![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/yamatalk3426A.JPG\")
\nPhoto posted on Twitter by Koyuki21780707<\/a><\/em><\/p>\n
Sound Director Tomohiro Yoshida: The Dedication of a Space Battleship Yamato<\/em> “Sound” Craftsman, Synchronizing Drama and Music<\/h2>\nPublished at Mantan Web, March 4, 2026. See the original post here<\/a><\/em><\/p>\nOn March 4, a screening event titled Yamatalk Screening “Sound Edition” was held at Shinjuku Piccadilly theater for Chapter 5, The Incandescent Galactic War<\/em>. In addition to General Director Harutoshi Fukui, Director Naomichi Yamato, Scriptwriter Hideki Oka, and voice actress Eriko Nakamura (who plays the role of Mikage Kiryu), Sound Director Tomohiro Yoshida appeared as a special guest to discuss the meticulous attention paid to the sound design of Yamato 3199<\/em>.<\/p>\nThe Ideal: Going Unnoticed<\/h3>\n
This marked Yoshida’s first appearance at a Space Battleship Yamato<\/em> event in approximately eight years, his last being the stage greeting for Chapter 5 of Yamato 2202<\/em>, held in May 2018. Yoshida has been involved with the Yamato<\/em> franchise since 1994, serving as Sound Director for every installment since Yamato Resurrection<\/em> in 2009.<\/p>\nYoshida revealed that he was, in fact, a fan of Yamato<\/em> long before he began working on it. <\/p>\n“About 40 years ago, I saw Mr. Oka singing at a fan club gathering,” he reminisced. <\/p>\n
Oka responded thoughtfully, “40 years ago…really? I sang Pendant of Stars<\/em>. That\u2019s a difficult song, isn’t it?” <\/p>\nMr. Yoshida describes how he became involved with Yamato<\/em>: “Following the trend of digitizing audio in 1995, a process that entailed the actual work of producing CDs, we created the BGM Collection in 1996. That same year, I also collaborated with Mitsuru Kashiwabara to produce Yamato Sound Fantasia<\/em>, a project designed to tell a story exclusively through sound effects and music.”<\/p>\n![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/yamatalk3426B.JPG\")
<\/p>\n
Regarding his work as a sound director, Mr. Yoshida emphasizes his meticulous attention to detail: “Every fan has their own specific points of focus, but when it comes to the music composed 50 years ago, it inevitably carries the distinct stylistic imprint of that era. If you simply scatter those vintage tracks throughout a modern production without modification, they can feel jarring or out of place. My goal is for the audience to remain fully immersed in the story, so I strive to eliminate any elements that might create a mismatch. I invest that extra effort to ensure a cohesive, unified soundscape.”<\/p>\n
“The original Yamato<\/em> productions were crafted with an incredibly lavish and sophisticated approach. I undertake adjustments that extend even to the specific layout of the instruments. For instance, regarding instrumental positioning, where violins might typically be placed on the left and trumpets on the right, the actual placement can sometimes vary depending on the individual style of the original sound mixer, occasionally resulting in a reversed configuration. I meticulously adjust even those specific details.”<\/p>\nAt the same time, he reveals his philosophy as a craftsman: “Ideally, my work should go unnoticed. My ultimate goal is for the audience to simply walk away thinking, ‘That was beautiful imagery and a wonderful story,’ and perhaps, in a quiet moment later on, find themselves humming one of the melodies.”<\/p>\n
![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/yamatalk3426C.JPG\")
\nLeft to right: Hideki Oka, Tomohiro Yoshida, Naomichi Yamato, Harutoshi Fukui<\/em><\/p>\nFlawless Musical Calculation: The “Electrifying” Scenes<\/h3>\n
The panelists shared the specific scenes that gave them goosebumps, musical moments they found truly “electrifying.” <\/p>\n
Mr. Oka chose the scene in Episode 11 featuring Planet Galman,<\/em> commenting, “Any true fan would instantly recognize this as Yamato III<\/em>, Episode 16!” He added, “Mr. Yoshida\u2019s calculation was flawless. he knew exactly how to deploy this track to deliver maximum shock value. And I never could have imagined that 2205<\/em> would open with the theme associated with the Bolar Federation.”<\/p>\nDirector Yamato chose the scene in Episode 12 featuring Fleur,<\/em> noting, “This is a scene that didn’t exist in the original series, yet it works perfectly, and it works because of the music.” <\/p>\nMr. Fukui nodded in agreement, remarking, “Whether it\u2019s the piano melody playing over the image of birds taking flight, or just the precise timing of the cues, he really knows exactly where to place the music.”<\/p>\n
