🎤 きくお曲カラオケ・アカペラ音源の入手

[English] Kikuo Karaoke & Acapella Base

Terms of use

I generally welcome all forms of derivative works and usage.

Karaoke: Use for a wide range of purposes, including karaoke, publishing of singing works, and production of cover songs.

Acappella: Please use it for a wide range of purposes, such as remix production.

If you wish to distribute your work through streaming services or sell it in other ways, please refer to the section on rights.

Please contact me if you have any data deficiencies or requests.







  • UFO - 作業データの復元ができませんでした。

👌 権利関係 (2024/2/6 最終更新)

概要 ほぼすべての楽曲をJASRAC及びNexToneに権利信託しております。そちらの規定に沿っていただければ、基本的にはきくおへの連絡なく、正式な形での利用が可能です。 Summary Almost all of my music is held in trust with JASRAC and NexTone, which is affiliated with copyright management organizations around the world. Therefore, if you pay the fee in accordance with local regulations, you will basically be able to officially use the music without contacting Kikuo.

[English] Rights (2/6/24 last updated)

I want to use a song, where do I get the data for the song?

You may use data obtained in various ways, such as from CDs, downloads from iTunes, or extracts from YouTube.

I want to use a song in my video, stream, DJ / I want to submit a vocal cover song, etc.

For almost all of Kikuo and Kikuohana music releases, I have permission to publish YouTube videos using the music. No permission required. Monetization is also possible.

This includes songs not uploaded on Youtube that are only included in the album, and songs under the name "Kikuohana".

However, only one song, "Technology ni Yume Nosete", is not allowed. This is not my personal release, so it is the intention of the label. I apologize for the inconvenience.

I also do not intend to be picky about unauthorized paid use, as long as it is very minor or in line with the conventions of the doujin and the community.

Just keep it within the bounds of common sense and don't overdo it.

For platforms other than YouTube, such as Twitch

First, please read the terms of use for each of these services.

Basically, I welcome the use of music in broadcasts.

If you are using the music in a manner that conforms to the regulations, there is basically no way for me personally to file a copyright infringement claim against you.

To complicate things a bit, I can say that I am a "related copyright holder" since the copyright management of the music is outsourced to a management organization. As a "related copyright holder," you may consider that I am granting you permission to use the music.

I want to play with a DJ.

For large events that require a pre-setlist submission, there may be a procedure that needs to be followed. In most cases, the organizer will contact you to that effect.

For other normal use, you are free to use the music in accordance with customary practice.

If the release is too new and not in trust with a copyright management organization

If you are planning a commercial scale project, please contact us. For normal use, you are free to use it without contacting us.

I want to distribute my cover songs on Spotify, Apple Music, etc. / I want to use it in a live performance.

Copyright management of major music compositions is entrusted to JASRAC and NexTone through music publishers. You can officially use the music by applying and paying the usage fee in accordance with the regulations. Please assume that permission will be granted without difficulty.

JASRAC has partnerships with many countries. So please follow the regulations of the music copyright management organization in your country.

I want to make a game using Kikuo's music.

Songs whose copyrights have been entrusted to JASRAC may be used by paying the stipulated fee. Otherwise, or if you fall under the category of "quoted price," please contact us by e-mail.

Depending on how much of the song will be used in the game or how it will be distributed, you may be asked to pay a fee.

  • I am an indie and want to use it for the opening or some BGM. →In most cases, I will allow it for a small amount.
  • I'm an indie and want to use Kikuo-san's music for most of the songs in my game. →I may charge a fee for use. I will not charge a large amount.
  • You are a corporation and want to use the music in a commercially distributed game. →You will be charged a fee. The amount varies depending on the scale of the project, so please send me the materials.

Use of music in an underground way

It is true that we are supported by such activities. If do you it at all, try to do it well.























カバー曲をSpotifyやApple Musicなどで配信したい。ライブパフォーマンスで使いたい。






  • インディーズであり、オープニングや一部のBGMで使いたい。→少額で許可する場合が多いです。
  • インディーズであり、ゲーム内のほとんどの楽曲をきくおさんの曲にしたい。→使用料を頂きますが、あまり多額の請求は行いません。
  • 法人であり、商業流通のゲームで使用したい。→使用料を頂きます。規模によって金額が変動しますので資料をお送りください。




🎼 お仕事のご依頼について

[English] Job offer

Do you accept requests for music production or collaboration?

I'm very sorry, I'm very grateful for the invitations, but I'm currently refusing almost all of them.

The main reason for this is that I want to focus on independent production.

(10/31/23 last update)

I am willing to do interviews, so please do not hesitate to contact me.

Do you accept requests for live appearances?

I am very happy to be invited.

However, since I’m not a band that can perform many gigs, I often have to decline.

