[Abe Futoshi] – How to Recreate the THEE MICHELLE GUN ELEPHANT Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Abe Futoshi, guitarist of THEE MICHELLE GUN ELEPHANT, is remembered as one of the most influential figures in Japanese rock history.

Although the band was only active from 1991 to 2003, his sharp, aggressive guitar sound left a powerful impact on countless musicians. Even today, many players are referred to as belonging to the “Abe Futoshi school” of guitar tone.

The most defining characteristic of his sound was the ability to achieve overwhelming power and razor-sharp edges with an extremely simple rig. His approach was essentially one Telecaster plugged straight into a high-gain amplifier, with virtually no effects. This “guitar-and-amp direct” style became his trademark.

In iconic tracks such as “Candy House,” “Sekai no Owari (The End of the World),” and “Get Up Lucy,” listeners can clearly hear his fierce down-picking riffs contrasted with relentless high-speed strumming. The result is a sound that cuts like a knife while still carrying massive weight.

Even after his sudden passing in 2009, his philosophy and tone continue to inspire guitarists, cementing his place as a legend in the rock scene. To understand Abe Futoshi’s sound is, in many ways, to understand the history of Japanese rock guitar itself.

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List of Amplifiers and Features [THEE MICHELLE GUN ELEPHANT – Abe Futoshi]

Amplifiers played a crucial role in Abe Futoshi’s sound design. His choice of amps evolved over time, reflecting both the musical context and the band’s increasing scale of performances.

From the mid-1990s to around 2000, his main workhorse was the Fender The Twin. Unlike the more common Twin Reverb, The Twin had a more distortion-friendly character. Abe would often blend the clean and lead channels simultaneously, creating a signature mix of transparency and grit. This unique setup produced the sharp-edged overdrive that became instantly recognizable.

From around 2000 until the band’s disbandment in 2003, he shifted to the Marshall JCM900 as his main amp. This change aligned with the band’s move to larger venues and their desire for a heavier, more aggressive tone. The JCM900’s high-gain yet tight response perfectly complemented his powerful downstrokes and razor-cutting rhythm work.

For certain recordings, he also employed the SUNN Model T. Tracks like “Casanova Snake” and “Rodeo Tandem Beat Specter” showcase the amp’s massive, thick tone, supporting the dark and wild atmosphere of the music. Live performances with this amp reportedly overwhelmed audiences with its raw power and sheer volume.

Additionally, a Fender Dual Showman was confirmed during the 1999 large-scale “World Gear Blues Tour.” Its bright, punchy voice contributed to the band’s high-energy stage presence.

In summary, Abe’s amp selection balanced clarity, raw aggression, and the ability to dominate live stages. His rigs illustrate how amplifiers can shape not only tone but also the band’s entire sonic identity. These choices are considered highly likely based on photo evidence, interviews, and accounts from fellow musicians.

Gear	Manufacturer	Amazon Link	Artist	Guitarist	Notes
The Twin	Fender	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Main amp during mid-period. Used with clean/lead channel blend.
JCM900	Marshall	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Main amp from around 2001 until disbandment.
Model T	SUNN	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Used in recording “Casanova Snake” and during large-venue concerts.
Dual Showman	Fender	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Confirmed use in the 1999 “World Gear Blues Tour.”

Types of Guitars Used and Features [THEE MICHELLE GUN ELEPHANT – Abe Futoshi]

When it comes to Abe Futoshi’s guitars, nothing is more symbolic than the Seen Telecaster Custom. Seen is the original brand from Matsushita Studio in Harajuku, and several custom Telecasters were specially built for Abe, ranging from the first to the seventh models.

The most famous among them is the fourth model. Its black body paired with a red tortoiseshell pickguard became inseparable from Abe’s image. From 1998 until the band’s final show, this guitar was his absolute main weapon, rarely replaced unless necessary.

