On March 27, 1986, Ning Weimin and "Alido" officially signed a music production contract.
On March 28, Ning Weimin took Cui Jian and Zhang Qiang to the Miyachi Musical Instruments Recording Studio in Kanda, Tokyo, and met with the Japanese staff responsible for the matter.
Bian Gang, the security officer of Tan Palace, was also temporarily transferred by Ning Weimin to act as an interpreter for the communication between the two parties.
As a result, they went into the studio to try out a song that day, and both of them were immediately shocked by the strength displayed by the other.
Only an hour had passed and everyone in the recording studio was almost going crazy with excitement.
If nothing else, first of all, a huge country like China only had one Zhang Qiang.
Her timbre is also unique in Japan.
As soon as his little voice shines, he immediately gained countless fans.
After singing a cover of "Little Girl Under the Streetlight" from M's "Brother Louie", even the mixer and recording engineer in front of the mixing desk started to twist and called "Youxi", almost turning into a DJ.
DJ.
Someone in China should definitely blow the whistle.
And Xiao Cui's original rock music is a masterpiece that is difficult to grow in Japan, a land that admires the West from the bottom of its heart and is barren and small.
When the drum prelude to the song "It's Not That I Don't Understand" sounded, the dynamic rhythm broke through the language barrier faster than Zhang Qiang.
Not only were the members of the band all high, but it also completely refreshed Japanese musicians’ perception of Chinese pop music, and won the recognition and appreciation of all Japanese people present.
Bian Gang, who was a little reluctant at first, also gestured with his thumbs through the glass, acting like a little fanboy.
Of course, for Zhang Qiang and Cui Jian, Japan's mature music industry model and technical level are equally breathtaking.
You know, Cui Jian's song "It's Not That I Don't Understand" is the first song in China recorded with electric bass, guitar, drums and other plug-in instruments.
These three to four musical instruments and vocals are recorded simultaneously, producing different sounds and being very close together, which requires very complex technology and high-end equipment.
If we were to record in China, it would be basically an impossible task.
The difficulty lies in the current technical level in China, which simply cannot figure out how to place the microphone in the correct position.
Nor will we use technical means to filter out other sounds in the instrument.
In the end, I could only record the parts separately and then synthesize them again.
Cui Jian also tried this song in a domestic recording studio not long ago.
At that time, because he was dissatisfied with the results, he ended up having a dispute with the sound engineer and was even kicked out.
There is no way, the current recording level in China is like this, it is really not enough to watch.
For example, when producing popular songs and electronic music, Midi synthesizers are mostly used in China for arrangement.
Then let the singer sing under the arranged background music, and the recording can be completed with only two tracks.
For example, the National Song and Dance Ensemble and the Oriental Song and Dance Ensemble are a group of popular singers who have developed based on folk music. Their music albums are all recorded at this level.
But the ones in Japan are much more advanced. Not to mention 24 tracks, they also have 48 tracks.
I have to admit that although in terms of artistic expression, Little Devil can only imitate and never surpass.
But their advanced recording equipment and music production technology are already at the forefront of the world, basically on the same level as the West.
It is no exaggeration to say that if any practitioner here is brought to China, he will be a master.
So when the studio finished recording the first song for the two of them and played it for trial broadcast, both Zhang Qiang and Cui Jian took off their headphones to listen to it, and they were both fascinated by it.
Because the recording results are really outstanding.
The various timbres have distinct layers and are more three-dimensional than real live performances.
The sound is clear and the level of restoration is so high that it can almost reach straight to the soul.
Even the tiny flaws in their voices are clearly visible.
This made their adrenaline rush like never before, and the two of them immediately rushed to get back into recording.
So when this day's running-in was over, although he had successfully recorded one song for Zhang Qiang, Cui Jian only recorded half of the song because of repeated attempts to be more realistic.
But they were still extremely excited and satisfied.
If I could describe it, it would be in two words - enjoyable!
So much so that Zhang Qiang and Cui Jian have repeatedly sincerely thanked the staff and the band for their efforts.
