Interview with TAITO "ZUNTATA" knowledge to become "sound house" of the game

Previously, major overseas game sites"1UP.com"Chose"10 people name composer in game music you want to know if you are a gamer"I told you the article. The Taito sound team to which Tsuchiya Shihira who was elected here belongs"ZUNTATA"I got an opportunity to interview, so I've heard plenty of work on game sound creator.

The following 3 members are members of ZUNTATA to interview this time.

TAITO CORPORATION ON! AIR Division Development Department Sound CreatorIshikawa KatsuhisaMr.


Small salt HirosakiMr.


Tsuchiya ShoheMr.


◆ Members of "ZUNTATA"

GIGAZINE (hereinafter, G):
Please tell me about the background of the Taito sound team to start working as ZUNTATA.

ZUNTATA Katsuhisa Ishikawa (hereinafter, Ishikawa):
Although I am in 1990, I heard that Taito's sound development specialized department was around 1983. In 1987, a record titled "TAITO GAME MUSIC Vol. 2 Darius" was to be released from Alpha Records, but with that, a story saying "Why do not you try putting a team name" comes out I heard that it was named ZUNTATA.

G:
Please tell me about your circumstances until becoming a game composer and entering ZUNTATA.

Ishikawa:
Before joining the company, I was studying at a vocational school called Nippon electronics college by a recording engineer. The school was in Tokyo and there were many game centers around, and I used to go to the game center frequently when I was a student. After that, I joined TAITO in 1990 with a new graduate. Among the three people here, it is a job director who creates sound effects and adjusts the whole sound, not only making songs. Before I knew I was the oldest in ZUNTATA.

G:
Since I entered a vocational school, was there a feeling that I wanted to work on game music?

Ishikawa:
It was not such an idea. The reason I came to be interested in game music originally started playing a band since I was a junior high school student and I was not interested in games yet when I was in junior high school, but I was taken to a game center by a friend during my high school days I am bad. Until then, I thought that music of the game was "pico pico sound", but at the game center I was surprised that the sound of the FM sound source was flowing.

At that time Yamaha released a synthesizer that adopted the FM sound source called the DX series and it was a keyboard for longing for the children who were doing the keyboard, but the same sound as the keyboard was flowing from the game. Since then, I've been addicted to game music rather than games, I am completely "game music otaku".


G:
Is it about mid 1980's, was the FM sound source used at the game center from that time?

Ishikawa:
It is about time that each company started incorporating FM sound sources. Until then I did not have Nintendo, so I entered the game from the arcade. Rather than from the arcade, it's from the sound of the arcade. Actually, even when I went to the game center with a friend, I often listened to the sound by attaching my ears to the speakers without doing the game.

ZUNTATA Hirokazu Shiohara (hereinafter referred to as "small salt"):
Since I graduated from graduate school I joined TAITO, but I wanted to get a sound work from the time I was a university. Moreover, I thought that it would be nice game. I did not think about composing it as a professional job. Instead of composing, I was aiming to make sounds.

The university was the name of the time, Kyushu Institute of Art and Design, currently the Faculty of Art and Engineering at Kyushu University, where he was learning acoustic design. Acoustic design includes everything related to sound. For example, I also learned something like hall acoustics and fields like noise control, but I majored in psychoacoustics. Simply put, it is a field that thinks "what sound feels good". I was researching what kind of ingredients the pleasant sound has and what ingredients it has unpleasant sounds.

Since I originally liked the game at the time of employment, I thought that I would like to work in the game, but I thought that I wanted to design a sound with a strong Taito in arcade. Arcade has an enclosure, so it will be subject to sound design including surrounding environments. If such a thing was said also by an interview, it was adopted well.

ZUNTATA Shihei Tsuchiya (Tsuchiya):
Originally I was making a game music with another company, but I joined TAITO in mid-August 2008. It is not conscious of entering ZUNTATA, that you joined the sound department of Taito.

◆ Listen to sound creators, a wonderful game title of music

G:
What was the title that got interested in game music?

Ishikawa:
It is cool to mention Tito's title, but the real trigger is different, Sega's"Quartet"Capcom's title and"Section Z"The title was the trigger. In fact, I was making BGM of "Section Z", Kaneiro Kawamoto who will become a member of ZUNTATA later. These two titles, the play themselves are not doing so far to the extent possible, but I heard about songs better than anyone else.

