[Jun Ohyama] How to Recreate the Straytenner Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Jun Ohyama, the guitarist of Straytenner, is a pivotal force behind the band’s robust yet delicate sound. His playing style masterfully balances the heaviness of rock with the melodiousness of pop, showcasing a diverse range of tones across various tracks.

In iconic songs like “KILLER TUNE” and “Melodic Storm,” he skillfully intertwines a crunchy amp sound with atmospheric effects, creating a three-dimensional band ensemble. Conversely, tracks such as “SIX DAY WONDER” and “REMINDER” utilize deep reverb and delay to produce ethereal, floating guitar sounds.

Notably, Ohyama frequently employs original models from Freedom Custom Guitar Research, including the “Retro JM ‘Mei'” based on a Jazzmaster shape and the prototype RR series. These unique guitars are not mere instruments; they are essential elements in achieving the sound character necessary for Straytenner’s music.

Additionally, Ohyama primarily uses the Fender Super Sonic 60 amp, complemented by the One Control BJF-S66 for spatial and special effects. His effects range from distortion to atmospheric sounds, meticulously crafted to suit each song’s sonic requirements.

In summary, Jun Ohyama’s sound is built on three key elements: “clean to crunchy amp sounds,” “diverse atmospheric effects,” and “distinctive custom guitars.” The following sections will delve into detailed gear lists and sound crafting techniques.

▶ Search official YouTube videos of Straytenner

List of Amplifiers and Features

Jun Ohyama’s sound foundation is primarily based on Fender-style amplifiers. His mainstay for many years has been the “Fender Super Sonic 60,” which offers versatility with its BASSMAN mode and BURN channel, allowing for a wide range from clean to crunchy and even deep distortion.

The Super Sonic 60 retains the beauty of Fender’s traditional clean sound while providing ample distortion needed for a rock band. Ohyama uses this amp as his main live setup, ensuring that the guitar sits perfectly in the mix without overpowering the vocals of Atsushi Horie and the bass of Kiyoshi Nakao, thus maintaining a sense of spatiality in the sound.

As a secondary amp, he employs the One Control “BJF-S66 HEAD & OC-EM112C CABINET.” This setup is designed to replicate the nuances of Marshall and vintage amps in a compact form, often utilized for special sound crafting and emphasizing spatial effects. Given the frequent use of delay and reverb in Straytenner’s music, the BJF-S66 likely serves to switch up the sound’s character during such passages.

Some live photos and social media posts indicate that he has used Marshall amps and the Roland JC-120 at certain times, but the current focus remains on the Super Sonic 60. The JC-120 is known for its compatibility with spatial effects, suggesting it may have been used for specific songs, but it likely serves a supplementary role in the main setup.

This amplifier configuration illustrates Ohyama’s approach of “centering around the versatile Super Sonic while switching textures as needed.” Rather than creating flashy distortion solely from the amp, he builds upon a clean to crunchy foundation, expanding the sound through his effects board.

As a result, he achieves a nuanced tonal variation for each song during live performances, allowing for a diverse sound that often surprises the audience with its richness. These amplifier choices are rational selections to accommodate Straytenner’s broad musicality.

Types of Guitars Used and Features

When discussing Jun Ohyama’s sound, one cannot overlook the original models from Freedom Custom Guitar Research (FCGR). His main guitar, the “Retro JM ‘Mei’,” features a color scheme inspired by his beloved cat, Mei, and has been used in numerous live performances, including at the Budokan. While based on a Jazzmaster shape, it is equipped with humbuckers, providing a powerful midrange alongside the brightness typical of Fender guitars, ensuring a strong presence within the band sound.

Another crucial instrument is the “Freedom Custom Guitar Research Original Custom Model,” which is based on the Elvis Costello model of the Jazzmaster and features two F-90 pickups. The F-90 offers a sound character that sits between the clarity of single-coils and the thickness of humbuckers, making it ideal for Straytenner’s mid-tempo ballads and melodic tracks. This guitar is primarily used in standard tuning songs and is believed to have been employed in live performances of “Melodic Storm” and “Man-like Creatures.”

Additionally, the “Freedom Custom Guitar Research RR Series Prototype” serves as a backup. This prototype likely includes specifications different from the production model and is finely tuned to match Ohyama’s sound crafting needs. It is used during live performances for backup in case of issues and for switching tones between songs.

These guitars play a vital role in coloring the clean to crunchy amp sounds, making them extremely important in Straytenner’s musical identity. Ohyama’s heavy use of effects necessitates that the guitar’s character be pronounced; otherwise, the sound could get buried. FCGR guitars excel in this regard, maintaining a clear and defined sound while maximizing the effects’ transformations.

Some interviews and social media posts indicate that he has owned Fender Jazzmasters and Telecasters, but the current stage setup primarily revolves around the custom models from Freedom. Ultimately, the combination of “FCGR guitars + Fender-style amps + diverse effects” forms the backbone of Jun Ohyama’s sound.