In turn, the Japanese staff were all moved by their music, and applauded collectively without feeling satisfied.
Music without borders is indeed true under certain circumstances.
The evidence is that after the work was over, the representative of "Alido" shamelessly dragged Ning Weimin and Zhang Qiang away, while Cui Jian found a place to have a few drinks.
This guy is a bit smart and wanted to ask if it was possible for them to develop in the Japanese music industry.
But regarding this matter, Ning Weimin could only express his gratitude but refused directly on behalf of Zhang Qiang and Cui Jian.
No way, you can't keep big carp alive in a small pond.
Zhang Qiang and Cui Jian in his hands are the top names in the domestic music industry.
If their two albums are sold domestically, they will earn tens of millions of profits.
How could you be so stupid as to give up the vast music market in mainland China and take them to Japan to earn a small amount of money?
That's not a fool.
In fact, when Ning Weimin relayed the Japanese intention to Zhang Qiang and Cui Jian.
The two of them just laughed and were happy, but no one was really moved.
Maybe they don't understand the market prospects, but their trust and gratitude to Ning Weimin are also unshakable.
But having said that, based on the enthusiastic response of the Japanese and the experience of visiting the scene in person today.
Ning Weimin can almost predict the huge success that Zhang Qiang and Cui Jian's new album will achieve.
There is no doubt that their music albums are controlled by Japanese recording engineers. After returning to China, they will definitely be an instant hit and will surely lead the trend of domestic pop music again.
The only uncertainty is how amazing the final sales figures will be and whether they can break the original historical record.
On March 30, Qu Xiao and her daughter finally arrived in Tokyo from the capital.
Ning Weimin, who had prepared everything for them in Tokyo, took the medical translator hired for them and ran to Narita Airport to pick them up.
Afterwards, it was temporarily arranged for the mother and daughter to live in the staff dormitory of Tan Gong Restaurant.
Ning Weimin was very considerate. First, it could save the mother and daughter some money. Second, there were many people here, so it wouldn't be too convenient.
Any chef could provide delicious and nutritious hospital meals for Qu Xiao's mother with just a hand.
It can also nourish and nourish as much as possible to prepare for the upcoming surgery.
Not only that, in order to help them solve their financial worries, Ning Weimin also signed a print advertising contract with Qu Xiao in the name of the "Yilad" company for the Easy-Lad trolley cases.
He planned to take advantage of Qu Xiao's mother's recovery time from the operation to find an advertising agency in Tokyo to complete the matter.
The amount of remuneration was not filled in at all, and Ning Weimin's intention was very simple, that is, based on Qu Xiao's mother's treatment expenses, actual reimbursement would be made.
Needless to say, Qu Xiao and her daughter had no objection to everything Ning Weimin had done, and they could only shed tears of gratitude.
What happened next went really smoothly. After the initial diagnosis on April 2, Qu Xiao’s mother got a letter of introduction.
Then I went to Meiji Medical College in Tokyo, Japan, filled out the inquiry form, and was successfully admitted to this cancer specialist hospital, becoming an official patient here.
Three days later, we discussed through a comprehensive examination and consultation with a doctor, and got a better answer.
The attending doctor told Qu Xiao that there was about a 60% chance that her mother's life could be saved through surgery.
This is already much better than the domestic diagnostic response.
Just like that, Qu Xiao signed the contract, made a long-distance call to China, informed his father, and quietly waited for the date of his mother's surgery to approach.
As for Qu Xiao's meeting with Ning Weimin in Tokyo this time, it was a bit embarrassing and it was impossible to completely pretend that nothing happened.
But maybe it was because Ning Weimin had done too many things for Qu Xiao, or maybe it was because Qu Xiao focused all his energy on his mother.
Qu Xiao redefined her position and began to treat Ning Weimin like a well-behaved sister.
Everything has been left unsaid.
The two people are destined to be together, and their once hazy emotions are as beautiful as the cherry blossoms in bloom in Tokyo.
It's so vivid, exciting, yet so dreamy and fleeting.
Even before both of them had time to openly express their feelings and express their feelings to each other, it ended in vain.