1/5 Quartet (SEGA) - 1CC - YouTube


[HD] Section Z 1985 Capcom Mame Retro Arcade Games - YouTube


Small salt:
The age is different from Ishikawa about 10 years, generation is also different ...


Ishikawa:
You do not see it. I'm on the top (laugh)

Small salt:
Leave such a story (laugh)

My generation is totally NES generation, it has entered the early days of NES, and has been playing with Super Nintendo, the first PS. People around us were doing the final fantasy with Dragon Quest. Among them, as it was rare at the time, there was PC 98 at home, I think that it was the reason he was interested in game music by driving the score of Dragon Quest and playing it .

G:
Is the Dragon Quest that I played first? 1?

Small salt:
I was from "Dragon Quest 2". For some reason there was a musical score at hand, and I was playing with PC 98 from first grade or second grade at elementary school.

FC Dragon Quest 2 Opening - YouTube


Tsuchiya:
I and the small salt are roughly the same generation, it is a family generation. I played the game all the time. I like this and I like games. However, there was no consciousness that the music of the game was a special thing, and I received it with the feeling that it is not different from other music which is normally flowing in town.

G:
I wonder if I entered the game from Nintendo again.

Tsuchiya:
I also had Nintendo, but the first is Sega's Mark III. As opposed to a chance, as a title I thought game music was amazing,"R4 - RIDGE RACER TYPE 4-""Street fighter 3rd STRIKE""Viewpoint" is three. These are epoch-making works as game music, it's an impressive title.

In "Ridge racer 4", it is a car game, but it is fashionable anyhow. In order to express the atmosphere and running feeling, I used to express music from rock or techno at all from different angles until then. In the genre, it is like a house, but it is not a story about how to put in a house, but it is amazing that he could change the fixed concept of "the music of a racing game is this" is not it?

【PS】 R4 [RIDGE RACER TYPE 4] Time attack with the fastest car "Utopia" - YouTube


"Street fighter 3rd STRIKE" is also so, and each company in the fighting game is still trying to put "Atsui" emotions. The song of the image of "dynamic" "Atsui" or "fierce" was mainstream. On the other hand, "3rd STRIKE" came the song of "static" image. I felt like I was fighting in the alley, and I got something like emptiness in the fight with music. That was the direction that the music of the fighting game so far was not seen at all. HIPHOP being used is not an imitation HIPHOP, but a real HIPHOP is flowing from the game. I was surprised.

(Demo) Street Fighter III 3rd STRIKE / SF III 3rd Strike (C) Capcom 1999 - YouTube


"Viewpoint" is a shooting shooting in quarter view. It's so difficult, I can not even clear it. Although it is a work of 1992, enemies are geometric patterns, and in that sense it was a strange work. Personally I do not like or dislike shooters in particular, and it is about to play normally, but there are also pretty favorite viewpoints from diagonally above like "populus" or "sim city" .

In addition to the sense from the diagonally above, it was a title that brought music that was at the time cutting edge to the songs. In Japan, there are not many people making such music, but it has flowed in the game.

NEO - GEO Viewpoint Stage - 1 - YouTube


Ishikawa:
This is neo - geo. Soundtrack also comes out.

◆ First job after joining the company

G:
What was the work that was first addressed after entering ZUNTATA?

Tsuchiya:
Since entering Taito,"Fantasy Coliseum"It is sound effect of ne. It was totally different from the sound I had made up until then. Until then it was a direction to make sound for the core user, to make it deeply and deeply. When it enters Ta Tao, variety is rich. The target is elementary school student, it is for women. Although it does not matter whether it is now a device, it will target various devices. Extensive game production is now required.

Small salt:
At that time, I just entered the company and I was not allowed to leave such a big job, but as he was in sync, he made a Flash game for mobile phones. It was my first work of composing that I put a song on it. At the time Flash was in fashion, the company was also in the direction of trying to make various things in Flash. Actually, that song is delivered at the iTunes Store so please listen if you like."Taito Mobile Phone Game Sound Collection Vol.1"It is a song called "Blink Your Heart!" Recorded. Oh, it's embarrassing, so you do not have to listen after all (laugh)
About a half year after joining the company, it is about autumn 2005.


