[Hideaki Kikuchi] – How to Recreate the THE YELLOW MONKEY Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Hideaki Kikuchi, guitarist of THE YELLOW MONKEY (Iemon), is a distinctive figure in the Japanese rock scene. His tone is rooted in a classic rock sound while incorporating modern approaches, creating a melodic and emotionally rich character.

Kikuchi’s guitar style is not about flashy technique, but about deep understanding of the songs and solid playing that supports the overall band sound. In signature tracks such as “JAM,” “BURN,” and “Kyūkon,” his simple yet striking riffs and carefully crafted tones bring the songs’ atmosphere vividly to life.

A key feature of his tone-building approach is that he does not rely heavily on effects. Instead, he constructs his core sound from the combination of guitar and amp, adding just a few essential pedals for flavor. This results in a natural yet commanding guitar presence. His gear choices also emphasize reliability for live performances, ensuring consistency even during long sets.

Within THE YELLOW MONKEY’s sound, Kikuchi’s guitar plays an indispensable role in supporting Kazuya Yoshii’s vocals. His solid rhythm backing and melodic lead lines create a perfect balance. Especially in the band’s post-reunion material, his tone has become more refined, reflecting years of experience and maturity.

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List of Amplifiers and Features [THE YELLOW MONKEY・Hideaki Kikuchi]

Hideaki Kikuchi’s amplifier choices reflect a practical approach that balances reliability for live shows with tonal quality. His most well-known workhorse amp is the Marshall JCM800 series, particularly the 2203 and 2204 head amps, which he has relied on for decades. These amps are iconic for rock sounds from the 1980s to the 1990s, perfectly matching THE YELLOW MONKEY’s classic rock-inspired songs.

The JCM800 is known for its rich midrange and punchy crunch sound, while also delivering powerful distortion when the gain is pushed. Kikuchi makes full use of this flexibility, covering everything from clean tones to high gain. On heavy songs like “BURN,” the aggressive tone of the JCM800 is a crucial element in conveying the song’s power.

For more modern and heavier tones, Kikuchi has also been confirmed to use the Mesa/Boogie Dual Rectifier. Renowned for its high-gain sound and versatility, it covers everything from vintage-style crunch to contemporary metal tones. In recent years, especially after the band’s reunion, this amp has been a vital tool in shaping their updated sound.

On stage, reliability is essential, and he often incorporates the Marshall JCM2000 series. This model can be seen as a modernized version of the JCM800, offering stable performance and a wider range of tonal options. For studio recording, he sometimes turns to clean amps such as the Fender Twin Reverb, particularly for ballads or arpeggio-driven tracks where its transparent, glassy clean tone is highly effective.

In addition, boutique amps such as the Friedman BE-100 Deluxe and Bogner Helios have been reported in use, offering refined reinterpretations of classic Marshall tones. These choices show Kikuchi’s attention to detail in finding the right amp for each era and performance.

Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
JCM800 2203	Marshall	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Main amp. Classic Marshall tone that defines many of THE YELLOW MONKEY’s signature songs
JCM800 2204	Marshall	Search	THE YELLOW MONKEY	Hideaki Kikuchi	50W model, often used in studio for its practical output level
Dual Rectifier	Mesa/Boogie	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Modern high-gain tones, heavily used in post-reunion era songs
JCM2000 TSL100	Marshall	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Trusted for live reliability, 3-channel design allows for versatile tones
BE-100 Deluxe	Friedman	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Reinterpretation of ’80s Marshall tones, offering high-definition gain crunch. Reported in use after the reunion
Helios	Bogner	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Plexi-inspired boutique amp. Often used for solos or ballad-style tracks

From these amplifier choices, it is clear that Kikuchi prioritizes both the classic rock backbone of THE YELLOW MONKEY and the flexibility to adapt his tone to modern contexts. While Marshall amps remain central to his sound, his willingness to incorporate Mesa/Boogie or boutique models demonstrates a balance of tradition and evolution. These amp selections can be considered the foundation of his recognizable guitar sound, though some specific details may vary depending on the era and setup.

