The majority of the music that electronic J-pop duo YOASOBI makes uses Logic Pro and Vocaloid, so it's no surprise that their favorite item in their collection is the object that makes it all happen: their laptop.

"I rarely use real instruments in my compositions," the group's producer, Ayase, reveals in the latest episode of It Goes to 11. "With this program, I am able to reproduce and manipulate the sound of the guitar, piano, and drums without doing any actual recording."

The convenient thing about using a laptop is that Ayase never has to go to the recording studio — so whenever he gets a burst of inspiration, he can immediately begin working on a song. "I open up Logic Pro and plop my laptop on the dining room table," he says. "That's how I spend my days." 

Before recording the vocals for the music, Ikura uses Vocaloid to first hear the song's melodies in Hatsune Miku's voice. "With Hatsune Miku's voice, we are able to achieve peculiar melodic scales and rhythm patterns we can manipulate freely," she explains.

Almost all of YOASOBI's music has been inspired by manga and other Japanese media — and having the ability to transform one form of content into "another shape or form" is what they love most about their work. 

Press play on the video above to learn more about how YOASOBI produces their music, and check back to GRAMMY.com for more new episodes of It Goes to 11.

9 Thrilling Moments From KCON 2023 L.A.: Stray Kids, RIIZE, Taemin & More

Neo-soul singer UMI describes herself as a "multi-dimensional artist" whose ideas often come to her in the spur of the moment — and she "needs to get it out immediately."

Thanks to her favorite musical gear, the Apollo Twin X interface, she can bring her ideas to life on the go.

"Instead of going directly into your computer [to record], you can use something like this," UMI explains in this episode of It Goes to 11. "It helps to enhance the sound of what you're recording and makes the recording process easier."

Before she invested in her Apollo interface, she says she used to buy cheap ones for $50 or $100: "I thought I was getting the best experience, but then, I went to a studio. They had one of these. Ever since then, I've been like, 'This is my baby!'"

As a self-proclaimed "studio gear nerd," UMI exclaims that the Apollo Twin X isn't just a fancy part of her collection — it's changed her process altogether. "I don't have to book studio time anymore," she says. "I can do it all in my house!"

Press play on the video above to learn more about UMI's cherished Apollo Twin X interface, and check back to GRAMMY.com for more new episodes of It Goes to 11.

UMI Is Ready To Manifest Her Way To Stardom With 'Talking To The Wind': "I Learned All The Lessons I Needed To"

For decades, Japanese music has been one of the hardest to access as a foreigner. Even with the popularization of cultural exports like anime and the emergence of streaming platforms, it is still considered a niche, and fans often have to dig deep in order to find albums, translations, or any kind of content at all.

"There weren’t many opportunities for Japanese music to go out into the world until now," says YOASOBI’s producer and songwriter, Ayase, over a Sunday morning Zoom from Tokyo. "If we were to break into the mainstream, I think there’s a lot more work to do. Being a part of Coachella is one of them."

The duo, composed of Ayase, 30, and vocalist Ikura, 23, is gearing up for their first performance at the mighty Californian festival next weekend, plus two sold out headline shows in Los Angeles and San Francisco. In August, they are set to play at Lollapalooza in Chicago, IL. 

"Performing at festivals like Coachella was one of our goals when we put our live team together, so I believe that it will be a place for us to grow further,” says Ikura, who lived in Chicago as a kid and considers these opportunities a "full circle" moment.

Read more: 10 Must-See Artists At Coachella 2024: Skepta, The Last Dinner Party, Mdou Moctar, Cimafunk & More

Formed in 2019, YOASOBI found overnight success with their debut single "Yoru ni Kakeru," a bright-sounding but harrowing tale that topped Billboard’s Japan Hot 100 chart for six non-consecutive weeks. They continued to rise further, recording five EPs (three in Japanese, two in English), the opening theme to Netflix’s anime series "Beastars," 2021’s "Kaibutsu," and their magnum opus so far: "Idol."

Released in 2023, "Idol" became a massive hit, placing No.1 at Billboard's Japan Hot 100 chart for 22 weeks and counting — an all-time record break. It was also the nineteenth best-selling song of 2023 worldwide, according to the IFPI. With these accolades, it’s easy to understand why the duo is fully booked, but what makes their music so enticing to global audiences? 

Listening to YOASOBI is like entering a rabbit hole. First, you get hypnotized by the glistening synths, bursting like fireworks, and the rock riffs taking melodies to full-speed. Then, you discover their adage is "novel into music," and all songs are based on fictional stories written by various authors. There’s also the animated music videos, each with a different style, giving their sounds another layer for interpretation. And finally, there are Ayase’s and Ikura’s (under the name Lilas Ikuta) own solo careers — treasure troves ready to be unearthed.

"I don't know, to be honest," says Ayase when asked about their growing popularity. "I guess the fact that a lot of Japanese [exports] have been prevalent around the world had to do with it. But also, maybe it's because people are experiencing this combination of music with storytelling that is interesting to them." Ikura agrees, adding that YOASOBI allows fans to "enjoy this bigger world that we are part of in a more three-dimensional way."

