#reamp

Shinoda’s blog post via Hitori-Atelier!Please consider joining Hitori-Atelier and supporting Hitorie’s ventures today. How-to here: https://boatmanju.wixsite.com/hitorietranslations/hitorie-atelier

Shinoda's blog post via Hitori-Atelier!

Please consider joining Hitori-Atelier and supporting Hitorie's ventures today. How-to here: https://boatmanju.wixsite.com/hitorietranslations/hitorie-atelier

I began to wonder "What have I been deeming as ‘good’ all along?"

-Thank you for coming all the way out here. To kick it off I’d like to ask what the story behind the title ‘REAMP’ is.

AMP is like the recording mechanism, correct. I recorded by re-amping a lot this album, after it was recommended to me by our engineer. I recreated most of the sound in an amp simulator, sampled it at home on a line-in, then brought that in to the studio. There I sent the line-in signal to the guitar amps, recorded the sound coming from the amp, and voila. This way the guitar playing and the sound engineering become two separate things. At home I focus on the recording, at the studio I focus on the mixing.

-That’s a great way to localize your focus.

Though my workload multiplies (laughs).

-Ultimately you’re spending even more time focusing (laughs).

Yep (laughs). To put a long story short, we dipped our feet into new techniques for this album. So when it came down to deciding the title, 'Restart' or 'Reload' or any words with the prefix 'RE' were among consideration, but we couldn't find a good one. When at last I remembered that I had re-amped (laugh). I proposed the idea, it clicked with everyone, and now here we are.

-A bit of a double meaning to it then. What felt the most different this time in regards to the new techniques?

Back when wowaka was with us, he was the ultimate judge over whether a take or sound was good or bad. But now I have to be the judge and the one who takes the rudder myself... The main difference is that I need to become the axis now. When I was alone at home it hit me just how little I had a sense of good and bad (laughs). I began to wonder "What have I been deeming as ‘good’ all along?”.

-I see. What do you find difficult about singing and playing Hitorie’s music?

I found that I don’t have much leadership (laughs). I’m more fit for the sidelines and such... I’ve had a long career of being the lead guitarist, wherein there’s always been another leader figure above me who’s actions I’ve responded to and taken my own approach to.... A correspondent presence in a way....

—Then the necessity for a number one in command popped up.

Yep. It was like, I was really in a pinch back there. If I was to get anywhere, before anything I needed to establish my own standards of good and bad. I looked back at the music I’ve loved throughout my life, and started from there.

-Were you able to establish your own judgment through this album then?

I did what I could do. But, I’m still missing something... I don’t think it’s something you can find through just one album. I still haven’t, and there’s parts of the album that I still feel my optimization was lacking. I feel that I want to make a more polished, less rugged around the edges, piece. I’ve only established the groundwork for now. Such as what makes good music, the rhythm, pitch and so on. The basics.

-What makes good music ‘good’ to you, Shinoda?

Hmm... Phrase before sound... I think there needs to be a phrase before anything. To put it simply, the music needs to be what’s encouraging the phrases. Whatever achieves that the most effectively tends to be what I deem as good music. There’s a bunch of options when it comes to even strumming one chord. To use a single coil, a humbucker, a P-10.... Not to mention that strumming different will change how a chord resonates. Each note has its own goodness scale as well. Contemplating all that is what makes music.

-When I look at your music itself, I can see how this came into play as well. The phrases themselves have become less complex, while the riffs have become even more powerful. Especially ‘curved edge’, a killer tune even among the rest.

My bandmates and I each pitched in to write the music for REAMP, I wrote 10 while they wrote 1 each initially, basically I had to write a lot (laughs). And the last and final piece I wrote was ‘curved edge’.

-I see.

We intentionally lessened the riff-tastic music, we were eschewing following the old ‘Hitorie formula’. I made more chilled out downers. But the more I did it, the less interested I noticed my bandmates become (laughs). It didn’t click with me myself either, and it didn’t bring us together much. I thought I was doomed to never write a song that would properly fit Hitorie.. When I got the idea to write a song that mixed intense riffs and modern beats, ‘That I might be able to do’.

-In a way you wrote that song at wit’s end.

From there I drew inspiration from K-Pop. Stuff like Blackpink. Wherein you can’t discern if the climax of the song lies in the hook or the riff. I found that interesting, thus can the climax of ‘curved edge’ be found in the riff. Enough that the hook is the riff itself. When I told the members, their reaction was positive as well.

-It fits the modern Hitorie. In a previous interview Yumao (drummer), when looking back on Hitorie’s history, had mentioned that Hitorie could write music without a peep, after so many years together. Following this change to your writing formula, is that feat still possible, have your exchanges with your bandmates changed as well?

-When it comes to my written pieces, well... It depends on the song. For ‘curved edge’, ygarshy and I didn’t share a word. While we were making the demo song, I asked him to ‘Just play bass that works with this’, and with that little information he actually pulled off something incredible. I was like ‘Holy shit’ (laughs).

-The first verse alone is a stroke of talent (laughs). How about the drums?

The beat is unlike anything Yumao had played for Hitorie before. 4/4 beats were always our go-to, but we tried to venture a little into unknown territory. So I handled the  director job quite a bit, the drums may be the aspect I directed the most actually. It turns out that my concept of beat is completely different from wowaka’s.