Ishikawa:
The game involved in sound effects production for the first time, in 1991"Metal black"was. I was doing bands from junior high school students and I was doing arrangements after I was addicted to game music, but I never made a sound effect. However, as I was studying at a vocational school, I had only a few knowledge of recording engineering. ...... But if it says whether it is alive or not, geeky otaku knowledge rather than game music is more useful (laugh)

I am a game music otaku, I love game chips and chips. It was there that I studied mainly mainly when I was a model number of an FM sound source, how many channels it was, and when I went to school. There is a board called Taito's F2 board, but in reality it is using the same sound chip as Neo Geo. Such useless knowledge is living for now (laugh)

Metal Black Demo ~ 1st ~ Bonus Stage - YouTube


G:
About sound effect creation, was it completely different from how to make music that I had done before?

Ishikawa:
It is completely different. "Metal black" is a shooting game, but in shooter games there is a way to make a unique sound effect, especially if you can not hear it in an arcade, it is useless. The sound of the bullet you shoot by yourself, the sound that is hit by the bullet, the sound that breaks when you are hit by the bullets, the exhilaration will be diminished if you do not know it.

Moreover, since a lot of enemies comes out, it is necessary to understand even things that it is necessary to shoot and destroy it more and more. It is necessary to make "attack". If the attack of the sound is not on, the sound will end without going to the peak of the sound when it is fired, and if it sounds like "shuff" it will end with "shu". So make it "pure" and make an attack. Then you can hear "Pupyupu" even if it is shot.

The explosion sound is not "Bowan" but "Tudor". Then it becomes "Chutchu Tudor". With that kind of feeling, there is a way to make shooting distinctive. In that part, I composed metal blacksYasuhisa WatanabeHe taught me.

Tsuchiya:
I feel it very. I started to work with Mr. Ishikawa as an arcade, and the one I felt most is the difference between arcade and household use. Since it can play in quiet places after all for home use, if it says, it can produce sound without limitation. Because the limitation of the arcade is not the limitation of the capacity or the like but the environmental limitation, it is the place to make how to enjoy the sound among them.

Mr. Ishikawa's sound is very short compared to the sound I have ever made. It's so short that when you hear only the sound alone, it is like "What about this?" But, when I actually operate it, I think "Oh, I see." That was interesting.

G:
When first entering the sound production team and doing the work, please tell me about surprised, troubled, and fun.

Tsuchiya:
The game music that I made for the first time is a title for Xbox, it is told that "doing all the sound effects" and there is a tool for Xbox, but I do not know how to use it, it is I was thrown out without knowing what kind of material I needed. I had been playing the game as a player all the while until then, but when I made it, I had no idea how I could form a game like the game I played, and I was always in trouble.


G:
Does not someone tell me?

Tsuchiya:
You did not tell me at all. I talked to the programmer and I told the director "I can not hear the sound", "I have the sound itself, but I do not know how to incorporate it" I started from the place. Then, as I make some of them, it is not only that I make sounds and materials, but I feel like I'm getting conscious that games can be enjoyed with sound if I go on.

G:
Although it is a very basic question, is it also the job that the sound team does to incorporate sound effects and sounds that it made?

Tsuchiya:
I think that it is totally different by each company, but the programmer or the sound team will do. However, I can not do it unless the programmer is the final integration. As we are imagining work to some extent, playing the game while listening to the sound as if I want to hit it here, say "Please ring with such feeling" and give it to the programmer.

However, I think recently the way of making games has diversified, I think that there is no way to make a fixed way of saying this is the sound of a game. It will be different in each company.

Small salt:
Also in the story of Tsuchiya, in order to put sound into the game, development tools for sound are needed. That is for mobile phones as well, and for households there are also tools that correspond to each hardware. Of course it is hard to understand all usage, but on the contrary, I enjoyed touching the tools.

I myself thought that it would be a programmer for a long time before studying the sound, and I was also studying the program. So, it was a lot of fun to play with such tools, at that time, the latest hardware sound tools such as DS and Wii, circumstances and people did not know how to use. Even if I asked Ishikawa, "I do not know, try studying," and just passed the tools and the manual. So, after trying some research, "I use this like this, Mr. Ishikawa" like to feed back. That was a lot of fun.