I would like to have a meeting with you once.

Sorry to say that I generally do not accept requests for in-person or online meetings. I would appreciate it if you could provide me with detailed information in the form of a letter or document. I will only accept your proposal if it is necessary due to the nature of the content.








大変心苦しいのですが、実際のご対面、及びオンラインミーティングを問わず、基本的にお断りしております。お手数ですが文面・資料にて詳しい内容をご提示いただければ幸いです。 内容の性質上必要な場合に限り、ご提案をお願いいたします。


📧 連絡先

[English] Contact

I read through all emails.

Thanks Emails.

  • reports of broken links, strange conditions in music distribution, flames, etc..
    • →I'm a messy person, so I often make mistakes in administrative tasks. Most of the mistakes are noticed and corrected when listeners report them. Basically, anything that is not currently corrected is a matter that has not yet been reported to me, and I would really appreciate it if you would contact me! I am supported.... Thank you very much.
  • Please ask for permission to use the music.
    • →Please refer to the section Rights. Otherwise, I'm interested in how it's used, and I can look into it and gain knowledge on each occasion, so don't hesitate to contact me!
  • Questions and fan messages.
    • I don't have time to reply to every message, but I do read them all. Thank you. I will most likely answer your questions.

For advice on music production

I don't think I am in a position to give advice to others, but I am sometimes contacted by creators seeking my advice on music production.

However, I am sorry to say that I may not be able to respond adequately depending on my schedule, physical condition, mood, or other factors at the time.

For the time being, here is a summary of the advice I often give, and I hope you will find it useful as an example. Otherwise, please contact me!

I have never finished a song.

I don't know what to do first.

I understand very well.

On top of that, I recommend that you start making them first, right or wrong, and try to complete simple songs as you go along! For example, it could be something as short as 10 seconds.

As for tools, free or low-cost, high-quality music production software is actively being released every day, not only for PCs, but also for smartphones, tablets, and other devices. I think it is a good idea to check them out and try as much as you can without spending a lot of money.

First choose a sound, then put it to the test, and when you have done so, play it back. Your blurry, abstract worries about what you should work on first should turn into concrete issues about how you can solve this problem.

Then Google will tell you many ways to solve it.

I am not sure if I should learn music theory.

You can find all the answers here. The site is in Japanese, but you can read it with automatic translation.

(As of April 13, 2022, this site appears to be undergoing an English translation by the creator himself.)

I have completed some of my songs.
If you want to produce a song in a particular genre

Please assume that there are already many existing collections of tones for creating specific genres of music.

With subscription-based services such as Splice and Loopcloud, it is possible to collect a nearly unlimited number of them. Use them relentlessly to create songs.

In the case of popular genres, you can also find tracks on Splice and other services that have been released as stems, with each track output separately, so it would be a good idea to refer to those as well.

Other than the above: Try out a wide variety of tunes and publish them on YouTube and other sites as you go along.

I think you will get much more out of it than any advice I can give you.

I think you'll find it an exciting experience!

I have completed and published a number of songs.
I want to know how you make that sound in that song.

I can answer as best I can!



  • リンク切れ、音楽配信で変な状態になっている、炎上などのご報告
    • →雑な性格ですので、事務的な作業でミスをすることが多いです。ほとんどのミスはリスナーさんからのご報告で気付き、すぐに修正しております。 基本的に、現在修正されていないものは、ほとんどの場合まだご報告が来ていない事案です。ご連絡いただけると本当にありがたいです。支えられています・・・。ありがとうございます。
  • 楽曲利用の許可がほしい
    • →権利関係の項をご参照ください。 その他、どのような使われ方をするのか興味がありますし、その都度調べて知識を得たりできますので、遠慮なくご連絡ください!
  • 質問やファンメッセージ
    • →すべてのメッセージに返事を書く余裕がありません。しかしすべて読んでいます。ありがとう。














ある特定のジャンルの曲を制作されたい場合 (例: 今回はFuture Bassを作ってみました!等)










🎵 音楽について

[English] About production

What kind of equipment do you use to compose?
  • DAW: Studio One
  • VSTi: Omnisphere, Kontakt, Massive, Addictive Drums, Many other secret plug-ins
  • VSTfx: Fabfilter, Glitch Machines, Waves Signature Series, Ozone, Komplete, Many other secret plug-ins
  • Samples: Splice Loopcloud
  • Hardware: Adam A7X, Clear MG Pro, Presonus revelator io44
  • Other: Sound ID

Detailed equipment description

It is often referred to as an extreme production environment.

It is software complete. It's like getting a mediocre sound out of a synth or sampler, and making it sound strange with VSTfx.

It's a production environment that specializes in that style, loading tons of plug-ins, scattering tons of sounds into a soggy mess, and then steadily arranging them with a single mouse.

