[TAIKING] – How to Recreate the Suchmos Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

TAIKING is the guitarist of the Japanese alternative rock band Suchmos, captivating many fans with his distinctive musicality and exceptional guitar playing. His sound is heavily influenced by Black music, soul, and funk, resulting in a sophisticated and polished tone that defines his playing style.

One of the most striking aspects of TAIKING’s guitar work is his expressive use of dynamics, ranging from clean tones to crunchy textures and driven sounds. In signature songs like “STAY TUNE” and “A.G.I.T,” he achieves a perfect balance between emotional soloing and rhythmic comping, embodying the fusion of modern pop sensibilities with an organic band sound.

Particularly noteworthy is the way he blends delicacy with power in his tone creation. Whether supporting artists like Fujii Kaze, RADWIMPS, Vaundy, or OKAMOTO’S, his sound maintains a strong adaptability across genres without ever losing his personal identity. His deep appreciation for vintage gear combined with modern system setups creates the one-of-a-kind tones that define TAIKING’s playing.

▶ Search official YouTube videos of Suchmos

List of Amplifiers and Features [Suchmos (Support: Fujii Kaze, RADWIMPS, Vaundy, OKAMOTO’S) – TAIKING]

TAIKING’s amplifier choices are essential for understanding his overall musical identity. During the “TOWNCRAFT” tour, his main amp was the Marshall JTM45 Offset Reissue Head & Cabinet, which he set to a crunchy tone while controlling distortion primarily through his guitar’s volume knob. This setup was particularly striking for its extreme EQ settings: PRESENCE and TREBLE nearly maxed, and BASS set close to zero. The result is a very bright, cutting sound that allows the guitar to stand out clearly within the band mix.

Another key amplifier in his arsenal is the Ceriatone Overtone HRM MK2 100. Built in Malaysia, this amp is relatively affordable for its high quality and serves as an important choice for both live and studio work. Based on the circuitry of the legendary Dumble amps, it provides a highly musical tone across the clean-to-mid-gain range. This amp is especially suited to Suchmos’ music, where delicate expressiveness is often required.

The MATCHLESS INDEPENDENCE 35 Head, with its three-channel design, covers everything from pristine cleans to powerful high-gain tones. Its strong, punchy drive sound is especially important to TAIKING’s solo playing. Additionally, the small Gretsch 6156 Playboy amp provides a unique punchy character with excellent note separation, used in studio settings or ensembles when distinctiveness in the mix is required.

For added flexibility, TAIKING has also been seen using the Fryette PS-2 as an attenuator during the “TOWNCRAFT” tour, helping him manage volume without sacrificing tone. All of these choices highlight his unique perspective on amp selection: blending vintage icons with boutique designs to craft a versatile and personal sound. These amps are believed to be his core lineup, though some details may vary depending on the performance context.

Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Notes
JTM45 Offset Reissue Head & Cabinet	Marshall	Link	Suchmos	TAIKING	Main amp for the “TOWNCRAFT” tour, known for extreme EQ settings
Overtone HRM MK2 100	Ceriatone	Link	Suchmos	TAIKING	Malaysia-made, used for both live and recording
INDEPENDENCE 35 Head	MATCHLESS	Link	Suchmos	TAIKING	3-channel design, thick and powerful drive tone
6156 Playboy	Gretsch	Link	Suchmos	TAIKING	Compact amp, unique punchy tone for studio/ensemble use
PS-2	Fryette	Link	Suchmos	TAIKING	Used as an attenuator during the “TOWNCRAFT” tour

Types of Guitars Used and Features [Suchmos (Support: Fujii Kaze, RADWIMPS, Vaundy, OKAMOTO’S) – TAIKING]

TAIKING’s guitar selection reflects both his musical roots and his deep dedication to crafting unique tones. One of his main guitars, the Fulltone Guitars STOROKE 68 RVH, is frequently used in Suchmos’ live performances and studio recordings. Featured in songs like “A.G.I.T” and “SNOOZE,” this Stratocaster-style guitar is known as a high-end Fender-inspired build that allows for subtle tone control and expressive versatility—qualities that match TAIKING’s style perfectly.