Mr. Fukui singled out the scene in Episode 15 that uses Yamato Sleeping in the Sunset.<\/em> He was clearly thrilled by the choice, exclaiming, “This is it! I had predicted he would use New Cosmo Tiger<\/em> here. But the actual choice stirred my soul even more than I expected. I never would have thought to pick this track.” <\/p>\nMr. Yoshida responded, “The idea of using New Cosmo Tiger<\/em> did cross my mind. However, I ultimately decided that Yamato Sleeping in the Sunset<\/em> was the right fit here, I wanted to see just how closely the dramatic narrative could synchronize with the emotional contours of the music.”<\/p>\nMr. Yoshida chose the track heard in Chapter 4 titled Parting Thoughts.<\/em> He explained his reasoning with deep sentiment: “The idea came to me the moment I read the script. I wanted to create a musical moment that would truly highlight one of Sasha’s key scenes.” <\/p>\nMr. Fukui then revealed, “What makes Mr. Yoshida so brilliant is that he often uses subtle, understated touches. He weaves the music in so seamlessly that you barely even notice he\u2019s doing it.”<\/p>\n
![](\"http:\/\/www.ourstarblazers.com\/vault-images\/apr26\/yamatalk3426D.JPG\")
\nBackstage at the Shinjuku Piccadilly, photo posted on Twitter by the Yamato Production Committee<\/a><\/em><\/p>\nRevealing Their “Favorite Tracks”<\/h3>\n
The discussion also turned to their personal favorite tracks from REBEL 3199<\/em> Original Soundtrack Vol. 01, which was released in February, a topic they discussed with great passion and enthusiasm. <\/p>\nMr. Oka\u2019s personal favorite track is A Thousand Years of Darkness.<\/em> He appears to have a particularly deep attachment to it, noting, “It first appeared during the scene where Skaldart spoke. I love it so much that I want it played at my own funeral, with Harutoshi Fukui delivering the eulogy. It would make everyone think, ‘Man, this guy really went through a lot…'”<\/p>\nDirector Yamato selected Dezarium String Quartet,<\/em> remarking, “It sounds rather harsh when heard within the context of the main story, but it feels completely different when listened to on the CD.” Mr. <\/p>\nFukui then revealed that his specific request for the piece had been, “Please compose a track that makes the listener feel utterly miserable.”<\/p>\n
Mr. Fukui\u2019s choice, exclaiming, “It just has to be this one!,” was Giant Enemy.<\/em> He commented, “I thought it was incredibly cool when I first heard it as a child. It captures that distinct atmosphere of the early 1980s. It eventually became available for fans to listen to on the BGM Collection albums.”<\/p>\nMr. Yoshida\u2019s personal favorite is Sasha Iscandar Kodai.<\/em> He shared some details regarding his creative vision for the piece: “Originally, the composition was in triple time, but I specifically requested that it be written in quadruple time instead. I wanted it to capture the various facets of Sasha\u2019s character, her immaturity, her charm, her sorrow, and so on.”<\/p>\nIn closing, Mr. Yoshida called out to the audience: “The second volume of the soundtrack is also on the way. It\u2019s packed with fantastic tracks! We\u2019re down to the final two chapters now, so please give us your support!” <\/p>\n
<\/br><\/p>\n
On March 4, a screening event titled Yamatalk Screening “Sound Edition” was held at Shinjuku Piccadilly theater for Chapter 5, The Incandescent Galactic War<\/em>. In addition to General Director Harutoshi Fukui, Director Naomichi Yamato, Scriptwriter Hideki Oka, and voice actress Eriko Nakamura (who plays the role of Mikage Kiryu), Sound Director Tomohiro Yoshida appeared as a special guest to discuss the meticulous attention paid to the sound design of Yamato 3199<\/em>.<\/p>\n This marked Yoshida’s first appearance at a Space Battleship Yamato<\/em> event in approximately eight years, his last being the stage greeting for Chapter 5 of Yamato 2202<\/em>, held in May 2018. Yoshida has been involved with the Yamato<\/em> franchise since 1994, serving as Sound Director for every installment since Yamato Resurrection<\/em> in 2009.<\/p>\n Yoshida revealed that he was, in fact, a fan of Yamato<\/em> long before he began working on it. <\/p>\n “About 40 years ago, I saw Mr. Oka singing at a fan club gathering,” he reminisced. <\/p>\n Oka responded thoughtfully, “40 years ago…really? I sang Pendant of Stars<\/em>. That\u2019s a difficult song, isn’t it?” <\/p>\n Mr. Yoshida describes how he became involved with Yamato<\/em>: “Following the trend of digitizing audio in 1995, a process that entailed the actual work of producing CDs, we created the BGM Collection in 1996. That same year, I also collaborated with Mitsuru Kashiwabara to produce Yamato Sound Fantasia<\/em>, a project designed to tell a story exclusively through sound effects and music.”<\/p>\n Regarding his work as a sound director, Mr. Yoshida emphasizes his meticulous attention to detail: “Every fan has their own specific points of focus, but when it comes to the music composed 50 years ago, it inevitably carries the distinct stylistic imprint of that era. If you simply scatter those vintage tracks throughout a modern production without modification, they can feel jarring or out of place. My goal is for the audience to remain fully immersed in the story, so I strive to eliminate any elements that might create a mismatch. I invest that extra effort to ensure a cohesive, unified soundscape.”