Types of Guitars Used and Features [THE YELLOW MONKEY・Hideaki Kikuchi]

Hideaki Kikuchi’s guitar choices are rooted in classic models, yet his approach is always practical and song-oriented. His most iconic instrument is the Gibson Les Paul Standard. Throughout the 1990s and 2000s, he was frequently seen playing a sunburst Les Paul Standard in live footage. The heavy sustain and rich tonal depth of the Les Paul pairs perfectly with THE YELLOW MONKEY’s melodic and emotional sound.

The choice of the Les Paul is largely due to its humbucking pickups, which deliver a thick, warm tone. Combined with the Marshall JCM800, it produces an ideal classic rock sound. On tracks such as “JAM” and “Kyūkon,” the strong midrange of the Les Paul provides an expressive voice that embodies the emotional core of the band’s music. Its stability during long performances also makes it a reliable professional tool.

As a secondary option, Kikuchi has also used Fender Stratocasters, particularly when a bright, percussive single-coil tone was required. The Stratocaster’s five-way selector switch provides a broad palette of tones, while its tremolo system adds expressive flexibility. In lighter or poppier songs, the Stratocaster plays an important role, and this tonal variety has been especially notable in the band’s post-reunion works.

For acoustic contexts, Kikuchi often turns to classic dreadnought acoustics such as the Martin D-28 or Gibson J-45. These instruments are used in ballads and unplugged performances. Songs like “Love Communication” and “Primal.” showcase how the warm, enveloping tone of these acoustics enhances the band’s atmosphere.

In the studio, Kikuchi employs an even broader range of guitars depending on the song’s character. Semi-hollow guitars like the Gibson ES-335 bring warmth and balance, while distinctive instruments like the Rickenbacker 330 add unique textures. His philosophy is always song-first: guitars are not chosen for their name but for how well they realize the sound required by each piece.

Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Type of Guitar	Notes
Les Paul Standard	Gibson	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Electric Guitar	Main guitar, long-time use of sunburst models. Heavy sustain and rich mids form the core of the Iemon sound
Stratocaster	Fender	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Electric Guitar	Secondary guitar. Bright single-coil tones used for lighter, pop-oriented songs
D-28	Martin	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Acoustic Guitar	Used for ballads. Classic dreadnought warmth with strong projection
ES-335	Gibson	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Semi-Hollow Guitar	Studio use. Balanced warmth and attack make it versatile for layered recordings
Les Paul Custom	Gibson	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Electric Guitar	Thicker, heavier tone. Preferred for harder rock songs
Telecaster	Fender	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Electric Guitar	Sharp tone ideal for cutting rhythm parts or pop-inspired tracks

Kikuchi’s guitar arsenal reflects his versatility: Les Pauls for the band’s emotional weight, Stratocasters and Telecasters for brighter pop textures, and acoustics for intimate ballads. His choices demonstrate that tone is not about prestige but about what serves the music best. These guitars can be considered the core tools shaping THE YELLOW MONKEY’s signature sound, though the exact models used may shift depending on the era and recording context.

Effects and Pedalboard Setup [THE YELLOW MONKEY・Hideaki Kikuchi]

Hideaki Kikuchi’s approach to effects can be summed up as “maximum impact with minimal tools.” His pedalboard is never overloaded, but carefully selected pedals guarantee the practical construction of the THE YELLOW MONKEY sound. The philosophy is clear: highlight the natural tone of the guitar and amp, and use effects only where they enhance the musical context.

As his main overdrive, Kikuchi has long relied on the Ibanez Tube Screamer, particularly the TS9 and TS808 models. Paired with the Marshall JCM800, the Tube Screamer creates an ideal crunchy tone and is also used as a solo boost. Its characteristic midrange push and light compression fit perfectly with his melodic style. In songs like “BURN” and “JAM,” this pedal provides clarity and sustain that define his lead parts.

For distortion, Kikuchi has used classic pedals such as the BOSS DS-1 and ProCo RAT 2. The DS-1 is a staple of Japanese rock guitarists, known for its straightforward, biting tone that cuts well in band mixes. The RAT 2, with its unique distortion character, appears in specific songs where a rawer, more aggressive edge is required.

