Part 1. Poppin’Party Interview
As the first real band of the Bandori franchise, they spent the dawn of the project together, expanding the work by developing themselves. As “a group of voice actresses who form a band just like the one in the story,” what kinds of feelings did the five of them face when approaching the unprecedented goal of “actually performing live”?
———To put it simply, Poppin’Party is the originator of the Bandori project. It all started about four years ago, when Aimi made a certain announcement?
Aimi: Yeah, I said “I’m forming a band!”.
———Did you need to prepare yourself to make that announcement?
Aimi: No, back then I thought it was just going to be fun. I’d always admired bands, so for me, the fun and excitement of getting to form one was really great. Also, at that time, I’d already started working as a voice actress, so doing band activities on top of playing a character or doing songs sung in character with a band… it all seemed very simple and fun. But when I actually tried it out, rehearsal was really tough (*laughs*). There were also lots of times early on when I was confronted by something I couldn’t do. Memorizing the music, for example. I had a really hard time memorizing the music for even just one song at first because it wasn’t something I was used to doing. Every day I thought, “man, why can’t I do this!?”.
———Did you get frustrated with yourself?
Aimi: I did. I was frustrated that I couldn’t do it. Even so, the feeling I had at the start, the feeling of “this should be fun” never changed. I think that was why I was able to overcome so many different obstacles.
———And it was Nishimoto-san and Itou-san who initially formed the band with you.
Itou: Right. Rimirin (Nishimoto) started practicing with Aimin (Aimi) first.
Nishimoto: That’s right. At the very beginning, Ai-chan (Aimi) and I came together to play Yes! BanG_Dream!. I was sitting among the members of the audience at the show where Ai-chan announced “I’m forming a band,” but… my legs were trembling while I watched. We’d already begun band rehearsals at that point, and that was the moment when it was finally announced. To be honest, I was scared. I wondered what kind of reaction everyone would have to it. But when they heard Ai-chan’s announcement, the audience got so excited, and that made me want to stand in front of everyone as soon as possible.
———You’d played many different musical instruments for some time, correct?
Nishimoto: Yes, I did band activities in Hyogo – my hometown – and in Osaka. But it was really just a hobby. I just played guitar and bass however I wanted, and I was self-taught. So when the project started, they had a formal bass instructor teach me basics like the proper form.
Itou: I’d been in a unit with Aimin before, so when I heard I was going to be in a band with her, I was reassured by her presence, and I thought it would be fun too.
Aimi: Before the band formed, one of the staff members actually asked me, “can Itou-san play any instruments?”. I said “I’ve never heard her mention that she can”. Then the staff asked “do you think she’d be able to play the keyboard?”. And I randomly responded “I think she could if she practiced” completely arbitrarily (*laughs*). And then a little later, I heard that Ayasa had been chosen as our keyboardist…. I’m sorry that I gave that answer without thinking (*laughs*).
Itou: No, they actually asked me directly “can you play an instrument?”. I answered “I think I might be able to do keyboard if I practiced. I can play Flohwalzer1, so I’ll probably be okay” (*laughs*). When I first joined the two of them in rehearsal, they were doing the cover song Seikai wa Hitotsu! Janai!!. I tried to join them, but I couldn’t play it at all. I thought it was over for me (*laughs*).
———So it almost made you think “I shouldn’t have agreed to do this in the first place”? (*laughs*)
Itou: It felt that way (*laughs*). But rehearsal back then had a “school club feeling”. The mood was “let’s do our best together” and “let’s have fun and make it exciting”. Everyone, including the staff, was like that. Of course, I was naturally worried that the fans wouldn’t accept us, but strangely enough, I didn’t have any negative feelings.
Nishimoto: We were still trying to figure things out back then. The feeling of creating something as a group was especially strong.
———And after that, Otsuka-san and Ohashi-san — two people with musical instrument experience — joined.
Otsuka: It’s true that I’d played acoustic guitar on the street before, but I had no experience with electric guitar. I think the circumstances of how I joined are a little different from everyone else. I used to sing, but there was a time when I injured my throat and was temporarily unable to. I really wanted to keep making music, so I tried playing different instruments. Around that time, I got a call from someone I owe a lot to, and they asked me “can you play guitar?”. I asked why, and they said “well, I’m looking for a girl who can play guitar because of this audition”. Back then, all they told me was that they were “recruiting members for a girls band”. When I went to the audition, I was told that the producer was Agematsu (Noriyasu/Elements Garden). I’ve really liked his songs since I was in elementary school, so I immediately replied “I want to do it!”. They told me “please try to play something on guitar”. Back then, I couldn’t play single tones yet, so I just focused on playing chords… (*laughs*). The president of Bushiroad, Mr. Kidani, also watched my audition. He looked really troubled and asked me, “can you start practicing the guitar with everything you have?”. Then for the next few months, I decided I’d practice at least 12 hours a day… like I was a student about to take exams. Sometimes it felt really demanding, but thanks to all that, I was able to join the band. And another thing – I was surprised at the audition when I first heard that voice actresses were going to be putting together a band (*laughs*).
Aimi: It’s like a crazy shock! (*laughs*)
Otsuka: I was the last member to join, about a week or so before Aimi-san announced the start of the project. We all rehearsed in a mad frenzy after that. And just like with the electric guitar, I also had no experience with voice acting.
