a good idea to get I Want to Become a Vocaloid Producer. It’s going to be expensive for what you get, since the commercial versions of the software might be closer to $300 for the total package, but the magazines act as a classroom study, and it’d cost more if you went to a school that teaches Vocaloid. Me? Personally I’m waiting for the volume on how to write house, techno and trance.

NSX-39, a first look

If you’re not familiar with Vocaloid, I suggest that you read the wiki article. It’s a very popular franchise in Japan, and in part that popularity revolves around the characters created to represent the various singing voices that the Vocaloid software can produce. As an example, Miku, one of the first, and one of the main “lead singers”, is consistently used in product tie-ins with FamiMart convenience stores.

As I’ve mentioned here recently, Gakken had announced the upcoming release for their NSX-39 Pocket Miku “singing synthesizer”, through their Otona no Kagaku line of kits. To an extent, the NSX-39 is kind of an extension of the SX-150 ribbon controller synthesizer. The concept is that rather than just having musical instrument voices like a piano or flute, you have the human voice singing specific sounds. The original Vocaloid software was written around the idea of music being created based on transcribing written lyrics. What the NSX-39 does is provide a USB port for downloading new lyrics to the kit, and then offering up to 10 operating modes for playing those sounds back as music. The user interface is a ribbon controller and stylus, with the ribbon split into 2 parts. One is a regular continuous ribbon as with the SX-150, while the other has distinct piano-style keys printed in it, resembling the keyboard printed on Miku’s stockings in the character art.

As can be seen in the below photo, the face panel has Vibrato, shift, A, E, I, O, U, and Volume Up and Down buttons. There are stereo headphone and USB jacks at the back, and an Off/Battery/USB switch. So, you can run the NSX off USB power if you don’t want to use up batteries (3 AAA’s). All of the face panel buttons do double duty if you use the shift key with them. The normal mode is to assign each of the keyboard keys to the Japanese versions of “do re mi fa so la ti do”. The A-O buttons switch the sounds to just that letter across the entire keyboard. Shift A-O activates a pre-programmed sentence that sequences every time you touch a note with the stylus. Shift-A gives you “Ko-ni-chi-wa-A-ri-ga-to” (Hello, thank you) playing one syllable per note press. Vibrato warbles the sound currently being played, and Shift-Vibrato returns the unit to Do-Re-Mi mode. Volume Up and Down changes speaker volume in 5 steps, while Shift-Volume Up/Down changes the keyboard up/down 1 octave. Vibrato-Volume Up/Down is pitch bend. Vibrato and A-O lets you switch to user presets.

(NSX-39 with Miku sticker applied.)

Pressing Volume Up and Down and A at the same time is “Panic” mode (defaults reset).¬† Up and Down and U switches between NSX-1 mode. Up and Down and O turns tuning on and off. Up+Down+Shift reinitializes the unit. At the moment, I can’t tell the difference between NSX-1 and NSX-39 modes, or Panic and Initialize.

(FamiMart version of Miku.)

The box contains the fully-assembled NSX-39, a 16-page user’s manual, 2 stickers you can put on the face plate (a picture of Miku, or the definitions of the different buttons in English) and an insert sheet advertising the real Vocaloid software system. The first 3 pages of the manual look at the history of electronic speech, from the Speak-and-Spell up to Vocaloid. The rest of the manual is split up into Operations; Using the online app or a sequencer; and Troubleshooting.

In general, the NSX-39 is a toy. It’s nice to play around with and make¬† sounds for a while, but it has the same appeal as the Korg Monotron, and about the same play lifespan. As-is. To expand its repertoire and keep it more interesting for a longer time, Gakken has added some nice features. First, if you go to the app page, you can access a second webpage that lets you type in new “sounds-as-words” into the interface and automatically store them in the NSX-39 (it has to be connected and turned on at the time) for later
playback. When you plug the unit into your computer (PC or Mac), the OS autodetects the NSX-39 and downloads the proper USB drivers for it. The app only runs under Google Chrome (which I hate) and only accepts Japanese character entry (what’s called Hiragana). This means that you can’t use the app for English entry, since the Vocaloid software isn’t tuned to English. If you can read and write Hiragana, it’s great.

(Miku loves FamiMart)

The second nice thing added by Gakken is MIDI support. You can run the NSX-39 from a PC-based sequencer through the USB port (if you have sequencer software), and you can even use it as a MIDI controller. I haven’t tried this out yet (the Pocket Miku just hit the stores in my region of Japan two days ago). But, I’m thinking that I’ll be able to interface it with my K-Gater Java app sometime by the end of April or beginning of May when my schedule frees up. If K-Gater works, I’ll try writing a Java-based sequencer to include the Kaossilator Pro. (To interface with my other gear, I’ll need to buy a PC-to-MIDI connector converter, which I don’t have yet.) The manual lists the supported MIDI operations, but it’s just in one small paragraph; it’s not in table format. So it may take some experimenting to get the codes to work right.

One thing about the USB connection is that you need Micro-B. Fortunately, when I bought my new Nikon CoolPix digital camera, it came with a Micro-B USB cable, so I already had that available when it came time to plugging the NSX-39 into my laptop.

Comments: The Pocket Miku is an interesting novelty item to add to your rig. If you use your laptop as a converter, you can drive the unit from a regular MIDI keyboard rather than having to use the ribbon cable. Or, you can use regular sequencer software and have it playing while you compose songs regularly through the computer. The three things I wish were different are: Firefox browser support for the app; support for English phonemes; and the ability to choose a voice other than Miku’s. Miku is supposed to sound like a 16-year-old girl, and she gets rather piercing when singing higher notes. I’d like to have a lower, male voice in order to get bass sounds. But, maybe that will be a sequel kit.

Pocket Miku Singing Keyboard
Released Apr. 3rd, 2014, 4,980 yen (w/o tax).
Ships fully assembled; not a kit.
Accompanied by a 16-page B5-sized user’s manual.
Requires 3 AAA batteries when not connected to a computer.
Requires a Micro-B USB cable to connect to a computer (PC or Mac).


Gakken Activity – Feb. 24

A little activity on the Gakken facebook page. First, Gakken is happy to announce that two of their books, one on Vocaloid and the other on figure skating (I guess) have made it onto’s Best Seller list.

Second there’s an announcement for the Vocaloid book, Singing Keyboard, Pocket Miku.

Finally, we have a craft fair event for the Petite Handmade felt animal kit.