An especially interesting story comes from his 1980s Fender Japan Stratocaster, which he reportedly purchased at a second-hand shop. This guitar was used in the recording and live performances of “STAY TUNE,” although it is now mainly used for home practice. Such details highlight both his affection for his gear and his practical approach. He also owns a vintage 1964 Fender Stratocaster, allowing him to switch between different eras of Strat tones depending on the song’s requirements, demonstrating his relentless pursuit of the perfect sound for each context.

The Gibson ES-355 is another cornerstone of his palette, providing a thick, warm tone characteristic of semi-hollow guitars. It shines particularly on heavier riffs like those in “A.G.I.T,” where TAIKING has even used a Bigsby-equipped version for added expression. Similarly, the Gibson SG Special brings a raw and powerful rock sound, confirmed in the “STAY TUNE” music video, highlighting his wide stylistic range.

Even more unusual choices include the Ibanez LR-10, a Lee Ritenour signature model known for its sustain, and the Antonio Sanchez EG-7, a top-tier flamenco-style electric nylon-string guitar. These instruments, atypical for rock guitarists, underscore his broad musical background and his willingness to cross genres in pursuit of unique textures. Taken together, TAIKING’s guitar collection blends practicality, vintage character, and creative curiosity—hallmarks of his distinctive sound. These are believed to represent the core guitars in his arsenal, though details may vary depending on the tour or session.

Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Type	Notes
STOROKE 68 RVH	Fulltone Guitars	Link	Suchmos	TAIKING	Stratocaster	Main guitar for “A.G.I.T” and “SNOOZE”
Stratocaster 80’s	Fender Japan	Link	Suchmos	TAIKING	Stratocaster	Bought second-hand, now mainly for home practice
ES-355	Gibson	Link	Suchmos	TAIKING	Semi-hollow	Bigsby-equipped, used for heavy riffs in “A.G.I.T”
SG Special	Gibson	Link	Suchmos	TAIKING	Solid body	Confirmed in “STAY TUNE” MV
Stratocaster 1964	Fender	Link	Suchmos	TAIKING	Stratocaster	Vintage model, versatile tone
LR-10	Ibanez	Link	Suchmos	TAIKING	Signature	Lee Ritenour model, rich sustain
EG-7	Antonio Sanchez	Link	Suchmos	TAIKING	Electric nylon (Flamenco)	Top-class flamenco-style electric guitar

Effects and Pedalboard Setup [Suchmos (Support: Fujii Kaze, RADWIMPS, Vaundy, OKAMOTO’S) – TAIKING]

TAIKING’s pedalboard is a refined system that reflects his wide-ranging musical sensibilities. During the “TOWNCRAFT” tour, he built a modern setup based on the four-cable method, which allowed him to integrate the amp’s natural tone into the system while maximizing the expressive range of his effects. This approach balanced the organic characteristics of the amp with the flexibility of external pedals, creating a versatile sound palette.

For overdrive, he relied heavily on an Ibanez Tube Screamer prototype as his main distortion source on the “TOWNCRAFT” tour. When he needed more gain, he stacked it with the Organic Sounds Hydra. The Human Gear FINE OD offered a milder TS-9-inspired crunch, while additional pedals like the Suhr Riot Distortion and the legendary KLON Centaur expanded his tonal options. The Centaur, famous among guitarists worldwide, provided a cohesive and articulate drive tone that supported his expressiveness.

His choice of ambience effects also shows a balance between digital precision and analog warmth. On tour, he used Source Audio’s Nemesis (delay) and Ventris (reverb) for modern accuracy, but he paired them with vintage classics such as the Fender ’63 Reverb Unit Reissue and a 1979 Electro-Harmonix Deluxe Memory Man. The latter, also used by The Edge of U2, delivered lush delay with additional chorus and vibrato functions, adding a unique flavor to TAIKING’s tones.

