【ComfyUI】MiniMax Music 3の使い方｜ローカルで音楽生成

Global Metadata

Basic Attributes: BPM is approximately 145. J-Rock / Alternative Rock with melodic anime-rock phrasing. Minor tonality throughout, with brief major-leaning lifts at the top of each chorus.

Global Emotional Progression: The piece opens in fragile, bittersweet stillness — a single clean guitar carrying quiet regret. Tension accumulates steadily through the verses without ever releasing, and the choruses break that restraint into a full-band surge that is loud but still aching rather than triumphant. A stripped bridge returns to vulnerability and doubt, then the final chorus arrives at maximum density and emotional exposure. The outro dissolves back toward the opening fragility, leaving the sorrow unresolved.

Sonics & Production Profile: A wide, modern J-Rock soundstage with hard-panned rhythm guitars in the heavy sections and a bright, cutting upper-midrange that keeps the vocal above the wall of distortion. Low end is tight and punchy. The dynamic contour is deliberately staged: airy and reverberant in the intro, controlled and compressed in the verses, saturated and dense in the choruses.

Vocal Details

Vocal Gender & Timbre: A single female lead. Her timbre is clear and translucent — light, unforced, with a glassy top — and it retains that transparency even at full volume, gaining a faint edge of strain at the peaks rather than turning coarse.

Vocal Style: Verses are restrained and close-miked, with soft breath tone and precise, rhythmic articulation that sits just behind the beat. The pre-chorus opens the throat and adds dynamic push. In the choruses she sings from full chest voice with wide vibrato and audible emotional urgency, sustaining long notes at the phrase ends. The bridge drops to near-whisper intimacy before the final chorus reaches the most exposed, unguarded delivery of the track.

Harmony/Backing Vocals: Self-layered harmonies enter only in the choruses, doubling the lead in thirds and octaves to thicken the hook. The final chorus adds a low-octave double for weight. Verses stay single-tracked to preserve intimacy.

Vocal FX: Moderate plate reverb throughout, with a short delay on selected verse phrases for rhythmic lift. Reverb pulls back noticeably in the bridge to create isolation, then opens again for the finale.

Arrangement

Intro — A clean electric guitar states the main motif alone, arpeggiated with light chorus and delay, ringing in a wide reverb field. A soft synth pad fades in underneath. No drums; the tempo is implied by the picking pattern.

Verse 1 — Bass enters on the root, and the drums come in restrained: tight closed hi-hats, sidestick or light snare, minimal kick. The clean guitar shifts from arpeggios to muted sixteenth-note picking, driving the pulse forward while the vocal stays close and conversational.

Pre-Chorus 1 — A second guitar enters with light overdrive. Toms replace hi-hats, the bass climbs, and a rising synth sweep plus reverse cymbal build the final two bars into a hard cut.

Chorus 1 — Heavily distorted rhythm guitars slam in with open, ringing power chords, hard-panned left and right. The drums switch to a full-force rock groove: aggressive kick pattern, snare cracking on 2 and 4, open hi-hats and frequent crashes. A harmonized lead guitar traces a countermelody above the vocal. The bass moves to driving eighth notes.

Verse 2 — Distortion drops out; the clean guitar motif returns, now with the full drum groove retained beneath it so energy is held rather than reset. A single sustained guitar note rings across the section as a texture.

Pre-Chorus 2 → Chorus 2 — Same build, denser: doubled guitars, added tom fills, and backing vocals entering a bar early. Chorus 2 matches Chorus 1 with an added octave-up lead guitar line.

Bridge — Everything cuts to the clean guitar and a bare synth pad, half-time feel, brushed or rimshot drums. The vocal is at its most fragile. Feedback and a swelling drone build across the last four bars.

Final Chorus — Full band returns at maximum density, no gradual build. Guitars add a harmonized twin-lead line; drums push with double-time hi-hats and continuous crashes. This is the emotional peak.

Outro — Distortion falls away over two bars. The clean intro motif returns alone, delay trails fading, closing on an unresolved ringing chord.

