Interview with Junichi Nakatsuru

Dolby talks to Namco Project Soul Sound Director, Junichi Nakatsuru.

First of all, let me tell you that we are big fans of Soul Calibur®II. The characteristic “hit” sound that you hear just before starting a fight is one of the best sounds in surround that I've ever heard in a game. It never fails to make the hairs stand up on the back of my neck!

With such an illustrious gaming history behind you, how did you approach the sound of SCIII?

First of all, we started off by studying and becoming deeply aware of the vision, characters, and the story behind Soul Calibur III. Then we identified the sound theme that must be carried on, immediately synonymous with the Soul Calibur series. At the same time, we devised a new sound for the latest game in the series, and finally we started working on production.

Did you use the same audio team, or did you change the people involved?

Basically, the team has remained the same. They're all top sound designers who've worked on the whole Soul Calibur series and know exactly what kind of sound is needed throughout the game.

The combat game genre is unique. In light of this, how did you approach surround sound for the game?

First of all, we approached surround sound by presenting the opening scene of Soul Calibur III in Dolby® Digital Surround EX™, and then used Dolby Pro Logic® II during the actual game play.

By presenting the opening sequences in Dolby Digital Surround EX and immersing the gamer in impressive surround sound, we wanted to generate excitement about the actual game play. Once in the game itself, we boost up the damage sound in scenes where the player destroys the enemy, so that the player can hear it in surround sound. Similarly, the player can hear noises around them—the wind blowing, water flowing from the opposite side of the screen when they are on the edge of the fighting stage—so that they're aware of where they are and that they don't fall off the fighting stage.

Could you tell us why audio in Soul Calibur III is important?

Audio is a key element in making scenes more evocative and expressive, thereby empathizing with the players in various situations. Have you ever watched a movie or TV without the sound? As you can imagine, without the sound, no matter how beautiful the visual, it hardly lifts you emotionally. With the sound effects of crossing swords, emotional expression in the characters' voices, the sound of the wind and water—in short, by effectively conducting the appropriate BGM and sound effects according to the characters and stage of game play, then the player finally feels immersed in the world of Soul Calibur III.

Of all the game soundtracks that you've created, which one are you most proud of?

Of course, it's Soul Calibur.

Have technological developments in games audio changed the way in which you approach sound in games?

We've become much more organized in planning the sound production at an early stage in order to meet the enormous amount of sound data required. We're also more aware of surround sound whenever we're working on new titles.

How interactive is the audio in Soul Calibur III?

All the sounds during game play are in interactive surround sound. The motion of the sounds are action and situation oriented; it changes all the time.

What is your favorite tool and why?

The best tools I have are my brain and the hands, although besides that I like Pro Tools® and Logic®Pro (laughs).

What were you doing at 17?

I was a high-school student (laughs). I played the trombone in a brass band at school, and at the same time I was a keyboard player and band composer in my private life.

Do you play any instruments now?

I play piano and keyboards. Actually I played the piano for Soul Calibur III.

Name your all-time favourite three games.

All of these titles are the ones I recently did the sound for.

Soul Calibur III

Ace Combat™ 5

Ridge Racers®

Name your favourite 3 records.

Speaking of Now, Pat Metheny Group—I always use it for sound-checking at the studio.

Star Wars: Episode I soundtrack—I was deeply influenced by the orchestra sound.

No Time Like the Future, Incognito—I go to their live performances whenever they're playing at Blue Note Tokyo.

What makes you most excited about next-generation consoles?

I am most excited about the more expressive high-quality sound that maximizes the advantage of surround sound.

Are you working on any new projects?

Yes, I am. I'm sorry I can't tell you much about it for now, but you can count on me!