2026 Couch Co-op with Dr. Pez
多和田吏谈作曲人生
多和田吏从红白机到《宝可梦竞技场》，作曲家多和田吏回顾近四十年的游戏音乐创作历程。
Contents 本篇 48 章
- 访谈参与者的标注如下：
- J：Jonathan Parecki
- 你作为电子游戏作曲家的经历丰富而令人印象深刻，最早署名的作品可以追溯到1988年——那是3...
- 从那以后，你参与了100多个音乐和游戏相关的项目，所以这次采访我们有很多话题可以聊。
- 我们从最开始聊起吧：你与音乐的关系最初是如何发展起来的，又是如何让你走上音乐人之路的？
- 能举几个具体例子，说说家里放的哪些音乐吸引了你的注意吗？
- 我们来聚焦柴可夫斯基的钢琴协奏曲——你最终学会弹它的时候，是靠乐谱还是靠耳朵听？
- 你能说说《第一钢琴协奏曲》的哪一点让你如此共鸣吗？
- 你什么时候开始写音乐的？你还记得自己最早创作的一些作品吗？
- 所以你很享受改编别人的音乐，同时也自己作曲。是什么让你不满足于改编他人作品，而走向自己创作...
- 你能具体指出既有作品里缺的是什么吗？还是说你脑海中想象出了一种特定的声音，想要听到它？
- 你是什么时候决定要以作曲为职业的？是什么促使你迈出这一步的？
- 你是怎么开始为电子游戏作曲的？你作曲的第一款游戏是什么，又是怎么得到这份工作的？
- 你当时多大？
- 你还记得当时用什么设备制作那盘小样磁带吗？
- 在新公司接到的第一个项目是什么？
- 在第一个项目上作曲的经历是怎样的？过程中有没有遇到什么挑战？
- 能否请你介绍一下，为红白机游戏作曲并将其植入游戏的过程是怎样的？
- 为了把音乐植入游戏，你需要掌握哪些技术知识？
- 早期你必须应对严格的硬件限制——你已经谈过这些限制如何影响了你的编曲。随着时间推移，硬件变...
- 你开始职业作曲时，流行音乐圈是什么样的？
- 当时的流行音乐对你的创作有影响吗？
- 在你参与《宝可梦》之前（我们稍后会谈到）：有哪些关键游戏标志着你作为作曲家的重大进步，这些...
- T：为这款游戏，我充分利用了超级任天堂的8通道发声系统，创作出以原声乐器演奏、旋律富有情感...
- 你觉得《伊哈托夫物语》的原声带是哪一点引起了椙山浩一的注意？
- 所以这就是你参与《勇者斗恶龙》的契机？
- 如果我没记错，《勇者斗恶龙》又让你参与到了《宝可梦》的工作，对吧？
- 这个小小的开发团队是如何引起任天堂和株式会社宝可梦注意的？
- 《宝可梦圆形竞技场》与其余主线游戏非常不同，最显著的是它更黑暗的基调。给游戏定下更黑暗基调...
- 具体就音乐而言，你得到了什么样的指示；你又是如何将那个指示转化为音乐创意的？
- 你在作曲时参考的是什么样的素材（比如概念图、视频、笔记等）？
- 你还记得你为《宝可梦圆形竞技场》创作的第一首曲子是什么吗？
- 《宝可梦圆形竞技场》原声带的一个独特之处在于它对动机的运用；在许多曲目中，你都能听到一些共...
- 假设你正开始为游戏中的一个新区域写一首曲子，并且想在其中融入一个动机。你是从动机开始、围绕...
- 你的音乐想法有没有遇到过任何反对意见？有没有曲目最终被重做或搁置？
- 制作《宝可梦圆形竞技场》原声带时，最具挑战性的部分是什么？哪个步骤花的时间最多？
- 总体而言，《宝可梦圆形竞技场》的开发过程是怎样的？团队在开发周期中遇到了什么重大挑战吗？
- 哇……好险！那么我们在游戏中听到的所有音乐都是由GameCube实时混音和渲染的吗？
- 音乐指令是用 MIDI 还是其他格式写的？有多少是程序编入的，有多少是你亲自演奏的？
- 你借机重新编曲/重新录制了一些旧作：最近为《伊哈托夫物语》30 周年，原声带被改编并由现场...
- 与游戏中的原版相比，《伊哈托夫物语》的现场管弦乐版本是否更接近你最初作曲时脑海中的构想？
- 嗯，这是我的荣幸，谢谢！
- 你最近空闲时间在听什么样的音乐？
- 你觉得这是为什么？是时间问题，还是你自己的音乐占用了你全部的音乐心力？
- 能谈谈你未来的音乐计划吗？
- 使用与《宝可梦圆形竞技场》/《XD》相同的音色是有意为之，而不是用更现代的设备或请真人乐手...
- 这恰恰说明，《宝可梦圆形竞技场》和《XD》在多大程度上确立了“多和田”之声，以及你与这些游...
- 最后一个问题：如果让你给当今有志成为作曲家的人们一些建议，你会说什么？
引言
Tsukasa Tawada is a video game composer whose distinctive style and unforgettable melodies have earned him a place among the great composers in the Japanese video game scene. Best known for his work on series such as Pokémon1 and Dragon Quest2, Tawada’s breadth of work spans a variety of genres and covers multiple decades going back to the late ‘80s, when the Famicom (NES in North America) was the top-of-the-line video game console.
多和田吏是一位电子游戏作曲家，其独特的风格与令人难忘的旋律为他赢得了日本游戏音乐界伟大作曲家之一的位置。他以在《宝可梦》1和《勇者斗恶龙》2等系列中的作品最为人熟知，其创作跨度涵盖多种类型，可追溯至20世纪80年代末——当时红白机（北美称NES）还是最顶级的游戏主机。
1: Sound direction, composition and arrangement of all tracks, recording, and technical implementation
1：负责全部曲目的音响指导、作曲与编曲、录音及技术实现
2: Sound direction and technical implementation for the main-series games, as well as arrangement of various tracks
2：负责正传游戏的音响指导与技术实现，以及多首曲目的编曲
My first run-in with Tawada’s work occurred back in 2004, when Pokémon Colosseum was released internationally. For context, I was around 10 years old at the time and my reference for what a Pokemon game looked like was based on Ruby and Sapphire—the latest games in the series up to that point.
我第一次接触到多和田的作品是在2004年，当时《宝可梦圆形竞技场》在国际上发行。说明一下背景：我那时大约10岁，我对宝可梦游戏样子的参照标准来自《红宝石／蓝宝石》——那是当时该系列最新的作品。
Then Pokémon Colosseum came and turned that reference on its head.
然后《宝可梦圆形竞技场》出现了，彻底颠覆了我的参照标准。
Graphics aside, perhaps the most notable difference was in the game’s tone; instead of a bright world full of possibility and optimism, the player is thrust into a crime-ridden world filled with shady, run-down areas occupied by seedy characters who won’t hesitate to exploit Pokemon to their advantage.