The fourth model featured a heavy ash body, maple neck, rosewood fingerboard, and a unique four-bolt joint between neck and body. Its pickups included a Fender Wide Range Humbucker in the neck position and a Fender Original Vintage Telecaster single-coil in the bridge, producing a tone that was both sharp and warm. Abe mostly relied on the bridge pickup, which provided the cutting, edgy sound he was known for.

A key modification was relocating the pickup selector switch near the tone knob, preventing it from being accidentally hit during his aggressive strumming. This practical adjustment reflected his raw and physical playing style.

In the band’s early days, Abe also used a GRETSCH Silver Jet, seen in the “Sekai no Owari” music video and the recording of “cult grass stars.” It had Dynasonic pickups and was modified with a Cadillac tailpiece replacing the Bigsby tremolo. Sadly, it was later stolen, but it remains an essential part of the early Michelle sound.

Other notable instruments included a BURNS 1960’s SPLIT SONIC, used in the “Birdmen” music video and on the single “Get Up Lucy.” This demonstrated his willingness to tailor his guitar choices to the atmosphere of each song, underlining his dedication to sound crafting.

Additionally, earlier Seen Telecaster Customs (such as the first and fifth models) appeared in videos like “Candy House” and “Abakareta Sekai,” each with unique pickguards and finishes. These details highlight Abe’s close collaboration with his guitar builders to create instruments that matched his playing intensity.

Overall, Abe’s guitars were not just tools but extensions of his identity. The Telecaster Custom in particular defined his razor-sharp, aggressive tone, and remains iconic in the Japanese rock scene. These associations are considered highly likely based on visual records and reliable sources.

Gear	Manufacturer	Amazon Link	Artist	Guitarist	Type	Notes
Telecaster Custom (4th Model)	Seen	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Telecaster	Main guitar from 1998 until disbandment. Black body, red tortoiseshell PG.
Silver Jet	GRETSCH	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Semi-hollow	Used in “Sekai no Owari” MV and “cult grass stars” recording. Later stolen.
SPLIT SONIC	BURNS	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Solid body	Used in “Birdmen” MV and “Get Up Lucy” recording.
Telecaster Custom (1st Model)	Seen	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Telecaster	Early guitar. Black body, leopard-print PG. Used in “Candy House” MV.
Telecaster Custom (5th Model)	Seen	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Telecaster	Black body, white pearl PG. Used in “Abakareta Sekai” MV.

Effects and Pedalboard Setup [THEE MICHELLE GUN ELEPHANT – Abe Futoshi]

One of the most striking aspects of Abe Futoshi’s approach to tone is that he rarely used effects pedals. For a rock guitarist of the 1990s and early 2000s, this was highly unusual—almost radical. His philosophy was built on the idea of connecting the guitar directly to the amp, producing raw power with no external coloration.

In live performances, effects were virtually nonexistent. His sound came solely from the combination of guitar and amp, along with his ferocious playing technique. This was a statement of his musical philosophy: “Do not rely on gear—create sound with your hands.” This uncompromising stance inspired countless guitarists who followed.

The only confirmed effect in his arsenal was the VOX V847 Wah Pedal. It appeared in studio work such as “cult grass stars” and tracks like “Remember Amsterdam” and “Balance.” However, even then, its use was subtle and often limited to recording sessions. Live use was extremely rare, reserved for adding specific tonal colors.

Another confirmed piece of equipment was the BOSS TU-12 Tuner, often placed on top of his amp. This was purely for tuning purposes and was not used to alter tone in any way. Unlike many players who integrate tuners into pedalboards, Abe used it as a practical utility tool.

This extremely minimalistic setup meant that his sound had nowhere to hide. Without modulation, delay, or heavy effects, every nuance of his playing—his attack, his pick strength, his chord voicings—was exposed. The clarity and aggression came from his right hand, not from processors. His tone was essentially the raw vibration of strings, amplified directly into the air.

In an era when many guitarists layered effects to create textures, Abe’s stark simplicity became a refreshing counterpoint. It reinforced his identity as a player who embodied pure rock and roll energy. His few effects, used sparingly, highlight just how committed he was to a philosophy of unfiltered sound. This is considered highly likely based on interviews, photos, and credible reports.

