Soshi Hosoi
Soshi Hosoi

Born: January 20, 1973 Kyoto, Japan
High school
Favorite Drink:
Vegetable Juice [NOTE: Probably something like V8]
Favorite Food:
Natto [Fermented soybeans], Chicken
Taking breath / rest, Movies
Influences: Steve Reich, Joe Hisaishi.
Favorite Game:
Mario 64
Favorite Movies:
Awakenings, Toy Story
Studio Gear:
Computer Power Macintosh G4/933 Mixer: MACKIE 1604-VLZ PRO Monitor: TANNOY Reveal
Audio Interface: digidesign digi001 Music Instruments: E-MU E6400 ULTRA, AKAI S3000XL, YAMAHA SY77,
Roland JP-8000, Roland D-70, Roland U-220

Sound Tools: Digital Performer, ProTools Software LE

Energy Field (J)

Credits Include:
See Below


RocketBaby: At what age did you become interested in music?

Soshi Hosoi(SH): When I was in elementary school, I was often listening to game
music and also to the music of the bands my brother collected.
[NOTE: Original
could also read "music performed by my brother's band." I assumed the former]
first song, which I made when I was 2 years old, was titled "Chokkin", whose meaning
I have no clue to.
[NOTE: This sounds like Japanese onomatopoeia for sound of scissors
cutting something; Of course, since he himself said he has no idea, it probably
isn't this...]

RB: How did you get started in the game making business?

TA: I entered a game company called VIDEO SYSTEM and worked on music composition.
[I] Worked on Sonic Wings series (Overseas title is "Aero Fighters") from
its second title.

RB: How was Energy Field created?

TA: "Energy Field" denotes "Aura" or "Ki", [NOTE: Terminology from martial arts,
meaning (something like) internal energy flow; depending on the art, it could
have different pronounciation. The above is purely my personal conception...
probably not the best one to quote...] and I gave the unit this name with the idea
of "creating works through gathering the energy of the artists" in mind.
In 1998 I joined with vocalist Kala and made this unit, wishing to create
music of new style. "Energy Field" was originally the title of one of her past

RB: How do you overcome the limitations of the hardware you are working on?

TA: Since it is [console] game music, naturally it is restricted by the hardware
capability of the console. However in terms of creative processes, I would say
that such limitations give more appeal; I like [digitally] entering music in
such ways...

RB: What inspires your music?

TA: [My] Emotions, the things that I see and hear, and [other] influential things.
[NOTE: He really put it in this somewhat vague, figurative ways.]

RB: Please share your experiences on the following games:

Can Can Bunny (NEC PC-FX [CCB Extra] and Sega Saturn [CCB Premiere 1 and 2]):

For PC-FX's "Extra", I was writing internal sounds' PSG tunes and music data
directly with assembly, but because it was time consuming I had to make my own
[? No idea here...] and that was a big pain. Music to Premiere 1 and 2 for
Sega Saturn was made in rush, but I remember enjoying working on it.

Snowboard Extreme:

This required many imageries and other very demanding factors [to the music], and
was very troublesome. It did not have the limitation of [hardware] internal sound
source, and because of that coming up with something satisfactory was hard.

Memories Off (PS/DC):

With sufficient work time I was able to smoothly create pieces, which was exactly
what I wanted to make. The story [of the game] must have also helped to highten
my creative imagery.

My dream project is to release a CD under my name!
Aim for movie soundtrack! (A dream should be ambitious, right?)

-Takeshi Abo 2002


I experimented with some chords that I usually do not include, while also making
sure to preserve the quality. The vocal piece was originally just a BGM, so with
lyrics I remember it had become a very difficult song.
[NOTE: "The vocal piece"
is my addition. He did not clarify what the last sentence is about... It is also possible
from the original that it could mean "All vocal pieces" were this way...]

Kid Mix:

This was a wrap up / summary of previous releases, so I created just a couple
of pieces. The setting [of the game] was sort of a digital world, so I tuned
the pieces in a "digital pop" style.

First Sunny Side:

I had to make sure not to destroy the image of existing music, while also
increasing the quality and adding arrangements to the works; was very painstaking.

Perfect Insider:

This is actually my favorite work. I like ambient music, so although
what I made here is not the most favored by the general public, I would
personally recommend this. It is sad, but unfortunately not many people
end up sharing the same opinion as I...

Ever 17:

(At the time of writing, this is not yet released) Despite composing within
short time frame, I am very satisfied that I was able to come up with many
high quality pieces that I personally like. This also includes some ambient
techno pieces, and [out of all] I enjoyed working on these pieces.

Might and Magic III:

This was my first job at StarCraft; I remember making over 60 pieces.
Unfortunately the SNES version of the game was never officially went on sale
and it can not be found in the market.

[Q: Was the version he worked on specifically (only) the SNES version?]
I recall many memories from that time when I listen to the music of this game.]


I made this toward the end of FM sound source era, with quite interesting
composition style. Unfortunately at the time PC9821 series were not very
popular, so I feel that it may not have been heard by that many people...
[Along with the pieces from this] I recall my favorite contemporary games
with complex use of FM sound source, such as "Rhyme Star" and "StarFire".

RB: How do you think game music today compares to classic game music?

TA: Game music nowadays has greatly changed from before. Earlier it was
[consisting of] monophonic electronic tunes, but now it [game consoles] can
generate very good sounds, comparable to that of regular samplers. On the
other hand, I somewhat feel that the sounds are used more wastefully, but this
maybe is my bad analysis... The game music that I was listening to when I was
a student had very high hardware barriers, and I was attracted to the sound
which skillfully used myriad's of techniques within such restrictions. As a person
who has lived through the golden age of FM sound source, I guess I have more
passion for the [music from] past.

RB: What advice would you give to those who want to create music?

TA: If one really loves music and actively engage yourself, I believe that one's wish
will become real. Always have challenging spirits! (This is also a word for
me myself, too...)

RB: Any final thoughts?

TA: I will continue to put a lot of effort into my works; please watch my actions
closely! For close, I would like to add a little introduction of my homepage...
Other than music (Description of the pieces from the works I had hands on, to
downloadable music made with FM sound source), it includes pages for my hobby,
the automobiles (HONDA Prelude SiVTEC) and others.

If you are interested in game music or automobiles, please take a look at
my site.

Translation by Shinsuke Fukuda

A big thank you to Mr. Abo for taking the time to chat.




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