I can't play MIDI keys or touchpads, and I don't have the communication skills to ask people to play for me, so I had no choice but to use a method of elimination that led me to a click-based production method.

In my experience, it doesn't seem to be very helpful for other people.

As for DAWs, I have to admit that there are many situations where I envy other DAWs, but there are also good points, so I don't have a final answer.

I like Studio One because it does a good job of recovering from freezes.

I especially like the speakers for their ability to produce accurate sound even at low volumes. However, I have the impression that the acoustics vary greatly depending on how they are set up, which is a little severe, so I don't recommend them for everyone.

The Genelec 8020CPM gave me the impression that it would sound good no matter how it was placed, but I sold it because one A7X installed properly was enough.

I used to use YAMAHA MSP5, HS5, Genelec 8020CPM as speakers, 900ST and Z1000 as headphones, but with just one A7X, I no longer need all of them. It's amazing.

I didn't compare many speakers, so I can't give a final answer, but I am very satisfied.

The Clear MG Pro is mainly used for fine-tuning during the mixing phase. It is like a microscope. The fit is not very good, but as for the sound, it is near perfect.

Not only does it sound flat, but it has a unique and mysterious characteristic that can only be described as "high resolution" and "every sound can be heard". I wonder what that thing is. It's amazing.

(This headphone is for production use, so it’s not suitable for listening purposes. This does not have the characteristics that allow you to listen to music comfortably. It's like watching a movie through a microscope.)

I use Reference4 to correct the acoustics.

I would like to see the actual production process.

This is a video from quite a while ago, but I once did a live broadcast where I made one song in 4 hours.

And, In 2022, Appearance in a documentary: NHK (Japan's National Broadcasting Corporation) “プロフェッショナル仕事の流儀 究極の歌姫 Virtual singer Hatsune Miku”

A scene of Kikuo producing music is broadcast.

  • DAW: Studio One
  • VSTi: Omnisphere, Kontakt, Massive, Addictive Drums, Pianoteq, その他秘密のプラグインたくさん
  • VSTfx: Fabfilter全部, Glitch Machinesいろいろ, WavesのSignature Seriesいろいろ, Ozone, Komplete一式, その他秘密のプラグインたくさん
  • Samples: Splice Loopcloud
  • Hardware: Adam A7X, Clear MG Pro, Presonus revelator io44
  • Other: Sound ID








Studio Oneは、フリーズに対するリカバリーを頑張ってくれる健気なところが好きです。


Genelec 8020CPMはどう置いてもちゃんと鳴ってくれる印象でしたが、適切に設置したA7X1台で十分だったので売りました。

かつて、スピーカーはYAMAHA MSP5、HS5、Genelec 8020CPM、ヘッドフォンは900ST、Z1000を使用していましたが、A7X一台ですべて不要になりました。すごい。


Clear MG Proは、主にMIXの段階において、微細な部分を調整するのに使います。装着感はあまり良くないですが、音についてはファイナルアンサーに近いです。







また、2022年3月1日にNHK「プロフェッショナル仕事の流儀 究極の歌姫 バーチャル・シンガー 初音ミク」に出演し、制作風景もガッツリ特集されていますので、そちらもよいかと思います。

🗒️ バイオグラフィ / Biography





2016年、ニコニコ超パーティー2016 inさいたまスーパーアリーナ出演。



NHK「プロフェッショナル仕事の流儀 究極の歌姫 バーチャル・シンガー 初音ミク」長期密着取材を経て出演。


Rolling Stone Japan「世界で活躍する日本のアーティスト10組」に選出。

サウンド&レコーディング・マガジン「Private Studio 2023」特集。


「愛して愛して愛して」全世界で最も聴かれている日本の曲TOP10にランクイン(Genius Japan)。


Born in 1988. Started music production in 2003.

In 2010, he submitted my first Vocaloid song.

In 2016, he performed at Nico Nico Super Party 2016 in Saitama Super Arena.

In 2017, His music was featured in the high school textbook "High School Music 1" (Kyoiku Geijutsusha) .

In 2022, “Love Me, Love Me, Love Me” Achieved the world's No. 1 position in the number of Vocaloid songs played on Spotify.

Appearance in a documentary: NHK (Japan's National Broadcasting Corporation) “プロフェッショナル仕事の流儀 究極の歌姫 Virtual singer Hatsune Miku”

In 2023, over 1,000,000 subscribers on YouTube. Selected as one of Rolling Stone Japan's "10 Japanese Artists Active Around the World". Featured in Sound & Recording Magazine's "Private Studio 2023" feature.

In 2024, This is the first Vocaloid P to complete an US tour.

“Love Me, Love Me, Love Me” is ranked in the top 10 most listened to Japanese songs in the world.