[Ichiro Yamaguchi] How to Recreate the Sakanaction Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Ichiro Yamaguchi, the frontman and guitarist of Sakanaction, showcases a unique sound design that blends elements of electronica and new wave with rock. His guitar work is characterized by a clarity of chords and a spaciousness achieved through various effects. This duality is evident in their iconic tracks.

In the song “Identity,” Yamaguchi employs crisp cutting combined with delay, creating a tight sound that intertwines with synthesizers and rhythms. Conversely, in “Shin Takara Jima,” he utilizes octave techniques to add depth to the riff, crafting memorable phrases that linger in the listener’s mind. Additionally, tracks like “Yoru no Odoriko” and “Arukuaround” feature ambient textures that significantly contribute to the band’s overall soundscape.

Yamaguchi’s playing style emphasizes designing the space of the entire song rather than flashy solos or technical speed. Thus, while the guitar plays a leading role, it seamlessly integrates into the band’s sonic image, providing listeners with a sense of unity and immersion.

The reason his sound stands out lies in his ability to maximize simple phrases through meticulous effect processing and EQ balance. His distinctive use of reverb, delay, and modulation sets him apart in the Japanese rock scene, transcending the conventional notion of guitar as merely riffs or solos, and instead allowing it to compete equally with synthesizers and bass.

Moreover, Yamaguchi often constructs demos using DTM (desktop music production), which directly influences the EQ processing during recording and live performances. Therefore, his choice of gear and settings reflects a perspective grounded in music production rather than just guitar playing.

In the following sections, we will thoroughly explore the amplifiers, guitars, effects, and EQ/mixing techniques that contribute to his sound.

▶ Search official YouTube videos of Sakanaction

List of Amplifiers and Features

When discussing Ichiro Yamaguchi’s sound design, the choice of amplifiers is crucial. He utilizes multiple amps for live performances and recordings, tailoring the optimal tone for each song. The Sakanaction sound is characterized by a blend of “spatial expansiveness” and “defined clean to crunch tones,” supported by the following amplifiers.

One of the most notable is the MATCHLESS DC-30. This amp beautifully captures the midrange between clean and crunch, with a high level of nuance in picking dynamics. Yamaguchi frequently uses the DC-30 to highlight riffs and arpeggios, synchronizing the clarity of sound with the overall rhythm of the band. Particularly in songs like “Arukuaround,” the clean-oriented sound of this amp shines.

For situations requiring a sharper attack, the HIWATT Custom 100 comes into play. Known for its quick response and tight low-end, this British amp stands out in the mix, ensuring it doesn’t get lost among sequences and synthesizers. It is assumed that this amp is favored for live performances that require strong crunch and cutting.

The combination of the ORANGE Rockerverb 50 and PPC412 cabinet has also been confirmed. Utilizing the thick midrange distortion characteristic of ORANGE, it achieves a modern yet warm sound. This amp is likely chosen for rock-oriented tracks where the guitar needs to be prominent.

When a heavier sound is required, the Diezel Herbert is used. Known for its high-gain capabilities, it pairs well with spatial effects, providing a powerful tone while maintaining clarity, which is essential for Yamaguchi’s frequent use of delay and reverb.

By skillfully switching between these amplifiers, Yamaguchi recreates a diverse range of tones for each Sakanaction song. The delicate crunch of the MATCHLESS, the attack of the HIWATT, the thickness of the ORANGE, and the modern distortion of the Diezel combine to create a unique soundscape.

In summary, Yamaguchi’s amplifier selection emphasizes achieving a balance between transparent cleans and edgy crunch tones, which he adeptly utilizes depending on the song or live situation.

Types of Guitars Used and Features

Ichiro Yamaguchi’s choice of guitars is directly linked to the musicality of Sakanaction. He employs a wide range of instruments, from vintage models to the latest releases, utilizing each guitar’s unique characteristics for different songs. Below is a summary of the guitars he has been confirmed to use and their features.