———Had Ohashi-san already joined at that point in time?
Ohashi: Yeah, I’d already started rehearsing. In my case, I wrote “drums” in the hobbies and special skills section of my profile, so when I heard there were voice actresses forming a band, I thought it seemed interesting and wanted to give it a shot. So I started taking private lessons before Aimin announced “I’m forming a band!”. I’ve been playing drums as a hobby since I was in 5th grade, but really only played by myself along to the music. When it came time to actually play in a band, my volume wasn’t nearly loud enough, I couldn’t do fast songs at all, and it was really tough. But my dream was to play in a band, so I was really happy even though it was difficult.
But rehearsal back then had a “school club feeling”. The mood was “let’s do our best together” and “let’s have fun and make it exciting”. (Itou)
———When you get right down to it – with the exception of Nishimoto-san – Poppin’Party was everyone’s first band?
Aimi: When I was in high school, I joined a band with the same set-up as Poppin’Party. One with a lead-guitarist who only plays chords.
Nishimoto: Is that really… a lead? (*laughs*)
Aimi: It’s the lead because it’s also the vocalist.
Otsuka: How original!!
Aimi: Isn’t it? But it felt like I was just looking down at the TAB and playing simple chords. And doing the vocal harmony (*laughs*).
———How did it feel when the five of you united your sounds as Poppin’Party for the first time?
Aimi: It made me emotional. It made us “a band”.
Nishimoto: We all made a circle, didn’t we?
Itou: It was all the band members and staff together in a really small studio, so we were really crammed in there.
Otsuka: I remember! Didn’t everyone barge in on Hasshi’s (Ohashi’s) solo training session?
Itou: Right, she was by herself (*laughs*). Then the rest of us suddenly started talking about trying to come together as one.
Ohashi: I got so excited by all that. I played with too much force and my wrists really hurt afterwards (*laughs*).
Aimi: That time wasn’t too long after the first day we all met, and it felt like we still didn’t really know each other well. We’d never had any conversations…
Ohashi: That’s true. It felt like we were still distant, treating each other like strangers.
Itou: We normally just talked about stuff like “oh, I was watching that show…”.
Aimi: I wasn’t even sure if it would be okay to take pictures with everyone (*laughs*).
———Like you’ve all said, rehearsing as a band can be difficult. Since you’re also busy doing voice acting work, I wouldn’t think you’d be able to practice your instruments or rehearse with everyone unless you’re proactive about making time for it. What kinds of barriers or obstacles have you come to experience as you’ve continued being part of Poppin’Party?
Aimi: At first, I couldn’t figure out how to play guitar while singing. It was a situation where I thought “I’ll figure it out because I have to”. But I couldn’t do it even when I really tried, and that made me super worried. I couldn’t be Kasumi because I was putting all my effort into playing and singing. I didn’t have the flexibility to smile while singing like Kasumi or to do energetic movements like she would. But the origin of our band is the characters, so that’s something that needs to be taken care of before anything else. But I couldn’t do that. In the beginning, I struggled with this gap between my ideals and reality.
Otsuka: I was the opposite of everyone else because I didn’t have any voice acting experience. I was like, “how do I go about standing on stage as my character?”. I’ve always gotten on stage for music activities thinking “I want to convey my own expressions and emotions to people”. I was really fumbling and it took me a while to find a solution within myself.
Itou: I think it was kind of unprecedented for voice actresses to form a band. We faced barriers when thinking about how to plan our concerts and how to link our characters and our performances…. Even now, there are still parts that are trial-and-error. I guess you could say we’ve been hitting some walls ever since our formation.
Aimi: And when you think about a band, isn’t it natural to want to seem cool no matter what? Poppin’Party has some cool aspects, but there’s more to them than just that. So we always think about stuff like, “what side of Poppin’Party should we show?”.
———The audience is always imagining that the five people standing in front of them on stage are the five anime characters. You could say that figuring out the link between yourselves and your characters is a problem unique to those who are trailblazers.
Otsuka: I think we’ve only started to settle into our roles recently. There’s a saying, “three years on a cold stone will make the stone warm,” but I feel like we didn’t even know what was right for nearly that long. During that time, Aimi held the band and the project together on her own. At our first Budokan concert, she was basically the producer. She was reflecting on everything, from the lighting to our positioning on stage.
Itou: She really put the whole thing together. Aimin came up with all these ideas and then thoroughly explained them to the rest of us. That’s what the Budokan show was like.
Aimi: It was something I couldn’t help but do at first (*laughs*). But every time we complete a performance, we level up as a team.
Otsuka: That’s how you pulled me out of the darkness I was fumbling in. I think it’s how the current “safe and worry-free” Poppin’Party brand was created (*laughs*).
Itou: I think so too. I think we’ve started to find our footing bit by bit, even as we’ve been encountering so many challenges. I had some thoughts about what we should do for our Budokan show in February of this year, and it was easier to come up with solutions whenever we encountered problems. I think that’s a sort of proof that our thoughts are more likely to match up. It’s because we’re all facing the same direction and following the same course.
———It’s a genuine “KIZUNA MUSIC”2.