撇开画面不谈，最显著的不同或许在于游戏的基调：玩家被投入的不是一个充满可能性与乐观的明亮世界，而是一个犯罪横行、遍布阴暗破败之地、充斥着不择手段利用宝可梦谋取私利的卑劣角色的世界。
And playing in the background, constantly reinforcing that darker, edgy tone is Tawada’s distinctive soundtrack, immersing the player through the entirety of their journey. I was hooked.
而在背景中持续强化那种更黑暗、更前卫基调的，正是多和田独具特色的配乐，让玩家在整个旅程中始终沉浸其中。我被深深吸引了。
Fast forward to 2012: by this time I’d developed a passionate hobby for covering video game tunes and sharing them on YouTube to some modest success. Given the impact that Pokémon Colosseum’s music had on me at the time, it’s no surprise that I chose to dig into Colosseum’s OST for new material to cover, starting with Cipher Peon Battle and its iconic guitar melody (that still gives me goosebumps to this day).
时间快进到2012年：那时我已经把翻奏游戏音乐并分享到YouTube发展成了一项充满热情的爱好，并取得了一些小小的成绩。鉴于《宝可梦圆形竞技场》的音乐当时对我产生的影响，我选择深入挖掘《圆形竞技场》的原声带寻找新的翻奏素材也就不足为奇了，首先从《暗影团手下战斗》及其标志性的吉他旋律开始（至今仍让我起鸡皮疙瘩）。
After uploading that video, I shared it with Tawada, and to my astonishment, actually received a response, and a heartfelt one at that, giving praise for the accuracy of the performance and offering words of encouragement. For a young musician like myself at the time, this was an invaluable gift which filled me with motivation to do even better and eventually led to more ambitious projects like the Pokémon Colosseum Medley, which in turn paved the way for even larger projects.
上传那段视频后，我把它分享给了多和田，令我惊讶的是，我竟然收到了回复，而且是一封真诚的回复，他称赞了演奏的准确度，并给予了鼓励。对当时的我这样一个年轻音乐人来说，这是一份无价的礼物，让我充满动力去做得更好，并最终促成了像《宝可梦圆形竞技场组曲》这样更宏大的项目，而这又为更大的项目铺平了道路。
It was around that time that the idea to get together and play some of Tawada’s tunes live started getting floated around. I’m sure you can imagine the whirlwind of thoughts going through my mind around that idea.
大约就在那个时候，开始有人提出大家聚在一起、现场演奏多和田的一些曲子的想法。你能想象这个想法在我脑中掀起了怎样的思绪风暴吗？
Being on opposite sides of the globe, however, made this tricky and the idea more or less lost steam…
然而，身处地球两端让这件事变得棘手，这个想法也或多或少地不了了之了……
Fast forward to 2025: at this point I’d been out of touch with Tawada for nearly a decade, but I’d finally decided to take the plunge and visit Japan. Given the amount of time that had passed, I had no expectation of meeting but figured I’d reach out anyway, letting him know of my upcoming trip. As luck would have it, he responded enthusiastically, agreeing to meet up and even going so far as to organize studio time for us to record in.
快进到2025年：此时我已经和多和田将近十年没有联系，但我终于下定决心去日本一趟。考虑到已经过去了这么久，我并没有指望能见面，但还是想着不妨联系一下，告诉他我即将到来的行程。幸运的是，他热情地回复了，同意见面，甚至主动为我们安排了录音室的录音时间。
Towards the end of my trip in Japan, I met up with my friend and fellow video game musician Jonathan Parecki, who, having lived there for several years already, was a godsend in helping everything run smoothly and maintaining good vibes during what were a hectic few days of navigating the expansiveness of Tokyo in preparation for the session.
在日本行程接近尾声时，我和我的朋友、同为电子游戏音乐人的Jonathan Parecki碰了面。他已经在日本生活了好几年，在那几天为准备录音而穿梭于东京广阔城区、忙得不可开交的日子里，他帮一切顺利进行、维持良好氛围，简直是天赐之助。
In the end, what resulted was a surreal couple of days that I’ll never forget, which involved meeting up with the composer of some of mine and Jonathan’s favorite soundtracks, recording music together, and getting the opportunity to ask some burning questions that only Tawada himself could answer.
最终的结果是难以忘怀、恍如梦境的两天：我们见到了我和Jonathan最喜爱的一些原声带的作曲者，一起录制音乐，还有机会问出一些只有多和田本人才能回答的迫切问题。
What follows is a revised transcript of our conversation that took place after the “rehearsal” session on day one of our time together.
以下是我们相处第一天“排练”环节之后进行的对话的修订版文字记录。
I spoke in English while Tawada responded in Japanese, with Jonathan acting as a translator.
我说英语，多和田用日语回答，由Jonathan担任翻译。
Dr. Pez
The participants of the interview are labelled as follows:
访谈参与者的标注如下：
Dr. Pez
J: Jonathan Parecki
J：Jonathan Parecki
访谈
Dr. Pez
You have a rich and impressive history as a video game composer, with your first credited title dating back to 1988—that’s 37 years ago. How do you feel when you reflect back on those years?
你作为电子游戏作曲家的经历丰富而令人印象深刻，最早署名的作品可以追溯到1988年——那是37年前了。回顾这些年，你有什么感受？
多和田吏
(Contemplates…) Although a lot of time has passed, as far as my mind goes nothing has really changed—the way I feel about making music is largely the same.
（沉思……）虽然时间过去很久了，但就我的心态而言，其实没什么变化——我对做音乐的感受基本还是一样的。
Dr. Pez
Since then you’ve worked on more than 100 music and game-related projects, so we have a lot of topics to cover with this interview.
从那以后，你参与了100多个音乐和游戏相关的项目，所以这次采访我们有很多话题可以聊。
多和田吏
(laughs) OK!
（笑）好的！
多和田吏
Note: a complete list of Tawada’s work can be found at nanomusicpro.com.
注：多和田吏作品的完整列表可以在 nanomusicpro.com 找到。
早年经历
Dr. Pez
Let’s start at the beginning: how did your relationship with music first develop, and how did that lead to you starting your journey as a musician?
我们从最开始聊起吧：你与音乐的关系最初是如何发展起来的，又是如何让你走上音乐人之路的？
多和田吏
My father had a huge collection of records from all over the world, and there would always be music playing in the house. As such, I was exposed to all kinds of music from a young age. It wasn’t uncommon to hear pieces such as Beethoven’s symphonies playing first thing in the morning (laughs). That’s not to say I was only exposed to orchestral music though—I was listening to all kinds of music since infancy.
我父亲收藏了大量来自世界各地的唱片，家里总是放着音乐。因此，我从小就接触到各种各样的音乐。早上一起床就听到贝多芬交响曲这类作品并不稀奇（笑）。不过，这并不意味着我只接触管弦乐——我从小就听各种类型的音乐。
Dr. Pez
Can you give us some specific examples of music playing in the house that caught your attention?
