Translating the S2 Works Booklet (or some of it)

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Translating the S2 Works Booklet (or some of it)

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Postby FrDougal9000 » Mon Jul 17, 2017 7:42 am

The soundtrack to Neon Genesis Evangelion is one of my all time favourite soundtracks, and the man who composed them, Shiro Sagisu, is one of my all time favourite composers. Because of that, I'd like to to find interviews with him or his comments on music he's worked on, but I tend to come up unlucky. Either I can't find something, or I can but it's in Japanese. So, I thought I'd try and ask for your help in translating one of those comments. The Evangelion Wiki (not the Evageeks one) contains scans for the S2 Works album, which contains every music track composed/arranged by Sagisu for the original TV series and films.

Those scans are of the booklet included with the album. As far as I know, the only thing to be translated from that booklet are the song titles and the music menu (as seen in this almost-decades old overview of the album on this very website: http://www.evageeks.org/s2/reichu_s2works.html). There are other pages, which feature English and Japanese lyrics for the EoE vocal songs (well, Komm Susser Tod, Everything You Ever Dreamed and Thanatos), a list of the recording sessions along with what songs were recorded in each session and when they happened, and a few pages full of writing.

It's the latter I'm primarily interested in, so if anyone who reads Japanese can look over these and give them a translation, that would be very much appreciated. (You can zoom into the images at very high quality, so you should be able to clearly discern the text.)

Pages 18/19
Pages 20/21
Page 22

If someone decides to do this, thank you so much. Have a great day!
Pen-Pen died for your sins!

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Re: Translating the S2 Works Booklet (or some of it)

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Postby Marynou_penguin » Sat Apr 25, 2020 11:57 am

I don't think anyone translated this, hu...

Well I'm not fluent in Japanese at all, but using a text extractor and a deep learning translator, I managed to get a clean-enough translation:

SPOILER: Show
Closed 9690 disease book 19 people 9 IT Y2300KRS present 04

Q: Could you start by telling us about your encounter with director Anno?

Mr. Kasu (S): Every time I'm told that story, the answer is different, but how shall we go about it this time? But, well, Nadia...
Nadia of the Sea.") That's right. The first time I met him was in Shibuya, which was in the middle of the bubble economy, and there were so many cars in the world.
It was a time when there were so many people and things were selling. At that time, it was like a meeting of the industry, and all the great people from NHK and Toho were there.
There were so many people there, and Anno-san didn't talk much. The reason why I didn't tell you is that it was a time when the world was like that.
So, when you think of a face-to-face meeting, after the self-introduction and before you get to the main topic, there's a very frank preamble, like a 30-minute golf talk.
Yes, it is. Anno-san has been that Anno-san for a long time, so I'm never going to get involved in that kind of talk. So the elephant in the room is exaggerated to say it was mute.
It's just that. Since then, I've had dozens of meetings with Anno-san over the past 10 years, but only once was that kind of bubbly meeting.
The alignment was the first thing that happened. I think Anno-san was wearing sandals then too (laughs). It's moving at a frickin' pace for the ages, and it's baffling.
But he was the only one who seemed to stand still from those days.

Is the method of ordering BGM for director Ichianno the same as for Nadia and EVA?

S : In the beginning, we didn't have a common language at all, it's a famous story in my very small relationship with Anno-san and myself.
The two of them didn't fit together at all during the recording of Anno-san doesn't talk much, but when he communicates something, he starts from a place where there is no common language.
Yes, it is. If it were now, it would have been the other day with my boyfriend's girlfriend, but when we got to that riff from "The Mighty Jack
| You can respond like, "Oh, that's the sound of the guitar. For example, if you press the switch on the left, a flip with the word "guitar" will be raised on the right.
You can breathe as much as you want to. But in Nadia's first time, neither of us knew where the left switch was or where the right flip was.
I didn't even know where to look. Moreover, I think she's rather shy, so even if she says 1, she won't say 10
Even if I didn't, I would have hoped for at least 3 of them to be understood. The difference is that the sound hadn't established its common language.
It's just that the way they received the music was different from the way they received it, and the way they ordered the BGM didn't change at all.
There was a menu sheet with a series of adjectives such as "showy" and "gentle" typed on the word processor, and Anno-san wrote them on the spot in her unique handwriting.
In other productions, there is a division of labor between the person who paints the sound (the sound director) and the director of the work itself.
The sound was from the 60's and 70's, and the 80's and 90's were completely different.
They do not come. The way of ordering is the same for both Nadia and Eva, including that kind of thing.