Small salt:
Also, I have nothing to do with making sounds, but I have one problem. When I joined the company,Hisaka OguraMr. Ogura often composes music, I make a sound effect, Ogura is always composing, so even if I think that I will listen to the sound I made , I do not know the good timing to call out. I seemed to call out once at a bad timing and I got very angry.

Most of you are all working with concentrated headphones, so it is hard to speak to me, and when I say that I do not want to talk to you most of the time. I myself are also concentrating very much, but if I can speak to him, I will not put it out on the table, but I do think "what is it!" (Laugh). Mr. Ogura is a type that clearly describes such a place pretty well, it was difficult to grasp such timing. Eventually, I was able to grasp the timing after a break, the timing when the morning ceremony ended, and the timing to call out at the milestone.

Ishikawa:
My story is old (lol)

The first thing that surprised me when I entered the sound team is that I am making sounds in a programmatic development environment that is surprisingly not musical. Since I was in the era when I joined the world was burning the ROM in the board, so it's like songs that I played on the keyboard sounded just as it sounds and that just gets on the game as is, the dream world That was why.

At that time, connecting the PC directly to the board,MMLI like typing music with a combination of numbers and commands. Not even MIDI, on the octave of C, what kind of vibrato feel,Pitch BendI express everything with a number and a command. It is now possible to select a part of the song and copy it, but you can select it and insert it, but then you can not do that at that time, specify the address where the data is stored, I was making a program-oriented sound very much, using commands like what to copy from where to what address.

At that time, Mr. Ogura and Mr. Watanabe were entering Switzerland and still making popular famous songs, so that is exactly a craftsmanship right now. I just started making MIDI available after I got in, so I have not made it in that kind of environment. I did a few things, but I can not do it even if I say it is done now.


G:
When making music in such an environment, is it once to make music under another environment and drive it into the program?

Ishikawa:
I agree. I think it is different for each person, but I will make songs by piano or guitar, write songs on the score with handwriting, and then watch it and put it into the program. Some people used the board like a single instrument omitting the procedure in the middle. Still, when I was in the '80s, I heard that Taito' s music development environment was quite advanced compared to other companies, so other companies may have been producing in a much more ambitious situation.

◆ until game music is made

G:
Regarding the production of game music, please tell me what kind of flow ZUNTATA is always making music.

Ishikawa:
First of all, there is work called "cut sound specification". The director of the game informed me that there is such a game, the director and the person in charge of the sound speak, "I need this kind of sound here," "How many songs do I need?" I will consult and decide. This list is "sound specification".

If that is possible, we will make sounds based on that list. I hope to create sounds after the game is made, but since game development can not be such a thing, I will also proceed with the development of sound as game development progresses. This is true from long ago. What kind of feeling is it, making a sound while imagining the game. Although it is serious, unexpectedly this mismatch carries it in a good direction, and it may cause a chemical change that will never happen if you make it since the game was finished. It is also fun of game music.

G:
From the director, how often will the game music consultation come?

Small salt:
Depending on the game, if it is a recent sound game, the sound team enters from the planning stage. If it's a music-based game, there is a sound team from the game system. I also write specifications.


G:
What timing will we decide to decide the direction of the song?

Tsuchiya:
This is already various for different people. In my case, I would like to draw the world view and atmosphere of the game towards my songs, so I made an image song at an early stage and talked "Let's go with this image" I will. Rather than making songs according to the game afterwards, it is my desire to incorporate the production of my own sound in the game more intensely. Because the change will work if it is not too bad. It is fun making that way.

Small salt:
I'd like to get a plan, a story, a painting, etc, because it's all right, rather than making it from the absence of anything. It is easier to have the music production period behind, if possible, and start making it after paintings and materials have come out to a certain extent.

Ishikawa:
So you are going to be disgusted (laugh)

Tsuchiya:
In fact production, there is no doubt that music will be the process behind the product. However, in my case, since I feel strongly willing to put the game in my hands, I'd like to tell the story, "Does not these people get interesting?"

G:
Would you like to change the atmosphere of the game as a whole before you present the image songs?

Tsuchiya:
It changes. I will change it as I listen to it again. Although it was very bright at the beginning and it was capi-capi, I told it to be a "main song" that I had died very much, and somehow it turned into a game where things like a good sorrow eventually drifted (lol )

Of course not all of them are, of course, depending on the director, they are often returned as "they are not so".

