No Admission Fee, But You Needed a Ticket

My bag's already packed. Four days ago it was Neung-dong.

10CM's 'Not This Year Either, Autumn' took place at 3 p.m. on 13 September, at the Forest Stage in Seoul Children's Grand Park.

Free, But You Needed a Ticket

There was no admission fee. But advance booking was required. Membership presale opened on 7 September, general booking on the 8th, and only people who had booked got in.

Which means it wasn't a show you could wander into. Nobody takes your money, but the seats are still competitive.

The series started in 2016. An impromptu busking show to mark 'Is Spring Coming??' reaching number one became 'Not This Year Either, Spring', and this is the autumn version of it.

The Guests Were Revealed on the Day

The agency's August notice put it plainly: "Special guests will join, and the guest lineup will be revealed as a surprise on the day of the show."

And on the day, three acts came up — Davichi, N.Flying and George.

Here's the interesting part. N.Flying's set ran 22 to 23 minutes. Cross-checking several audience records puts it between 22:12 and 23:05. A guest act went past twenty minutes.

Which means the guest slot at a free show was as long as a segment of a proper headline concert. The songs are recorded as 'Blue Moon', 'Between Seasons', 'Rooftop', 'Embers' and 'Autumn Dream' — five of them. That comes from audience records, though, so whether that's all of it and whether that was the order can't be confirmed.

10CM has been Kwon Jung-yeol alone since July 2017.

I Measured the 56-Second Recap

Two days after the show, a 56-second recap went up on the official channel. It's already vertical 1080×1920, reel format.

The opening first. It fades in from near-silence at −50.8dB, and then at 0:00.25 a block of low end lands. The 20–150Hz share leaps from 4.0% to 91.3% and the level rises 8.4dB. That one hit opens it.

At 1.80 seconds the stereo opens. The side channel alone widens by 11dB while the mid barely moves. That's where it goes from a narrow intro to a wide field.

The body, from 0:02 to 0:41, holds flat and full at −11 to −14dB. The tempo measures 184, 179, 184 and 184BPM across four sections — barely any drift. Several different songs' footage cut together with a tempo that steady means there's one continuous music bed underneath, not the live sound of each song. It isn't the room as it was.

From 0:41.5 it holds its breath for about four seconds, dropping from −13.3dB to −28.9dB — some 15dB down.

The Last 4.8 Seconds Are the Good Part

From 0:51.00 the 20–150Hz share hits 0.0% and never recovers.

Measure 0:52 to 0:55 precisely and 20–80Hz is 0.00%, 80–150Hz is 0.00%, 150–300Hz is 0.01%. Below 300Hz there is effectively nothing. Instead 87.4% sits in the single octave from 600 to 1,200Hz, and 99% of the total energy falls between 619Hz and 2,449Hz.

And that tail is a single line with almost no overtones. Follow the pitch and it moves G#5 → A5 → B5 → C6 → G5 → G#5 → E6. One melodic line, no accompaniment, closing the piece.

It falls away quickly from 0:55.25 and the sound ends at 0:55.77. The 0.152 seconds after that are true digital silence.

That's what it does with 56 seconds — opens with one low-end hit, puts 15dB down at 41 seconds, cuts everything below 150Hz at 51, and closes on a line with no overtones.

Next Is October

From 9 to 11 October there's a fan concert, 'THE MISSING TRACKS', at Olympic Hall in Seoul. That one you pay for.

The recap alone runs out after 56 seconds, so follow it with 'Crushed', out in July. Four minutes 2. The recap shows you what that day was like; the song tells you what this person sounds like now.