能举几个具体例子，说说家里放的哪些音乐吸引了你的注意吗？
多和田吏
I got to listen to all kinds of music - think genres such as chanson, Latin, jazz, classical, as well as folk music from Greece and other parts of the world. The first piece that really blew me away was Tchaikovsky’s Piano Concerto No. 1. The moment I heard that piece, I thought, “I’m going to play this myself!” (laughs)
我听过各种各样的音乐——比如香颂、拉丁、爵士、古典，还有来自希腊和世界其他地区的民间音乐。第一首真正让我震撼的曲子是柴可夫斯基的《第一钢琴协奏曲》。听到那首曲子的瞬间，我就想：“我要自己弹这首！”（笑）
多和田吏
Looking back, that’s probably the first time I thought that I wanted to do music. Even though I used to hate piano lessons, I suddenly started playing again on my own and began practicing hard every day.
回头想想，那大概是我第一次觉得自己想做音乐。虽然我以前讨厌上钢琴课，但我突然又开始自己弹琴，并且每天拼命练习。
Dr. Pez
Let’s zone in on Tchaikovsky’s Piano Concerto—when you eventually learned to play it, was it by sheet music or by ear?
我们来聚焦柴可夫斯基的钢琴协奏曲——你最终学会弹它的时候，是靠乐谱还是靠耳朵听？
多和田吏
It was way too complex for me at the time—there’s no way I could just figure it out by ear (laughs). I read the sheet music from cover to cover and analyzed it thoroughly.
当时对我来说太复杂了——我不可能光靠耳朵就把它弄明白（笑）。我把乐谱从头到尾读了一遍，仔细分析。
多和田吏
The techniques that I picked up from learning classical music often come in handy when composing for games—for example, sometimes I use a contrapuntal approach, which appears frequently in Bach’s music. The structure is polyphonic which means there will be a distinct bass line and one or more upper voices all playing simultaneously.
我从学习古典音乐中学到的技巧，在为游戏作曲时常常派得上用场——比如，有时我会用对位法，这在巴赫的音乐中经常出现。其结构是复调的，也就是说会有一条清晰的低音线和一个或多个上声部同时演奏。
Dr. Pez
Can you identify what about Piano Concerto No. 1 resonated with you so much?
你能说说《第一钢琴协奏曲》的哪一点让你如此共鸣吗？
多和田吏
The emotional depth and poignancy of the melodies in Tchaikovsky and Rachmaninoff’s music really struck a chord with me. It even made me want to study abroad in Moscow just to breathe the same air as them (laughs).
柴可夫斯基和拉赫玛尼诺夫音乐中旋律的情感深度与凄美，真的打动了我。它甚至让我想去莫斯科留学，只为和他们呼吸同样的空气（笑）。
多和田吏
What I realized after experiencing that music was that I didn’t just want to listen to it —I wanted to play it myself.
在体验了那样的音乐之后，我意识到我不只是想听它——我想自己演奏它。
多和田吏
Composing is a lot of fun for me, but jamming out, especially with fellow musicians, is even more fun!
作曲对我来说很有趣，但即兴演奏，尤其是和其他音乐人一起，更有趣！
走向作曲
Dr. Pez
When did you start writing music? Do you remember some of the earliest pieces you composed?
你什么时候开始写音乐的？你还记得自己最早创作的一些作品吗？
多和田吏
I wrote my very first melody during a piano lesson—I was probably about 4 years old. I started taking it seriously in middle school, when I was 11.
我人生中第一段旋律是在钢琴课上写下的——那时我大概4岁。到了中学，也就是11岁时，我开始认真对待这件事。
多和田吏
My very first arrangement was when I was 12 - for reasons that I can’t quite recall, I arranged the U.S. National Anthem for solo piano.
我第一次编曲是在12岁——因为一些我现在也记不太清的原因，我把美国国歌改编成了钢琴独奏。
多和田吏
Tawada begins humming the melody—everyone joins in and starts cracking up.
多和田开始哼起那段旋律——所有人都跟着哼起来，然后大笑不止。
Dr. Pez
So you enjoyed arranging others’ music, but also composing your own. What drew you beyond arranging pieces written by others, to composing your own music?
所以你很享受改编别人的音乐，同时也自己作曲。是什么让你不满足于改编他人作品，而走向自己创作音乐的？
多和田吏
In my middle school years, I was playing a wide variety of piano and band pieces—from classical to contemporary—including works by Bach, Beethoven, Chopin, and Liszt. However, in the back of my mind I felt like something was missing. After much contemplation, I came to the conclusion that the only way to fill in that missing part was to compose the music myself.
中学时代，我弹奏了大量钢琴曲和乐队作品——从古典到现代——包括巴赫、贝多芬、肖邦和李斯特的作品。然而，我内心深处总觉得缺了点什么。经过反复思考，我得出结论：填补那块空缺的唯一办法，就是自己作曲。
Dr. Pez
Can you pinpoint what was missing to you from existing works, or was it rather that you imagined a specific sound in your head that you wanted to hear?
你能具体指出既有作品里缺的是什么吗？还是说你脑海中想象出了一种特定的声音，想要听到它？
多和田吏
For example, when I was playing Bach, I’d think, “I want to play this a little more rhythmically.”
比如说，我弹巴赫的时候会想：“我想把这里弹得更有节奏感一些。”
多和田吏
Or with a Rachmaninoff piece, I’d think, “I want to expand this wonderful section and make the music even more dynamic.”
或者弹拉赫玛尼诺夫的作品时，我会想：“我想把这个精彩的段落展开，让音乐更有张力。”
多和田吏
As I did things like that, I gradually began to develop a desire to create my own music for the enjoyment of performing it.
做着做着，我渐渐萌生了一种愿望：创作自己的音乐，享受演奏它的乐趣。
职业生涯的开端
Dr. Pez
When did you decide that you wanted to make a career out of composing music? What led to you making that leap?
你是什么时候决定要以作曲为职业的？是什么促使你迈出这一步的？
多和田吏
I think I may have been aware that I wanted to make this my career ever since I was in high school and thought about studying abroad in Moscow. However, given the social climate at the time, which wasn’t very favorable, I ended up attending an art university in Japan.
我想，从高中时考虑去莫斯科留学起，我就已经意识到自己想以此为职业了。不过，考虑到当时的社会氛围并不太有利，我最终进入了日本的一所艺术大学。
多和田吏
This was around the same time that personal computers were starting to become adopted into the household, so I also became interested in creating music digitally. Due to the fact that both computers and music are logical by nature, I felt that they would be quite compatible with each other.
那段时间正好是个人电脑开始进入家庭的时期，所以我也对用数字方式创作音乐产生了兴趣。由于电脑和音乐在本质上都是逻辑性的，我觉得它们之间会相当契合。
Dr. Pez
How did you get started with composing for video games? What was the first game you composed for and how did you get the gig?
你是怎么开始为电子游戏作曲的？你作曲的第一款游戏是什么，又是怎么得到这份工作的？
多和田吏
So in Japan there’s this magazine with listings for job offerings—you see it often in supermarkets and other stores. In that magazine, I saw a job listing looking for someone that could compose music for video games. I spent the next three days composing a few demo tracks and submitted them to the company.