◆ History of game music production environment

G:
Looking back on the beginning of joining the company, how much has the production environment changed so far?

Ishikawa:
I feel like I've witnessed the history of game sound. There was a time when music was made directly on the game board, and then it became possible to convert the sound made with MIDI, and after that, the stream playing which the performance played as it is became possible. It has changed over three generations in the past twenty years. There is FM,PCMThere is a stream, it is said.

G:
At what timing did the change happen?

Ishikawa:
After all it may be pulled for home use. At the beginning there was an era of PSG centers such as Famicom, MegaDrive came out and became FM era, the arcade was a flower form in the era of PCM. After that, it became a CD-ROM with the first PS, and it became possible to produce a great sound even for home use. There is also a part where home use pulls the arcade, because now all the arcades are hard disks. However, since the memory for mobile phones games can not be used so much, I still convert from feature phones and others from MIDI.

G:
When it comes to Tsuchiya's age, is development from the original PS?

Tsuchiya:
Because the sound effect that I did for the first time is Xbox, it is from PS 2 in PS. In my case, there has been no change since then. In truly slightly more memory, or even in the age of PS 2, it was a little bit insufficient memory, and I had to use degraded sound effects, but it is really about that level. It can be said that almost no change has been made to the production tool.

Ishikawa:
If so it is said that "there is a sound tool" is the biggest difference. Originally Nintendo did not provide an official sound tool for Nintendo Nintendo, and the sound tool that was at the beginning of Super Nintendo is very difficult ... ....

Tsuchiya:
I often hear that it is a nightmare of Super Nintendo's tools.

Ishikawa:
PS was changed significantly, it was a sound tool which can be used very musically, until then it was a tool closer to the programmer. There is no tool, of course, to the arcade, so we had to make it by our own company. In that sense, I think the tool itself is really amazing. It is said that it is an era like heaven just because makers provide tools that can be used musically. In the past it was an era that waking up the driver at each maker and having to make tools as well.

Tsuchiya:
That may be the biggest one, is not it? It is not only the world of the game but the same thing everywhere it is becoming possible to express various things by the evolution of the CPU, but waking up to the thing like a tool, it becomes easier to make a game by using such things I think that being aware of the part is really a big thing.


Ishikawa:
PS sound tool was something that could be used on Mac, but I remember being touched by the fact that I can make sounds on Mac anymore. "Wow, you can make sounds of games on Mac". That was awesome touching.

Tsuchiya:
Although the development tool of PS 2 was very weak to dust, there is nothing like being difficult to use, so in that sense it is a feeling that we have entered a time of appreciation.

Ishikawa:
Super Nintendo Entertainment Tool for UNIXWork stationI needed it. Once there was a GUI, it was really hard. Do not you want to touch it?

Small salt:
Yeah lol)

Ishikawa:
So, I think that people who were involved in sound development at that time have quite a side as a programmer. I wonder if there are many people who can understand assemble.

It is "sound shop" not "game composer"

G:
Please tell us about the differences, especially when composing game music, compared to composing other genres.

Tsuchiya:
For example, I think that there are no different places compared to genres that give sounds to images, like animation, movies and dramas. There is such a part, such as looping, but because that can not be stopped on the way too. There is an intro and there is an outro and it is okay for the song to end normally.

However, the overwhelming difference with other industries is that game music is free. In other genres, I think that there are many circumstances that must follow trends, customs, common sense of production. There is no common sense that such a time is like this in the game industry. You can freely adopt more expressions. Even if it is made in a way of making it, it is also true of the sound actually made. That is like game music.

Small salt:
There are 2 points. The first is how to engage as a game sound manager. Composers such as animation think that it will devote much time to making songs. On the other hand, the sound manager of the game is different. Especially I am writing about half of the work of the title about the title.

What we are doing at other times is that we are consulting with the director, participating in the planning meeting, considering how to sound, adjusting the built-in sounds, etc. I spend a lot of time on it. I am not only doing composition.

Secondly, game music is basically sounded for a long time. Especially when it is an arcade, the demonstration music has been sounding all the time, so we have to make sounds that are not listened to and become uncomfortable. If it sounds very unpleasant, the store will lower the sound, so both the former and the child will be lost. So, considering the situation and the environment where the sound flows, it is necessary to make sounds. I think that there is something different from other genres.


