Sound Creator

1997 Graduate Hire

Even now, I still get a thrill out of the sense of urgency when recording.

The first time I ever handled all of the music for a game title was for Mr. Driller, in my 3rd year after joining the company. We hired a famous voice actor to sing the vocals for the opening song, and the song and music was all recorded in one go. The recording was a breathtaking experience. From the moment I gave the first cue and pressed the record button, I was filled with a sense of duty and fear at the task of having to complete an entire high-quality composition in the next two hours. The music I’d written was very difficult to perform and getting it right in one go was challenging, but avoiding risk by simplifying the music to improve efficiency wasn’t something that I was prepared to do. That was the first time I’d ever experienced such a conflict within myself, but the exact same happens even now. There are a lot of people who focus on recording and collectively devote all of their respective abilities as they share each other’s time to create something amazing. Getting a taste of this tension made me realize that I was going to live my life on this path. Even now, I still experience exactly the same feelings each time I’m recording.

Because players will experience the music that I’ve thoroughly enjoyed making.

To be honest, the only musical experience I had was from an amateur band I used to be in. After graduating with a degree in foreign languages, I joined the company as a graduate hire and was assigned with the position of sound creator. When I first started, I inserted cables the wrong way and didn’t have a clue what I was doing. But in my 1st year after joining the company, I got the chance to write music for the amusement game Hammer Champ. In those days we wrote music on a special program for circuit boards, so I typed the number lists on a PC and finally completed it with a great deal of hand-holding by my senior colleague. After that, I created music for Mr. Driller, Necchuu Pro Yakyuu, Super World Stadium 98, Tales of Legendia, and God Eater, and also provided compositions for games including The Idolm@aster, Taiko no Tatsujin, Ace Combat, Tales of VS., and Tales of the World: Radiant Mythology 3. Having worked as a sound creator for 17 years, I think that what you get out of a job depends on how much fun you have. I can be sure that players will experience the music that I’ve enjoyed making. I also deeply feel the importance of continuing to aim for the best.

I give it my all so that players can enjoy audio that sounds fresh, even after a year.

I want to continue doing my current job in the future. Even in 10 years’ time, I think I’ll still want to feel the urgency of recording. Composing music is great fun. The process of taking a sheet of music that I’ve written and then adding character movement, voice actors’ recordings, facial expressions and emotion is just like raising one of my own children. That’s why I’ll always want to devote all of my energy into portraying the various facets of emotion and humanity. If I fail to do that, playing the game one year after it’s been released would probably be like eating food that’s gone stale. It’s because sound is such a vital element for breathing life into a game that I make sure I give it my all. It’s an obsession. With its gaze fixed several years in the future, BANDAI NAMCO Studios is currently conducting research in various fields. The same is true of sound, and we’re researching music that’s slightly ahead of what we have now. I can’t give any details, but I hope you’ll look forward to it.

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