[Takuya Ohashi] How to Recreate the Sukimaswitch Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[SUGIZO] Complete Guitar Sound Setup Guide for Recreating LUNA SEA’s Signature Tone

2025.06.132025.09.01

How to Recreate Leda’s Signature Guitar Tone (BABYMETAL, Kami Band, DELUHI, GALNERYUS)

2025.06.062025.09.04

Crafting the Mikio Fujioka (BABYMETAL Kami Band) Sound: Guitar Gear, Effects, and Amp Settings

2025.06.062025.09.04

Introduction (Overview of Tone)

Takuya Ohashi, the frontman and guitarist of Sukimaswitch, is known for his delicate yet powerful guitar playing that enhances the band’s ensemble during live performances. His iconic songs, such as “Zenryoku Shounen” and “Kanade,” showcase a clear and refreshing sound centered around the resonance of acoustic guitars, leaving a profound impression on fans.

At the core of Ohashi’s sound philosophy is the belief that the guitar should elevate the vocals to their fullest potential. This is why he tends to keep flashy distortion and excessive effects to a minimum, skillfully balancing the warmth of acoustic tones with the depth of electric sounds. In recent live performances, he has prominently featured a custom-made BEFFNICK NEO from a workshop in Saga, alongside a Provision custom model (Telecaster type) and a Gibson ES-330, reflecting his unique personality through his gear choices.

Moreover, he incorporates the Fishman Matrix Infinity into his acoustic guitars, ensuring high-quality sound correction with preamps and DIs like the Zoom A3 and Aura Spectrum DI. This setup allows him to deliver consistently high-quality sound across various venues, from small clubs to large halls. His effects board is meticulously organized, separating acoustic and electric setups while using the BOSS ES-5 for centralized switching, emphasizing ease of operation on stage.

This configuration illustrates a solid style optimized for vocal-centric music, yet it also tells a story of a “seemingly simple but actually meticulously crafted sound.” As a result, listeners can strongly feel the unity between the vocals and the guitar.

In particular, in ballads like “Kanade,” the soft resonance of the gut guitar (YAMAHA NTX700) supports his delicate singing, while in “Zenryoku Shounen,” the strumming of the acoustic guitar creates a sense of exhilaration. This flexibility in choosing the right guitar for each song is a distinctive charm of Ohashi.

In summary, Takuya Ohashi’s sound is characterized as “a guitar that highlights the vocals,” but behind it lies a carefully constructed array of equipment and a meticulous philosophy of sound creation. This article will thoroughly explain his gear and settings.

▶ Search official YouTube videos of Sukimaswitch

List of Amplifiers and Features

In Takuya Ohashi’s sound creation, amplifiers are not as prominently featured as guitars or effects. Since Sukimaswitch’s music is primarily acoustic, there are few instances where tube amplifiers take center stage. Instead, live performances and recordings often rely on line outputs through preamps and DIs.

The sound of his acoustic guitar is typically sent directly to the PA after being shaped by pickups like the Fishman Matrix Infinity and adjusted with devices such as the Fishman Aura Spectrum DI or Zoom A3. Thus, it seems he prioritizes consistent sound creation through line output over placing acoustic guitar amplifiers on stage. This choice ensures stable sound delivery to listeners, regardless of venue size or acoustic environment.

On the other hand, when using electric guitars (such as the Provision custom model or Gibson ES-330), combinations with tube amplifiers have been observed. While specific models are not clearly disclosed, live photos suggest the use of Fender-style amplifiers, which align well with Ohashi’s style, capable of handling a wide range from clean to light crunch. Notably, the Provision Telecaster-shaped guitar, equipped with mini-humbuckers, produces warm and dimensional tones, making it an excellent match with amplifiers like the Fender Deluxe Reverb or Twin Reverb for Sukimaswitch’s pop-oriented sound.

Additionally, the Roland JC-120 (Jazz Chorus) may also be used in studio or rehearsal settings. Its transparent clean tone and stereo chorus function are highly compatible for creating accompaniment sounds that do not interfere with vocals. Given that Sukimaswitch’s music often requires a transparent ensemble, it is likely that this amplifier is incorporated into their setups.

In summary, Ohashi’s amplifier configuration can be characterized as “acoustic primarily through line output” and “electric combined with Fender or JC-120.” While specific models rarely appear in interviews or gear magazines, it is assumed that the aforementioned lineup is frequently utilized in live settings.

Thus, it is assumed that the basic configuration involves outputting the acoustic guitar through DI/preamp and creating clean to crunch tones with Fender or Roland amplifiers.

Types of Guitars Used and Features

The core of Takuya Ohashi’s sound is undoubtedly his acoustic guitar. In particular, the custom model BEFFNICK NEO from the Saga workshop has been his main guitar for many years in both live performances and recordings. Its meticulous craftsmanship, characteristic of handmade Japanese guitars, and its rich, wide-ranging tone make it expressive for both strumming-based songs and arpeggio-driven ballads. It truly embodies the essence of an acoustic guitar that supports Ohashi’s musicality.

Additionally, for ballads and delicate moments, he uses the YAMAHA NTX700 (a gut guitar). The soft resonance of nylon strings is invaluable for songs like “Kanade” and “Bokunoto,” enhancing his gentle vocal delivery. He actively uses this guitar on stage, showcasing his style of alternating between acoustic and gut guitars depending on the song.