<\/p>\n “The original Yamato<\/em> productions were crafted with an incredibly lavish and sophisticated approach. I undertake adjustments that extend even to the specific layout of the instruments. For instance, regarding instrumental positioning, where violins might typically be placed on the left and trumpets on the right, the actual placement can sometimes vary depending on the individual style of the original sound mixer, occasionally resulting in a reversed configuration. I meticulously adjust even those specific details.”<\/p>\n At the same time, he reveals his philosophy as a craftsman: “Ideally, my work should go unnoticed. My ultimate goal is for the audience to simply walk away thinking, ‘That was beautiful imagery and a wonderful story,’ and perhaps, in a quiet moment later on, find themselves humming one of the melodies.”<\/p>\n The panelists shared the specific scenes that gave them goosebumps, musical moments they found truly “electrifying.” <\/p>\n Mr. Oka chose the scene in Episode 11 featuring Planet Galman,<\/em> commenting, “Any true fan would instantly recognize this as Yamato III<\/em>, Episode 16!” He added, “Mr. Yoshida\u2019s calculation was flawless. he knew exactly how to deploy this track to deliver maximum shock value. And I never could have imagined that 2205<\/em> would open with the theme associated with the Bolar Federation.”<\/p>\n Director Yamato chose the scene in Episode 12 featuring Fleur,<\/em> noting, “This is a scene that didn’t exist in the original series, yet it works perfectly, and it works because of the music.” <\/p>\n Mr. Fukui nodded in agreement, remarking, “Whether it\u2019s the piano melody playing over the image of birds taking flight, or just the precise timing of the cues, he really knows exactly where to place the music.”<\/p>\n Mr. Fukui singled out the scene in Episode 15 that uses Yamato Sleeping in the Sunset.<\/em> He was clearly thrilled by the choice, exclaiming, “This is it! I had predicted he would use New Cosmo Tiger<\/em> here. But the actual choice stirred my soul even more than I expected. I never would have thought to pick this track.” <\/p>\n Mr. Yoshida responded, “The idea of using New Cosmo Tiger<\/em> did cross my mind. However, I ultimately decided that Yamato Sleeping in the Sunset<\/em> was the right fit here, I wanted to see just how closely the dramatic narrative could synchronize with the emotional contours of the music.”<\/p>\n Mr. Yoshida chose the track heard in Chapter 4 titled Parting Thoughts.<\/em> He explained his reasoning with deep sentiment: “The idea came to me the moment I read the script. I wanted to create a musical moment that would truly highlight one of Sasha’s key scenes.” <\/p>\n Mr. Fukui then revealed, “What makes Mr. Yoshida so brilliant is that he often uses subtle, understated touches. He weaves the music in so seamlessly that you barely even notice he\u2019s doing it.”<\/p>\n The discussion also turned to their personal favorite tracks from REBEL 3199<\/em> Original Soundtrack Vol. 01, which was released in February, a topic they discussed with great passion and enthusiasm. <\/p>\n Mr. Oka\u2019s personal favorite track is A Thousand Years of Darkness.<\/em> He appears to have a particularly deep attachment to it, noting, “It first appeared during the scene where Skaldart spoke. I love it so much that I want it played at my own funeral, with Harutoshi Fukui delivering the eulogy. It would make everyone think, ‘Man, this guy really went through a lot…'”<\/p>\n Director Yamato selected Dezarium String Quartet,<\/em> remarking, “It sounds rather harsh when heard within the context of the main story, but it feels completely different when listened to on the CD.” Mr. <\/p>\n Fukui then revealed that his specific request for the piece had been, “Please compose a track that makes the listener feel utterly miserable.”<\/p>\n Mr. Fukui\u2019s choice, exclaiming, “It just has to be this one!,” was Giant Enemy.<\/em> He commented, “I thought it was incredibly cool when I first heard it as a child. It captures that distinct atmosphere of the early 1980s. It eventually became available for fans to listen to on the BGM Collection albums.”<\/p>\n Mr. Yoshida\u2019s personal favorite is Sasha Iscandar Kodai.<\/em> He shared some details regarding his creative vision for the piece: “Originally, the composition was in triple time, but I specifically requested that it be written in quadruple time instead. I wanted it to capture the various facets of Sasha\u2019s character, her immaturity, her charm, her sorrow, and so on.”<\/p>\n In closing, Mr. Yoshida called out to the audience: “The second volume of the soundtrack is also on the way. It\u2019s packed with fantastic tracks! We\u2019re down to the final two chapters now, so please give us your support!” <\/p>\n <\/br><\/p>\nThe Ideal: Going Unnoticed<\/h3>\n
<\/p>\n
\nLeft to right: Hideki Oka, Tomohiro Yoshida, Naomichi Yamato, Harutoshi Fukui<\/em><\/p>\nFlawless Musical Calculation: The “Electrifying” Scenes<\/h3>\n
\nBackstage at the Shinjuku Piccadilly, photo posted on Twitter by the Yamato Production Committee<\/a><\/em><\/p>\nRevealing Their “Favorite Tracks”<\/h3>\n