Thoughts on the Nintendo Switch Remake
How did you feel when you heard that “Super Mario RPG,” originally released on SNES, was going to be remade for Nintendo Switch?
Shimomura-san:I was very surprised and happy. It had been decades since the original version was released, and I was honored to receive the call to write music for the game again.
Nintendo “Super Mario RPG” is a Matter of Timing!?
In a previous interview, you mentioned that you first became aware of the existence of game music when you played “Super Mario Bros.” when you were a music college student.
You were introduced to game music through “Mario,” and later joined Square Enix (then Square) wanting to create music for RPGs, which came full circle and led you to be in charge of the music for the “Super Mario RPG.” I think it is a very heartwarming and fateful turn of events.
*Editor's note: This information was provided in an interview with Toby Fox!
Shimomura-san:Wow, I am glad that you think of it this way.
Did team members know your roots and select you?
Shimomura-san:No, I don't think so. At that time, it was rare to have an interview like this, so I am sure the team did not know much about my roots.
Actually, it was just a coincidence that I was assigned to this project, and the timing was perfect.
What? Really?
Shimomura-san:I had just finished working on “LIVE A LIVE” and had some free time. Then they asked me to be in charge of music for a new project, which turned out to be “Super Mario RPG.” Of course, I joined straight into the production team.
Wow! So it was just a matter of timing.
Shimomura-san:Yes, I was very lucky.
At the time, I was often composing for new titles for which no one else in the company had been assigned yet. Other composers already had their own projects in hand. Some of the developers who had worked on “LIVE A LIVE” also moved to the “Super Mario RPG” team as well.
You must have been thrilled to be assigned to this project!
Shimomura-san:What a joy it was!
After I was assigned to “Super Mario RPG,” I was asked to work with Matsueda-san on the music for another new title, “Front Mission,” and I told everyone on the team, “I'll be back!” I remember when I returned, the game was already pretty much in shape. There were two moments of heightened excitement: the moment I was assigned to the project and the moment I was able to join up with the team again.
Nintendo The Secret of the “Mario” Melody in the Game
Some of the music from the “Mario” series has appeared in the game. How did you feel about arranging that world-famous melody?
Shimomura-san:I was a bit intimidated like, “Am I allowed to arrange it?”
From the planning stage, were you asked to arrange them?
Shimomura-san:Actually, it was I who suggested using the original song with an arrangement. I thought, “Wouldn’t it be better to use songs from the previous ‘Mario’ series?”
So it was Shimomura-san's idea!
Shimomura-san:I myself am very familiar with the music, so I knew that if “Mario” was going to be an RPG, there had to be a “Mario” melody sounding! I thought.
Also, there is one track from the “FINAL FANTASY” (hereinafter referred to as “FF”) series. How did this one come about?
Shimomura-san:The development team asked me to choose one battle theme from “FF” for this one. The melody of “Battle 2” from “FINAL FANTASY IV (FFIV)” immediately came to my mind. I suggested it, and they decided to go with it. I also had another melody in mind, “Battle 1” from “FFII,” so there may have been a world line where that one was chosen.
Nintendo SNES Music Production is Like a Puzzle?!
The music development environment for SNES was quite different from today's, wasn’t it?
Shimomura-san:Yes, it was like solving a puzzle, constantly battling memory limitations. We could only play up to eight sounds simultaneously, and the number of available instrument channels was limited. If we wanted to apply effects, we had to sacrifice something else.
You were not only composing but also tackling various technical challenges. You mentioned in the "Super Mario RPG Original Sound Box" booklet that there were struggles with sound effects.
Shimomura-san:Yes! I remember when I was composing "Fun Parade, Cheerful Parade / There Goes the Parade..." for the ending, I was told "we won’t need sound effects in the ending anymore, so you can use all available tracks for music." So I went all out…but later, they told me they needed the sound effect for fireworks to be added! That gave me quite a panic.
Since there was a limit on the number of simultaneous sounds, you had to make adjustments, right?
Shimomura-san:In the SNES music production environment, we had to choose the sounds we wanted to use and create a "bank"—like a set of instruments. For the ending track, I even borrowed memory that was originally allocated for sound effects and packed the bank full of tones. There was no room left for the fireworks sound effect… So, I came up with a trick—at a brief moment of silence, I switched to a different bank that had the sound effect loaded, played the fireworks, and then switched back. The ending was structured as a grand medley, so I wanted to use as many instruments as possible.
You created separate banks for each track and switched between them to change the tone and atmosphere.
Shimomura-san:Yes, juggling everything within the eight-channel limit was tough, but it was also fun. If I wanted to add rich reverb or other effects to a tone, I had to allocate extra memory from the bank for those effects, which meant I could use fewer instruments overall. But if I cut corners with the effects, the reverb wouldn’t sound good. So it was all about finding the right balance.
It really does sound like a puzzle!