在日本有一种刊登招聘信息的杂志——你在超市和其他商店里经常能看到。在那本杂志上，我看到一则招聘启事，在找能为电子游戏作曲的人。接下来的三天里，我创作了几首小样曲目，提交给了那家公司。
多和田吏
To my surprise, I got a reply saying, “If you’re available, please come to the office starting tomorrow.”
出乎我意料的是，我收到了回复，说：“如果你方便的话，请从明天起就来办公室。”
Dr. Pez
How old were you at this time?
你当时多大？
多和田吏
I was around 21.
我大概21岁。
Dr. Pez
Do you remember what kind of gear you used to make the demo tape?
你还记得当时用什么设备制作那盘小样磁带吗？
多和田吏
Sampler: Roland S-750, S-50
采样器：Roland S-750、S-50
FM Synth: Yamaha DX7
FM合成器：Yamaha DX7
Mixer/Recorder: AKAI MG1212 or MG1214
调音台/录音机：AKAI MG1212 或 MG1214
Effects: DBX (compressor), Ampex (exciter), etc.
效果器：DBX（压缩器）、Ampex（激励器）等
There may have been more but that’s what I can remember now.
可能还有更多，但这是我现在能记得的。
Dr. Pez
What was the first project that you were assigned to work on at your new job?
在新公司接到的第一个项目是什么？
多和田吏
The first game soundtrack I worked on was for a Famicom title called Druid.
我参与的第一款游戏配乐是红白机上的《Druid》。
多和田吏
After that game was released, I received many compliments from the staff praising the music—that led to me being commissioned for all of the company’s projects.
那款游戏发售后，我收到了许多来自员工的称赞，说音乐很好——这让我后来被委托负责公司所有的项目。
Dr. Pez
What was your experience like composing on that first project? Did you run into any challenges in the process?
在第一个项目上作曲的经历是怎样的？过程中有没有遇到什么挑战？
多和田吏
When I started at the company, I was given the development hardware and more or less told to “please make the music”. You can imagine the look on my face (laughs).
进公司时，他们给了我开发硬件，基本上就是一句“请做音乐吧”。你可以想象我当时脸上的表情（笑）。
多和田吏
Since there were no other composers at the company, there was no one who could teach me about the development tools. At first, I had absolutely no idea how to make any sound, so I kept asking the programmers, “What is this?” and “How should I do this?” and slowly but surely, I learned how to program the Famicom to play music.
因为公司里没有其他作曲家，所以没人能教我开发工具。起初我完全不知道该怎么发出声音，就不停地问程序员“这是什么？”“这个该怎么做？”，就这样慢慢地、确实地学会了如何编程让红白机播放音乐。
多和田吏
I fondly remember how everyone would ooh and aah when I’d get the hardware to make a sound.
我至今仍怀念，每当我让硬件发出声音时，大家都会发出惊叹声。
多和田吏
Composing was easy, but creating the data was a real challenge!
作曲本身不难，但制作数据是真正的挑战！
技术流程
Dr. Pez
Can you walk us through the process of composing and implementing a piece of music into a game made for the Famicom?
能否请你介绍一下，为红白机游戏作曲并将其植入游戏的过程是怎样的？
多和田吏
First, I visualize the music I’m about to create all the way through to its final form.
首先，我会在脑海中把即将创作的音乐一直想象到它最终完成的样子。
多和田吏
Then, I establish an arrangement strategy tailored to the characteristics and limitations of the hardware that I’m working with. For example, “How can I express this using the Famicom’s 4-voice PSG or the Super Famicom’s 8-voice system?” During this stage, I also sketch out the sheet music.
然后，我会根据所用硬件的特性和限制，制定一套编曲策略。比如，“我该如何用红白机的4声PSG或超级红白机的8声系统来表现这段音乐？”在这个阶段，我也会把乐谱大致写出来。
多和田吏
That initial phase of establishing that musical vision is crucial. Only once that’s solidified can you move on to the programming phase, which involves inputting the performance data using a computer or similar tool. Tempo, phrasing, and articulation —that data all needs to be carefully specified for every note.
确立音乐构想的最初阶段至关重要。只有这一步定下来，才能进入编程阶段，也就是用电脑或类似工具输入演奏数据。速度、乐句划分、发音方式——每一个音符的这些数据都需要仔细指定。
多和田吏
In my case, I did everything from start to finish, including the implementation itself.
就我而言，从开始到结束，包括植入工作本身，全都是我一个人做的。
Dr. Pez
What kind of technical knowledge did you need to acquire in order to implement the music into the game?
为了把音乐植入游戏，你需要掌握哪些技术知识？
多和田吏
In order to communicate effectively with planners and programmers, I needed to understand hardware design and have some programming knowledge, so I studied those topics.
为了能和策划、程序员顺畅沟通，我需要理解硬件设计，并具备一定的编程知识，所以我学习了这些内容。
多和田吏
It’s also thanks to this knowledge that I’m able to identify and verify the causes of sound-related bugs that occasionally occur.
也正是多亏了这些知识，我才能识别并验证偶尔出现的与声音相关的故障原因。
Dr. Pez
In the early days you had to deal with strict hardware limitations—you’ve already talked about how those limitations influenced your arrangements. Over time, hardware limitations gradually became less restrictive as hardware became more powerful. Nowadays there’s almost no restrictions limiting the quality of audio in games. How has this softening of limitations over the years affected your workflow?
早期你必须应对严格的硬件限制——你已经谈过这些限制如何影响了你的编曲。随着时间推移，硬件变得更强，限制也逐渐放宽。如今游戏中音频质量几乎不再受什么限制。这些年来限制的放宽对你的工作流程有什么影响？
多和田吏
I’ve been in the game for a long time so I’ve always been accustomed to dealing with limitations. As a result, I’ve never felt that limits like four or eight voices had a negative impact on the creative side of things.
我在这一行很久了，所以一直习惯于应对各种限制。因此，我从未觉得四声部或八声部这样的限制对创作层面有什么负面影响。
多和田吏
There’s a unique world you can create with just four voices, and another you can create with just eight.
只用四个声部可以创造出一个独特的世界，只用八个声部又能创造出另一个。
多和田吏
In fact, I really enjoyed creating music tailored to the hardware. On the contrary, if the limits were removed and we could do anything without restriction, it might actually become less interesting.
事实上，我很享受为特定硬件量身创作音乐。相反，如果限制被取消，我们可以不受约束地做任何事，那可能反而会变得没那么有趣。
Dr. Pez
What was the popular music scene like when you started composing professionally?
你开始职业作曲时，流行音乐圈是什么样的？
多和田吏
All over the world, various genres of music such as rock, pop, jazz, new age, and more were thriving, and all of them were brilliant in their own way!
当时世界各地，摇滚、流行、爵士、新世纪等各种类型的音乐都在蓬勃发展，每一种都各有各的精彩！
多和田吏
Do you know Bon Jovi? I was really fond of his music.
你知道邦·乔维吗？我非常喜欢他们的音乐。
多和田吏
Jonathan breaks into “Living on a Prayer” - everyone joins in.
乔纳森突然唱起《Living on a Prayer》——大家都跟着唱了起来。
多和田吏
See? Music is great, isn’t it? It brings people together as fellow music lovers, regardless of age.