Modulation effects are kept simple, often centered around the BOSS CH-1 Super Chorus. This pedal enhances clean and crunch tones by adding depth and spaciousness, making it especially effective in ballads or intro sections. Occasionally, Kikuchi also employs the BOSS BF-3 Flanger for more experimental textures in selected tracks.

Delay is another important element, with BOSS DD-3 and DD-5 digital delays frequently in use. These provide spatial echo and solo enhancement. At times, analog delays such as the MXR Carbon Copy are used for warmer, more vintage-inspired echoes. Delay times are carefully set to match song tempos, creating rhythmic cohesion. For reverb, Kikuchi often relies on amp reverb, but pedals such as the BOSS RV-3 or Strymon Flint appear when richer ambience is required—particularly in ballads and atmospheric passages.

As for wah, Kikuchi has occasionally used the Dunlop Cry Baby GCB-95, adding expressive sweeps to funkier tracks or enhancing solos. His wah use is subtle, never overpowering the band’s sound but blending organically with the music.

Power supplies such as the BOSS PSA-100 and Voodoo Lab Pedal Power 2 Plus ensure reliability and clean power delivery on stage. His pedal order generally follows: guitar → overdrive → distortion → modulation → delay → reverb → amp. This logical sequence provides clarity, though he sometimes adjusts depending on the song.

Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Type of Effect	Notes
Tube Screamer TS9	Ibanez	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Overdrive	Main booster, pairs perfectly with Marshall amps. Core to his lead tone
DS-1	BOSS	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Distortion	Classic distortion, often used for heavy rhythm parts
CH-1 Super Chorus	BOSS	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Chorus	Provides depth to clean tones, frequently used in ballads
DD-3	BOSS	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Delay	Standard digital delay, used to add space and dimension to solos
RAT 2	ProCo	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Distortion	Unique distortion flavor, applied for specific impactful moments
Cry Baby GCB-95	Dunlop	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Wah Pedal	Used for expressive solos with subtle, tasteful wah sweeps
GE-7	BOSS	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Equalizer	Boosts mids for solos, also used for fine-tuning amp response
NS-2	BOSS	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Noise Reduction	Suppresses unwanted noise at high-gain settings, improves live stability
EP Booster	Xotic	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Booster	Transparent tone enhancement, used before solos or to help cut through mixes

Through this carefully curated selection of pedals, Kikuchi achieves versatility without clutter. Each effect is chosen for its ability to support the song, not for showmanship. This minimalist yet effective pedalboard design remains a hallmark of his sound, though specific combinations may vary depending on live or studio context.

Tone Settings, EQ, and Mixing Approaches [THE YELLOW MONKEY・Hideaki Kikuchi]

Hideaki Kikuchi’s tone philosophy can be described as “defining the guitar’s role within the full arrangement.” His EQ settings are carefully balanced—never overpowering but never getting buried either. The result is a sound that sits naturally in the mix, supporting vocals and rhythm while still carrying melodic strength.

With the Marshall JCM800, his base setting often hovers around BASS: 6, MID: 7, TREBLE: 5, and PRESENCE: 4. These values are adjusted slightly depending on the venue’s acoustics or the particular song. By emphasizing the midrange, Kikuchi ensures his guitar remains present in the band’s mix without clashing with Kazuya Yoshii’s vocals. This balance allows riffs in songs like “JAM” to punch through with authority, while in ballads like “Kyūkon,” his melodic lines stand out with expressive warmth. Keeping treble restrained helps prevent ear fatigue during long performances, maintaining a refined tone.

When paired with the Tube Screamer, he often sets DRIVE around 3, TONE at 6, and LEVEL at 7. This adds compression and a midrange boost to the amp’s natural overdrive. The result is a solo tone with greater sustain and brilliance, while also giving rhythm parts extra body. In live contexts, this setup ensures solos project clearly all the way to the back of the venue.

Song-specific approaches are key to his style. For aggressive tracks like “BURN,” gain may be pushed up to 8 with the Tube Screamer engaged, producing a forceful wall of distortion. Conversely, in softer ballads such as “Love Communication,” he uses the clean channel with a touch of chorus and light reverb, crafting an airy, delicate soundscape. These intentional contrasts highlight his ability to adapt his tone precisely to each song’s mood.