One of the most prominent is the Rickenbacker 330 (Jetglo/Black). Acquired in 2008, this black model is known for its sharp and clear chord definition. Particularly in songs like “Arukuaround” and “Native Dancer,” its bright tone accentuates the contours of the music. The P-90 style single-coil sound typical of Rickenbackers stands out, ensuring it doesn’t get lost among synthesizers and bass.

The Rickenbacker 425 V63 (Jetglo) is another rare single-coil model that delivers a tighter sound. It is used in live performances and specific tracks, offering a different tonal range compared to the 330.

The Fender 1967 Telecaster is an extremely valuable vintage piece, providing a simple yet direct single-coil tone that adds a clean, solid sound to the music. It plays a significant role in rhythm cutting and arpeggios, emphasizing its presence.

Additionally, Yamaguchi uses a Fender Stratocaster. Its wide range and ease of handling clean to crunch tones make it versatile for both live and recording situations. The bright tone characteristic of single-coils allows it to blend with synthesizers while maintaining clarity.

The Fender Johnny Marr Jaguar is also one of Yamaguchi’s favored guitars. Known for its bright attack and unique harmonic content, it is well-suited for highlighting riffs and chord work. The short scale of the Jaguar enhances playability.

The Gibson ES-335 is a semi-hollow model, with Yamaguchi reportedly owning two. It combines warmth and clarity, playing a crucial role in supporting Sakanaction’s ambient soundscape when paired with spatial effects.

The Epiphone Casino, with its full hollow structure, offers a lively tone reminiscent of The Beatles, adding a natural swing to the band’s electronic elements.

For acoustic work, Yamaguchi uses a Gibson 1946 J-45 (vintage) and a 1960 J-45. Their rich resonance, developed over years of use, plays a vital role in Sakanaction’s acoustic tracks. He also incorporates Alvarez Yairi DY1, Fender American Acoustasonic Telecaster, and K.Yairi JY-45 to achieve the ideal acoustic sound for each song.

By utilizing these guitars, Yamaguchi crafts a guitar sound that holds its own against synthesizers, bass, and beats. The brilliance of the Rickenbacker, the strength of the Fender, and the warmth and depth of the Gibson are all carefully selected to support Sakanaction’s music.

Effects and Pedalboard Setup

A significant aspect of Ichiro Yamaguchi’s guitar sound is the choice of effects and the configuration of his pedalboard. His sound design balances “spatial expansiveness” with “clarity of chords,” utilizing reverb, delay, and modulation effects extensively. Additionally, he incorporates various overdrives and fuzz pedals to adjust the texture of his sound for different songs.

In terms of distortion, Yamaguchi uses a variety of overdrives, including the BOSS BD-2 Keeley MOD, Maxon OD820 Overdrive Pro, and MXR EVH 5150 Overdrive. The BD-2 Keeley MOD, in particular, achieves a natural and transparent distortion, making it ideal for chord cutting. The Maxon OD820 is often used as a booster, adding thickness while maintaining clarity. Furthermore, the BIXONIC Expandora II can produce fuzz-like roughness, adding an edge to danceable tracks like “Native Dancer.”

For modulation effects, he employs the DigiTech XHP Hyper Phase and Eventide ModFactor. The Hyper Phase creates a dazzling phaser effect, adding a fantastical touch to arpeggios and backing. Meanwhile, the ModFactor is a multifunctional modulation pedal that offers a wide range of effects, including flanger and vibrato, making it a key component in Yamaguchi’s spatial design during live performances.

In terms of reverb, he uses the BOSS RV-5 and Strymon blueSky. The RV-5 is a versatile standard reverb that adds natural depth to clean tones. The blueSky provides high-resolution, deep reverb, which is effectively used in ambient tracks.

For delay, the BOSS DD-20 Giga Delay and KORG SDD-3000 Pedal are primarily used. The DD-20 supports stereo and long delays, making it effective for rhythmic guitar that interacts with sequences. The SDD-3000, known for its transparency, is a classic pedal favored by The Edge of U2, and is essential for Yamaguchi’s ethereal sound design.