Gear	Manufacturer	Amazon Link	Artist	Guitarist	Effect Type	Notes
V847 Wah Pedal	VOX	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Wah Pedal	Used in recordings such as “cult grass stars.” Rarely used live.
TU-12	BOSS	Amazon Search	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Tuner	Placed on top of the amp. Strictly for tuning purposes.

Tone Settings, EQ, and Mixing Approaches [THEE MICHELLE GUN ELEPHANT – Abe Futoshi]

The core of Abe Futoshi’s tone lies in an extremely stripped-down approach. With little more than guitar and amp, his sound was shaped almost entirely by his fingers and ears. Such simplicity placed immense weight on his technique and instinct, forcing him to rely on physical expression rather than effects processing.

During the mid-period, when he relied on the Fender The Twin, Abe used a unique method of running the clean and lead channels simultaneously. This blend provided both shimmering clarity and biting distortion. The settings often looked like this:

Clean Channel:
Volume 5, Treble 4, Middle 1, Bass 1

Lead Channel:
Gain 8, Treble 4, Middle 10, Bass 10, Presence 0, Volume 5, Reverb 0

By combining these extremes, he achieved a rare balance between transparency and grit. The boosted midrange, in particular, was the secret to his cutting tone that never got lost in the mix.

In the later period, when he switched to the Marshall JCM900, his settings became even more radical:

JCM900 Settings:
Gain 10, Treble 0, Middle 10, Bass 10, Presence 0, Reverb 0

Here, he deliberately cut all high frequencies, focusing everything on mids and lows. While unusual, this created an aggressive sound that avoided harshness while maintaining immense punch. Combined with his ferocious down-picking, the tone was both powerful and listenable.

For the SUNN Model T, used in certain recordings, his settings leaned more toward classic heaviness:

SUNN Model T Settings:
Gain 5, Treble 5, Middle 10, Bass 7, Presence 0–3, Volume 4–5, Reverb 0

The consistent factor across all rigs was his emphasis on midrange. This ensured his guitar pierced through the dense, noisy band mix without relying on added EQ or post-processing.

In recording and mixing, engineers often followed the principle of “don’t touch Abe’s guitar tone.” Instead of EQing or compressing, they would mic the amp as-is, capturing the raw sound straight to tape. This approach preserved the continuity between live performance and studio recording, making his tone immediately recognizable in any context.

Unlike many guitarists who switch settings or pedals for different songs, Abe relied on his playing dynamics to shape nuance. Pick attack, stroke angle, and fretboard positioning became his tonal palette. This method demanded high skill but delivered unmatched authenticity and presence.

Ultimately, his EQ and mixing philosophy was not about gear tweaks but about trusting the raw voice of his guitar and hands. His sound was the sum of aggressive technique, deliberate midrange boosting, and an engineer’s decision to leave things unpolished. This philosophy is considered highly likely, based on available accounts and interviews.

Affordable Alternatives to Recreate the Tone [THEE MICHELLE GUN ELEPHANT – Abe Futoshi]

To get close to Abe Futoshi’s sound, the most critical elements are a simple “direct-style” setup and the use of an amp capable of natural overdrive. His playing style was aggressive, with sharp cutting and a strong midrange presence. For players on a budget, achieving a similar tone comes down to pairing a guitar with strong mids (such as a Telecaster-style or P-90-equipped model) with an amp that emphasizes midrange punch. A minimal overdrive or boost pedal can also help to replicate his dense and cutting sound.

Below are recommended affordable gear options that capture the essence of Abe’s sound while remaining accessible to beginners. These alternatives provide a balance of authenticity, cost-efficiency, and practical usability.