Q: In response to such an order, I think the way to make it is different from the bops or instrumental of your usual work.
Were there any points that you took to heart?

S : It's related to what we're talking about now, but what they want is not a clear sound, but a matte finish. The 60's and 70's is not a good time to be talking about
The other thing is that the rhythms need to be nuanced, not just the right fit, but a little bumpy.
I guess Anno-san always requires that kind of thing. After all, it's a human being acting.
The general premise, in addition to that general premise, is that the personality of the person performing the act must be identified. That's why I'm a stunomusician

But it's something of a pain.

er...





In other words, the idea of having an artistic and precise personality has not changed at all then, and it hasn't.
The pianist and guitarist, who have been the linchpin of the Anno sound since Nadia's time, are the same. After all, it's a sandal for Anno-san.
I think it might be. Anno Sandal is said to have extended his choice to the Muenchan. That's not to say that Anno can't remember the names of the musicians
I'm not talking about remembering a tadpole (note) or a precise musical adjective, but I'm talking about remembering the words that rang in Anno's head
When you get down to it, you end up with the same musician, or the same sound system, etc.
I think you could say that Anno-san has something that is very well established.

Q: In the first half of the TV show, the rhythmic BGM of piano and band sounds is the main focus, and in the second half of the show, the inner workings of the characters are more depicted and the BGM of synths are used.
Do you have a different way of making songs in that area?

S : I didn't expect that the synth sound background music would be used so much after the episode, and even in terms of volume.
Even if there are different tablatures, I don't think there are many synths, and it's only the frequency and impression that stands out.
It's not a good song for me. To be honest, I don't really like that kind of minimalist thing.
It sounded good. The only good thing was that I played the synths right after the first recording, but in terms of time, it was during the additional recording later.
So, story-wise, it comes out in the second half, but as a sound, I recorded it in the beginning. In the end, dozens of songs and live instruments were boring
(laughs) I played the synth after it drifted, so I think the synth's goodness resonated freshly in my ears. For example, Borderra.
There was a song called "Incase", wasn't there? When I made it into a song on EVA-VOX, when I listen to it, I don't feel like myself, like this kind of ambiance.
I don't usually do any of the solo stuff, but after playing dozens of songs that had to be controlled by the score, it just so happened that
There wasn't much melody, but I decided in advance only the main chord layering, and there were a lot of improvised synth performances in the studio, so
I think it's because of the feelings I had at the time of the So, the sheet you mentioned earlier, Anno-san, there were not many orders for synth music.
In terms of Aren't, songs like Ayanami Rei's A-1 are usually tense in terms of songwriting, and they're usually done with synths. that kind of
I guess it's Anno-san's fault, but at the first meeting, I heard that Eva was a robot, and that it was kind of subversive.
I had heard that it was didactic, muddled, stateless, etc., so I thought they would use more synths.

We decided not to use synths too much. It's supposed to sound hybrid, hyper, and sonically sharp.
I'm glad I'm writing this because it's actually my preference.
To a certain extent, my writing attitude, such as creating a chord that has a sense of tension and the use of strings, is what makes me feel tight.
I don't know if I can say it myself, but it's a good one. As for the A-1, for example, from start to finish.
The melody is like the silver standard of Evangelion, and above all the atmosphere was completed.
If it is okay to use nunse, you can't make it that good. And you can use the synths for the battle songs, too.
So, for example, Haruo Chikada hadn't seen Evangelion at all, so it's a bit more hyper and techno-like.
In short, Anno's strategic thinking is quite brilliantly right on target.
The reason for this is that

Q: It's not limited to synths, but the songs you write with your own eyes are
Were there any such surprises?

When I saw it on the screen, I thought, "Oh, this is how it came to be used.

