Yasunori Mitsuda

"This module not only comes with alot of nice preset sounds, but you can also add sounds by inserting an Expansion Board. I often use this to 'test out' different sounds and see what kind of sounds would best match the song. But one point that I don't like about this module is that there are often some tiny little bit noises included at the end of each sound."

In the "STUDIO SETTING CHART" from Procyon Studio, Yasunori Mitsuda expresses his appreciation for the Korg TR-Rack, noting its impressive accordion and percussion sounds. He also highlights the module's intriguing pad and analog synth sounds, which he finds useful for adding a unique edge to his compositions.

"It's sad but I don't ever use this module anymore. I guess that the days of ADPCM synths are over. I used this module in a lot of different songs, through my career, so I'm pretty satisfied with it."

In an article by Filmmusicfestival, it is noted that Yasunori Mitsuda uses a Roland RD-700 synthesizer.

"The design was so spectacular on this thing, that I bought it out of pure instinct (laughs). This thing's great for fooling around with and creating your own sounds, and although it's a 'virtual' analog synth, I think it's the only analog synth in my studio."

"I bought this rack just for the piano sound, but lately I've found an even better piano sound, so I don't use it too much anymore. Also, the bad point about this module is that it tends to pick up SMPTE noise. This is mainly due to weak power supply and it's usually fixed by changing outlets, but having to change outlets each time I use this for a recording is tiresome, to say the least."

"Yet another sampler. It may make me look like I'm just full of samplers, but the reason why I value samplers so much is because they sound so much better than regular sound modules and also, you can add new sounds just by getting more samples or creating your own. I doubt that I'll ever go back to regular sound modules, unless they come up with some extraordinary ground breaking equipment."

"I love the harp sounds on this module. Actually, it's almost as if I have this thing just for this harp sound. The other sounds have too much of an 'edge' to them and besides, I already have some better orchestra sounds on my sampler."

Yasunori Mitsuda uses the Yamaha EX5R Rackmount MIDI Module, as detailed in the "STUDIO SETTING CHART" from Procyon Studio's archived page. Mitsuda appreciates the module's filter for its versatility in sound transformation, despite finding Yamaha's complex interface challenging during the composition process.

"The Super Famicom era was almost entirely sampler-based. I used an Akai S-3200, an E-MU EIII, stuff like that."

"One of the key points in choosing a master keyboard is whether or not it has space to put different objects on top of them (or, well... it is for me, since I put things like computer displays and keyboards on them). Also, I was searching for a keyboard with a key touch close to that of a real piano, and I thought that the P-200 came pretty close. Of course, it's no match for a REAL piano, but out of all the keyboards in this price range, I thought this was the best model for me."