The experience is similar to how they create their music: mining, collecting, mixing, and transforming different threads into a new fabric. From fictional stories, Ayase transmutes his feelings into beats on his laptop with Logic Pro, then inputs melodies and lyrics through Vocaloid softwares like Hatsune Miku. Ikura listens to the Vocaloid demos, and then adds her own feelings and flair into the interpretations. For English-language tracks, they work with translator Konnie Aoki, who is "very mindful of phonetic sounds," and Ikura listens to the Japanese versions up until it’s time to record, so that she can have "the right emotions set."

It’s such a natural process for them that Ayase is surprised to know that there are still people who don’t consider Vocaloid as "real" music. “Those people probably don’t know what music is,” he says with a laugh. “Do they think that instrumental music, where there's no human singing, isn’t real music? There’s really great Vocaloid music out there, and it’s basically [voices] created through synthesizing softwares. It's very different from AI, which is auto-generated music. Vocaloid is humans creating music using these softwares. That's the only difference from a human singing a song.”

To Ikura, who maintains her burgeoning solo career in tandem with YOASOBI’s busy schedule, Vocaloid allowed her to broaden her talents. "It is my first time singing songs that somebody else wrote, so it was an opportunity to challenge myself with things that I wouldn't necessarily write, or sing in a tone or voice that I wouldn't come up with myself." She says that these experiences influence her solo works all the time, in a "synergy" that allows her to "have more colors to work with in my palette."

"I started producing music through Vocaloids,” adds Ayase. “And it truly broadened my ideas and imagination when it comes to creating music. It allows creators to come up with melodies that a human singer may not come up with. It's a fascinating culture. The possibility I feel is infinite, and it really makes the impossible possible, in a way.”

Read more: It Goes To 11: How One Piece Of Technology Makes YOASOBI's Musical Vision Come To Life

Endless possibilities are also a big allure in AI technologies, but Ayase doesn’t see this as a threat. With the right boundaries, it’s just a tool — like Vocaloid, Logic Pro, and the internet — that can be used positively. "However, as a creator myself, I really hope that creative works come out of the imagination and ideas of the human mind. In that sense, [AI] may not be 100% a positive thing for us," he shares.

But that’s something for the future. Now, YOASOBI is focusing on their very real, very tangible events ahead. "Finally, we have this opportunity where people around the world are discovering our music. So, performing at festivals like Coachella, Lollapalooza, or doing our solo shows, I think it's important that we communicate with the audiences and maximize this opportunity as much as possible," says Ikura.

And it’s not just YOASOBI getting all the attention: according to data and research company Luminate, J-pop in general is on the rise. "I’m very proud, as a Japanese person, for that situation. For us, it’s really about taking it one step at a time," says Ayase. “Our ultimate wish is to have our music or reach as many people around the world as possible, and so we will continue to work hard every day."

9 Essential K-Pop/Western Collabs: From BTS And Megan Thee Stallion, To IVE And Saweetie

When a faulty extension box burst PsychoYP's equipment into flames, the Nigerian rapper was forced to repurchase everything from scratch. In doing some extra research on replacement items to prevent the accident from occurring again, he discovered a new favorite: his shiny Aston Spirit condenser microphone.

As PsychoYP recalls in this episode of It Goes to 11, once he purchased the Aston Spirit, "I knew I was about to start making some crazy music. The producer looked at me, and I looked at him and was like, 'I feel like we might be onto something.'"

The rapper says the Aston Spirit captures his voice perfectly, and even opened up a new side of his artistry: "It made me express myself more — open my mind a bit more while creating."

Despite the initial pain of losing his equipment, PsychoYP asserts that the accident resulted in a forever piece. "I feel like I'm going to have a catalog of microphones, but this will always be there," he says. "At least in my top two."

Press play on the video above to learn more about why PsychoYP loves his Aston Spirit condenser microphone, and remember to check back to GRAMMY.com for more new episodes of It Goes to 11.

South African Singer Tyla Won The Inaugural Best African Music Performance Category At The 2024 GRAMMYs. What Does It Mean For African Music On The Global Stage?

As a longtime fan of Taylor guitars, it was only a matter of time before South Korean singer J.Fla invested in one of her own. But when she finally purchased it, there was a small bump in the road as she waited for it to join her collection.

"This guitar arrived later than expected," she recounts in the newest episode of It Goes to 11. Feeling "nervous and excited" about the delayed delivery, J.Fla says she was "overjoyed" once it finally landed on her doorstep.

J.Fla now considers the guitar her best friend, "because I spend most of my time using this guitar." She plays it when she produces her music and makes melodies.

Besides the fact that the guitar works perfectly for J.Fla's small hands, the singer also loves its design, color, grip, and sound. "This guitar is the dream guitar I had always wished for," she beams.

Press play on the video above to learn more about J.Fla's bond with her acoustic Taylor guitar, and check back to GRAMMY.com for more new episodes of It Goes to 11.

9 Essential K-Pop/Western Collabs: From BTS And Megan Thee Stallion, To IVE And Saweetie