Effects and Pedalboard Setup

Jun Ohyama’s sound crafting is characterized by a meticulously constructed pedalboard featuring a diverse array of effects. Straytenner’s music spans a wide range from clean tones to roaring sounds, employing overdrive, fuzz, spatial effects, modulation, and even synthesizer sounds.

For distortion, he uses pedals like the “Rock Stock Pedals The Raven Overdrive V2” and “One Control Persian Green Screamer.” The Raven Overdrive, in particular, has a unique midrange character that, when combined with the Super Sonic’s crunch channel, creates a powerful lead sound. Other pedals like the Ibanez TS808HW and Mad Professor Sweet Honey Overdrive also appear in live settings, indicating that he adjusts the distortion character based on the song or tour.

For fuzz, he primarily uses the “EarthQuaker Devices Cloven Hoof” and “BOSS TB-2w,” along with the Mad Professor Fire Red Fuzz. The Cloven Hoof, with its thick low-end and sharp high-end, enhances presence during heavy sections.

The spatial effects are particularly rich, with pedals like the “BOSS DD-500,” “Neunaber Wet Reverb,” and “Electro-Harmonix Cathedral” in his arsenal. The DD-500 serves as a multi-functional delay covering most of the setlist, while he also utilizes analog/digital delays like the DL-4 and AD-9 depending on the situation. By combining multiple reverb units, he adjusts depth and expansiveness according to the song’s needs.

In terms of modulation, he employs the “Electro-Harmonix Small Clone” (chorus) and “Small Stone” (phaser). These simple yet distinctive effects add a sense of movement, emphasizing the ethereal sound characteristic of Straytenner.

For synthesizer sounds, he utilizes the “BOSS SY-1 Guitar Synthesizer” and “Digitech Whammy.” The SY-1 offers a variety of tones, while the Whammy serves as a pitch-shifting gimmick, particularly effective in live settings.

Moreover, he incorporates switchers like the “Free The Tone ARC-3” and “ARC-53M,” allowing for instant switching between complex effect chains. This significantly enhances live operability while minimizing sound degradation from effects. Additionally, the “One Control Tri Loop” facilitates flexible signal routing.

Overall, his pedalboard combines multi-effects like the “MOOER GE250,” tuners like the “BOSS TU-3w,” and power supplies from Free The Tone, achieving stability and multifunctionality. This results in an ideal system that allows for rapid access to a wide range of tones for each song.

Jun Ohyama’s effects board may appear simple, but it is intricately designed. Each effect is compelling on its own, but the overall balance in placement maximizes their impact.

Tone Settings, EQ, and Mixing Approaches

Jun Ohyama’s sound crafting can be summarized as “building depth with diverse effects based on clean to crunchy tones.” The amp settings themselves are relatively straightforward, but significant differentiation is achieved through fine EQ adjustments and layering effects.

When using the BASSMAN mode on the Fender Super Sonic 60, the EQ settings tend to keep the low end slightly subdued while boosting the midrange. This approach avoids frequency overlap with bassist Kiyoshi Nakao while ensuring the guitar stands out in the overall band sound. The high end is set to avoid excessive sharpness, ensuring it is not piercing to the ears.

On the BURN channel, the gain is kept moderate, leaning towards crunch, with most of the distortion supplemented by overdrive pedals. For instance, engaging “The Raven Overdrive” or “Persian Green Screamer” adds midrange punch to the amp’s natural distortion, enhancing the presence of lead playing. This setup is often used for solos in songs like “KILLER TUNE” and “Melodic Storm.”

For fuzz, Ohyama switches between the EarthQuaker Devices Cloven Hoof and BOSS TB-2w depending on the song. In particularly heavy tracks, he layers fuzz to add thickness to the amp’s crunch, pushing the overall band sound forward. During this process, it is crucial to tighten the low end while boosting the midrange to avoid getting buried in the mix.

Spatial effects are a significant factor in determining the atmosphere of a song. The BOSS DD-500 is meticulously adjusted for delay times according to the track, ranging from short delays that complement harmonics to long delays that create ethereal echoes. In songs like “REMINDER” and “SIX DAY WONDER,” deep delay is layered with reverb to create a floating soundscape.

For reverb, the Neunaber Wet Reverb is used to create transparent echoes, while the Electro-Harmonix Cathedral expresses a majestic depth. Depending on the song, the Nano Holy Grail is added to produce a simple yet impactful reverb sound. These combinations allow for different “spatial colors” to be expressed in each track.

In terms of modulation, he primarily relies on the Small Clone and Small Stone, adding phasers or choruses as needed. Applying these effects lightly to arpeggios or clean phrases enhances the three-dimensional quality, culminating in the ethereal sound characteristic of Straytenner.