Shimomura-san:Yes. It was hard, but working within constraints gave it a unique sense of accomplishment and enjoyment. Since creating new instrument sounds was challenging, I sometimes repurposed tones made for one track in another to make the most of them.
It must have been very satisfying to find solutions within the rules! But at the same time, wasn't it frustrating not being able to fully express the music in your head?
Shimomura-san:Yes, especially for the piano sound used in the ending theme. It requires a lot of memory to create a realistic piano sound, but I also wanted to use other instruments. I had to carefully adjust the memory allocation while doing my best to make it sound like a real piano. I kept telling myself, "this is a piano! This is a piano!" while working on it.
How to Recreate That Unique Sound? The New Arrangements for Nintendo Switch Remake
You had to battle technical limitations back then. Now, for Nintendo Switch, you can use the music as originally intended without constraints. Was the piano sound closer to what you originally envisioned?
Shimomura-san:Yes, since those restrictions are gone, I was finally able to achieve what wasn’t possible back then.
However, since this is a remake, I guess you couldn’t change things too drastically since players have their own memories. That must have been another type of pressure.
Shimomura-san:Exactly. I personally have a deep affection for the SNES’ unique sound too, even though it was created under limitations. While I could now create my ideal piano sound in the remake, I don’t see it as replacing the original but rather as two equally valid interpretations.
Just like the players, you have a lot of love for the original too!
Shimomura-san:Yes! Since the remake allows players to switch between the original and newly arranged versions while playing, the 'Super Mario RPG Original Sound Box' also includes both versions. I hope everyone enjoys both!
Balancing Real and Retro Sounds
The arranged version balances live instruments and digital sound seamlessly. How did you decide on the mix?
Shimomura-san:Even for orchestral-style tracks, I decided not to do a full orchestral arrangement. Instead, I only recorded the necessary instruments as needed.
That’s why it sounds both rich and perfectly suited to the game’s atmosphere.
Shimomura-san:But At first, I was so focused on recreating everyone’s memories that I became too attached to the original, which made the arrangements feel overly retro or cluttered. There were a lot of inner conflicts and twists and turns. Unlike chiptune, SNES had its own sound characteristics. Simply updating it with real instruments didn’t always work. Some of the original sounds had such unique qualities that they couldn’t be recreated with modern instruments or sound libraries…In the beginning, I was quite unsure of how to proceed.
That "not quite right" feeling is always a challenge in remakes. How did you overcome it?
Shimomura-san:So, you reconstructed the tracks while keeping the melodies intact. It’s almost like if you had originally composed for the SNES but then had to adapt it for the Nintendo Switch due to a last-minute platform change.
I decided to think it’s a chance for re-recording. I started to think how I would create these tracks in today’s environment, rather than just recreating SNES sounds.
Shimomura-san:Ah! That’s a great way to put it.
Even though the old constraints are gone, I didn't just record everything live—I approached it like modern game music production—deciding how much to record based on the track’s scale.
So, you changed your approach. That must have refreshed your creative process quite a bit.
Shimomura-san:Yes. When I first submitted my demos to Nintendo for review. The person in charge had a deep love for “Super Mario RPG,” and they gave me a lot of valuable feedback.
I think these were "Let’s Try" and "Danger Abounds on the Journey.” Their direct and insightful feedback, based on a deep understanding of the original, helped me solidify the direction.
Having such a dedicated guide must have been reassuring!
How did you handle the unique SNES sounds that were difficult to replicate?
Shimomura-san:That was really tough. No matter which instrument I chose, it didn’t quite match the original feel, so I had to go through a lot of trial and error.
Personally, I was blown away right from the start with "Battling Bowser.” The original’s unique sounds were great, but hearing the melody played on the violin in the new arrangement was such a cool surprise!
Shimomura-san:Wow, thank you!
I struggled a lot to find the right instrument for "Battling Bowser,” but during the violin solo recording, I had a sudden realization—"What if the violin played the melody?" I immediately asked the performer to try it, and it fit perfectly.
No way! That was a spontaneous idea?
Shimomura-san:Yes, I’m so grateful to the performer for the perfect solo and bringing that idea to life.
That’s amazing!
I’m sure finding the right balance and settling on the final form was quite a challenge.
You mentioned that "Let's Take the Midas River" turned out to be very close to the version you originally imagined in your head back then, while still keeping that fun, playful vibe.
Shimomura-san:Yes! This was the sound I originally wanted to create!
The fiddle sound really brings out a lively festival atmosphere.
Shimomura-san:Actually, that’s a violin! I requested the performer to "play it like a fiddle", and they absolutely nailed the feel.
Wait, really? It totally sounded like a fiddle!
Shimomura-san:It sounds just like one, right?
I’m incredibly happy that I could bring my ideal version to life in the remake, but when I listen to the original again, I still find it so dear. I hope people will enjoy both versions!
The Hidden Secrets in the Rhythm
I feel that the game has iconic rhythmically dynamic tracks.
Shimomura-san:Yes, the rhythm structure in the original version was quite unique.
