Sometimes there's only a space of two frames (1/12 of a second) between them, but if you put in a sound effect for every one of them, you can't hear that at all. For example, a triple-barreled main cannon doesn't fire all its beams at once, but one at a time. In fleet battle scenes, you might feel there are so many sounds, but when you get a louder sound at the front, the other sounds are drowned out, so there's no point in having tiny sounds ringing out in the background. For the balance of sounds that express the distance between ships, we made various adjustments during mixing. So the way we did it was to give beam sounds only to the ships closest to the foreground. The warships are firing beams, but if we assigned sound effects to every one that's shown on screen, it would have been a real mess.
How was it? Nishimura: Figuring out what sounds to leave out was indeed difficult. A scene with a jumble of multiple ships like that seems to cause lots of challenges. A large-scale fleet battle at Loum is depicted in Episode 5. I do think they've got to be "Gundam sounds." Even I feel a bit strange about changing them, and I don't think the fans would go along with it either. When it comes to the sounds, there are lots of people who have nostalgic feelings for them. The sound of the Zaku's machine gun was lacking the feel of heaviness a little, so we changed that a bit. As for the sounds of such things as beams firing or projectile weapons, these have become more and more realistic in newer series, so they asked us to change things a little. In those cases we use a new sound instead. That said, since they're from older series, sometimes you can't use them as is because the sound would make things seem hollow. Also, for the sound of the Zaku walking, my approach was to increase the feel of massiveness with the old sounds. For example, I used the sound of the mono-eye's lighting-up from that era as is, and layered sound on top of it. My mentor is Akihiko Matsuda, who has been handling sound effects since the "MOBILE SUIT GUNDAM" TV series, so I've been using more and more sounds from that era that seem to be usable. For the sounds of the mobile suits, of course, we couldn't stray from what you're used to hearing in other Gundam works, so we processed the sounds used in the past and used those. So he said he wanted the sounds of the cockpit instruments and buzzers to have an old-fashioned feel. Also, the Zeon side's mobile suit technology is advanced, for example, but there's the sense that their other machinery still has an analog feel. Imanishi has a strong focus on military aspects, so he was very specific about the use of sound effects for firearms and so forth. (Takashi) Imanishi, who was the director through Episode 3. How did you develop the sound effects so that they would feel more unique to "THE ORIGIN"? Nishimura: As for the fundamental elements, we had been developing them through conversations with Mr.
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