看吧？音乐很棒，不是吗？它让不分年龄的音乐爱好者聚在一起。
Dr. Pez
Did the popular music at the time have an influence on your compositions at all?
当时的流行音乐对你的创作有影响吗？
多和田吏
I haven’t been that influenced by it in terms of technical composition, but when it comes to recording techniques and sound design, I was able to experience all kinds of great sounds, and I have a lot of respect for the pioneers who designed those sounds!
在作曲技法上，我并没有受到太大影响，但在录音技术和声音设计方面，我得以体验到各种出色的声音，我对那些设计出这些声音的先驱们怀有极大的敬意！
多和田吏
I believe that many of the classic, timeless sounds that are still imitated today were invented back then. Of course, since I grew up in a different era than everyone else, my perspective might be a little different.
我相信，许多至今仍被模仿的经典、永恒的声音，都是在那个时代被创造出来的。当然，由于我和大家成长的时代不同，我的视角可能略有不同。
成功与职业生涯里程碑
Dr. Pez
Before you worked on Pokémon (we’ll get to that later): what were some key games that marked a big step up in your development as a composer, and what was it about those games that leveled up your skills?
在你参与《宝可梦》之前（我们稍后会谈到）：有哪些关键游戏标志着你作为作曲家的重大进步，这些游戏的哪些方面提升了你的技能？
多和田吏
My first big breakthrough was in arcade game music. I composed the music for three titles: Plus Alpha, Rod Land, and E.D.F.: Earth Defense Force using the FM sound source chip built into the arcade game boards. The music, played with the 8-voice FM sound source, was a huge hit both within the company and with users, leading to a series of CD releases. That marked the first big step up in my career as a composer.
我的第一个重大突破是街机游戏音乐。我为三款游戏创作了音乐：Plus Alpha、Rod Land 和 E.D.F.: Earth Defense Force，使用的是街机基板内置的 FM 音源芯片。用 8 声部 FM 音源演奏的音乐在公司内部和用户中都大受欢迎，促成了系列 CD 的发行。那标志着我作曲家生涯的第一个重大进步。
多和田吏
The next step up would have to be Ihatovo Monogatari.
下一个进步应该是《伊哈托夫物语》。
多和田吏
On that note, now would be a good time to give you these…
说到这个，现在正好可以给你这些……
多和田吏
Tawada hands out Ihatovo Monogatari CDs to Pez and Jonathan.
多和田把《伊哈托夫物语》的CD分发给Pez和Jonathan。
多和田吏
I’ve already signed them, haha.
我已经签好名了，哈哈。
Dr. Pez
T: For this game, I made the most of the Super Famicom’s 8-voice sound system to create music featuring emotional melodies played on acoustic instruments.
T：为这款游戏，我充分利用了超级任天堂的8通道发声系统，创作出以原声乐器演奏、旋律富有情感的音乐。
多和田吏
That music was so well-received that Koichi Sugiyama, the composer for Dragon Quest, happened to hear it live at the Tokyo Game Show and invited me to work together on Dragon Quest—it was a pivotal title for me.
那首音乐反响极好，《勇者斗恶龙》的作曲家椙山浩一恰好在东京电玩展现场听到了它，于是邀请我一起参与《勇者斗恶龙》的制作——那对我来说是一部关键作品。
Dr. Pez
What do you think it was about the soundtrack to Ihatovo Monogatari that caught the attention of Sugiyama?
你觉得《伊哈托夫物语》的原声带是哪一点引起了椙山浩一的注意？
多和田吏
Drawing on my experience as a pianist, I put extra care into packing as much musical expression as I could into the score, but also doing so in a way that ensured that expressive nuance wasn’t lost by the Super Famicom’s limited sound system. As such, I carefully crafted the instrument sounds so that they could stand up to that level of expressive performance.
我发挥自己作为钢琴家的经验，格外用心地在配乐中塞进尽可能多的音乐表现，同时又要确保这些表现上的细微之处不会因超级任天堂有限的发声系统而丢失。为此，我精心打磨乐器音色，让它们经得起那种层次的表现力演奏。
多和田吏
I think that element of expressiveness is what made the impression.
我认为正是那种表现力打动了人。
Dr. Pez
So that’s what led to you working on Dragon Quest?
所以这就是你参与《勇者斗恶龙》的契机？
多和田吏
Yes. As a national phenomenon in Japan, it allowed me to showcase the skills I’d accumulated through sound production over the years and introduced my work to an even wider audience.
是的。它作为日本全国性的现象级作品，让我得以展示多年来在声音制作中积累的技能，也把我的作品介绍给了更广大的听众。
Dr. Pez
And if I’m not mistaken, Dragon Quest is what led you to work on Pokémon, right?
如果我没记错，《勇者斗恶龙》又让你参与到了《宝可梦》的工作，对吧？
多和田吏
Yes, that was the next big step up!
是的，那是接下来的又一大步！
多和田吏
With the support of Nintendo and The Pokémon Company, my colleagues from the Dragon Quest days and I decided, “Let’s start a company to develop Pokémon games!” That company became Genius Sonority.
在任天堂和株式会社宝可梦的支持下，我和《勇者斗恶龙》时期的老同事们决定：“我们开一家公司来开发宝可梦游戏吧！”那家公司就是Genius Sonority。
多和田吏
As a board member, I was creating music while also managing the company—including recruitment and building of the team (which began with just five founding members)—so it was a big challenge, but having so many users appreciate the music made it all incredibly rewarding.
作为董事，我一边创作音乐，一边还要管理公司——包括招聘和组建团队（最初只有五名创始成员）——所以这是个巨大的挑战，但看到这么多用户欣赏这些音乐，一切都变得非常值得。
多和田吏
Thanks to the combined efforts of my colleagues and our partner companies, we were able to bring titles like Colosseum, XD, Battle Revolution, and Trozei to the world.
多亏了同事和合作公司的共同努力，我们才得以将《宝可梦圆形竞技场》《宝可梦XD 暗之旋风黑暗洛奇亚》《宝可梦战斗革命》和《宝可梦特罗泽》等作品带给全世界。
Dr. Pez
How did this small team of developers manage to attract the attention of Nintendo and the Pokémon Company?
这个小小的开发团队是如何引起任天堂和株式会社宝可梦注意的？
多和田吏
It may be because the company’s founding members were key creators behind major RPGs in the past. Developing a large-scale RPG takes years, subjecting developers to a truly grueling journey. I believe they were recognized for their track record of managing a massive development process right through to completion and successfully bringing the product to market.
这可能是因为公司的创始成员曾是过去一些大型RPG背后的关键创作者。开发一款大型RPG需要数年时间，让开发者经历一段真正艰苦的旅程。我相信，他们正是因为拥有管理庞大开发流程直至完成并成功将产品推向市场的过往业绩而得到认可。
为宝可梦最硬核的游戏配乐
Dr. Pez
Pokémon Colosseum is very different from the rest of the mainline games, most notably because of its darker tone. Where did the decision to give the game a darker tone come from?
