That said, her natural voice has the most power, so in order to let her sing with that power, I lowered the maximum pitch and made the song in a way that would bring out her best range. Meanwhile, there’s a large difference between her natural voice and her falsetto which tends to swing high. Her natural voice is rather low, similar in range to a male vocalist. Meguro: Personally, I composed songs that I knew she’d be able to sing, but she always called them hard *laughs* When we were working on P5, I got to learn her amazing vocal range. Q: What did Lyn think of the songs this time? That song is a little different from the other BGM tracks, because it’s supposed to sound like an actual singer at a jazz club. Q: Speaking of teamwork, “No More What Ifs”, the song that plays at the jazz club in Kichijoji, was also a combination of Lotus Juice’s lyrics and Lyn’s vocals. He also discussed them with the vocalist, Lyn, and I felt that we had a good sense of teamwork. Benjamin Franklin, who wrote the lyrics for the opening theme, does so firmly to match the melody and theme, and in contrast, Lotus Juice adds his own artistic style with an understanding of the game. Meguro: He became connected to the game through the concert, and he knows P5 well since he played the game on his own, so I asked him to do it. Q: Lotus Juice wrote the lyrics for this song, if I recall correctly. This time I brought in the brass, as well as strings, and made a brighter, livelier track. The music for P5 was more modest-a mature acid jazz-so I intentionally didn’t use brass instruments. Meguro: Like the other songs, the concept was gorgeousness. Q: There’s a new battle BGM called “Take Over” that plays when you ambush an enemy. Tsuchiya and Kitajoh were responsible for the ones in the game parts. Meguro: You created sound effects too, right? Maruki’s design and counselling style were decided early on, so I was able to compose that track with a solid image in mind. I think the next one after that was “Ideal and the Real”, a track used for Maruki’s counselling cutscene. Konishi: Yes, the first track I composed was for an animated part. Q: Konishi-san, since you were responsible for the animation parts, did you also start work early? It originally felt closer to “Royal Days”, the title screen theme. Although, the mood of the song changed a lot, because I changed the tone to match P5R’s aesthetic. It was a song where I liked the hook but didn’t have anywhere to use it, so I wanted to make use of it if there was a sequel. I used something I made back during P5 for the melody. By the way, I was the one who suggested “gorgeous” *laughs* That’s why when I composed “Colors Flying High”, I made it with more of a gorgeous feel than a royal one. Meguro: It wasn’t, but the “gorgeous” and “royal” concepts had been. Q: Was the title already decided when you began work? It wasn’t for a while after that that we began serious work on P5R, but Meguro and I were working on the music for the TV anime in the time between, so it was a well-timed transition. Konishi: The opening theme has to be done early because the animation has to be created for it. Q: I had the impression that the music was created after the game’s outline had already been decided, but I see that production began quite early. Meguro: Production was greenlit in 2017, and I started working on the opening theme “Colors Flying High” in around September. Konishi: The BGM was assigned to me and Meguro, but (Kenichi) Tsuchiya and (Atsushi) Kitajoh also participated. Q: The entire sound team was involved with P5, but for P5R, was it mainly just you two?
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