Nishimoto: Right, that’s exactly what it is. After being together for four years, our vibes have also come together. Even if we don’t say anything, the others can tell what we’re thinking. That’s why when we are planning a live performance, for example, there are aspects where we all understand each other from the start, which makes it easier for our opinions to match up. In that sense, I feel like we were able to enjoy our 2nd Budokan performance with all our might right from the very beginning. Poppin’Party is a fun band that overflows with smiles, and I think this was a live performance where solutions to our problems came to us.
———Your sparkling and heart-pounding mindset took shape and was conveyed. Roselia has a standard course where they go out for yakiniku or shabu-shabu after rehearsal to further deepen their bonds. Do you have something like that for your relationship?
Ohashi: We typically rehearse late, so we unfortunately don’t have any custom of going to dinner after practice is over.
Aimi: We face the pragmatic issue of “we have to get home, otherwise we’ll never get home”… (*laughs*).
Itou: But as a substitute, Poppin’Party has an unmistakably strong habit of saying “we’re absolutely rehearsing together every single week”.
Aimi: We never miss our regular rehearsals.
Itou: We have an unwavering bond where we see each other every week no matter what. We absolutely see each other weekly as though it’s some form of accomplishment (*laughs*).
Otsuka: I get what you mean. And it is an accomplishment (*laughs*).
Ohashi: It’s already part of our lives.
Itou: We’ve incorporated it into our work-life balance. Doesn’t that make it a pretty strong bond?
Nishimoto: We haven’t missed a single time in all four years, right?
Otsuka: Outside of rehearsal, we sometimes have other work together and we do interviews like this one. It’s more like we meet almost every single day.
Ohashi: Yeah. Without a doubt, you’re definitely the four voice actresses I’ve met the most since I started working as one (*laughs*).
Aimi: You know, the other day after rehearsal, I gave everyone a ride home. I was happy to get my license, and I want to do more stuff like that (*laughs*).
———It seems like your habit of not missing weekly rehearsals is related to the way you are fully in harmony — mentally and physically — as a band. A circular stage was used at the Budokan, which must have made it difficult for you to make eye-contact with each other.
Otsuka: There was a bit last time when I failed at getting everyone excited at the end of a song (*laughs*). I made the most of that experience and was able to come up with a backup plan for this year’s Budokan show. I already know everyone’s performance methods, so even if I can’t see them, I think “they’ll probably come over here next,” and then they do.
Ohashi: There are definitely times when I think “the rhythm’s gotten a little too fast,” and I look over at Sae-chan (Otsuka) and she’s looking back at me and paying attention to how I’m doing (*laughs*).
Itou: Saechi (Otsuka) is sensitive to mistakes. Whenever I think I’ve messed up and I look at her, our eyes meet and she’s smirking (*laughs*).
Otsuka: Ah, sorry (*laughs*).
Aimi: But it’s something that helps us. Even when we make mistakes, it helps that she doesn’t get mad (*laughs*).
Ohashi: That’s how much she really listens to other peoples’ sound.
Otsuka: It’s the kind of thing that always shows on my face right away (*laughs*).
There’s a density and intensity to the time we’ve spent together, and the foundation of the band is getting bigger and stronger. (Aimi)
———In other words, it’s proof that you are having conversations through your sound. You’ve been on stage many times so far and you’ve seen a lot of sights that can only be viewed from there. Did those things impact your attitude?
Aimi: This time at the Budokan definitely did, but one major change is that I’m now able to enjoy doing concerts as Kasumi. It’s not that I didn’t enjoy the ones we’ve had up until now, but when I’d make mistakes, I’d keep thinking about them even though we were in the middle of a performance. I really depend on the other members, and that has transformed my mentality. The band will always be five people. I’m not alone. I’ve come to think of it as a place where I can find support.
Ohashi: I was able to go on stage with more peace of mind than I used to. The first time, I was constantly checking the score until the very last second, but I didn’t really do that kind of thing this time. I’m calmer when I approach the stage now. I feel a sense of security because there’s five of us and I’m on stage together with them and everyone supports me. It used to be like “let’s do our best at this like it’s one of our jobs”. But now it feels like we’re building a sense of trust and standing on stage together as a family. That’s something that helps me enjoy concerts. I’m really having fun now.
Nishimoto: Bandori is my debut work, so Ai-chan and Hasshi are my seniors. I was really nervous and shy at first, but I was also depending on them too much. Even when we’d be talking to someone like we’re doing now or doing a talk event, I felt like I had to check on everyone before I could say something. Over the past few years, I’ve come to feel a sense of trust and unity, and I can speak with confidence. Being able to actively talk like that may be the biggest change I’ve felt.
———Does it almost feel like you’ve come out of your shell? Would you say that your relationship with the others has brought about a positive change to your mindset?
Nishimoto: Yes, that’s right.
Itou: There are also some things that have changed as the scale of our shows has grown bigger. Now that we do live viewings, I’ve started to think “our performances can reach people who are supporting us, even if they’re far away”. I’m constantly wondering “how can we communicate with people on the other side of that screen?”. We’re having more and more of these problems, but we appreciate them. And I didn’t think anything changed for me personally, but a friend who came to see one of our concerts told me “you seem the most alive when you’re with PoPiPa”.