《宝可梦圆形竞技场》与其余主线游戏非常不同，最显著的是它更黑暗的基调。给游戏定下更黑暗基调的决定是从哪里来的？
多和田吏
Our team, along with affiliated stakeholders, were all in agreement to experiment with different directions for this upcoming title. In response to that, the game planner proposed a cool, slightly more mature world. Something like…
我们的团队以及相关利益方都一致同意为这部即将推出的作品尝试不同的方向。对此，游戏策划提出了一个酷炫、稍微更成熟的世界。有点像……
多和田吏
Tawada begins snapping his fingers to the tune of Pyrite Town.
多和田开始随着《黄铁镇》的曲调打响指。
多和田吏
That’s how that theme, and by extension the rest of the soundtrack’s edge, came about.
那个主题曲，以及延伸至原声带其余部分的锐利风格，就是这样来的。
Dr. Pez
What kind of direction were you given specifically for the music; how did you take that direction and turn it into musical ideas?
具体就音乐而言，你得到了什么样的指示；你又是如何将那个指示转化为音乐创意的？
多和田吏
In the early stages of development, we held numerous meetings about things like world-building to ensure everyone was on the same page.
在开发的早期阶段，我们开了很多次会，讨论世界观构建之类的事情，以确保大家步调一致。
多和田吏
After that, the planners, directors, and producers all left the music entirely up to me. As an example, I went ahead with creating a demo for “The Under” exactly as I envisioned it, but I had concerns that the atmosphere and character of the music might be a bit too strong and that the staff might reject it. The result was actually the exact opposite (laughs).
在那之后，策划、总监和制作人就把音乐完全交给我了。举个例子，我按照自己的设想直接为“The Under”做了一版小样，但我担心音乐的氛围和个性可能太强，工作人员会不接受。结果恰恰相反（笑）。
多和田吏
That made me think, “If everyone understands what I’m trying to do, then I guess it’s okay for me to keep making the music freely in my own style from here on out!”
这让我觉得，“如果大家都理解我想做什么，那我想今后也可以继续按自己的风格自由地做音乐了！”
Dr. Pez
What kind of material were you working with when it came to composing the music (e.g. concept art, videos, notes, etc.)?
你在作曲时参考的是什么样的素材（比如概念图、视频、笔记等）？
多和田吏
Most of it came across during our meetings. Even before the art was ready, the team would come up with phrases like “dry sand in Arizona”, and other abstract ideas. Just hearing those was enough to paint a clear picture in my mind.
大部分内容都是在开会时传达的。甚至在美术准备好之前，团队就会提出“亚利桑那的干沙”之类的说法和其他抽象的想法。光是听到这些，我脑海中就能浮现出清晰的画面。
多和田吏
It wasn’t until after some of the themes were already worked out that the illustrations were presented—after seeing them paired with my music, I was relieved to see that it fit the bill (laughs).
直到有些主题曲已经写好了，插画才被拿出来——看到它们和我的音乐搭配在一起后，我松了口气，因为很契合（笑）。
Dr. Pez
Do you remember what the first song you composed for Pokémon Colosseum was?
你还记得你为《宝可梦圆形竞技场》创作的第一首曲子是什么吗？
多和田吏
What was it again… Maybe the music from that gas station on the outskirts of town? The harmonica solo!
是哪首来着……可能是城镇郊外那个加油站的那段音乐？口琴独奏！
多和田吏
Hums melody to “Outskirt Stand”
哼唱《Outskirt Stand》的旋律
多和田吏
A lonely gasoline stand in a desolate desert. Travelers stop by on their journeys.
荒凉沙漠中一座孤零零的加油站。旅人们在旅途中会在此驻足。
Dr. Pez
One of the unique features of Colosseum’s soundtrack is its use of motifs; in many tracks you can hear common little melodies that are shared across other tracks in one way or another, and that concept ties the whole soundtrack together. How did you come up with the idea of incorporating motifs into the soundtrack? Was it a conscious decision or something that naturally arose as you wrote more songs?
《宝可梦圆形竞技场》原声带的一个独特之处在于它对动机的运用；在许多曲目中，你都能听到一些共通的小旋律，它们以某种方式与其他曲目共享，这一概念把整张原声带串联在一起。你是怎么想到把动机融入原声带的？这是有意识的决定，还是随着你写更多曲子自然产生的？
多和田吏
The technique of developing a motif in various ways has been around for a long time. I know firsthand just how effective it can be, so I’d always wanted to put it into practice in a large-scale RPG project someday.
以各种方式发展动机的手法由来已久。我亲身知道它有多有效，所以我一直想有一天把它用在一个大型RPG项目里。
多和田吏
By explicitly or implicitly developing a single, memorable motif across various scenes, you can unify the game’s world and convey special messages or meanings.
通过显性或隐性地在不同场景中发展同一个令人难忘的动机，你可以统一游戏的世界，并传达特殊的信息或含义。
多和田吏
Additionally, the fact that I was composing the soundtrack all by myself made it possible to execute the idea with the required degree of precision.
此外，整张原声带由我一人作曲，这一点使得这个想法能够以所需的精确度实现。
Dr. Pez
Let’s say you’re starting the process of writing a piece of music for a new area in the game, and you want to incorporate a motif into it. Do you start with the motif and build the song around it, or do you start with a separate idea and incorporate the motif into it?
假设你正开始为游戏中的一个新区域写一首曲子，并且想在其中融入一个动机。你是从动机开始、围绕它构建曲子，还是从一个单独的想法开始、再把动机融入其中？
多和田吏
Both are valid approaches. I can freely transform motifs, and if a single motif isn’t enough, I can create new ones. Anything is possible!
两种方法都可行。我可以自由地变形动机，如果一个动机不够，我可以创作新的。一切皆有可能！
Dr. Pez
Did you experience any push-back on any of your musical ideas? Did any tracks end up getting re-worked or shelved?
你的音乐想法有没有遇到过任何反对意见？有没有曲目最终被重做或搁置？
多和田吏
Not at all.
完全没有。
多和田吏
Funny story: the closest thing to pushback happened one time when the sound engine glitched and the music played strangely, and someone asked me, “Mr. Tawada, is this music okay?” (laughs) I told them, “Once the bug is fixed, you’ll be able to hear some really cool music.”
有个有趣的故事：最接近反对意见的一次，是某次声音引擎出了故障，音乐播放得很奇怪，有人问我：“多和田先生，这音乐没问题吗？”（笑）我告诉他们：“等这个bug修好，你就能听到一些非常酷的音乐了。”
Dr. Pez
What was the most challenging part of producing the soundtrack to Pokémon Colosseum? What step took the most time?
制作《宝可梦圆形竞技场》原声带时，最具挑战性的部分是什么？哪个步骤花的时间最多？
多和田吏
I guess the hardest part was interviewing job candidates and deciding employee salaries (laughs).
我觉得最难的部分是面试求职者和决定员工薪水（笑）。
多和田吏
I’m joking, of course, but running the company while making music at the same time was really tough. Music production itself is always fun, and I’ve never found it difficult, but I think not always being able to carve out the needed time for that task did lead to some stress.