For the field music, I used Latin percussion inspired by Mario, but reproducing the ideal percussion sounds on SNES required a lot of memory within each track back then, which made the non-rhythm parts sound thin.
If I were determined to include the percussion sound, I had to come up with creative solutions. I inserted commands to switch instrument tones during moments when other instruments weren’t playing just to make the percussion work. So sometimes you’ll hear a tambourine ring in between marimba hits. It resulted in some unconventional rhythms you wouldn’t find in standard music structures.
You couldn’t have your preferred rhythm sounds playing consistently throughout a single track.
Shimomura-san:That’s right. In the remake, those restrictions are gone, so I no longer needed to use workarounds, and I could let the percussion play continuously. But, if I changed it too much, the sound would not be right, so I had to carefully consider how to keep the original’s unique rhythm.
So it was a clever and creative method of music production, born out of the limitations of the environment at the time.
There’s a famous story that Nobuo Uematsu, who was also working at Square back then, was so impressed by "Danger Abounds on the Journey" that he specifically checked the data structure and said, “This is amazing!”
Shimomura-san:Yes! A colleague from the sound team told me about it, and I was really happy to hear that.
It must have been rewarding to have your efforts recognized by someone who was working under the same technical constraints.
Shimomura-san:Yes, I think so. That’s why, when it came to rearranging those rhythms, I updated the sound quality but kept the original’s distinctive groove as intact as possible.
Yoko Shimomura Rearranges Nobuo Uematsu’s Music!
Speaking of Nobuo Uematsu, "Battle 2" from “FFIV” was also in the original “Super Mario RPG” and is included again—and you rearranged it!
Shimomura-san:It was such an honor to rearrange a track by Uematsu-san, one of the top in the game music industry.
Getting to hear a newly arranged “FFIV” track by you, who is also one of the top worldwide, in “Super Mario RPG” is such a treat! It’s like a bonus surprise—what a lucky feeling!
Shimomura-san:I’m so glad you think so! The development team specifically requested "Make it cool!", so I arranged it while feeling the pressure—but I’m really happy with the result now!
Memories of Vinyl Records
Among the three soundtrack editions being released, there’s also an analog vinyl version. The design has been revealed recently—what do you think?
Shimomura-san:The design is so cute! I’d love to display it in my room.
Vinyl records have been making a comeback recently, and more game soundtracks are being released on analog formats. I heard that you have a special connection to vinyl records.
Shimomura-san:Yes. When I was a child, vinyl records were the only way to listen to my favorite music at home. My father was a music lover and had a large record collection, and I absolutely loved listening to classical music from his collection. All my childhood memories related to music are tied to vinyl, so it holds a very special place in my heart.
It’s so romantic that the music you once worked on is now being remade and released on vinyl, a format you have such fond memories of!
Shimomura-san:I feel incredibly grateful.
With vinyl, the sound is physically engraved on the disc itself. Our record player had a manual tonearm, so I would hold my breath and carefully lower the needle…First came that gentle crackling noise, and then my favorite music would start playing—it was such a moving experience.
The process of listening to vinyl makes you feel like you’re really connecting with the music, and I absolutely love that. I hope many people get to experience it, too!
Yes, I also think it’s a completely different experience from digital music.
A Deluxe Edition Lets You Compare the Original and Arranged Versions!
We’ve talked a lot about both the original and arranged versions. With the Original Sound Box, fans will be able to enjoy and compare them both!
Shimomura-san:That’s right!
In the remake version of the game, players can choose between the original and arranged soundtracks while playing, and now you can also have both versions in a physical format. I’m so happy about that!
On the official website, there’s even a feature where you can listen to samples alternating between the 1996 and 2023 versions.
Shimomura-san:Oh no, I feel shy now!
The original soundtrack’s re-release is truly a miracle. Fans around the world have been waiting for this moment, and their wishes seem to have finally reached Star Road!
Shimomura-san:Yes! Both the original and arranged versions are precious to me.
To those who played the original back in 1996 and to those who are experiencing “Super Mario RPG” for the first time with the remake, I hope you enjoy the music and play them many times!
I think it’s all because of the power of “Mario” and Shimomura-san’s music combined!
Shimomura-san:Oh no, not my power! But I’m honored.
I always think of my work as being behind the scenes, supporting the game. The game itself is the star, and my music exists to enhance that experience. If it can serve that purpose, then I’m happy.
Yoko Shimomura’s Message to Fans
Finally, do you have a message for fans eagerly awaiting the soundtrack?
Shimomura-san:Thank you for your love and support worldwide. Because of your passionate voices, the "Super Mario RPG" soundtrack is finally here. I believe it’s something that can be enjoyed across generations. I hope it becomes a soundtrack that stays in your heart—please listen to it a lot!
Thank you very much!
The Long-Awaited "Super Mario RPG" Soundtrack Releases on April 9, 2025!
Here’s a recap of the three editions:
