It's the most important that the tunes of the 5 member are satisfying and I thought that it's finally like we returned
(I): As you turned your attention to „DOGMA“, what things did you thought of as you faced the production?
K: After all the songs were present, at the time we thought about what kind of approach we should do, we talked about wanting to go with even lower tunes than usual. For this purpose, we had the reality that if the kick drumms wouldn't make lower tunes, the bass wouldn't be heard, so we watched out for that. Regarding the set we changed thhe tunes that were directly hit, to say so it means that we requested a metal like Tam in the beginning. Towards the Tam Ruki was annoying me if I couldn't go even lower (lol). To go lower, I started searching for a set with a body that sounded properly. As a result I settled down with the Oak shell set, and with the first round (playing it) I already thought „wow, what is this rebounding sound?!“, so we started with this. The melodies this time are like that too, but we also wished for more symbols, and with the drums itself we wanted to exceed the extension line we had until now.
(I): It was the moment you started the production that you could clearly see the tunes that you should produce as a band, wasn't it?
K: I think, we could see the direction clearly.
R: The moment we just we had tunings with chord A and B, I understood that my part was to support the lower part and so we thought of this as an axis. But I always end up thinking that it's a good tune we made, but we also get to see reflection points, don't we? That's good, but I wondered if we couldn't record it more normaly. As in how could we record without mistakes, without wasting something? This time we investigated this.
(I): What do think about all the present songs?
R: As expected there are many intense songs. That means, it's just songs with high tempo and low tuning. In the middle of the pripro I thought that you probably wouldn't notice anything even if you think about detailed phrases. That's why we changed our point of view and made the plays itself more simple. We thought that chipping it off (the complicated parts) made more sense. After that I just had to be carefull of the picking.
(I): What you thought about the compositions is, that while you were putting various compositions together, unexpectedly it didn't sound complicated. I had the impression that you arranged something with an super comformity.
R: Indeed, as I took each of the deta of the pripro with me home to add the phrases, I said, that the composition is quite complicated, but as I tried adding it, that wasn't the case (lol), I got the feeling that I could accept it. That is a strange part of us, isn't it?
K: Because we were adding just the necessary things, as a result, the compositions were increasing. Nevertheless, because we are not doing some crazy things like jumping from 1 to 3, it was our way of constructing above going through with the order firmly.
(I): The recording went on smoothly, wasn't it? With a basic sound proucing are there parts that the reader of this magazine should be able to imitate?
R: Regarding the bass, first of all you're leaving the middle (tunes/ the middle of the bass) out and just go with high and low tunes, but that won't be enough, though it can rise the ecitement, doesn't it? If you do so, for the most part it should sound like that than (lol)
K: Because the drums are an accustic instrument, different people make different sounds , so it's a little difficult... This time I used an Snare of BelleGlass, didn't I? So, Until now basically I hang onto all of the rim and hit (the drum set), but this time, even if I didn't hang on, the sound came out as if I'd hang on, if anything, I wanted to hit it till it's real breaking point! Because I think that everyone can hit (the drums) without hanging onto the rim, I wanted to pay attention to this way of making tunes.
(I): So, is there something that put the exercise on an higher level?
K: With the drums is was the grace note of “DAWN”. I'm really hitting a back-beat, but if I'd hit it like a grace note the song wouldn't be complete. That's why I had the feeling to let the grace note firmly ring. But, if it were for a normal way of hitting the drums, I think that you probably wouldn't be able to hear it! That's why for indicating it as one note, hitting the back-beat, if anything powerfully or putting strength in the beats except 2 and 4, it can be heard naturally and regulary. That's not something you'll find in the songs of the GazettE, but it's ideal for training, I think. The vital point is on a conscious level, isn't it. Regarding the 2nd and 4th beat, I'm hitting the back-beat with a sixth to an eighths part of my strength. At least now that became my style, but aren't the drums philharmonic or an encouraging [instrument]? But, while the improvisation is getting more detailed, it's natural that the power of the tones come out different. Therefore I'm using 100% of my strength for the fast improvisations. If I do it like that, if you listen to it afterwards, you can hear the improvisation of the tones constantly. In this song especially are many places like that, aren't there? In the beginning it is okay to hit the tempo slower, I think. If your body get's used to it, accordingly it will work with fast songs too.
(I): You have a strong interest in the Tams right?
K: Most people are just using 12 inch Tams. But if you try out 14, 16 and18 inch … If you don't produce tones with something like 1 Tam and 2 Floor-tams, the moment you spin around the Tams the tone is light and there was no echoes. Therefore whether to get down to react to the pitch of the 14 inch tam or to end up with 16 inch depends on the „do“ (a tone I guess) I firmly produce. What's born there is a nice flow. Because we started this time with the attitude to go overall deeper and deeper, it is that we produced these kind of tunes, I think. Also because Reita said: „I want to go even deeper“...
R: No, I didn't say that! (*laugh*) But said from the position of a bassist, he chose a 22 inch, that's pretty big. Before that it was even 26 inch and the range where we had to arrange the bass and the drums was wide, so it was difficult to find a match for the bass. With the phrases for the bass the movements in the refrain of „DAWN“ was just that. That became a good exercise for my left hand. Furthermore to use 1 or 2 strings is pleasant, but the feeling of the melody would be lost, so because I'm playing the High Position (normally you'd produce the tone somewhere else-but because he's playing very fast he had to use the tone on this string) of the 3rd string, the movements of my finger are awfully busy.
(I): on the other hand, to live up faithfully to the part of the bass between the guitars and the drums, is interesting too, isn't it?
R: yeah, in this meaning I guess it's „DOGMA“. The tone and the attack is on max, but all of the interlude is down-playing. That is unexpectedly difficult, isn't it? It's a part where you cannot slip off. With this in mind, this time it's pretty often that I'm just the connection between drums and guitar, I think.
(I): The sound isn't buried though, right?
R: Normally we record the speaker cabinet through a microphone, but I had the feeling that it kind of sounded far. Furthermore we let the woofer (speaker system) sound, but if you think about the current songs, starting with the woofer brought problems with it. That's why we used a speaker simulator and as a result, we've stuck with line-in recording, so it became faster. And as we played our achievement, the tunes came out better than earlier, I thought.
(I): For example, in the latest songs it was your feature that there were things you had to use, though a decorative synthesizer was none of them, but for this reason, to stick with the bands sound, you controlled everything last down to the last detail. Didn't you?
R: From the beginning, the most important thing is that all 5 member are satisfied with the music, I think, and I had the feeling that we finally were on the edge of tearing up. The more tones you include the more are the single tones meshing with each other. It's quite unrealistic to include all tones clearly I think, and cause we want to produce good sounds I think we had to decrease the number (of tones) again. In this context, from here on too, it's okay if there are things with even lesser tones too. It became an album that's asking if you like or don't like the GazettE I think.
K: Because this album itself is clearly showing the quality of the GazettE, I think it's a good link to my motive why I started a band as well as our band sound. I think even if I try to look around us, after all isn't now the time to ask for too many things? But we were able to study the GazettEs role in this. So I guess „DOGMA“ is one ideal work of us.
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