-What do you mean exactly?

-I’m probably not... as much as wowaka.. No wait. I can’t say this for sure but, he was someone who was creative with his beats, so he tended to conjure up ones that would be virtually unplayable in context. I make up beats that are out of control sometimes too but. I stick to the rules, or, how to put it... Even when I make up a brand new beat, the voice in the back of my head will tell me ‘Wait, there’s rules’.

-I see. So wowaka wouldn’t bother with the rules much.

I haven’t put much deep thought into wowaka’s perception of beats until now though, this is only a quick assessment from my experiences. Though near the end, it seemed like his mindset changed to ‘It’s better if I let Yumao play however he desires’. Imyself haven’t reached that level yet.

“I need my love for guitar to grow even more, I say.“

-Allow me to ask you about the guitar solos. In the songs ‘Marshall A’ and ‘dirty’ are the solos in abundance and in the spotlight. What do you deem as good and bad in terms of guitar solos?

For me there’s only two types of guitar solos. You either play well, or you don’t (laughs).

-That’s a strict guideline (laughs). How do discern between the two?

It ultimately depends on the song. I like solos that are played “poorly”, such as by Momo Kazuhiro of MO’SOME TONEBENDER. I think their’s are awesome. When each and every note of a solo is poignant, it actually brings out the charm of electric guitar. So I think that solos can be wonky as hell, or precise as hell. Or in the middle is okay too. I like solos that are catchy with proper phrases to them even. Like HI-STANDARD’s ‘Fighting Fists, Angry Soul’, the solo could be a song on its own. It depends on what fits with the song. In regards to the solos of Marshall A, they fall into......

-The ‘Played well and proper’ solos.

That’s it. The song kicks off with unsteady distorted notes, but the solos are clean, it’s gap moe.

-The tone is clean as well. Did you intend for it to be gap moe?

To a degree. Like, 'is this really that kinda song' (laughs). On the other hand, when it came to 'dirty' the song has always been nothing but alternative rock style since the get-go.

-The solos are full of grunge and fuzz after all. ygarshy wrote that song, correct.

'Cause ygarshy and I are the same age from the same generation, our ideas match up as well.... For this song, it was like the Nishikawa Susumu idea- (laughs).

-I see (laughs). Back to what you said earlier, that your "optimization was lacking". How would you like to evolve as a guitarist?

I don't think I'm Hitorie's guitarist anymore. In the current world I'm in I'm not just a guitarist, I'm a singer-song writer, and that's become my primary focus. Yet despite that guitar is still absolutely a must for me. It brings the physical world and the world of music together better than anything. Thinking about it, my approach towards guitar is probably going to evolve after this as well. Up until I've played as Hitorie's guitarist, adding and adding to the sum of Hitorie's parts  (laughs). My attention was always on how to optimize to hell. Going forward my attention is probably going to shift when I play guitar. But that doesn't change the fact that guitar is essential for bands in general, and essential for Hitorie as well..... Aghh, I never thought about what it means to be a guitarist to me up until now (laughs).

-(Laughs).

I think my ideal guitarist self is still far away though. But I've grown a lot by being with my bandmates, and I can't be losing my eagerness to learn. I need my love for guitar to grow even more, I say (laughs). That's where I think I'm lacking. There's still so much about guitar I'm yet to understand, and that's my weak spot. There's a lot for me to reflect on.

Gear: Fender 1963 Jazzmaster The main guitar used in REAMP, a jazzmaster on borrow from wowaka. The serial number points to it being a 1963 issue. The saddle on the bridge has been swapped out to an Astro Notes. Shinoda selects the front for concerts/recordings, and doesn’t use preset switches. The guitar you can hear from the left channel in “High Gain” is this one. While the guitar you can from the right channel is a Tokai LP.

Fender 1965 Jaguar Also on borrow from wowaka, it was heavily used in Hitorie’s previous album ‘HOWLS’. For ‘REAMP’ it was used for the backing of ‘dirty’ and the main riff of ‘Utsutsu’. In regards to the Buzz Stop Bar, Shinoda himself prefers the musical range he can reach without it, but others oft react better when it’s on.

Pedal board: 1 WEED/GCB-95 mod wah 2 BOSS/TU-3W tuner 3 S-Distortion SASAKI 4 Prescription Electronics/Experience 5 Octave Fuzz & Swell 6 Keeley Electronics/Son of Fuzz Head 7 E.W.S./ Arion SCH-Z mod chorus 8 BOSS/PS-6 harmonizer 9 BOSS/DD-20 digital delay 10 Providence/Provolt 9 power supply

His guitar signal inputs at 1, then connects all the way to 8. He adores his 1 because there’s a gain knob on it, and as soon as he turns it on can he drive*. His main distortion pedal is number 3. His standard is to set  the volume knob at 12 o’ clock, the tone at 11, and the gain at 8. To give himself a boost in guitar solos he turns on pedal number 5, with the volume set to max. Pedal number 6 found its use in the song ‘(W)HERE’ on Hitorie’s album ‘Imaginary Monofiction’, but recently its fallen out of relevance for him. 7 was used in the song ‘Montage Girl’ on Hitorie’s ’Roomsick Girl’s Escape’, and harmonized phrases in general. He primarily uses 8 for the short delay, and it found usage in ‘curved edge’.