Otsuka: Like Ayasa-chan said, I also feel like the scale of things is growing very quickly. We started at a venue with around 400 people, but now we’re playing in front of tens of thousands of them. As voice actresses who play characters, I feel like it’s absolutely required that the band be high-quality as long as we perform live. Beyond that, the other real bands have started to do more and more, and the idea of voice actors being in bands has become more familiar and accepted. Especially with RAISE A SUILEN, where the members had been doing music like I did, and are now working as voice actresses. When I joined Poppin’Party, both of those things were unheard-of. That kind of thing seemed like heresy, so it makes me happy to see that it is definitely spreading out. At the same time, participating in this project has made me realize that phrases like “I only have a few years of experience” and “I’ve never done it before” are just excuses. It’s why a sense of responsibility has grown stronger in me and become something I know I shouldn’t forget. As a member of Poppin’Party, and as a person who had only done music up until that point, I want to seriously take on the role of improving PoPiPa’s sound and cultivating its worldview. That kind of feeling grew stronger after the Budokan performance.
———Now that your performance at the Dome is approaching, what kind of enthusiasm are you feeling?
Aimi: The content and the concert venues are getting bigger and bigger, and I’m always haunted by the idea that our skills can’t keep up (*laughs*).
Itou: And there’s also the simple question of how the band will look when we get to a bigger venue.
Aimi: I used to think that there was only one thing to do when I stand on stage, but that turned out to be wrong.
Itou: We want to think one step ahead, not just about putting on a good show.
Otsuka Like linking what we do to the story in the anime or game, or synchronizing our performance with a music video.
Aimi: There are so many things that we should do and so many things that we want to do, and it’s like we’re a band but also not a band… but still like a band…. I’ve been grappling with that idea even though I’m enjoying myself. If the venue changes, then the way we present ourselves changes. It’s fun to create that from scratch every time. There’s a density and intensity to the time we’ve spent together, and the foundation of the band is getting bigger and stronger. Every time we play live, it gets more fun. And I think we can show off more things too.
———After four years of activity, what do you consider Poppin’Party’s strengths to be?
Aimi: Maybe everyone’s cute smiles? (*laughs*). I think that Poppin’Party’s key feature and charm is that we always perform with a smile.
Ohashi: Yeah. It really feels like a family, with a good sense of distance between us. We don’t need to worry about each other.
Itou: The family vibes are strong (*laughs*).
Aimi: If you listen to our sound, you can understand the mood and physical condition we were in that day (*laughs*). Like, if today seems like it’ll be fun, or if we’ll be in our own little world.
Otsuka: Oh no! Or if it’s the opposite, and we feel tense (*laughs*).
Aimi: But you know, when you think about it, the band is fun. The sound depends on our physical condition and our mentality, which is why it can only be made in that moment.
Ohashi: What a nice expression! It’ll be chosen as the headline.
Otsuka: And PoPiPa is really well-rounded. Everyone is cute, they’re fun to talk to, they’re voice actors but they can also play instruments. And everyone sings a lot.
Aimi: It seems like we’ve all been singing a lot more lately.
Ohashi: It’s increased. There’s definitely a part for us to sing in every song.
Nishimoto: Did they think we could do it because we managed it one time? (*laughs*).
Ohashi: The range of our songs is also well-rounded. PoPiPa’s strength might be that we can do all sorts of different songs.
Otsuka: It might be hard to notice because of the bright music and the way everyone smiles, but our performances are really complex. It’s always a surprise when we rehearse a new song for the first time (*laughs*).
Ohashi: It feels like I’m using a new technique for every song, so I’m studying for all of them.
Nishimoto: Overcoming difficult parts is fun.
Otsuka: When I saw her playing the second chorus of CiRCLING the other day, I thought “wow… she can play the drums like that even though she’s a voice actress…” (*laughs*).
Aimi: I’ve definitely had that same thought too.
Ohashi: I have those thoughts too sometimes. In a sense, it feels like it’s part of my life. Like my life’s work.
Part 2. The live equipment that produces their “Sparkling and Heart-Pounding” sound
Continuing on from the interview, this section will present the equipment that the five members use. In addition to learning about each member’s feelings and particular musical instrument preferences, we also want you to read carefully so you can understand the source of the unshakable ensemble that they have cultivated through four years of activity.
“The number of different Random Stars I use for concerts has increased to three! The first one3 that was made for me is ‘ka☆sh’, and the second one with the checkered pattern is named ‘Stylish’. The new third one doesn’t have a name yet, but it might by the time this interview is published (Note: this interview was conducted at the end of February 2019). I’m thinking up names for it now, and I think it would be cute if it had the same ‘~sh’ as the other two. Or a completely different name… I think it’d be nice if the name matched its rainbow color. The new one has five colored lines on its body that match the members’ colors. I suggested it because I wanted it to represent Kasumi’s love for the others. I’m happy that the finished product is so cute.