Type	Gear	Manufacturer	Amazon Link	Artist	Guitarist	Notes
Guitar	Classic Vibe Telecaster Custom	Squier	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Black body with white pickguard captures the aesthetic. Its single-coil pickups emphasize mids, making it ideal for sharp cutting tones.
Amp	Katana-50 MkII	BOSS	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Features amp models inspired by Marshall and Fender. Midrange-heavy drive settings can approximate the JCM900 tone. Works well for both practice and small gigs.
Wah Pedal	V847A Wah Pedal	VOX	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Abe himself used a VOX Wah in tracks like “cult grass stars.” Beginners can use it to add tonal variety or leave it half-cocked for EQ-like effects.
Booster	SD-1 SUPER OverDrive	BOSS	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	A classic pedal that pushes an amp’s natural distortion. The mid-focused drive helps to recreate the dense, aggressive character of Abe’s tone.
Multi-Effects	Zoom G1X FOUR	ZOOM	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Includes amp models resembling the SUNN Model T and Fender Twin. Also features EQ and wah options, allowing beginners to cover many tonal bases with one unit.
Cable	Curly Shielded Cable (10m)	Providence / LEKATO	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Vintage-style curly cables visually capture the vibe of Abe’s setup. Though his ALBAS cables are discontinued, modern alternatives recreate the look and feel.
Picks	Fender 346 Medium Picks White	Fender	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	“Onigiri-shaped” medium picks similar to Abe’s preference. Great for aggressive strumming and picking.
Strings	S1046 Nickel Plated Steel Strings	SIT Strings	Amazon Link	THEE MICHELLE GUN ELEPHANT	Abe Futoshi	Reportedly used in his later years. Offers clear definition and strong tension, making it easier to replicate his sharp attack.

By combining these budget-friendly tools, players can get surprisingly close to Abe Futoshi’s iconic sound. In particular, the Squier Telecaster paired with the Katana amp delivers strong midrange response and faithfully reproduces picking nuances. Adding a booster tightens the tone, while a multi-effects unit provides flexible options without breaking the bank.

Summary and Conclusion [THEE MICHELLE GUN ELEPHANT – Abe Futoshi]

Abe Futoshi’s guitar sound can only be described as the raw embodiment of rock and roll—pure impulse and spirit unleashed through strings and amplifiers. His approach was never about complex layers of effects or studio trickery. Instead, it relied on his physical intensity, sharp rhythm, and a direct signal path that let every nuance of his playing break through with clarity.

His core tools were simple yet powerful: Seen Telecaster Customs built specifically for him, Fender The Twin, the SUNN Model T, and later the Marshall JCM900. With these amps, he sculpted a sound that was both massive and razor-sharp. He rarely used pedals, aside from the occasional VOX wah, and even then, only sparingly. The essence of his tone was “straight into the amp.”

A key to understanding his tone lies in his pickup choices and his reliance on the bridge position. His guitars emphasized midrange presence, ensuring his sound cut through the noise of a full rock band without needing post-EQ adjustments. Engineers often recorded him without altering his amp output, preserving the continuity between live and studio performances.

What makes his sound so difficult to replicate is that much of it was tied to his physicality. The strength of his picking hand, the looseness in his strumming, and the way he embraced roughness as part of the music all contributed to the unique “Abe Futoshi edge.” Even with identical gear, without that fearless approach, the essence is hard to capture.

For guitarists seeking to emulate him, the lesson goes beyond gear. It is about having the courage to let rawness and imperfection become strengths. Affordable tools like Squier Telecasters, BOSS pedals, or the Katana amp provide a solid foundation. But to truly channel Abe’s sound, one must embrace a wild, untamed energy and push it forward with confidence.

Ultimately, Abe Futoshi was not just a guitarist; he was the driving engine of THEE MICHELLE GUN ELEPHANT. His tone symbolized the reckless speed and unstoppable force of the band itself. To chase his sound is not only to copy his gear but to reconnect with the primal essence of rock—an act of rediscovering the roots of rebellion and passion in music.

If this article inspires you to explore his gear, experiment with raw tones, or simply dive deeper into the spirit of Japanese rock, then it has served its purpose. Abe’s legacy is not frozen in the past—it lives on each time a guitarist dares to strike the strings with unfiltered conviction.