Ishikawa:
Game music can be made any kind of music as long as it is music, and it can be put on. Whether it is classical, rock, song, or any other genre you do not mind. In that sense, there is no difference with other genres.

Only one, both small salt and Tsuchiya will compose as a composer, but it is a sound creator that makes all the sounds of the game beyond that. In the industry it is said to be "sound shop". I think that being involved from the design of the sound of the whole game is different from other genres.

Perhaps, in the case of a movie, I think that the sound person who makes the sound effect and the composer who makes the song are different people. Although we are also making songs and sound effects by different people, basically they are people of the same department, if you are doing songs like this, if you do sound effects like this, if you cut sound effects here, You can make your own judgment such as to stop ringing here. It may be a part that is greatly different from other genres that you can deeply engage in the work itself.

Tsuchiya:
The division of labor is going on in big companies, but basically game sound creator must be able to see everything related to game sound. People who produce sounds in the game, they also make the sounds themselves at the same time. Composing is indeed conspicuous, but it is most important for game sound creators that not only that, but it also directs everything related to sound.

I have never seen such a person who only makes songs without thinking much about games. What is related to sound, almost what all that is doing is that it is "a sound shop" of the game.

Ishikawa:
People who want to play music in the game often say "I want to be a game composer", but in fact, making songs is not so important.

Tsuchiya:
What matters is how you build the world of sound, so if you need songs there, compose it, and you do not have to draw it unless you need it. If it is said that this game is more interesting if it is only voice, there is no need for a song. It is the most important task of Mr. Nobuya to think about what sort of sound it is to make and to do it.


◆ To people who aim for "sound house"

G:
I think there is a considerable overlap with the previous question, but what is the most important qualification for the person aiming for game sound creator?

Small salt:
I think that it is in the form of advice to the person aiming, but I think that what is important is whether to "want to make a sound of a game" or "want to make a song", to make it clear. If you want to make a song, you do not have to stick to the game, you can do with animation, and I think that it will be more visible if you release songs with Nico Nico video if you want to stand out.

Game sounds make every sound in the world. And you also need to make adjustments to ensure that the sound you make sounds properly in the game. It is the hardest there. For example, you can not hear a voice simply by recording, and you have to adjust the balance with BGM. So you do not have to do only composition.

When I joined the company, the word told by Ishikawa was "If you want to compose, you can go to another place."


Ishikawa:
That's right (lol)

Small salt:
Why are you always forgetting! When I was a long time since I joined the company, I went to eat rice with me and asked me "What is a small salt wanting to do?" I was doing at university and wanting to design the sound of the game. So I want to do whatever it is, whether it is songwriting or sound effect. " Then I was asked "But do not you think you want to make a song?", "I will be lying if I do not want to make songs, but I will not be intending to get there," I answered. At that time, "It would be fine, but if you wanted to make a song, you had better go to another place."

Certainly it is a flower form, but the really important thing is not there. I think that the ability to be involved in other parts is an important qualification. Also, as game development goes on and on as it goes untouched, if it says "It's funny there!", It will be shipped out of order. So, you must be actively involved from yourself. I think that this is one of the important qualities.


G:
Rather than composers, there are sides like sound director.

Small salt:
I think sound director is an appropriate expression.

Ishikawa:
The rest is like a job-hunting seminar, but communication skill is absolutely necessary. Some people who like games and come in have a certain number of people who are not well acquainted. It's a person who kept watching only the game and wanted to do only the game and entered. Even though those people have a very professional high level of ability, game development is a project work, so there must be someone who can use it well.

For example, as Tsuchiya says, in developing sounds, if you thought that "I want to make the game like this," and if I can build a relationship of trust with the director so far, I will also hear the idea of ​​the sound The possibility is high. Even though I do not have it, even if I say "This one is fun" for the first time, I will not get it. I think that communication skills are very important to pass my opinion.


Tsuchiya:
It is most important.

Small salt:
What I tend to say is "Do not talk with the sound", it does not work. Being a good composer can be a game composer, it is like a myth, which is different.

Ishikawa:
For example, Mr. Ogura makes a very unique world with sound, but he was talking with the director over the length of time to put his own world in the game. It is about how long it is talking. This is already so long ago.

Small salt:
In that sense it is really a sound director, so we have to communicate closely with the director.

