Vocaloid

History and character

Vocaloid music is the repertoire of songs sung by synthetic voices created with Yamaha's Vocaloid voice synthesis engine (and similar software). The software lets you write notes and syllables in a piano roll and generate a sung voice from samples recorded by a voice actor or singer. The breakthrough came on August 31, 2007, when Crypton Future Media released Hatsune Miku (Vocaloid 2 engine, voice of Saki Fujita), the third Vocaloid library on the market, with an illustrated character who became an icon. The video site Nico Nico Douga (similar to YouTube) played a fundamental role: just a few days after release, users were already posting songs with Miku. Kagamine Rin/Len, Megurine Luka, GUMI, IA and many others followed; Miku then moved to Vocaloid 3, 4 and 6, to the Piapro Studio NT software (2020) and to a new version in 2026.

Vocaloid producers, called “-P” (Producer), compose, arrange and mix on their own at home: ryo (supercell — Melt, World is Mine), Kurousa-P (Senbonzakura, posted on Niconico in September 2011, a fast rock song with a Japanese flavor that became a “legendary track”), wowaka (Unhappy Refrain), DECO*27 (Ghost Rule), Hachi (alias of Kenshi Yonezu: Matryoshka, Suna no Wakusei), kemu, Mitchie M (hyper-realistic tuning), PinocchioP, Kanaria, Ayase (who with YOASOBI brought the Vocaloid aesthetic into the mainstream), Giga, n-buna (Yorushika), Balloon (Keina Suda). Many of today's J-pop singers (Kenshi Yonezu, Yorushika, YOASOBI, Ado, Eve) come from this scene, either as producers or as “utaite” (singers who cover Vocaloid songs).

Characteristics: often extremely high tempos and melodies packed with syllables (a synthetic voice can sing things impossible for a human: huge leaps, very fast notes, unlimited range), rich J-pop harmony (royal road, chromaticism, modulations), rock, electronic or “denpa” arrangements (hyper-kawaii and frenetic), DIY production that is often very sophisticated. The quality of a song depends heavily on the tuning (chōkyō): the manual adjustment of the voice's pitch, vibrato, dynamics, opening and breaths.

Scales and keys

In modes, Roman numerals refer to the scale of the mode; in minor, to the natural minor.

Natural minor with harmonic V

• Formula: 1 2 b3 4 5 b6 b7 (+7 on the V). In F# minor: F# G# A B C# D E (+ E# in the C#7).
• Characteristic note: b6 (D) and the leading tone E#: dramatic and fast.
• Chords: i F#m – III A – iv Bm – V C#7 – VI D – VII E.
• Use: fast Vocaloid rock (wowaka, Kurousa-P), VI–VII–V7–i.
• Example: Senbonzakura (fast rock with a Japanese flavor).

Major with many passing chords

• Formula: 1 2 3 4 5 6 7. In Bb: Bb C D Eb F G A.
• Use: pop songs and ballads (Melt), royal road, canon, secondary dominants.

Yonanuki minor and the “wa” scale (Japanese color)

• Yonanuki minor: 1 2 b3 5 b6 — in D: D E F A Bb. Note: the semitones E–F and A–Bb: traditional flavor.
• Miyako-bushi (as a scale): 1 b2 4 5 b6 — in E: E F A B C. A traditional Japanese pentatonic scale with two semitones: a “wafū” (Japanese-style) atmosphere, used in songs with shamisen and koto.
• Use: riffs and melodies of “wa-rock” songs (Senbonzakura is the best-known example of the trend).

Chromatic and extreme leaps

The synthetic voice allows chromatic melodies, octave and tenth leaps, and very fast repeated notes: use them as a “signature,” but keep the song in a clear key.

How to choose

Harmony

Function

Dense, fast J-pop harmony: royal road (IVmaj7–V7–iii7–vi), secondary dominants, chromatic passing chords, a harmonic rhythm of one chord per beat in the choruses, modulations between sections. Many producers, raised on jazz or rock, use extended chords and slash chords.

Techniques

• Royal road and Marusa (IVmaj7–III7–vi7–v7–I7).
• Abrupt modulations by a third or a semitone between B-melo and sabi.
• Chromatic and walking bass lines in Vocaloid rock.
• Pedal with chords changing above it in electronic songs.
• Guitar riffs in a minor key with wa color (miyako-bushi scale over Western harmony).

Voicing

Guitars in power chords and open chords, piano with full chords, synths with arpeggios; vocal harmonies with several tracks of the same synthetic voice (in thirds and sixths).

Typical progressions

Rhythm and groove

Very high tempos (150–220) with 8-beat rock or punk 2-beat, drum and bass and breakcore in electronic songs, dance and denpa with four-on-the-floor kick at 160–180; slow ballads at 70–100. The melody is often in continuous sixteenth notes (even at 180 BPM), far denser than the drums. Full quantization; swing 0%. Many songs have “stops” and breaks with the voice alone or with a guitar riff.

Drums

Kick

8-beat with anticipations (1, 4, 7, 9) at high tempos; double kick in the harder songs; drum and bass (1, 11) in electronic songs; four on the floor in denpa.

Snare

On 2 and 4; 2-beat in punk choruses (snare on the offbeats); sixteenth-note rolls at the end of phrases (very fast at 180+).

Hi-hat and cymbals

Eighth-note hat (at high tempos sixteenths become too dense); ride and crash in the sabi; china and splash for accents.