_____________________

S : In the case of anime, for example, it's very easy to imagine Nadia. And then, of course, in the case of boyfriends, of course.
Because of the original story as a ku, we can predict how the cabra will stand and move to some extent. But I didn't see Eva coming at all. why?
I'm not sure if it's okay to say this here or not, because I'm afraid to say "I don't know how to explain what Anno-san said at the beginning.
I don't know, but I haven't decided what the plot will be in the end yet" (laughs).
I had looked at the design chart, but I couldn't anticipate how it would move and how I would say my lines, so I had no idea what to expect.
It's not like I'm going to write a song for someone else, so I've barely figured out what it is about Rei Ayanami. As far as Shinji and Asuka are concerned, I don't really know what
I couldn't imagine how it would be for Asuka at all, so in that sense I was happy to see that Anno-san didn't dare to use the song he wrote for Asuka in the first place.
It was very refreshing to me to put a country/western style on Asuka, and when I think about it now, I can't think of any other way to do it.
I have a hunch. Asuka is the most sluggish when you get to the end of Eva, but that makes me feel nostalgic for that kind of appearance again.
It's fresh.

Q: Unlike the TV version, the movie version is made with a new feeling as you can see the characters to some extent.
Was there a difference in the

S : No, to tell the truth, I couldn't see much in the movie version either. I don't know why you can't see, for example, Shinji in "Death.
It's a bit like the silver lining of the way he tackles the strings, and the way the canon is heard from the desolate waterfront at the end.
I felt as if it had been taken away from me. So, when it came time to make the film, I guess I could have understood it, but I was betrayed. roundup
Even "DEATH" is like that, so in the newer "Air" and so on, it's impossible to use it in that way at all, and the movement of the characters
I didn't expect that. I can't wait to see the first 4 episodes of EVA.
See, I know. The way E-13 is used, that song originally had a ballad, and he was the first to use it.
It's one set with a lot of emotionally charged parts in the first half of the film, but when you hear the first half of the film, the second half
So the first three or four notes are enough to convey the emotional transition. That's because after the TV series ended, the fans of the
The picture and sound of the film are very deep and psychological. And yet, even more so
The use of unpredictable songs comes out so much that it breaks the fixed theme of So with the movie, the production process went back and forth, just like with TV.
There were a lot of fresh things for me to do.

A: In the album chart, the first TV soundtrack was number 12, the next was number 4, and the third was number 1.
How did you feel about the evolution of

S : Yes, I think it's the first anime in 10 years, but before that it was Galaxy Express 999. I'm Mr. Takekawa of Godaigo and
When we made his solo album, we had a chance to be together for a long time and we talked about a lot of things, but Takeru said that Godaigo was something we couldn't expect.
It's the biggest unit in the world, and the 999's are being made in the middle of the most monstrous thing. That's why it's an anime, it's Godaigo
So, it was inevitable that he would become the first place in some way. In that sense, the No. 1 spot for Eva is the same as the No. 1 spot for 999, which was taken by the theme song of Godaigo.
It is different from I think it's the artist Hideaki Anno and Evangelion that's at the top of the list this time. He said the soundtrack sold well.
Rather, there was a phenomenon called Evangelion, where Yoko Takahashi's theme song sold well, the TV version of the video sold well, and Nantoca sold well.
The image of the No. 1 CD was greater than that of the No. 1 CD, which was made up of three, four, and five phases of various factors. And then there's Eva.





I don't know...





It started six months later than it did on TV. So the first time I recorded the sound was in March of '95, when TV started in October of '95 and March of '96.
It's over, isn't it? In fact, it was in June of '96, when it came in first place. I'm not usually in Japan, but I was there in October of '95.
I'm missing my TV in a timely manner. After that, he sent me a video and I watched it, and I wasn't in Japan for the last episode, and Orico
I was in San Fransisco when I took first place in the U.S. The reason why I remember it so well is that it was not in Europe, but in the West Sea, which is known as America.
When I heard the news that there was a rare sight on the shore and a chart number one that I didn't even think existed in my dreams, I had a double sense of wonder.
I remember doing that (laughs). At the time, I didn't know it was going to be a movie yet, and it had been about 9 months since we last recorded the sound for TV, and during that time
It was a very strange feeling.

A year later, the soundtrack of | DEATH | reached #1, the single | THANATOS | was #2 and the soundtrack of | THE END | was #3.
But being in the midst of the oil that was used to make and release the movie version and then sell it was a different situation from that of TV?