G:
If you become a sound creator, is there anything better to study such a thing?

Tsuchiya:
I think that making something with a single item is a matter of anything. Our job is to add sound to something, so it is important whether you want to add something to something rather than to make a song or create a sound effect. It is somewhat different that you can make songs and whether you can put them in a picture. That is the directing or the category of imagination.

If students have experience in game production, I have never done it, but since I think it is very difficult to find a group to make games, I can take pictures with a camera and play a stage with a variety of people I think that it is important that experience of creating something by two or more people is important. Is not it a song for me, it means to put a note on something? Because our work does not exist separately.


Small salt:
Technically speaking, some people aiming for game sounds really can only make songs, but I think that they want to learn engineering knowledge to some extent. Although some technical terms come out of this story, I would like you to understand those terms. Also, for example, knowing what kind of equipment is necessary when PC records sound, what setting should be done, knowledge of such minimum sound production is necessary.

Ishikawa:
I'd like you to do something like doing one thing to the end, the original one that is not someone's manager. Even songs can be anything, but I do not want to stop making motifs a bit, or not trying to copy or arrange them, or create a single album by yourself, I would like to make something proper until the end.

When I am an amateur, if I can not stop it I can quit. Among them, there are not many people unexpectedly able to get through to the end. Indeed, no matter how small anything can be made, I think it will be a good experience to make things that remain in shape original.

Small salt:
Wish me to set a deadline at the same time.

Tsuchiya:
I want to tell you that (lol)

Small salt:
You are doing!

About music of "Darius burst"

G:
Please tell me about the music of "Darius Burst", the process and episode of composition.

Ishikawa:
The PSP version of "Darius Burst" is a sound director, I had two people, Tsubo and Tsuchiya make songs. I told the two of us not to be conscious of the past Darius, to make a whole new thing. Still, I wanted to protect something like an unwritten rule of vague shooting emerging from the assumption of the target user, and I could not convey it to the two people well because of the difference of generations. There was something different in the mind, but I could not make it quite easy to say it.

Thinking now, I think that I wanted to protect what was at the root of the shooting spiritual era, but that was not reported at that time, and I asked two people to retake unreasonably many times It was. I'm sorry.


Small salt:
Let's apologize there a different place (laugh)

Ishikawa:
But the two of us finally grasped it from the retake, it has become a very good one, and it is a form that was helped by the two of us. As such, in the arcade version "Darius Burst Another Chronicle", it felt like I could leave it to the Tsuchiya whole from the sound director.

Tsuchiya:
In the case of PSP, I think there are parts that I did not fully understand what Darius had. There were times when we did not engage well with Ishikawa and the director. But it was fun to make.

In fact, I think that what is different from others is that the demand is high in the long run. Hurdle is high. For this series, I think that it is possible to make something about plus alpha, plus alpha plus alpha ...... about work. Of course, whatever sound shop should think any games want to express their own view of the world, I think that it is a title far beyond that criterion and it must express it as reality.

G:
Darius is a new work beyond the 12 years since the previous work "G", but was there something like an image of a song?

Tsuchiya:
There was a certain amount of images of songs. The hero of this time is the main character as it is the player. They are not general people anything but a general soldier. They are not amazing people, but I imagined the hope of recaping stars in this opportunity, the kind of fear that fly away to the universe when confronting the enemy for the first time, the feelings of such human beings.

G:
You are focusing on the pilot onboard the airplane.

Tsuchiya:
When creating songs, I will spot a lot of places, but this time, I will focus on the place where people looking at fighter plane riding such fighters plus third-party perspective It is. He wants to express the twists and turns of such psychology, such as being led by the goddess's song, winning a battle that should not be originally won, but fear attacking on the way. That's why it is not only the viewpoint of the person on board but also the third person who is one step away from it.

G:
In this time, one round is composed of three stages, but is it a sign of such intention that it passes through three stages and becomes one song?

Tsuchiya:
Because the emotions are unbroken. The fighting principals do not know when the fight will end. I do not even know that there are bosses, and the question is whether my battle can contribute to the end of the war. Such feelings are constantly sticking out, fighting to forget it, fighting thinking about various things.

In that sense, I thought that there was no necessity to interrupt the song every stage, and when I noticed it had been so long (lol)

◆ Game Sound Creators' Workplace

G:
Well then, I would like to show you the workshop of ZUNTATA.