System utilities on his board further reveal his meticulousness. He used a BOSS MS-3 as a programmable switcher to manage complex routing, along with the FREE THE TONE JB-41S junction box for optimized connectivity. An Xotic X-Blender ensured tonal clarity when mixing in effects, while custom gear like the Voice of Saturn Booster Stage highlighted his commitment to sonic individuality. Overall, his pedalboard exemplifies a mix of boutique rarities, vintage gems, and modern utility—each serving a clear role in shaping his signature sound. These choices are believed to form the backbone of his pedalboard, though exact setups may shift between tours and sessions.

Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Effect Type	Notes
Tube Screamer Prototype	Ibanez	Link	Suchmos	TAIKING	Overdrive	Main distortion for the “TOWNCRAFT” tour
Hydra	Organic Sounds	Link	Suchmos	TAIKING	Overdrive	Gain boost stacked with Tube Screamer
FINE OD	Human Gear	Link	Suchmos	TAIKING	Overdrive	Mild TS-9 style crunch
Riot Distortion	Suhr	Link	Suchmos	TAIKING	Distortion	Thick drive with strong mids
Centaur	KLON	Link	Suchmos	TAIKING	Overdrive	Legendary transparent overdrive
Tube Driver	B.K. Butler	Link	Suchmos	TAIKING	Overdrive	Tube-based, warm saturation
HOT CAKE	Crowther Audio	Link	Suchmos	TAIKING	Overdrive	Rich harmonics, fat sound
Fire Red Fuzz	Mad Professor	Link	Suchmos	TAIKING	Fuzz	Versatile from smooth to bright fuzz
ROOM GLOW EXPERIENCE FACE	Electric Lady	Link	Suchmos	TAIKING	Fuzz	Heavy, bold fuzz tone
Nemesis	Source Audio	Link	Suchmos	TAIKING	Delay	Main digital delay on “TOWNCRAFT” tour
Ventris	Source Audio	Link	Suchmos	TAIKING	Reverb	Main digital reverb on “TOWNCRAFT” tour
’63 Reverb Unit Reissue	Fender	Link	Suchmos	TAIKING	Reverb	Tube-driven, deep expansive reverb
Deluxe Memory Man (1979)	Electro-Harmonix	Link	Suchmos	TAIKING	Delay	Vintage unit, also used by U2’s The Edge
MR2 Micro Reverb	Guyatone	Link	Suchmos	TAIKING	Reverb	Compact pedal with 4 modes
Lester G	Electro-Harmonix	Link	Suchmos	TAIKING	Modulation	Rotary speaker simulator
M-107 Phase 100	MXR	Link	Suchmos	TAIKING	Phaser	Used for funk-style comping
FP-777 Flying Pan	Ibanez	Link	Suchmos	TAIKING	Phaser	Combines phaser and auto-pan
Vibe Machine	DryBell	Link	Suchmos	TAIKING	Modulation	Faithful Uni-Vibe recreation
Whammy	DigiTech	Link	Suchmos	TAIKING	Pitch Shifter	Second-generation model used
M102 Dynacomp	MXR	Link	Suchmos	TAIKING	Compressor	Classic model, signature compression tone
MS-3	BOSS	Link	Suchmos	TAIKING	Switching System	Programmable, used on “TOWNCRAFT” tour
JB-41S	FREE THE TONE	Link	Suchmos	TAIKING	Junction Box	Used for advanced routing
X-Blender	Xotic	Link	Suchmos	TAIKING	Booster	Preferred for tone blending

Tone Settings, EQ, and Mixing Approaches [Suchmos (Support: Fujii Kaze, RADWIMPS, Vaundy, OKAMOTO’S) – TAIKING]

One of the most defining aspects of TAIKING’s sound design lies in his extreme approach to EQ. During the “TOWNCRAFT” tour, when using his Marshall JTM45, he set PRESENCE and TREBLE nearly at maximum while almost completely cutting BASS. This unconventional configuration creates an exceptionally bright, razor-sharp tone that cuts through the mix and ensures the guitar occupies its own sonic space within the band arrangement.