S : Around me (laughs). For example, at the end of the TV run, even if you were in the music industry, you weren't really known in the artist's area, and Ev.
There were only about 1 or 2 people in 10 who knew about this thing called Vangelion. That's why 10 out of 10 people at the stage of
I knew it. It's just that at the time, Ava was a huge package, so you know it as a social phenomenon and you know it because you like the work.
There is a point where you can clearly see the difference between "Evageli" and "Eva" on the artist side of the industry. This is very different.
Ugh. Those who later used it as a symbol have the same accent as "Judy Mari" and "Doricam" and also have "Evageli" dotted with a ha (laughs). Well, that's just the way it is.
It's like a typhoon when you're doing something that's selling, and the center is quiet. It's just a matter of circling around.
It's the same with Anno-san, but there's no change in sales at all. You know, when you're working at Staneo, and you know what you're doing, and who you are.
Even if you're not aware of it, the people around you are strangely aware of it, or something like that. I don't know. I'm doing Eva.
I've never ordered sushi delivery at the studio (lol), and Anno-san doesn't like that kind of thing, but that's only because Eva is selling well.
There wasn't a lot of that in the production process. To put it in Anno's terms, the increased string formation is a raid, the eye of a typhoon.
There was no significant change in the It's just that my schedule has become a struggle. I think it's because the surroundings have changed one or two times over. sale
Eva is a very wholesome character from the perspective of Assistant Bakken. I'm not sure what's healthy about that.
But it's not like I'm getting more work, and I've been working near the center of the city, so I've been quiet about it.
So in that sense, I'm glad I didn't get carried away.

Apart from records and charts, you personally have Evangelion Symphony, Lorene & Mash's activities, and your visit to Japan.
There was also a hive.

S : If you look at it like that, if you look at the Evangelion package, it's like a beautiful bonus.
Yes. In terms of the schedule, the symphony is scheduled to coincide with the release of the movie, but the work will be done after the recording of "THE END~" is finished.
How to make a good package without realizing that it's a bonus. If it's okay with you realizing it's a bonus, it's a classic, just like the original plan.
I'm sure I should have acted a little bit more like an idiot, but I didn't want it to end up being just a bonus, and I wanted to make sure I was not apologizing to the fans.
That's why we're trying to make it the best it can be. Especially since that concert was like a pre-movie fest, it was complete.
It was an important concert in terms of how the people who tied the knot would show what was to come. That's the Kula they used in Eva.
It's just a matter of letting the orchestra play the finished score, and Shiro Ochisu has never played a single piece of music.

___________________________________



I can't get away with not writing about it, so when fans listen to it, they immediately find out about it. That's why I'm so cool with it.
It's a way of saying that you have to maintain a sense of urgency by imposing some kind of mission. Even for Lorraine and Mash, it's all about Eva.
I don't know, I didn't originally want to make E-13 into a song.
It was only by having Anno-san listen that I was able to create something like this. The TV series is over, and by the time I get to the movies
Komm, susser Tod" is also an extension of "Komm, susser Tod" in 1997.
We recorded it in March, but we were working on it for the movie in March '97, and the part that we're going to use is in July, so it's another four months of tension.
I recorded Thanatos because I wanted to preserve it. Later, I made M-11 (Everything you've ever done) at the same time as Com Schusser-Tooth.
Dreamed) is seeing the light of day for the first time, but I highly recommend that song. I wrote the synth music for Evangelion's BGM by myself.
But M-11 is a song that was not written by an expert in songwriting, so it came out easily.
It's a song, but it turned out to be a very strange song, and I'm glad that it saw the light of day this time.

Lastly, do you have any secret story to tell?

