(I): Regarding the sound approach of “DOGMA“, how did you deal with it?
U: We combined the phrases so it's easier to listen to, now more than ever we had it in our heads how to make it a lighter. That's what we went to do together and faced the recording, didn't we?
A: While we spoke about these feelings, for example as the rhythm side was recording, in fact we inserted the ringing amp and filled the tunes.
U: That's why it wasn't just an meeting, but in fact we put the tunes in, adapted our guitars to each other and tried out what's good and what's bad. Aoi tried to use an tube amplifier too... because you don't know just from imagine it, what effect it will have, so the time he tried it, we judged if it's compatible with my tunes.
A: That means, even though I tried 3 tube amplifier, I didn't even use one of them (lol). It also happens that if you try out something, the image of the sound isn't really the one you'd imagined.
U: We had to sort it out, didn't we.
A: yeah. Because we're a band with a strong character, and in some way or the other the sound too has a strong character, so I guess it's becoming our feature, but I especially thought about where we had a common ground.
(I): for the sake of this, it was first decided, that the tunes of you two will become the basic?
U: yeah, right. In the case of the album, we started with the song that was like a title song. It's a song that brings the album in tune and can adapt the songs to each other. This time that song was „DOGMA“, so we made this song the basic. Until now in the stadium of prepro (programm for musicmaking) the standard was plug in, so it's the first time this time to include the tunes with the recording equipment.
A: Before we concretely thought about what kind of tunes we wanted to make on the spot. But it happened that just the tune making would take a whole day.
(I): But the attempt to save time isn't the reason you're doing this, right?
U: Like expected, it's emotional right. In the early phase we have different opinions. Thereafter as we fix it, we have to record it again, so it's really a lot of effort. The most important is, that the technical surrounding is ready, isn't it.
A: „DEUX“ is also there right? This song was done provisional. But because we put too many tunes in the song, we had to think about it. Probably, because it was in our mind, that we had to record it again, we really devoted ourself to prepare it again.
U: Yeah. At this time, we didn't change our equipment, but after all with this way of recording, we couldn't recover.
(I): At the time of the Budôkan live at the encore, „DEUX“ was the song you played before its release. As I said, as you adapted the two guitars to each other in the album, it really left an impression, on how you made us listen to the song.
U: That's what we actually taked about (lol)
A: Ruki also joins the talk sometimes, right.
U: It's the common ground for a player who want to put your own essence in and for a great creator with an absolute vision. It's not the place for compromises.
A: It's been some time, that we talked that passionately about music. But at these times it also happenes that you get irritated (lol), bit I think it's good, that we can talk this siriously even after more than 10 years.
U: It's important to respect every opinion and to try things out. With trying something out there are also cases where you figure something out for the first time. That's what takes time in recording.
(I): Furthermore the way you listen to the tunes in one go, is nearly the same as the eqipment.
U: that's totally the case.
A: I have the feeling, that if something changes there, the basis for „DOGMA“ that was made by the Gazette, would have changed too, and because everyone understands these tunes, the album didn't change much, I think.
U: Throughout the whole (album) we thought about what we wanted to emphasize and because it's a really strong album, it's better if the tunes are konsequent.
(I): Depending on the tuning of chord A and chord B, are there some changes this time?
U: basically we're using the A chord since earlier, and above the knowledge that its pretty difficult, we dealt with it to the extent that we didn't really felt a difference between the tune quality of chord A and B anymore, this time we got the feeling, that we finally can go with the quality of the chord A. We finished it with a unexpectedly raw feeling.
A: Our right answer was, to make very clear tunes, to say so, because our way of producing tunes that had a pretty low pitch extent, that's normal for chord A and B, but it's rarely tunes in the GazettE. That's not something we're thinking to change.