This decision was not about eccentricity, but rather a strategic choice shaped by his musical philosophy. By eliminating much of the low end, he leaves room for the bass guitar, allowing the rhythm section to breathe while ensuring the guitar remains clearly audible. With the mid and high frequencies emphasized, his tone becomes both articulate and energetic. Furthermore, he controls gain dynamics primarily with the guitar’s volume knob, enabling seamless transitions between clean, crunch, and medium gain—all without touching the amp or pedals mid-performance.

His pedal layering also reflects this calculated approach. The Ibanez Tube Screamer prototype serves as his core overdrive, with the Organic Sounds Hydra stacked when extra saturation is required. This two-stage method provides a natural way to escalate intensity within a song, perfectly matching the dynamic flow of live performances. It also highlights his reliance on touch sensitivity—letting his playing style dictate the tonal shifts rather than over-complicated gear switching.

In terms of ambience, TAIKING balances modern digital reliability with vintage analog warmth. The Source Audio Nemesis and Ventris provide pristine, programmable delay and reverb, ensuring consistency across venues. Yet, he complements them with the 1979 Electro-Harmonix Deluxe Memory Man, whose organic delay repeats and built-in chorus/vibrato add a nostalgic texture impossible to replicate digitally. Similarly, the Fender ’63 Reverb Unit Reissue introduces tube-driven depth, expanding the guitar’s space in the mix without overwhelming the arrangement.

The four-cable method stands as one of his most innovative choices. By carefully placing pre- and post-effects in relation to the amp’s preamp and effects loop, he optimizes the natural breakup of the amplifier while retaining clarity in time-based effects. This creates a synergy where the amp’s organic distortion and the pedals’ processing interact rather than compete, resulting in a richer, more musical final tone.

From a mixing perspective, his setup is remarkably engineer-friendly. The pronounced high-mid focus means the guitar naturally avoids frequency conflicts with bass and kick drum. By cutting low end at the source, he reduces the need for heavy-handed EQ correction during mixing. His sound is essentially “pre-mixed,” which not only simplifies live front-of-house adjustments but also ensures studio engineers can capture a consistent character with minimal post-processing. This forward-thinking approach shows an awareness that extends beyond playing, into how his tone interacts with the entire ensemble.

Even in his use of spacious effects, he avoids excessive wash. His delays and reverbs are dialed to create depth and width without smearing articulation, allowing both rhythm comping and melodic lines to remain clear. This restraint demonstrates his maturity: he employs effects to serve the song rather than overwhelm it. The balance between precision and expressiveness—digital exactness against analog warmth—captures the essence of modern pop-rock while staying rooted in traditional guitar aesthetics.

Overall, TAIKING’s tone-setting philosophy is as much about intention as it is about equipment. His unorthodox EQ reflects a deep understanding of sonic roles in a band mix, his layered gain structure enhances live dynamics, and his integration of analog and digital ambience achieves a unique equilibrium. These settings and methods are believed to be central to his sound, though naturally they may evolve with different tours, recordings, or collaborations.

Affordable Alternatives to Recreate the Tone [Suchmos (Support: Fujii Kaze, RADWIMPS, Vaundy, OKAMOTO’S) – TAIKING]

Recreating TAIKING’s sound on a budget requires understanding the essence of his tone rather than chasing every boutique pedal or rare amp. His signature comes from two main ideas: his extreme EQ approach (high presence and treble, minimal bass) and his layered overdrive and ambience strategy. With that in mind, there are several affordable, widely available alternatives that allow beginners and intermediate players to capture a similar feel without spending thousands on rare gear.