S : As for Comme Schusser, there are two types of songs, one with and one without his voice in the second half.
For example, the up and down movement of the strings was exactly what Basu Shirow liked in the beginning.
When I saw the finished product, I was so happy that Anno-san made the whole picture to match the movement of the strings.
That was amazing, wasn't it? One more thing I want you to hear in that song is the famous LCGC (London Community Gospel Choir).
I think Anno-san didn't think of this originally, but in gospel, he repeats the same refrain at the end.
And along with that, they shouted out "Hallelujah" as a so-called word of praise to God. If something is repeated at the end of the order, it will be
In the beginning, Anno-san's request was for a choir, but it was not a choir.
I think that what is spreading in the world with African Black as its origin is the gospel and
That's how I wanted to do it, so I thought the LCGC guys would be good. If there's one obstacle, it's that they're real kospers.
The content of Evangelion, the title, and the poem have to be in line with that as part of the job description.
There was a sense of inevitability, and that's what the refrain at the end had to do with the voice. Oh.
In the case of Ewa, there are many unplanned harmonies to the people who are actually doing it, even though it seems like a planned harmony to the people on the receiving end.
Yes, for example, we all entered from different entrances, but when we arrived at the same place, we were in the same place, and that was too much.
It was a very strange job. There are two ways of doing soundtracks: one to match the scene, the other to make it sound sad when it's sad, and the other to make it happy.
There's one happy sound first, and then another pattern that goes the other way around. Cutting pattern. When you want the sound, you don't use it willy-nilly, you want the sound.
There are two types of patterns: those in which sound and picture match, and those in which sound and picture do not match.
In the case of Eva, she is neither of the two, but in fact, she is neither of the two, and in fact, she has both elements.
There were so many gifts of unplanned harmony. I don't think there are many songs on TV that have been used all the time from the beginning to the end.
When I say. It's not that there are no songs that stay in your ears from the beginning to the end, it's just that the way they are used in the moment is too much.
There were times throughout the film when I thought it was too vivid, and it was unexpectedly harmonized to form a single line.





eo RT or







Music: Shiro Besu
Original BGM titling: Hideaki Anno

Recording & Mixing Engineer: Koichi Suzuki (KING RECORDS)
Mastering engineer: Takao Suinoga (KING RECORDS)
Recording Engineer:Hiroyuki Tsuji (KING RECORDS)

Package Design & CG Artwork: Norikou Nezu
Booklet Design::Kiyoshi Nagata
Platemaking: Shinichi Odajima (Kinhansha)
Artwork Management: Eiji Nakamura (KING RECORDS)
Lilith base model: Yashika Shiokata (identiTY molding department)

Executive Producer:Toshimichi Otsuki (GANSIS)
Attn: Takashi Yoshioka (KING RECORDS)

@ [SS WORKS] Ouaweiya Present!

Thank you very much for your support of the "Neon Genesis Evangelion" series.
Starchild Records is pleased to announce the release of "SS WORKS" as a gift for applicants.
We are currently working on a 20-page booklet with music commentary by Masaru Hayakawa, a leading expert in BGM commentary.

If you would like.

(1) An unregistered, flat-rate money order worth 300 yen (please purchase at a post office)
⑧) Barcode on the circular seal attached to the package
(3) A memo clearly stating your address, name and phone number
Please enclose the three
112-0013
1-2-3 Otoe, Bunkyo-ku, Tokyo, Japan

Sales promotion group No.2 - EVA and CD commentary

(Application deadline: March 31, 1999, postmarked on the day of application).

We are looking forward to your submissions.
⑥ 1997 GAINAX/EVA Production Committee
⑥GAINAX/Project Eva. and TV Tokyo



Handling Precautions Please handle both sides of the disc without fingerprints, stains, scratches, etc. When the disc is dirty, the glasses
Wipe lightly with a soft cloth like a wipe, radiating from the inside to the outside. Do not use record cleaners or solvents.
Do not use pencils, ballpoint pens, oil-based pens, etc. to write on or affix stickers to both sides of the disc. Cracks or deformations, or gaps
Never use a disc that has been repaired with chemicals, etc., as it is dangerous.

Cautions @@Do not store in direct sunlight, high temperature or high humidity. Armor discs are placed in their original cases after use.
Please store it in a safe place. If you place heavy objects on the plastic case, the case may be damaged and you may get burned.

2



Only interview I know of Sagisu regarding NGE!

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Re: Translating the S2 Works Booklet (or some of it)

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Postby pwhodges » Sat Apr 25, 2020 2:24 pm

We are currently working on a 20-page booklet with music commentary by Masaru Hayakawa, a leading expert in BGM commentary.

I wonder if that happened...
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Re: Translating the S2 Works Booklet (or some of it)

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Postby kuribo-04 » Thu Apr 30, 2020 3:26 am

Cool, I'll check the translation out. :)
Shinji: "Sooner or later I'll be betrayed... And they'll leave me. Still... I want to meet them again, because I believe my feelings at that time were real."
Ryuko: "I'm gonna knock ya on your asses!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby

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Re: Translating the S2 Works Booklet (or some of it)

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Postby FelipeFritschF » Tue May 18, 2021 2:51 am

This looks quite interesting, but I'll wait on a proper translation before sourcing or putting it up anywhere. To the Trello it goes.


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