Mixing also plays a crucial role, with the engineer’s EQ processing significantly impacting the overall sound. During live performances or recordings, boosting the guitar around 2-4kHz enhances its outline while managing the low end around 200Hz helps it blend seamlessly into the band sound. Additionally, the delay and reverb’s residual components are often spread across the stereo field, while the guitar itself is typically positioned closer to the center.

Overall, Jun Ohyama’s setup is characterized by a style that “builds upon the amp’s crunch, coloring it with pedals and EQ.” He maximizes the guitar’s character while skillfully manipulating tones for each song, which is the essence of his sound crafting.

Affordable Alternatives to Recreate the Tone

While Jun Ohyama’s sound relies on high-end gear from Freedom Custom Guitar Research and pedals like the BOSS DD-500 and Neunaber Wet Reverb, it can be challenging for beginners or intermediate players to acquire the same equipment. Therefore, here are some more affordable commercial models that can help approximate Ohyama’s sound.

For distortion, notable TS-style overdrives include the “BOSS SD-1 Super OverDrive” and “Ibanez TS9 Tube Screamer.” These pedals share a similar tonal character to Ohyama’s “Persian Green Screamer” and “TS808HW,” emphasizing the midrange and enhancing crunch. Simply layering these over the amp’s clean or crunchy tones can recreate a lead tone that fits Straytenner’s unique sound.

In terms of fuzz, while the EarthQuaker Devices Cloven Hoof is on the pricier side, more budget-friendly options like the “Electro-Harmonix Big Muff Nano” or “BOSS FZ-5” are readily available. These alternatives provide thick sustain and low-end power, effectively replicating the presence needed in heavy sections.

For spatial effects, the “BOSS DD-8” or “TC Electronic Flashback 2” are recommended for delay. While they may not offer the extensive features of the DD-500, they support stereo output and various modes, allowing for long and short delays that can closely mimic Ohyama’s floating sound. For reverb, the “BOSS RV-6” or “TC Electronic Hall of Fame 2” provide excellent cost-performance ratios, allowing for deep reverbs similar to the Cathedral or Neunaber effects.

For modulation, consider using the “BOSS CH-1 Super Chorus” or “TC Electronic Corona Chorus” as alternatives to the Electro-Harmonix Small Clone. For phasers, the “BOSS PH-3” or “MXR Phase 90” are standard options that can recreate the modulation effects in arpeggios or clean sounds.

Additionally, as a substitute for Ohyama’s multi-effects “MOOER GE250,” the “ZOOM G5n” or “Line 6 POD Go” are user-friendly options for beginners. These units cover distortion, spatial effects, and modulation in one device, allowing for a diverse range of tones even on a limited budget.

In summary, setting the amp to a crunchy tone and focusing on overdrive, delay, and reverb will help you get closer to Jun Ohyama’s sound. By combining fuzz and modulation, you can recreate the unique three-dimensional sound characteristic of Straytenner. The following table summarizes affordable gear alternatives.

Summary and Conclusion

In revisiting Jun Ohyama’s sound crafting, its essence lies in “building upon the amp’s natural crunch sound while expanding the soundscape with diverse effects.” The original guitars from Freedom Custom Guitar Research ensure that the core of the tone remains intact, even when layered with distortion and spatial effects. Coupled with the clean to crunchy sound of the Fender Super Sonic 60, a flexible yet powerful sound foundation is established.

Moreover, the construction of his effects board is highly intricate. By having multiple overdrives and fuzzes, he can express different “distortion colors” tailored to each song. When layering delays and reverbs, he not only deepens the echoes but also adjusts the stereo feel and depth to design the space. This results in the unique “floating” and “expansive” qualities characteristic of Straytenner’s music, delivering a three-dimensional auditory experience to the audience.

Additionally, the board system centered around switchers balances operability and reproducibility during live performances. By allowing for instant switching between complex setups, the flow of the music remains uninterrupted, preserving the band’s overall groove. This choice reflects a philosophical approach to ensure that “the music’s flow is not halted,” rather than merely a matter of using extensive gear.

In summary, Jun Ohyama’s sound crafting aims to “maximize his presence while maintaining the overall sound balance of the band.” The guitar does not overshadow the vocals or rhythm section but harmonizes with them, captivating listeners at the right moments. This sense of balance is fundamental to Straytenner’s musical identity.

For readers looking to recreate Jun Ohyama’s sound, it is not necessary to acquire the exact same gear. The key is to focus on three aspects: “a crunchy amp,” “overdrive that emphasizes the midrange,” and “a three-dimensional sound utilizing spatial effects.” By keeping these elements in mind while selecting gear and carefully setting EQ and effects, you can get closer to his sound in practice or live settings.

Ultimately, Jun Ohyama’s sound crafting consists of a “simple foundation” plus “meticulous effect work,” making it a highly practical approach for guitarists. By referencing his playing style, you can learn not just to mimic gear but to grasp the fundamental perspective of “how to make sound resonate.”

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