当然，我是在开玩笑，但一边经营公司一边做音乐真的很辛苦。音乐制作本身总是很有趣，我从来不觉得它困难，但我认为并不总能腾出必要的时间来做这件事，确实带来了一些压力。
多和田吏
Pokémon Colosseum uses the GameCube’s built-in sound chip to play music, and I spent a lot of time carefully crafting the individual instrument samples that the soundtrack is built on. It’s important to create sounds that are both versatile and expressive, so I worked on the waveform data with great attention to detail.
《宝可梦圆形竞技场》使用GameCube内置的声音芯片来播放音乐，我花了很多时间精心制作原声带所依据的各个乐器采样。创造出既通用又有表现力的声音很重要，所以我非常注重细节地处理波形数据。
多和田吏
I was also really happy that I was able to apply the sound design skills I’d developed on Ihatovo Monogatari and the Dragon Quest series to this project.
我也很高兴能够将我在《伊哈托夫物语》和《勇者斗恶龙》系列中培养的音效设计技能应用到本项目。
Dr. Pez
Overall, what was the development of Pokémon Colosseum like? Did the team run into any major challenges in the development cycle?
总体而言，《宝可梦圆形竞技场》的开发过程是怎样的？团队在开发周期中遇到了什么重大挑战吗？
多和田吏
As the team was filled with veterans from the field, I had complete confidence that the quality level of the final game would be high.
由于团队里充满了该领域的资深人士，我完全相信最终游戏的质量水平会很高。
多和田吏
There was one particular incident that stands out, however: around a week before release, the guitar tracks ended up glitching out—it was getting worse over time, and the whole thing eventually sounded like a big mess, so naturally I grew a bit panicked.
然而，有一件事特别突出：在发售前大约一周，吉他音轨出现了故障——随着时间推移越来越严重，最终整个听起来一团糟，所以我自然有点慌了。
多和田吏
I came to the conclusion that there must have been a memory leak somewhere in the game, so I had the programming team look into it. Upon closer inspection, that turned out to be exactly what it was. Within three days, the leak was fixed—just mere days before the final release deadline.
我得出结论，游戏某处一定有内存泄漏，所以我让编程团队调查。仔细检查后，发现确实如此。三天内，泄漏就被修复了——就在最终发售截止日期的前几天。
Dr. Pez
Wow… close call! So was all the music that we hear in the game being mixed down and rendered in real-time by the Game Cube?
哇……好险！那么我们在游戏中听到的所有音乐都是由GameCube实时混音和渲染的吗？
多和田吏
That’s right. I prepared the audio assets and related data—the instrument waveforms, the performance data, and the mixing process—and the GameCube plays just like a real musician!
没错。我准备了音频资产和相关数据——乐器波形、演奏数据和混音过程——GameCube就像真正的音乐家一样演奏！
Dr. Pez
Were the musical instructions written in MIDI or some other format? How much was programmed in and how much was performed by you?
音乐指令是用 MIDI 还是其他格式写的？有多少是程序编入的，有多少是你亲自演奏的？
多和田吏
Basically, the MIDI data comes from me playing the keyboard or programming. After that, it’s converted into the GameCube’s proprietary data format and loaded onto the console itself.
基本上，MIDI 数据来自我弹键盘或编程。之后，它会被转换成 GameCube 的专有数据格式，并加载到主机本身上。
多和田吏
Most of the tracks are created by me actually playing the parts on an instrument with MIDI output.
大多数曲目都是我实际用带 MIDI 输出的乐器演奏各个声部来创作的。
重访旧作
Dr. Pez
You’ve taken the opportunity to re-arrange/re-record some of your older work: most recently for Ihatovo Monogatari’s 30th anniversary, the soundtrack was arranged for, and performed by a live orchestra. What was it like re-visiting these pieces after so many years?
你借机重新编曲/重新录制了一些旧作：最近为《伊哈托夫物语》30 周年，原声带被改编并由现场管弦乐团演奏。时隔这么多年重访这些作品是什么感觉？
多和田吏
It’s wonderful that music is something you can enjoy for decades, isn’t it?
音乐是能让人享受几十年的东西，这很棒，不是吗？
多和田吏
Often times, a few years after I compose a piece, I find myself wanting to re-visit my own music more objectively; I may start wanting to enjoy the pieces I’ve composed as a performer as well.
通常，在我作曲几年后，我会发现自己想更客观地重访自己的音乐；我可能开始想作为演奏者也享受一下自己创作的作品。
多和田吏
Back when I first composed Ihatovo Monogatari’s soundtrack, I already had a clear vision for piano and orchestral versions in my mind. There was no rush, but the desire to bring them to life someday persisted for decades. During that time, I was busy composing for other projects, but as the 30th anniversary of the games approached, my desire to give my fans a gift grew stronger, so I decided to move forward with producing the orchestral version I’d been envisioning for so long.
当初为《伊哈托夫物语》原声带作曲时，我脑海中就已经对钢琴版和管弦乐版有了清晰的构想。虽然不着急，但有一天将它们实现出来的愿望持续了几十年。在那段时间里，我忙于为其他项目作曲，但随着游戏 30 周年的临近，我想给粉丝一份礼物的愿望越来越强烈，所以我决定推进制作我长久以来设想的管弦乐版。
多和田吏
This year, I completed the orchestral versions and released a CD. I think the fans were happy with both the new recordings and the orchestral concert. I was happy myself, and it feels like I’ve reached a milestone.
今年，我完成了管弦乐版并发行了 CD。我想粉丝们对新录音和管弦乐音乐会都很满意。我自己也很高兴，感觉像是达到了一个里程碑。
多和田吏
J: It must have felt great being able to bring to life the finished versions you had in mind 35 years ago.
J：能够将你 35 年前脑海中设想的完成版实现出来，一定感觉很棒。
多和田吏
Yes! It feels as if a weight has been lifted off of my shoulders—I feel so much lighter!
是的！感觉像是肩上的重担卸了下来——我轻松多了！
多和田吏
Actually, I want to do something similar with music from Pokémon Colosseum, XD, and Battle Revolution. While I’m not sure how long it will take, it’s something that I want to do.
其实，我想对《宝可梦圆形竞技场》、《宝可梦XD 暗之旋风 黑暗洛奇亚》和《宝可梦战斗革命》的音乐做类似的事情。虽然不确定要花多长时间，但这是我想做的事。
多和田吏
30th anniversary live performance of “Ihatovo Praise”
《伊哈托夫赞歌》30周年现场演出
Dr. Pez
Was the live orchestra version for Ihatovo Monogatari closer to what you had in your mind when you originally composed the tracks compared to how they sound in the game?
与游戏中的原版相比，《伊哈托夫物语》的现场管弦乐版本是否更接近你最初作曲时脑海中的构想？
多和田吏
Yes. The music of Ihatovo Monogatari will always have its “finished” version, which is what you hear from the game in its original form. The live performance, however, contains what I consider to truly be the “definitive” versions of the tracks, from a musical standpoint.