“Random Star has a hard body, but its sound isn’t extremely heavy. It’s easy to fit in with whatever music I’m playing. It has solid core power, but is also easy to produce distortion and make a really nice sound. Its sound is also very simple. ka☆sh-chan and the new third one especially feel like they can suit any song. Only the checkerboard one, Stylish-chan, has a slightly different tone from the other two. I think its pleasant crunch is part of its charm, so I use it depending on which song I’m playing. Their appearance is a bit sharper compared to a typical guitar (*laughs*), but they have a very wide range, so I want people to try playing different songs and musical phrases and, of course, PoPiPa’s songs with them.” (Aimi)
ESP RANDOM STAR Kasumi III -LED-
The latest Toyama Kasumi signature model. Its body shape leaves a strong impact and it’s a guitar that boasts the optimal specifications for high-level play. World-famous guitar-hero Takasaki Akira (from LOUDNESS) and the well-known Random Star serve as its basis.
Body
Every Kasumi model is built from the same materials as a standard guitar: alder for the body, maple for the neck, and rosewood for the fingerboard. Another key feature of this instrument is that the five band members’ image colors are painted on the dynamic body’s horn.
Controls
LEDs are embedded in the star inlay on the fingerboard and the star on the body. A mini-switch located in the controls (far-left in the photo) enables the lights to be switched on and off. The other knobs are a simple master volume/master tone setup.
ESP RANDOM STAR Kasumi -LED-
This is the monumental first unit, nicknamed ka☆sh. The front pickup is a Seymour Duncan ’59 (SH-1n) and the rear one is the same brand’s JB (SH-4). Its specifications are essentially the same as the Kasumi model, including its use of a Tune-O-Matic bridge and the star-cut joint.
ESP RANDOM STAR Kasumi II -LED-
The second unit, nicknamed Stylish, features a relic-treated checkerboard body. This unit is the only one that uses Seymour Duncan’s Antiquity (AQ-HM-n) for its front pickup. This guitar also has a gimmick, where the lighting speed of the star inlay can be changed using a mini-switch.
“Currently, my main three are the first unit ‘Tarou’, the second unit ‘Jirou’, and the new Snapper Tae II with the Floyd Rose. I’m putting together an effector system and setting up the amp so I can basically ‘perform anywhere as long as I have Jirou with me’. I think the Snapper is an almighty sort of guitar, one that really fits any type of song. This may just be the image I have in my head, but the way it warps the sound seems more suitable for overdrive than for distortion. Based on that point, there haven’t been any PoPiPa songs that distort the sound too intensely. If anything, I think this kind of sound is the best for not making me stand out too much like a lead guitar when the two guitars are overlapping.
“But over time, the staff and the band have said ‘cool PoPiPa is also good’, and there have been more songs that highlight that side of the band, so I started to think that I wanted to hear more picking harmonics. I took that into account and decided to add the Floyd. It’s also why I did things like use the E-II’s ST-1. But there are many events and occasions where I can only bring one guitar with me… which is why I had them produce the new Tae model with the Floyd. The cool tone of the Floyd amplified the Snapper’s original almighty-ness, and I really love it!” (Otsuka)
ESP SNAPPER Tae II FR
The latest Hanazono Tae signature model is equipped with the locking tremolo unit Floyd Rose. ESP’s representative model Snapper combines traditional style with modern elements. It’s a guitar that has been enhanced by carefully selecting its specs and applying a vivid blue finish.
Pickups
The pickups installed on the Tae models are essentially identical. Two Seymour Duncan Custom Flats (SSL-6) and a Seymour Duncan Hot Rails (SHR-1) are arranged in an S-S-H layout. The rear pickup is also coil split, so the instrument can produce a wide range of sounds when the tone control is raised.
Bridge
By locking the strings with nut parts and a bridge saddle, the Floyd Rose tremolo unit can maintain an accurate and stable pitch even when aggressively dive-bombing. It also adds a unique bell-ringing impression to the tone, and provides long sustain.
ESP SNAPPER Tae
Although she has been using Jirou (bottom right photo) for a long time, Otsuka now mainly uses this unit with a lacquered top coat. The equipped pickups and ESP tremolo unit FLICKER-III installed on the bridge are similarities between the Snapper Tae models.
ESP SNAPPER Tae
The very first Tae model, produced in 2015, nicknamed Tarou. It used to have three single-coil pickups, but was upgraded to two Seymour Duncan Custom Flats (SSL-6) and a single-coil humbucker Hot Rails (SHR-1).
ESP SNAPPER Tae
The second Tae model, nicknamed Jirou, has been used consistently since its completion. Things like the mirror pickguard, the alder body/maple neck/rosewood fretboard, and so-on are the same as Tarou (pictured above). But it should be noted that the head is equipped with an attachment that allows the pick to be stored.
E-II ST-1 Tae Custom
This Snapper is equipped with a Floyd Rose, and has been used in performances since the very start, when playing cover songs that require bold dive-bombing. It possesses two Seymour Duncan Hot Stacks (STK) and one trembucker (TB-4), which generate a wide range of tones.
ESP SNAPPER Sae Custom
Back when RAISE A SUILEN was called THE THIRD (temp.), this was the guitar Otsuka used to play R・I・O・T as a support member. The basic specifications are identical to the first generation Tae model, but some aspects do differ, such as the white body, the use of gold parts, and the pickguard.