Mr. Oshio 's desk.


Small salt:
I like this keyboard very much, it seems simple and has various real functions. Unfortunately it has not been manufactured already. I can not work if I do not have this, so I have another one in reserve. The keyboard that Gachapin is sleeping in the back is what Ogura used once.

G:
That has created numerous darius sounds ...

Small salt:
It was pretty recently used, so I think Darius is probably another guy (lol)



Mr. Ishikawa's desk.


Tsuchiya 's desk.


Tsuchiya:
Depending on the song, you may also play the guitar or bass. By the way this keyboard has no knobs, so I do not like it much. In that sense it is not easy for people. I think that the workplace of the current game sound creator has become almost the same as the site of other sounds. There is a guitar and a keyboard, there is an audio interface, there are speakers, there are headphones. I think that it is almost altogether unchanged. I do not use much of a hard line, so I do not put much on the desk.

G:
Thank you very much.

In addition, in the movie below, you can listen to a part of "Darius Burst Remix Wonder World" CD arranger CD "Darius Burst" by 18 artists, including Tsuchiya san and Mr. Oshio. Aside from arranging CDs, the personality of composers stands out even more.

Album 22 "Darius Burst Remix Wonder World" 22 songs preview movie - Nico Nico video (Harajuku)


In addition, Mr. Kosui and Tsuchiya can enjoy the sound games that made full use of the sound of ZUNTATA at the iOS application "Groove Coaster" which was created in cooperation with Shitasu Ishida, a new game designer expected by Taito I will. Also included are a number of Taito game music including Darius Burst's masterpiece "Good-bye my earth" by Tsuchiya.

Groove Coaster "Good-bye my eartn" play movie - YouTube


It is a simple game of touching the screen of the iPhone or iPad at a good timing.


Although the operation is simple, the movement of the avatar (icon) is complicated, and if you can not capture the sound firmly with your ears, you can not grasp timing with just eye catching.


Points at which sounds are generated besides the target are built in various places of the stage, and ad lib performance that touches in a place without a target is also possible.


If you clear the stage with a high rank, the new avatar will be released and various effects will be available in the game.


Tracklist
1. The Beginning - Implantation -
2. Music Plot Type Zero
3.Play merrily
4. Streetwalker
5.Not get wish
6. Revenge Of Arkanoid (GC Edition)
7. Happy Smiling ♪ - Master Happy Mix - (GC Edition)
8.Breach of faith
9.Invade You (GC Edition)
10. Neptune Diving (GC Edition)
11.You've Gatta Luv (GC Edition)
12.I CAN NOT APE (GC Edition)
13. Fun-House
14. 檄 (GC Edition)
15. Cardiac Rhythm
16. Spring to mind
17. Eurythmics Trip
18. The Beginning - Embryo-
19.Good-bye my earth (GC Edition)
20. Space Invaders Infinity Gene Medley
21. The Beginning - Birth-

Also, a CD containing the live "Darius Burst Another Chronicle" held at Shibuya O-EAST will be released on October 31st.


Tracklist
1.Good-bye my earth -Live version with Remi-
2. The world of spirit-live version with Remi-
3. DBAC MIX (1: Otitureita Kimochi ~ 2: Baptize Silver Hawk ~ 3: Abyssal Holic ~ 4: Defeat the Merciless Defeat ~ 5: Abyssal Dependence)
4. DARIUS Classics (1: COIN ~ 2: CHAOS ~ 3: Say Papa ~ 4: Visionnerz + 5: Self ~ 6: G Zero + 7: Adam ~ 8: Fake ~ 9: A Flashing Dual Hawk ~ 10: Boss 7)
5. Suite of light guides first order iron fossil - Live version-
6. Suite of Light Guides Third Song Lightning and Sword - Live version-
7. Suite for Guided Light Fifth Song Tyrant - Live version-
8. ENCORE 1: Hello 31337 - Live version -
9. ENCORE 2: Guided light guiding the sixth song - Live version -

● Groove coaster:
(C) TAITO CORP.1978,2011

◆ Live CD:
(C) TAITO CORPORATION 2010, 2011 ALL RIGHTS RESERVED.
(C) 2011 ENTERBRAIN, INC.