For amplifiers, modeling amps like the Marshall CODE25 or CODE50 are excellent entry points. Both feature modeling of classic Marshall circuits, including the JTM45 that TAIKING favors. By setting PRESENCE and TREBLE high and rolling off BASS, players can approximate his sharp, cutting sound. Another strong contender is the BOSS Katana-50 MkII, which not only includes Marshall-style voicings but also integrates a wide range of onboard effects. This makes it a flexible single-amp solution for practicing and performing in smaller venues while emulating TAIKING’s tonal profile.

For overdrive pedals, the BOSS SD-1 Super Over Drive is perhaps the most cost-effective choice. Its circuit shares DNA with the Tube Screamer, delivering that same midrange-focused crunch that TAIKING relies on. Players seeking a more authentic Tube Screamer experience can upgrade to the Ibanez TS808 or TS9, both of which deliver the smooth saturation and touch sensitivity that define his core overdrive sound. To simulate his layered gain staging, adding a BOSS BD-2 Blues Driver works beautifully when stacked with the SD-1, mimicking the Hydra + Tube Screamer setup at a fraction of the cost.

For ambience, the BOSS DD-8 Digital Delay and RV-6 Reverb form a versatile pair. The DD-8 includes multiple modes, with the Analog mode offering a warm, vintage-inspired delay reminiscent of the Deluxe Memory Man. Meanwhile, the RV-6 features high-quality reverb algorithms, including Spring modes that echo the Fender ’63 Reverb Unit. Together, these pedals provide the precision and lushness that characterize TAIKING’s spacious tones while remaining affordable and gig-ready.

For players looking to simplify, multi-effects processors like the LINE 6 HX Stomp or HX Effects are outstanding options. These units include high-quality models of the Tube Screamer, Marshall JTM45, Deluxe Memory Man, and countless modulation and ambience effects. They also support the four-cable method, just like TAIKING’s professional rig, making them an efficient way to replicate his versatile system in a compact format. This option is particularly attractive for beginners who want a single device capable of covering his broad sonic range.

On the guitar front, the Fender Player Stratocaster stands out as the most practical alternative. Its alder body and maple neck provide a balanced tone that closely mirrors TAIKING’s Fulltone STOROKE 68 RVH. For those seeking semi-hollow tones similar to his Gibson ES-355, Epiphone’s Dot Studio and Sheraton-II are highly affordable substitutes, delivering warm, resonant sounds suitable for funk, soul, and alternative rock. These guitars bring players close to TAIKING’s tonal foundation without the steep price of vintage instruments.

Finally, compression and modulation effects can be covered with budget-friendly classics. The BOSS CS-3 Compression Sustainer recreates the squashed, snappy feel of the MXR Dynacomp, while the CH-1 Super Chorus and PH-3 Phase Shifter capture modulation flavors similar to those found in TAIKING’s rig. When used tastefully, these pedals can add the depth and rhythmic nuance that define his playing style.

In short, affordable options don’t just replicate his gear—they recreate his philosophy. By combining mid-focused overdrive, extreme EQ, layered gain, and a mix of clean digital and warm analog ambience, players can approximate the essence of TAIKING’s tone. The following table highlights some of the most effective and accessible alternatives available today.