Additionally, the Digitech WHAMMY5 is used as a pitch shifter, allowing for octave techniques and bold pitch changes within songs. For low-end reinforcement and line recording, the MXR M80 Bass D.I.+ and CommuneMOD SANSAMP Bass Driver DI are also incorporated, contributing to the thickness of the sound by providing a guitar-bass hybrid tone.

Finally, the entire board is managed by the Free The Tone ARC-3 (switcher). This allows for seamless switching between multiple effects, enabling Yamaguchi to instantly change tones for different songs. It serves as the backbone of his stable sound design during live performances.

In summary, his pedalboard is meticulously constructed with a combination of “distortion effects + spatial effects + switcher,” allowing even simple phrases to create rich soundscapes. By combining these elements, Sakanaction’s unique soundscape is achieved.

Tone Settings, EQ, and Mixing Approaches

Ichiro Yamaguchi’s sound design is characterized not only by the tone of the guitar but also by a comprehensive approach that considers the overall mix. Given that Sakanaction’s music involves complex interactions between synthesizers, bass, and programmed rhythms, the guitar must maintain its presence while functioning as part of the soundscape. To achieve this, he meticulously adjusts amplifier settings, effects, and EQ.

In terms of amplifier EQ settings, he tends to prioritize a clean tone while retaining a strong midrange and slightly reducing the low end. With the MATCHLESS DC-30 and HIWATT Custom 100, he sets Treble at 50-60%, Mid at 60-70%, and Bass around 40%, creating a tight and clear crunch. This approach avoids the low frequencies where synthesizers and bass dominate, ensuring the guitar’s presence is maintained in the midrange.

The use of reverb and delay is also crucial. With the BOSS RV-5 and Strymon blueSky, he sets the Decay to a shorter range (20-30%) to avoid muddying the clean tone. However, for ambient tracks, he may extend the Decay, allowing the guitar to blend seamlessly with synthesizers. For delay, he uses the BOSS DD-20 and KORG SDD-3000 Pedal, synchronizing the delay time with the rhythm. Particularly in “Arukuaround,” he layers eighth-note and sixteenth-note delays with the rhythm track, achieving both a floating sensation and groove.

His distortion settings emphasize naturalness. He adjusts the gain on the BOSS BD-2 Keeley MOD and Maxon OD820 to a lighter setting, allowing for nuanced control through picking dynamics. He avoids heavy distortion, maintaining a transparent crunch sound as the foundation, and adds stronger distortion with the MXR EVH 5150 Overdrive or BIXONIC Expandora II when necessary. This allows him to switch between moments when the guitar is “prominent” and when it “blends into the space.”

In mixing, he often does not position the guitar at the center, instead spreading it across the stereo field to highlight synthesizers and vocals. He employs double tracking and stereo delay, placing the dry signal on one side and the wet signal on the other, creating a spatially expansive mix. In “Shin Takara Jima,” for example, he places a deeply delayed lead on the left channel and clean cutting on the right, creating a three-dimensional feel typical of dance music.

Yamaguchi also tends to adjust settings flexibly between live and recording situations. In live settings, he emphasizes the midrange for a defined sound, while in recordings, he further reduces the low end to avoid interference with the synth bass. From an engineering perspective, it is assumed that he boosts the guitar’s frequency range around 2kHz to 4kHz to ensure presence without interfering with vocals.

Collaboration with the PA and engineers is also vital, as he fine-tunes reverb levels and delay times based on the venue’s acoustics. For outdoor festivals, he may reduce reverb to emphasize clarity, while in halls or clubs, he enhances spatial effects by utilizing reverb.

In conclusion, Ichiro Yamaguchi’s sound design is built on “EQ band management,” “utilization of spatial effects,” and “distortion control.” His approach prioritizes maintaining presence while coexisting with synthesizers and bass, reflecting a commitment to overall balance. Rather than merely pursuing guitar sounds, he integrates the guitar into the broader sound design of the band, which is the essence of his sound.

Affordable Alternatives to Recreate the Tone

Ichiro Yamaguchi’s sound is supported by expensive Rickenbackers, vintage Gibsons, and high-end amplifiers. However, beginners and intermediate players can recreate a similar atmosphere using “relatively affordable gear.” The key points are ① the expressiveness of clean to crunch tones ② the use of spatial effects ③ EQ band management.