Caption

Global Metadata: Contemporary pop with a light soft-rock and R&B lean. 104 BPM, C major, straightforward major-key writing built around a singable chorus hook. Warm and easygoing at the open, widening into a bright uplifting chorus, pulling back to a calm reflective bridge, then returning one notch brighter for the final chorus and settling into a soft fade. Late-summer evening driving, windows down, streetlights coming on. Clean modern radio production: wide stereo image, punchy but uncrowded low end, airy top, verses left with room to breathe and choruses noticeably fuller and more compressed.

Vocal Details: A single female lead in a comfortable mid register, clear and warm with a slight breathiness on the quiet lines. Verses are close and conversational, phrased just ahead of the beat. The pre-chorus lifts in volume and the chorus opens into a full, sustained delivery that stays controlled rather than belted. Backing vocals are stacked thirds and sixths across every chorus, an added octave double on the final chorus, and soft wordless “oh” pads under the bridge. Light plate reverb and a short slap delay on chorus tails, gentle doubling on the lead in the chorus, no heavy processing.

Arrangement: Intro: clean electric guitar arpeggio with a warm pad underneath and a light shaker, no drums for the first phrase, kick entering on the final bar as a lead-in. Verse: rounded electric bass and a simple kick-snare pattern with closed hi-hats, guitar switching to muted single-note picking, piano only marking the chord changes, everything kept low so the vocal sits forward. Pre-Chorus: hi-hats open, a shaker doubles the eighths, the pad rises and one sustained synth note carries over the downbeat. Chorus: full kit with a crash on the first beat, strummed acoustic guitar layered over the electric, piano block chords, bass moving melodically, harmonies spread wide in the stereo field. Second Verse: back to the verse groove but keeping the acoustic and adding a quiet tambourine, so it reads as a step up rather than a reset. Second Chorus: same shape with an extra harmony layer and a tom fill leading in. Instrumental: an eight-bar guitar lead over the chorus chords answered by piano, drums simplified to a steady groove. Bridge: drums drop to a soft kick and floor-tom pulse, guitar out, piano and pad carrying the harmony under wordless vocals, the last two bars stripping to a single held pad and a rising cymbal swell. Final Chorus: everything returns brighter with octave-doubled vocals, claps and tambourine added, acoustic strumming throughout. Outro: drums thin to hi-hat and kick then stop, leaving the guitar arpeggio, pad and fading vocal ad-libs, ending on one clean sustained chord.

Lyrics

[Intro]
Oh, oh-oh
(here we go)

[Verse]
Six o’clock and the light turns gold
Windows down on the road we know
You keep laughing at something small
I don’t even mind at all
Radio playing a song we lost
Singing loud like it isn’t ours
Everything heavy gets left behind
Somewhere back in the miles

[Pre-Chorus]
And if the summer’s running out
I don’t wanna count it down

[Chorus]
So hold on, hold on to the good part
Every color of the evening in our hands
Hold on, hold on to the good part
We can stay right here until the streetlights end
Oh, oh-oh
Until the streetlights end

[Verse]
Coffee cups and a folded map
Half a plan and we’re fine with that
You say the ocean’s an hour away
I say we’ve got all day
Every red light feels like a friend
Every hour like it won’t end
Take the picture, but leave it blurred
That’s how I want to remember

[Pre-Chorus]
And if the summer’s running out
I don’t wanna count it down

[Chorus]
So hold on, hold on to the good part
Every color of the evening in our hands
Hold on, hold on to the good part
We can stay right here until the streetlights end
Oh, oh-oh
Until the streetlights end

[Instrumental]

[Bridge]
Ooh, when the season turns
And it falls on everything we were
Ooh, I’ll still know the words
To the good part

[Chorus]
So hold on, hold on to the good part
Every color of the evening in our hands
Hold on, hold on to the good part
We can stay right here until the streetlights end

[Outro]
Oh, oh-oh
(hold on, hold on)
Until the streetlights end
Oh, oh-oh