是的。《伊哈托夫物语》的音乐始终有一个“完成”版本，那就是游戏原版中听到的样子。然而，从音乐的角度来看，现场演出包含了我认为是这些曲目真正“最终”的版本。
多和田吏
The same can be said about Pokémon Colosseum, XD, and Battle Revolution as well - a (future) live version of their music may very well be their definitive forms. Since I got to play some of my tunes with Pez and Jonathan today, we might have gotten those a little closer to their definitive forms!
《宝可梦圆形竞技场》、《宝可梦XD 暗之旋风 黑暗洛奇亚》和《宝可梦战斗革命》也是如此——它们音乐的（未来）现场版本很可能就是其最终形态。既然今天我有机会和Pez、Jonathan一起演奏了我的一些曲子，我们也许让它们更接近最终形态了！
多和田吏
Live performance of “Miror B. Battle” from our 2025 session
2025年演出中《Miror B. Battle》的现场演奏
Dr. Pez
Well it’s been an honor and a privilege, thank you!
嗯，这是我的荣幸，谢谢！
多和田吏
It’s such a pleasure seeing everyone’s renditions of my music, and I’m grateful to everyone that does. It makes me feel happy that I composed the music, and I want to perform together with such talented musicians.
看到大家对我音乐的演绎真是件乐事，我感谢每一位这样做的人。这让我为自己创作了这些音乐而感到高兴，我也想和如此有才华的音乐家们一起演奏。
Dr. Pez
What kind of music are you listening to these days in your free time?
你最近空闲时间在听什么样的音乐？
多和田吏
I listened to a lot of music when I was a kid, but since starting my career, I’ve had very relatively few opportunities to listen to music. I feel like I create a lot of music, but I don’t take in as much as I used to.
我小时候听过很多音乐，但自从开始职业生涯以来，我听音乐的机会变得非常少。我感觉自己创作了很多音乐，但吸收的音乐不如以前多了。
Dr. Pez
Why do you think that is? Is it a time thing, or perhaps that your own music is using up all of your mental capacity for music?
你觉得这是为什么？是时间问题，还是你自己的音乐占用了你全部的音乐心力？
多和田吏
Rather than wanting to listen to music, I have an overwhelmingly stronger desire to give shape to the music in my head. Even when I’m just walking outside, there are always musical ideas floating around in my head, so I guess I just want to pull those out as soon as possible and share them with everyone.
与其说想听音乐，我有着压倒性更强烈的欲望，想把脑海中的音乐赋予形态。即使只是在外面走路，脑海里也总是漂浮着音乐灵感，所以我想大概只是想尽快把它们抽出来，分享给大家。
未来计划
Dr. Pez
Can you tell us anything about your future plans for music?
能谈谈你未来的音乐计划吗？
多和田吏
One thing is that I’ve gathered up my old equipment from when I was working on Pokémon Colosseum to create a battle music album!
一件事是，我收集了制作《宝可梦圆形竞技场》时使用的旧设备，来制作一张战斗音乐专辑！
多和田吏
For context, back when I was working on Colosseum, I wanted to compose even more battle music for the game, but I didn’t get the chance to create nearly as many such tracks as I would have liked to. That’s why I decided to do this album—as a way to scratch that itch.
作为背景，当时我在制作《宝可梦圆形竞技场》时，想为游戏创作更多的战斗音乐，但我没能创作出像我希望的那样多的此类曲目。这就是为什么我决定做这张专辑——作为一种满足那个愿望的方式。
多和田吏
Fans who enjoy my battle music should be able to feel the same vibe in these tracks that they’re familiar with. I’m looking forward to having everyone hear it!
喜欢我战斗音乐的粉丝们，应该能在这些曲目中感受到他们所熟悉的相同氛围。我很期待让大家听到！
Dr. Pez
Is using the same sounds from Pokémon Colosseum/XD a deliberate choice as opposed to producing it with more modern equipment, or with live musicians?
使用与《宝可梦圆形竞技场》/《XD》相同的音色是有意为之，而不是用更现代的设备或请真人乐手来制作吗？
多和田吏
Since my fans are so familiar with the sound I create, if I make music using the gear from those classic titles that I’m known for, they’ll immediately recognize it as “Tawada’s music.”
因为我的粉丝对我创造的声音如此熟悉，如果我用那些让我成名的经典作品中的设备来制作音乐，他们会立刻认出这是“多和田的音乐”。
Dr. Pez
That just goes to show how much Pokémon Colosseum and XD have solidified the “Tawada” sound and the association between you and those games.
这恰恰说明，《宝可梦圆形竞技场》和《XD》在多大程度上确立了“多和田”之声，以及你与这些游戏之间的关联。
建议
Dr. Pez
Final question: if you were to give some advice to aspiring composers today, what would it be?
最后一个问题：如果让你给当今有志成为作曲家的人们一些建议，你会说什么？
多和田吏
I think the most important thing is to keep your mind open and free at all times.
我认为最重要的是始终保持开放、自由的心态。
多和田吏
As you grow older, there are more and more things in your life you need to think about and attend to that introduce mental constraints; when that happens, your mind gradually loses its freedom, and along with that, the “antenna” responsible for sending and receiving these invisible “signals” all around us begins to lose its sensitivity.
随着年龄增长，生活中需要思考和操心的事情越来越多，这些都会带来精神上的束缚；一旦如此，心灵便逐渐失去自由，与此同时，那根负责收发我们周围这些无形“信号”的“天线”也开始变得迟钝。
多和田吏
That’s why it’s important to keep your mind free, even though it’s not easy—sometimes you have to fight little battles in your daily life to keep that freedom in check.
正因如此，保持心灵的自由才如此重要，尽管这并不容易——有时你必须在日常生活中打些小仗，来守住这份自由。
多和田吏
Making the battle album is a personal exercise of this idea, made for all to enjoy!
制作这张战斗专辑，就是我对这一理念的个人实践，做出来供大家欣赏！
致谢
I’d like to thank those who made this piece possible: Tsukasa for bringing his music into the world, and his openness to interacting with fans such as myself, Jonathan for bridging the language barrier, and Tsukasa’s staff for helping with the practicalities of the recording session.
我要感谢让这篇文章得以问世的人们：感谢多和田将他的音乐带给世界，并愿意与我这样的粉丝交流；感谢 Jonathan 跨越语言障碍；感谢多和田的工作人员协助处理录音环节的各项实务。
You can follow Tawada on YouTube, X, and nanomusicpro.com.
你可以在 YouTube、X 以及 nanomusicpro.com 上关注多和田。
Index 本篇提到
- 人
- Jonathan PareckiDr. Pez椙山浩一巴赫贝多芬肖邦李斯特拉赫玛尼诺夫柴可夫斯基邦·乔维
- 作品
- 宝可梦 圆形竞技场宝可梦 XD 暗之旋风 黑暗洛奇亚宝可梦勇者斗恶龙宝可梦圆形竞技场暗影团手下战斗DruidPlus AlphaRod LandE.D.F.: Earth Defense Force伊哈托夫物语宝可梦XD 暗之旋风黑暗洛奇亚
- 宝可梦 1
- 洛奇亚
- 地点
- 莫斯科东京电玩展亚利桑那黄铁镇Outskirt Stand东京