For guitars, alternatives to the Rickenbacker 330 or Telecaster include the Fender Japan or Squier series Telecasters or Jaguars, which can be found in the 50,000 to 100,000 yen range. These provide bright, quick single-coil sounds. If a semi-hollow tone is desired, the Epiphone Dot or Casino can be effective and reasonably priced.

Regarding amplifiers, while MATCHLESS and HIWATT are quite expensive, alternatives like the Roland JC-40 or BOSS Katana series are strong contenders. The Roland JC-40 offers excellent clean transparency and chorus quality, making it compatible with effects. The BOSS Katana features multiple amp modeling options, allowing for flexible clean and crunch tones.

For effects, instead of the high-end Strymon or Eventide, utilizing BOSS or ZOOM multi-effects can adequately recreate the sound. For instance, the BOSS DD-8 (delay) and BOSS RV-6 (reverb) can be obtained for around 20,000 yen, boasting quality comparable to professional standards. Additionally, for comprehensive spatial effects, the ZOOM G3Xn multi-effects unit is recommended.

For distortion, if aiming for “transparent overdrive” like Yamaguchi, the BOSS BD-2 is ideal. Even without the Keeley MOD, it can effectively recreate the desired atmosphere. If more thickness is needed, the Ibanez Tube Screamer (TS9/TS808) is also a great option.

Finally, for beginners learning sound design, utilizing multi-effects is highly effective. The LINE6 POD Go or BOSS GT-1 can be acquired for under 50,000 yen, allowing for amp modeling and spatial effects to closely approximate Yamaguchi’s sound.

In summary, by assembling “Telecaster-type guitars,” “Roland JC-40 or BOSS Katana-type amplifiers,” and “BOSS or ZOOM spatial effects,” one can easily experience a Sakanaction-like sound.

Summary and Conclusion

Looking at Ichiro Yamaguchi’s sound design as a whole, its essence lies in the perspective of “designing the role of the guitar not just as an instrument but within the entire music.” Rather than merely asserting through riffs or solos, his sound design is thoroughly based on coexistence with synthesizers, bass, and programmed rhythms. Consequently, his guitar sound is always characterized by spatiality and balance.

In terms of guitar gear, focusing on Rickenbacker and Fender single-coil models achieves clarity in chord definition and a brilliant tone. Meanwhile, incorporating semi-hollow and full-hollow models like the Gibson ES-335 and Epiphone Casino adds warmth and depth. This highlights his ability to skillfully switch between “sharpness” and “softness” depending on the song.

Regarding amplifiers, switching between MATCHLESS and HIWATT for clean to crunch nuances, and ORANGE and Diezel for thickness and modern distortion, allows for a wide range of genres. The effects are carefully selected, primarily focusing on spatial effects, and through adjustments of reverb and delay, even simple phrases provide listeners with a sense of “three-dimensionality” and “immersion.”

From an EQ and mixing perspective, it is notable that the guitar is designed to fit appropriately within the band. By reducing low-end frequencies and enhancing mid to high-mid ranges, the guitar maintains presence without interfering with bass or synthesizers. The flexibility to adjust EQ processing differently for live and recording situations is also a significant factor supporting Yamaguchi’s sound.

For beginners and intermediate players looking to approach Yamaguchi’s sound, it is not necessary to invest in expensive Rickenbackers or MATCHLESS amps. The key is to focus on “utilizing the mid-range between clean and crunch,” “effectively using spatial effects,” and “organizing the guitar’s frequency range within the overall mix.” By keeping these principles in mind, it is entirely feasible to recreate a similar sound using affordable models from Squier or Epiphone, along with effects from BOSS or ZOOM.

Ultimately, Ichiro Yamaguchi’s sound design is rooted in the sense of “designing the sound itself.” Whether to “bring the guitar forward” or “blend it into the space,” making the optimal choice at each moment is what supports the world of Sakanaction. Readers can also strive to approach Yamaguchi’s sound by focusing on “spatiality and balance” in their own setups.

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