Type	Gear Name	Manufacturer	Amazon Link	Artist	Guitarist	Notes
Amp	CODE25	Marshall	Link	Suchmos	TAIKING	Includes JTM45 modeling, EQ settings can mimic TAIKING’s tone
Amp	Katana-50 MkII	BOSS	Link	Suchmos	TAIKING	Marshall-style voicings, onboard effects included
Overdrive	SD-1 Super Over Drive	BOSS	Link	Suchmos	TAIKING	Affordable Tube Screamer-style drive
Overdrive	TS808	Ibanez	Link	Suchmos	TAIKING	Classic Tube Screamer tone
Overdrive	BD-2 Blues Driver	BOSS	Link	Suchmos	TAIKING	Works well stacked with SD-1 to mimic Hydra layering
Delay	DD-8 Digital Delay	BOSS	Link	Suchmos	TAIKING	Multiple modes, Analog mode emulates Memory Man
Reverb	RV-6 Reverb	BOSS	Link	Suchmos	TAIKING	High-quality spring and hall reverbs
Multi-Effects	HX Stomp	Line 6	Link	Suchmos	TAIKING	Covers most of TAIKING’s effects in one unit, supports 4-cable method
Guitar	Player Stratocaster	Fender	Link	Suchmos	TAIKING	Affordable Strat, similar character to his STOROKE 68 RVH
Guitar	Dot Studio	Epiphone	Link	Suchmos	TAIKING	Semi-hollow alternative to ES-355
Compressor	CS-3 Compression Sustainer	BOSS	Link	Suchmos	TAIKING	Mimics MXR Dynacomp’s squashed compression
Modulation	CH-1 Super Chorus	BOSS	Link	Suchmos	TAIKING	Basic chorus effect, beginner-friendly
Modulation	PH-3 Phase Shifter	BOSS	Link	Suchmos	TAIKING	Alternative to MXR Phase 100 for funky comping

Summary and Conclusion [Suchmos (Support: Fujii Kaze, RADWIMPS, Vaundy, OKAMOTO’S) – TAIKING]

Analyzing TAIKING’s overall sound-making approach reveals two key principles: a willingness to use extreme settings to carve out a unique sonic identity, and a careful balance of vintage character with modern innovation. His methods are never random—every decision reflects a deep understanding of both his role in the band and the broader musical picture.

Perhaps the most striking example is his use of the Marshall JTM45 with PRESENCE and TREBLE nearly maxed and BASS reduced to zero. At first glance this might appear unconventional, but in practice it ensures the guitar stands out without clashing with the bass or drums. This bold EQ choice reflects not eccentricity, but an engineer-like strategy to position the guitar precisely in the mix. It demonstrates his maturity as a guitarist who not only plays notes but also thinks like a producer and arranger.

His pedalboard strategy further reinforces this mindset. By adopting the four-cable method and combining digital precision (Source Audio effects) with analog warmth (Deluxe Memory Man, Fender Reverb Unit), he merges tradition with modern flexibility. This duality mirrors the essence of Suchmos itself: a blend of contemporary pop elements with an organic, groove-driven band sound. His ability to fuse these dimensions makes his tones both technically impressive and emotionally resonant.

For guitarists looking to emulate TAIKING, the lesson goes beyond copying gear lists. What matters is understanding why he makes these choices. He shapes his EQ not for flash but for clarity in a crowded arrangement. He layers overdrives not for excess distortion but for dynamic control in live contexts. He chooses both boutique rarities and humble second-hand finds because tone comes from vision, not just price tags. Even his second-hand 1980s Fender Japan Stratocaster tells us that creativity and intention outweigh financial investment.

Ultimately, TAIKING’s sound is a product of flexibility anchored by vision. Whether supporting major artists like Fujii Kaze, RADWIMPS, or Vaundy, or performing with Suchmos, he adapts while retaining his distinct voice. His gear choices act as tools, but the true foundation of his sound lies in his ability to align tone with musical context. This adaptability is what makes his guitar work so memorable and influential.

The biggest takeaway for aspiring players is that TAIKING’s sound is less about expensive boutique equipment and more about clear intent. His unique EQ choices, dynamic gain staging, and careful balance of ambience show that tone is created by thinking holistically about the band mix. By studying his methods, guitarists can learn not only how to approximate his tone but also how to develop their own. In this way, his approach serves as a reminder that gear is secondary to vision—and that true individuality comes from knowing what you want your guitar to say.