ESP SNAPPER Sae Custom
This is a guitar that was used to support THE THIRD (temp.). In addition to being equipped with a Floyd Rose, the EMG active pickups are arranged in an S-S-H layout to suit the band’s essential powerful sound. It’s a rarely-seen guitar, just like the Snapper shown in the upper-right.
ESP AC Kasumi Custom & ESP AC Tae Custom
Aimi and Otsuka use acoustic guitars with different coloring. They have the same specifications, including a non-slip treatment on the body, Seymour Duncan Mag Mics (SA-6), and an iron plate installed under the bridge for grounding. Both were used in the 2019 Budokan performance.
Aimi’s Amplifier & Effector Board
Aimi’s amplifier is a combination of a Marshall JCM900 (head) and the same company’s 1960A (speaker cabinet). Her effector board, from the top left, consists of: Free The Tone’s PT-1D (power supply), JHS’s Charlie Brown V4 (overdrive), ChouChou’s MarchHare (chorus), Korg’s Pitchblack (tuner), and Free The Tone’s JB-41S (signal junction box). The middle row, from the left: Earthquaker Devices’ Rainbow Machine (pitch shifter), Bootleg’s Rock’N Roll Party 2.0 (overdrive), ChouChou’s Natural Berry (overdrive), Bogner’s Ecstasy Red Mini (distortion), Bogner’s Ecstasy Blue Mini (overdrive), Earthquaker Devices’ Dispatch Master (digital delay & reverb), and MXR’s Micro Amp Plus (booster). Everything is controlled by Free The Tone’s ARC-53M (switching system), on the lower-right.
Otsuka’s Amplifier & Effector Board
Otsuka uses a combination of a Hughes & Kettner TriAmp Mark 3 (head) and the same company’s TC412 A60 (speaker cabinet). Her effector lineup, from the top left: Free The Tone’s PT-1D (power supply), Free The Tone’s JB-41S (signal junction box), Seymour Duncan’s Silver Lake (reverb), Free The Tone’s PA-QG (EQ), Electro Harmonics’ Neo Clone (chorus), Vemuram’s Jan Ray (overdrive), Korg’s Pitchblack (tuner), and BOSS’s DD-500 (delay). On the bottom right is a Jim Dunlop 95Q Cry Baby (wah pedal). Everything is controlled with a Free The Tone ARC-3 (switching system).
“I’m currently using a total of eight basses during our shows. From that group, I select based on the specific set-list, but the two I choose the most often are ‘Ichigo’4 and ‘Momo’5. The one I used at our recent Budokan show, ‘Amaou’6, will be added to that list from here on out.
“The Rimi model Viper bass is a two-humbucker unit, so it has always produced a very powerful sound. The new version, Amaou, has an additional crunchy sound because I replaced its pickups with EMGs, and I think using it will let me express a different kind of coolness. And depending on how the lighting hits it, its body can look a little blueish and the pickguard looks glossy, which makes it seem like it’s powered up (*laughs*).
“AMAZE is a bass that doesn’t appear in the anime. It came about because I wanted to try using other types of basses with different specifications. I’ve thought ‘what would it sound like if I tried just one hum?’ or ‘maybe a jazz bass is suitable for playing this?’. Because of that, the specs on each model I use are completely different, as you can tell by looking at the AMAZE I just talked about. I’ve been able to try out different basses, so I’ve become more aware of changing my tones and play style based on the melody and piece of music that I’m playing. I think both the Viper and the AMAZE are basses that have enhanced my curiosity about sound.” (Nishimoto)
ESP VIPER BASS Rimi II
The latest version of the Ushigome Rimi signature model, nicknamed Amaou. The characteristics of ESP’s Viper – including its sharpness and excellent form designed by applying a beveled cut to the body’s outline – combine perfectly with Ushigome Rimi’s adorable character.
Body Color
It has an unusual body finish produced by spraying pearl powder on the top, which shines blue depending on how the light hits it. The hologram pickguard causes a checkered pattern to seem to emerge depending on the angle. These are the most vital points to mention when talking about this instrument.
Pickups
While the other Rimi signature models are equipped with Seymour Duncan passive pickups, this bass uses two active EMG 35DCs. Together with its 2-band EQ (ESP’s “Cinnamon”), it can create a truly diverse range of tones.
ESP VIPER BASS Rimi
The first Rimi model, nicknamed Milk. The neck originally had a satin finish, but it became glossy due to how much it was played. The pickups have been switched from the original Seymour Duncan Passive Phase IIs (SSB-4) to the same brand’s Vintage (SJB-1).
ESP VIPER BASS Rimi
While its outward appearance is the same as the first and second model, the fourth model features a lacquered top-coat finish. This one was completed just before the Budokan performance, so it still remains unused in concerts. It includes a Hipshot Style A bridge, which boasts high durability and pitch stability.
ESP VIPER BASS Rimi
The second version of the Rimi model, nicknamed Ichigo. This bass comes equipped with two Seymour Duncan Passive Phase IIs (SSB-4), and its control section consists of master volume, a 3-way pickup selector, and a 2-band EQ (ESP’s “Cinnamon”).
ESP VIPER BASS Rimi
This is a rarely-seen bass that has not appeared in concerts yet. It is nicknamed Rai because it “sounds like thunder” when it is played7. It was built about two years ago along with Rei8 (which will be described later), and features humbucker type pickups. And while Amaou has brass nuts installed, this unit instead uses cow-bone nuts.