Percussion

Taiko and traditional percussion in wa-rock; electronic percussion and glitch in electronic songs.

Interaction

The (programmed) drums follow the kime of the virtual band; they must leave room for a very dense melody.

By section

Intro: riff and kime; A-melo: light kit; B-melo: build; sabi: full kit, crash; solo: guitar or synth; final sabi modulated.

Fills and sounds

Very fast programmed fills (which a human drummer would struggle to play), rock samples (Superior Drummer, BFD, EZdrummer) or electronic ones. Mistakes: all velocities the same (sounds fake); drums so dense they cover the synthetic voice.

Bass

• Sound: virtual (sampled) electric bass with pick or slap, synth bass in electronic songs.
• Notes: very active lines, walking and chromaticism, unison with the guitar riffs.
• Rhythm: fast eighth and sixteenth notes.
• Examples: wowaka — Unhappy Refrain (very fast rock bass), DECO*27 (pop-rock bass).

Harmonic instruments

Electric guitars (often played by the producer or virtual), piano, synths (pads, arpeggios, leads), sampled strings, traditional Japanese instruments (shamisen, koto, shakuhachi) in wa-rock, chimes and toy sounds in denpa. Full voicings, power chords, fast arpeggios.

Melody and vocals

• Melody: very dense (continuous sixteenth notes), wide range, extreme leaps, repeated notes; the sabi is often in the library's high register (Miku works well in the mid-high register).
• Synthetic voice: tuning controls pitch bend between notes, vibrato (depth and speed), dynamics, “brightness,” “gender factor”/formant, and hand-inserted breaths. Good tuning imitates human imperfections; other producers use the robotic voice as an aesthetic.
• Harmonies: several tracks of the same voice (or different voices: Miku + Luka) in thirds and sixths, an octave below for body.
• Effects: EQ and compression for presence, doubles with slight detune, plate reverb, delay, distortion in rock songs, Auto-Tune rarely (the voice is already in tune).

Instruments

Synthetic voice (Vocaloid, Synthesizer V, CeVIO, UTAU), electric guitars, bass, programmed drums, piano, synths, sampled strings, traditional Japanese instruments, toy sounds.

Drum patterns

Synths and sounds

• Prophet-5 V — Lead and arpeggios: Bright leads and arpeggios for electronic songs.
• Jup-8 V — Pad and brass: Pads under guitars and vocals.
• DX7 V — Bell and e-piano: Chimes and bells for denpa.
• Piano V — Piano: Ballads and intros.
• Augmented Strings — Strings: Dense strings for the sabi.
• Korg MS-20 V — Distorted leads: Aggressive leads in electro-rock songs.

Song structure

Duration 3:30–4:30; video with illustrations or animations (PV) posted on Niconico and YouTube.

Mixing and mastering

Sonic goal

Synthetic voice clear and present without harshness, band dense and fast but orderly, bright highs. References: supercell — Melt, Kurousa-P — Senbonzakura, wowaka — Unhappy Refrain, DECO*27 — Ghost Rule, Kanaria — KING.

Kick and snare

Kick: HP 30 Hz, +2 dB at 60 Hz, −3 dB at 350 Hz, +3 dB at 4 kHz. Snare: +2 dB at 200 Hz and 5 kHz; plate 1 s. At high tempos shorten the tails (short decays) to avoid muddiness.

Cymbals

HP 300 Hz; −2/−3 dB at 4–6 kHz (the synthetic voice is already bright: avoid the conflict).

Bass

HP 35 Hz, presence at 1 kHz, compression 4 dB, mono.

Guitars and synths

HP 100–150 Hz; −3 dB at 400 Hz; doubles L/R; dynamic dip at 2–5 kHz triggered by the vocal.

Synthetic voice

• EQ: HP 120–150 Hz (libraries have little useful body below that); −2/−4 dB at 2–4 kHz if “nasal” or harsh (many libraries have harsh resonances in this zone: check by ear); firm de-esser at 6–9 kHz; air +1/+2 dB.
• Compression: light (3–4 dB): the dynamics are already controlled by the tuning.
• Saturation: light (tube) to “humanize.”
• Space: plate 1–1.5 s, 1/8 delay; doubles with detune ±5–10 cents.
• Automation: volume and brightness are already in the tuning; riding touch-ups in the mix.

Buses and groups

Drum bus 2–3 dB; band bus glue 1–2 dB; vocal bus 1–2 dB.

Master

Chain: EQ → compressor 1–2 dB → clipper → limiter. Target −8/−6 LUFS, true peak ≤ −1 dBTP, PLR 7–9 dB.

Common mistakes

Synthetic voice harsh at 2–4 kHz and sibilant; flat tuning (sounds mechanical when that isn't intended); band too loud and covering the vocal; too much high end on everything.

Reference tracks for the mix

supercell — Melt (2007); Kurousa-P — Senbonzakura (2011); wowaka — Unhappy Refrain (2011); Hachi — Matryoshka (2010); DECO*27 — Ghost Rule (2016).

Reference listening

• supercell (ryo) — Melt (2007)
• supercell (ryo) — World is Mine (2008)
• Hachi — Matryoshka (2010)
• Kurousa-P — Senbonzakura (2011)
• wowaka — Unhappy Refrain (2011)
• DECO*27 — Ghost Rule (2016)
• Hachi — Suna no Wakusei (2017)
• Kanaria — KING (2020)