In recording, Kikuchi employs mixing techniques to maximize impact. Rhythm guitars are usually double-tracked and panned left and right, creating stereo width, while lead parts are placed slightly off-center for separation. When adding harmonies or double lines, he often uses different amp or pedal settings to create tonal contrast, ensuring clarity without muddiness.

EQ adjustments during mixing further refine his tone. Engineers typically cut frequencies below 80Hz to remove unnecessary low-end rumble, slightly boost around 3kHz to emphasize attack, and add a gentle lift above 10kHz to bring brilliance. These tweaks help his guitar retain definition while blending naturally with bass, drums, and vocals.

Channel switching is another cornerstone of his live performance. He uses both clean and overdrive channels, toggling seamlessly via footswitch. This allows dynamic shifts within songs—such as moving from a clean intro to a powerful chorus—without breaking flow. Even within the overdrive channel, Kikuchi manipulates tone through pick attack and guitar volume control, achieving multiple shades of gain without touching the amp’s knobs mid-song.

Compression in his setup is often organic, coming from the amp and Tube Screamer rather than dedicated pedals. However, in studio sessions, external compressors may be used on specific tracks to enhance sustain and even out dynamics. This natural compression keeps his tone articulate while preserving the singing quality that defines THE YELLOW MONKEY’s melodic approach.

Ultimately, Kikuchi’s EQ and tone philosophy emphasizes clarity, balance, and musicality. Each adjustment—whether amp, pedal, or mix—serves the bigger picture of the song. His method ensures that the guitar never dominates for its own sake but instead supports the unique emotional character of every track. While exact settings may vary depending on context, this disciplined and thoughtful approach can be considered a defining hallmark of his sound.

Affordable Alternatives to Recreate the Tone [THE YELLOW MONKEY・Hideaki Kikuchi]

Reproducing Hideaki Kikuchi’s sound on a budget is absolutely possible with smart gear choices. The amplifier is the foundation, and a practical alternative to the Marshall JCM800 is the Marshall Origin 50H. This head delivers classic Marshall crunch at a fraction of the JCM800’s price. Importantly, it includes a built-in power attenuator, making it suitable not only for live performance but also for home practice without overwhelming volume.

For an even more budget-friendly option, the Marshall CODE50 offers digital modeling of classic Marshall amps, including the JCM800. With built-in effects, it reduces the need for extra pedals, making it one of the best cost-effective solutions. Its app connectivity also makes storing and recalling presets effortless—ideal for beginners who want to experiment without diving into complex setups.

On the guitar front, the Epiphone Les Paul Standard is the closest affordable alternative to Kikuchi’s Gibson Les Paul. Priced at roughly one-third of the original Gibson, it still delivers the warm, thick humbucker sound that anchors THE YELLOW MONKEY’s tone. For players seeking Kikuchi’s secondary guitar textures, the Squier Classic Vibe Stratocaster provides bright, versatile single-coil sounds, making it an excellent budget substitute for his Fender Stratocaster.

As for pedals, BOSS remains the most reliable budget-friendly brand. The BOSS SD-1 Super OverDrive is an excellent alternative to the Ibanez Tube Screamer. While slightly different in character, it pushes mids and interacts beautifully with Marshall-style amps, delivering a tone close enough for Kikuchi-style leads. The DS-1 Distortion, already part of his actual rig, can be purchased cheaply and delivers the same biting distortion heard on THE YELLOW MONKEY’s heavier tracks.

For modulation, the BOSS CH-1 Super Chorus is an obvious choice—it’s part of Kikuchi’s confirmed rig and affordable enough for any guitarist. Likewise, for delay, the BOSS DD-8 Digital Delay offers a modern upgrade to the classic DD-3, with greater flexibility while retaining the same core sound used in his solos. Together, these pedals can effectively emulate Kikuchi’s tone palette without breaking the bank.

A more all-in-one approach can be achieved with multi-effects units such as the BOSS GT-1000 or Line 6 Helix LT. Both contain convincing models of the JCM800, Tube Screamer, and essential BOSS effects, enabling players to replicate Kikuchi’s setup in a single unit. For those who want to experiment widely, these processors are cost-effective compared to building a large pedalboard.

