Почму в куколдстиле даже музыка будет говном.

Mitsuo Singa
First Appearance:Tokyo Xanadu (2015-09-30)
Currently Employed:Yes - Independent Contractor

Singa made his first contracted appearance in a Falcom game with Tokyo Xanadu, though his true big arrival moment was his arrangements of tracks in Trails in the Sky SC Evolution and Trails in the Sky the 3rd Evolution. Originally brought in to organize and produce the new jdk BAND back in 2015 after the original jdk BAND was sabotaged by Falcom, Singa now provides outsourced compositions to Falcom using his music firm.
Describing Singa's amateurism, lack of knowledge, and lack of care with the music he creates in a succinct manner is difficult. Generally, he has never learned any proper melodic structure, he doesn't understand the "role" each individual instrument is supposed to play, his synth sound libraries sound horrible, and his idea of raising excitement is just to turn the volume and/or speed up as high as possible. Combine these elements together, and you tend to get either awful sludge or a nasty ear destroyer that is so terrible sounding that it edges on disrespect to the legacy of music history. To make matters worse, when he randomly does come up with a good idea or good composition, he tends to sabotage it himself; like with Ys IX's "Marionette, Marionette". So it's not just lack of skill, knowledge, and tools that drag him down, but also that Singa himself is his own worst enemy from the concept stage.
Since he was contracted to create music quickly and cheaply, Singa's works tend to have a highly repetitive nature. When not being repetitive, he employs mashing in order to pad out song lengths. The consequence of both of the former actions is that his game music tends to be annoying to listen to for long periods of time, creating what is called "listener's fatigue" in the music world.
Singa tends to excel when working with soft, sedate music (like piano solos or slow acoustic tunes) or when working with electronic beats that don't exceed a certain BPM. Even then, these songs are still weaker than what the internal Sound Team jdk can create, so he doesn't bring much to the table from a musical variety perspective.
Since Singa is an independent contractor, he is allowed to use live performances in his work, just like Jindo. Despite this, the live instruments tend to sound just as bad as his synth, just with a different flavor coming from the amateur compositions as opposed to the typical flavor.
It may be shocking to some fans that Falcom, who is renowned for their music, would so quickly turn to an amateur in the field to supplement their soundtracks, but given Falcom's recent extremely cynical moves in the business space, Singa is actually a perfect fit for Falcom's current business climate. -Yunyo

Real name: Mitsuo Suehiro (末廣光生), born on October 1980 in Fukuoka Prefecture and studied classical music at the Oita Prefectural College of Arts and Culture. After graduating, he moved to Tokyo and started doing live house activities and front a small number of indie bands, and now works as a freelance composer/arranger. He has produced over 1000 songs for a wide variety of purposes, including idol/vocal songs and BGM for commercial OVA (web and hentai anime). He's currently active as sound creator for Hallelujah Music, aka Suehiro's musical firm. His wife is Yuuri Suehiro, jdk BAND's current singer along with Megumi Sasaka.
Yunyo already summed it up pretty well, so there isn't much that I can add. I like pretty much every composer who worked for Falcom to some degree, but Singa is pretty much the only exception and even his best tracks are flukes that suffer from notoriously recurring low-tier production and musical quirks -- obnoxiously loud, grating instrumentation that sticks out like a sore thumb (repetitive guitar screeching, annoying techno synth, shabby strings, awful drumkit, cheap tribal sounds, etc), really poor mixing/mastering, terrible control of dynamics, compositions with barely any contextual depth whatsover and lacking any sort of melodic continuity, large amounts of repetition, etc etc. Sonoda pointed out how making compositions with a small number of instruments takes a lot of courage, yet Singa pulls stuff like having 6 instruments already going on at the start of "Deep Carnival". It's one thing to listen to some of his music in a vacuum and be like "Yeah, this is decent, I guess", but when it's sandwiched in between the likes of Sonoda, Unisuga and Jindo, the shittiness is just laid bare. Between the super meandering compositions that don't match/improve the context, grating/poor instrumentation quality/arrangement and crappy mixing/mastering, his stuff gets old real fast and can cause fatigue over long listening periods, which is a huge problem for game music.
Simply put: Singa's music feels really disjointed, is less cohesive/has worse sound quality than in tracks by internal employees, and has much less variation in the arrangements and much more repetition in the melody, which is why it all gets so tiring and repetitive in games. This is not a matter of individual subjectivity, his sound is just incompatible with Falcom's music in terms of instrumentation, mixing, technical skill, creativity, composition style, understanding of music production, etc. Literally any contractor Falcom employeed in the 90s for arrange albums has a better drumkit sound.
He also seems to have an strong desire for self-expression, especially noticiable by how out-of-place his music feels when combined with the work of other composers, almost as if he isn't taking into consideration how soundtracks are supposed to sound cohesive. His tracks are thematically and tonally all over the place and lacking in context.
Singa tends to perform better whenever he stays away from chaotic, fast-paced rock/techno, and instead focuses on acoustic/string/piano-based tunes and retro-sounding music (e.g. "Chain Chain Chain!"). But even in those cases, some of the issues listed previously still manage to come in, many of these tunes feel like copycats of Sonoda's work, and the overall quality is still inferior than that of the average Sound Team jdk member. Additionally, vocal songs force him to adopt structure and allows him to drown out most of the bad/unplesant instrumentation.
Just like every contractor, Singa has access to live musicians to perform his music, but even live instrumentation can't fully hide his poor musical skill and complete lack of understanding of any of the instruments. Those out of tune guitar bends are a crime against nature and sound like something you'd do on accident, that you could go back and fix if you weren't some lazy ass. He does it with both live and synth instruments, we meme about this guitar sound and call it "gniii".
Since Singa is quite cheap to contract and his production speed is "very fast" (5 tracks a week according to him on Twitter vs Jindo making 2~3 per month), the increase in participation cannot be prevented. That means he's getting a more prominent role with every new game, at the cost of Unisuga's involvement, who happens to be one of my favourites. All in all, the difference in musicality between this person and anyone else is pretty alarming. There's no good reason to keep contracting Singa when he's worse than internal composers, brings nothing new to the table and most doujin artists I know blow him out of the water. Contracting an unskilled amateur of this degree is completely unnatural for a company with such a large musical legacy like Falcom; he's nothing more than a cheapo replacement for Okajima and Kamikura. -Josep

Equipment:
・DAW: Ableton Live
・VST: Junk Guitar by Fujiya Instruments, Avenger by Vengeance Sound (synthesizer), Nexus 2 by reFX, Addictive Drums, Addictive Piano, Massive by Native Instruments (synthesizer), Trilian by Spectrasonics (Bass)
・Plug-in: Sausage Fattener