Eijo Sakamoto · 空想百科 SoraWiki

Eiki Sakamoto credited the album version of "Rewrite Arrangement Album Branch" for "Rewrite+."

Additional information
Rewrite + positions	Arrangement for the album version of 'Rewrite Arrangement Album Branch'

Rewrite + related production

Eiki Sakamoto credited the arrangement for the "Rewrite Arrangement Album Branch" version.

428: Tone and Double Version Soundtrack

To avoid "Despair" evoking the negative ending song "Downfall," Sakamoto deliberately chose a major key, aiming for a superficially bright yet hopeless feeling. It was recorded with a minimalist piano recording, and the recording was completed quickly.

"Reserved" first had a light piano-only edition, and later, he commissioned Ayumu Iino to produce a reprint with orchestral versions for use in performances.

A variation of the theme of the White Bookmark

Kojiro Nakajima proposed that the melody of "Piano Solo" be Takuya's theme, and the latter half of "Nanai Suzu" would be used as the bell sound theme. Sakamoto wrote variations separately, allowing the main motifs to shift according to the characters' perspectives; When producing the ending credits "Harun no Kaze, Naranai Suzu," the theme melody overlapped because both songs share the key of G.

When writing the theme of "Spring Breeze," he chose melodies that could adapt to different developments, allowing familiar motifs to gradually form richer arrangements as the plot progressed.

From audio delivery to game voices

Sakamoto recalled that after delivering the audio for his first console project, "Juggernaut War of Fear," using DAT, he realized he needed a production method suitable for game sound output, so he consulted a senior colleague about the equipment and processes.

TEKARU's live performance method

Sakamoto explained that TEKARU insists on having the members perform the music live and does not use pre-recorded audio synchronized with the performance.

Vocal effects and video music for 'Yakuzaku 2'

Sakamoto used the vocals from the original battle song from "Yakuza 2" as instruments, hoping to use strong effects to echo the destructive direction. He first applied strong compression, then guitar edging and chorus effects, and finally added metallic distortion, advancing the sound processing based on listening experience.

When composing film segments, he first synced the video to the sequencer, watched the footage, and recorded a piano frame at no fixed speed, then added instruments and adjusted the mixing so the music followed the characters' emotions and movements.

For scenes with a steady progression, he would first play the rhythm track, adjust the pace as the video progressed, and then add bass, guitar, and synthesizer.

The demand handover and the piano cuts for "428"

When making the original Wii "428," the performers gave the keywords and usage scenes to Kojiro Nakajima, who then gave him the composing instructions. Sakamoto believes that simply maintaining the atmosphere without overly regulating details makes creation easier; "Mobilization" commissioned a single keyword and scene information, and the first submission was approved.

To maintain the atmosphere of "Tension," the team also obtained a version without the piano. Sakamoto believed that piano would make the sense of looping too clear, so both the original and de-piano versions were used together in the game.

The sequence and orchestration of "428"

Sakamoto and Iino discussed the moments when the scene is emotionally charged at a normal reading speed, placing the musical climax at the appropriate position; The discussion of "True Heart" also reflects this coordination of music and reading rhythm.

Sakamoto explained that "Inclusion" uses an acoustic guitar for a simple instrumentation, while "Shang Yang" uses rhythm and a wow-in electric guitar. When discussing 'The Situation,' Nakajima suggested Kecak, which gave him a creative direction; Iino then used this strong voice to create the sudden turn of events in the Osawa arc.

Makamaitachi's style and recording choices

When producing the original soundtrack for 'Makamaitachi no Yoru: The Eleventh Visitor,' Eijo Sakamoto originally intended to include all the tracks on a single CD. Each song was played only once, which lasted about sixty-eight minutes, and the intervals between tracks were too tight, so the team switched to double discs near the deadline.

Kojiro Nakajima proposed the motif for reusing in multiple pieces, while Sakamoto, based on 'Kizuna,' conceived themes that could switch between major and minor keys. "Message" opens with a more cheerful long key, while "Lamentation" shifts to a more sorrowful short key.

"Unreachable Feelings" begins with him playing piano to form the framework, then adds string arrangements. The finished piano is produced using musical order, while the strings are recorded live.

A piece originally commissioned for the direction of "Reflections" made him feel closer to "Doubt" after repeated listening. He therefore suggested to the producers that the title and purpose be changed.

Related entries

Participated Works:Rewrite+
Featured Tracks:Branch
Featured Tracks:Earth - Radiance (Instrumental) (Branch)
Original Wii production titles commissioned and orchestrated according to scenes:428 ~In the Locked-Down Shibuya~

References

Data compiled on: 2026-10-10.