For practice, compact solutions like the Yamaha THR10II or VOX Amplug2 (Marshall version) are highly recommended. These small amps are quiet enough for home use, provide convincing Marshall-style modeling, and include built-in effects. They allow players to practice Kikuchi’s tones even at night without disturbing others, while still enjoying high-quality sound and flexibility.

Type	Gear Name	Brand	Amazon Lowest Price URL	Artist	Guitarist	Notes
Amp	Origin 50H	Marshall	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Modern reissue of JCM800 tones with power attenuator, suitable for home and stage use
Amp	CODE50	Marshall	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Affordable digital modeling amp with JCM800 emulation and built-in effects, great for beginners
Guitar	Les Paul Standard	Epiphone	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Budget-friendly version of the Gibson Les Paul, delivers warm humbucker tone central to Kikuchi’s sound
Effect	SD-1 Super OverDrive	BOSS	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Affordable Tube Screamer-style overdrive, perfect for boosting leads and adding warmth
Multi-Effect	GT-1000	BOSS	Search	THE YELLOW MONKEY	Hideaki Kikuchi	High-quality multi-effects unit with JCM800 and Tube Screamer models, covers Kikuchi’s entire rig in one device
Practice Amp	THR10II	Yamaha	Search	THE YELLOW MONKEY	Hideaki Kikuchi	Compact amp with superb Marshall-style modeling, headphone output for late-night practice

With these alternatives, guitarists can capture the essence of Kikuchi’s tone without the high price tag of his professional gear. By combining an affordable Les Paul-style guitar, a Marshall-inspired amp, and a few key pedals, players can achieve a convincing THE YELLOW MONKEY sound while learning the same lessons of tone discipline that define Kikuchi’s artistry.

Summary and Conclusion [THE YELLOW MONKEY・Hideaki Kikuchi]

If Hideaki Kikuchi’s guitar sound could be captured in a single phrase, it would be “craftsmanship in service of the song.” His approach to tone is never about drawing attention to himself, but about providing a solid foundation that supports THE YELLOW MONKEY’s musical world. This attitude is rare in the Japanese rock scene and carries lessons that many guitarists can learn from.

Technically, the essence of his sound lies in the “depth within simplicity.” His rig is built around classic, time-tested combinations: Gibson Les Paul Standard, Marshall JCM800, and Ibanez Tube Screamer. On paper, this looks like a standard rock setup, but Kikuchi’s deep understanding of each component and his careful balancing transform it into something uniquely melodic and emotional, inseparable from THE YELLOW MONKEY’s identity.

The most important lesson from his playing is the “aesthetics of subtraction.” In a time when many guitarists pile on pedals and complex setups, Kikuchi demonstrates that fewer tools, used wisely, can achieve greater expression. This is not minimalism for its own sake, but rather a refined decision-making process—choosing only what the song truly needs.

Equally notable is the “timelessness” of his approach. From the 1990s to the present, Kikuchi has maintained a consistent tonal philosophy, while making subtle adjustments to fit the times and contexts. This balance between consistency and adaptability is part of what makes him a professional of the highest caliber. His guitar tone remains recognizable across decades without ever sounding outdated.

When attempting to recreate his tone, the real key is not the surface-level gear choices, but the mindset. Kikuchi always considers how his guitar part interacts with the vocals, drums, and bass, asking: what role does this guitar play in the bigger picture? By adopting this perspective, even players with modest gear can achieve musical and convincing results that capture the spirit of his sound.

From a technical perspective, EQ and effects settings emphasize moderation—never too much, never too little. The art lies in finding the “just right” point, whether it’s midrange EQ, chorus depth, or delay time. This sensitivity to balance is what elevates Kikuchi’s sound from ordinary to exceptional. Guitarists who listen carefully and experiment with similar settings can gradually train their ears to find this balance as well.

Finally, perhaps the greatest takeaway from Kikuchi’s sound philosophy is the recognition that “music is never created alone.” His playing is always in dialogue with his bandmates, particularly with Kazuya Yoshii’s vocals. This cooperative spirit is a central reason for THE YELLOW MONKEY’s success. For any guitarist, remembering that your sound must serve not only your expression but the collective music is the highest lesson one can learn from Hideaki Kikuchi.