ESP AMAZE Rimi Custom
The most recent AMAZE Rimi custom model integrates the results of trial-and-error (from the production of Rei and Momo) and was completed just before the 2019 Budokan performance. It is worth noting that the bass is built from beautiful ash and heather, the see-through pink is speckled with glitter, and that it uses a single pickup + double ham pickup configuration.
ESP AMAZE Rimi Custom
The first AMAZE Rimi custom model, nicknamed Rei, was introduced prior to the first Budokan concert in 2016, and stemmed from Nishimoto’s request “I want to try playing something other than the Viper”. It has an ash body/maple neck & fingerboard, and comes equipped with Seymour Duncan’s ceramic pickups (SMB-4D).
ESP AMAZE Rimi Custom
The second AMAZE Rimi custom, built after the production of Rei and Rai, nicknamed Momo. This bass debuted at the band’s first Budokan performance. The control section consists of master volume, a pickup balancer, and a 3-band EQ (ESP’s “Cinnamon”).
ESP JB Style Rimi Custom
This fretless bass, nicknamed Tearless, was made for use during acoustic sections of concerts. The bridge cover is intentionally left unfinished. There is a possibility that this instrument will be relic-treated in the future based on Nishimoto’s tastes.
ESP AP
This one, nicknamed Banana, was played at the first Budokan performance, when the anime’s Twinkle Twinkle Little Star scene was reenacted. It features an ash body, maple neck, and rosewood fingerboard, as well as one Seymour Duncan ceramic pickup (SMB-4D). The volume knob serves an additional role as a slap switch.
Nishimoto’s Amplifier & Effector Board
Nishimoto’s amp is an Ampeg SVT-3PRO (head) and the same company’s SVT-810E (cabinet). Her effect board, from the top left, consists of: Free The Tone’s PT-1D (power supply), MXR’s M80 Bass DI (DI box/preamp), Darkglass Electronics’ Microchips X7 (DI box/preamp), and Free The Tone’s JB-41S (signal junction box). The middle row, from the left, consists of: Two Notes’ Le Bass (preamp) Free The Tone’s PA-1QB (EQ), BOSS’s BB-1X (overdrive), BOSS’s BC-1X (compressor), Korg’s Pitchblack (tuner), and Shin’s Music’s Perfect Volume (volume pedal). It is all controlled by a Free The Tone ARC-53M (switching system), which sits at the heart of the bottom row.
“I haven’t really played other drum sets much, but I still feel like the Pearl drums are powerful. The forcefulness and sound pressure of the signature snare I’m using currently are especially so. It’s definitely different from the snares I use during studio rehearsals or other snares I used before this one was finished. It’s one of my favorites. And this can be said for the set as a whole, but I feel like the sound bursts out in a cluster… like it’s a very explosively powerful model. I decide on the tuning while consulting with the staff, but I prefer a tight and firm sound. So that’s why the tuning key won’t turn anymore (*laughs*). I don’t want the sound to become light, so I try to keep them as tight as I can.
“I changed out some of the cymbals for the Budokan show. I wanted them to sound noisier. That’s because when it comes to the sound of the drums, my favorite band is Nickleback. So I want the drums and the cymbals to be more and more powerful. But if I overdo it, it won’t sound like PoPiPa anymore (*laughs*), so I’ve been changing them bit by bit and aiming for something stronger. Actually, lots of people noticed that the sound was different at the Budokan and they said ‘it sounds cool’, so I think I’ll be using this cymbal lineup for a while.” (Ohashi)
Pearl Reference Pure Drum Set
The Pearl Reference Series Pure drum set used by Ohashi is built from different woods with different sound characteristics, such as maple, birch, and mahogany for the inner ply, and is designed to maximize the sound of each individual drum. Her lineup consists of a 22″x18″ bass drum, 12″x8″ and 13″x9″ toms, and a 16″x16″ floor tom. They are a custom yellow that matches the image color of Yamabuki Saya, the character Ohashi portrays. The set has an exceptional stage presence. Ohashi told us “I want to try adding an additional floor tom and expanding the range of fill work someday, so that I can bring the beat’s center of gravity downward”. Our expectations are high for further changes.
Snare Drum
Her main snare is a Pearl Yamabuki Saya signature snare: MCT1455S/C-SAYA (14″x5.5″). It features a tone that combines both the dazzle and warmth of its maple shell. It is also worth noting that a durable REMO CS Coated Head is stretched over it to suit her performance, which favors a powerful play style and sound.
Foot Pedals
Around the time of the Ryogoku Sumo Hall performance last December, the foot pedals were changed to a Pearl Twin Pedal called Demon Chain (P-3002C). Ohashi told us this was because “the force I use to step has been gradually getting stronger, and the pedal I used before (a Pearl P-932) couldn’t withstand it anymore.”
Sticks & Brushes
The sticks are the second edition of the Yamabuki Saya signature model: 103HC/SAYA (pictured above). The 14x384mm hickory sticks are thinner and shorter than the previous version, and are used with Tight Grips during live performances. Brushes produced by Vic Firth are also used during acoustic sections.
Other Drum Set
Playing while standing is also a crucial part of Ohashi’s play style. The set she uses for this type of performance consists of a snare (14″x5.5″) and a tom (12″x8″), both set on tom stands and finished with a gold satin covering. The cymbals are all produced by Sabian, and include 14″ hi-hats, a 16″ medium crash, and an 8″ splash.
Cajón
A custom-made gold cajón, produced by Pearl, was first unveiled at the Budokan performance this February. “When I think of acoustic, I think of cajóns, so I also wanted to use one. I moved from the bell to the shaker, then finally to the cajón. It was really moving, and really fun!” (Ohashi)
Cymbals
The cymbals are all manufactured by Sabian. She used the AA series up until the Ryogoku Sumo Hall performance in December of last year, but completely switched over to using the HHX series for the Budokan performance this February. “My ideal cymbal sound is dynamic and cool. They have a sparkling feel and are a bit rock-ish. The volume comes out, but it’s still a familiar sound… it’s a bit self-indulgent (*laughs*). I’ve been searching for cymbals like that for a long time, and I finally found the HHX series.” (Ohashi)
Her cymbal lineup, from the left:
HHX Series HHX GROOVE HATS 14″ [Top & Bottom]
HHX Series X-PLOSION CRASH 16″
HHX Series EVOLUTION SPLASH 10″
HHX Series X-PLOSION CRASH 18″
HHX Series GROOVE RIDE 21″
HHX Series CHINESE 18″
“There was a time when I used three keyboards, but I currently work with a 2-unit system that consists of JUNO-DS and RD-2000. I also use a JUNO-Di in acoustic sections when the staging changes, and I can move around with the AX-Synth, but I primarily just use the other two.
“I use RD-2000 like a piano, and the main tone I set is ‘Stage Grand’. It has a good sense of attack, but also possesses a softness. Each keystroke reverberates clearly for a bit, like a piano… it’s a nuanced topic, so it’s kinda hard to put into words (*laughs*). I chose it because it sounded like that, and I thought it would be audible even when it gets blended with the rest of the band’s sound. PoPiPa also mainly uses piano tones, and there are many moments where the piano’s sound is essential to the song. Based on that, I feel like I was hunting for a more piano-like sparkling sound from the very beginning.
“The other unit, JUNO-DS, has a completely different sound. Some of PoPiPa’s songs use an organ-like tone. When Roland made the cover for JUNO-DS, I asked for some organ tones, and they produced some for me. Yeah… there were like 10 in total (*laughs*). It’s nice that it has so many different tones loaded in. It’s how I can use different organ tones based on the flow of the set-list or the mood of the performance.” (Itou)
Roland JUNO-DS61 & RD-2000
Itou’s K&M Spider Pro keyboard stand houses Roland’s 61-key JUNO-DS61 and 88-key RD-2000. As she mentioned on the previous page, she uses the RD-2000 for piano tones and the JUNO-DS for organs and other assorted tones.
Roland AX-Synth
Itou has used this Roland keytar since the beginning of the band’s activities. This portable unit is the first in its series to have built-in synth sounds, so she can use it to show off impressive staging.
Tones
These are the tones that are set in each keyboard’s ‘favorites bank’. The organ tones deserve special mention; there are multiple organs that she uses depending on the song’s melody and the flow of the concert.
[JUNO-DS] AYS Organ 1
[JUNO-DS] AYS Organ 2
[JUNO-DS] AYS Organ 4
[JUNO-DS] Octa Sync 1 / Pan Pipes
[JUNO-DS] Fantasia JV / Strings LS
[JUNO-DS] SuperDistOrg / StakDrawOrg
[JUNO-DS] Brass 1 / Brass 2
[JUNO-DS] Brass 2 [LazerPoints2]
[RD-2000] Stage Grand
Other Item: ZENN DTS30
This ZENN tambourine is used in concerts by both Itou and Ohashi. Its star shape, which is also the band’s motif, is impactful.
Other Item: Ear Monitors
The Onkyo custom ear monitors match each members’ color, and are also finished to be the optimal shape for each members’ ears.
(While this is the end of Poppin’Party’s interview from this book, you can read Roselia’s here and RAISE A SUILEN’s here!
Notes:
1. Flohwalzer is a simple piano piece, often one of the first ones people learn.
2. The song title KIZUNA MUSIC♪ (キズナミュージック♪) is never translated in official content, but the word ‘kizuna’ means ‘bonds’, as in ‘relationships with others’.
3. Aimi refers to her guitars as ‘子’, meaning ‘children’. I decided not to translate it that way, but felt like it deserved to be mentioned.
4. I chose not to translate the names that Rimi gave her instruments, but ‘Ichigo’ (いちご) means ‘strawberry’.
5. Same as the above note. ‘Momo’ (もも) means ‘peach’.
6. Same as note 4. ‘Amaou’ (あまおう) is the name of a specific type of strawberry.
7. Same as note 4. This one is also a play on words. ‘Rai’ (ライ) is derived from one way to pronounce the word ‘thunder’ (雷).
8. I could not find an origin for the name ‘Rei’ (レイ). It could also be written as ‘Ray’ or a number of other different ways, but I chose Rei because it matches Rai. If you happen to know more, please let me know!
Rosenland 