Furthermore, he also utilizes classic-sounding guitars such as the Gibson J-50 and Martin OM-28V. Both are traditional acoustic guitars, with the Gibson offering warmth and a thick midrange, while the Martin provides a bright and wide-ranging sound. These guitars are incorporated into recordings and select live performances, allowing him to choose different tones for each song.

On the electric guitar front, the custom model Provision Guitar VST-TO/BLK has gained prominence in recent live shows. Based on a Telecaster design, it features a mini-humbucker in the front, achieving a rich tone that sits between single-coil and humbucker sounds. Additionally, the body is adorned with original artwork by designer Ayaka Shiota from Saga, making it a truly unique instrument.

For songs requiring a jazz or bluesy sound, he uses the Gibson ES-330. Its warm tone, derived from its full hollow body structure, adds depth to Sukimaswitch’s music. It has been confirmed through Ohashi’s statements that he also uses Fender electric guitars, although the specific models remain unclear; they are assumed to be used in contexts where clean tones are prioritized.

Looking at this lineup, it is evident that Takuya Ohashi selects the appropriate guitar for each scene, primarily focusing on acoustic guitars while integrating renowned models from Gibson and Martin to create a diverse yet cohesive sound.

Thus, it is assumed that Ohashi’s guitar lineup is structured around “custom models at the core, interwoven with classic renowned instruments.”

Effects and Pedalboard Setup

Takuya Ohashi’s effects board is notably divided into distinct setups for acoustic and electric guitars. Since most of his songs are performed on acoustic guitar, he centers his setup around preamps and DIs optimized for acoustic sound creation, while for electric, he maintains a simple yet effective arrangement with essential pedals like overdrive and reverb.

For the acoustic setup, he utilizes the Fishman Matrix Infinity pickup and routes its signal through the Zoom A3 and Fishman Aura Spectrum DI for EQ correction and mic simulation. After that, he passes the signal through the FREE THE TONE 10-band EQ “PA-1QA” to finely adjust the sound according to the venue’s acoustics. Ultimately, the signal is sent directly to the PA, ensuring stable sound quality in both halls and live houses.

Additionally, he owns two BOSS TU-2 tuners, which are used interchangeably for acoustic and electric guitars. For power supply, he employs the CUSTOM AUDIO JAPAN ACDC STATION, ensuring noise-free and stable power management. This solid combination reflects Ohashi’s aim for “acoustic sounds that do not interfere with the vocals.”

For the electric setup, he uses nuance-focused pedals to complement the characteristics of the Provision custom model and Gibson ES-330, avoiding excessive distortion. For instance, the BamBasic Soul Stone and One Control Persian Green Screamer serve as light overdrives, covering a range from near-clean tones to pleasant crunch.

In terms of spatial effects, the FREE THE TONE AS-1R AMBI SPACE (reverb) and BOSS MD-500 (modulation) are the mainstays. Notably, the MD-500 offers a variety of modulation effects, allowing for a wide range of tones to match different songs. The BOSS ES-5 switcher is implemented for efficient switching between multiple effects. Other devices like A/B boxes and line selectors are also used to facilitate smooth transitions between instruments and lines on stage.

In summary, Ohashi’s effects board is structured around “acoustic with preamp and EQ correction” and “electric with overdrive plus spatial effects and a switcher.” While not flashy, this practical setup is meticulously designed to support the songs and vocals.

In conclusion, Ohashi’s effects are characterized by a “selection of only what is necessary, summarized simply.” This results in a guitar sound that maximally enhances the atmosphere of the songs without overshadowing the vocals.

Tone Settings, EQ, and Mixing Approaches

Takuya Ohashi’s sound creation is characterized by the principle of “guitar sounds that prioritize the vocals.” Therefore, the settings for effects and amplifiers are not aimed at dramatic changes but rather at maximizing the natural resonance of acoustic guitars and the clean to crunch tones of electric guitars.

For the acoustic guitar setup, the signal from the Fishman Matrix Infinity pickup is routed through the Zoom A3 and Fishman Aura Spectrum DI for mic simulation and EQ correction. As an EQ setting example, low frequencies (below 80Hz) are lightly cut to prevent feedback, while midrange frequencies (around 500Hz to 1kHz) are slightly boosted to avoid clashing with the vocals. High frequencies (around 10kHz) are gently boosted to produce the characteristic “jarring” attack of the acoustic guitar.

Furthermore, since the resonance varies depending on the venue, fine adjustments are made using the FREE THE TONE PA-1QA 10-band EQ. For example, in environments with strong reverb, such as halls, the high frequencies are suppressed, while in live houses where sound can become congested, the mid-low frequencies are cut to improve clarity. It is assumed that Ohashi collaborates with the PA engineer to optimize the sound creation.

For the electric guitar setup, he often uses the Provision custom model and Gibson ES-330, keeping the overdrive settings light. The BamBasic Soul Stone and Persian Green Screamer are set to around 20-30% gain, adding warmth and thickness without overpowering the sound. The tone is slightly rolled off, enriching the midrange to create a sound that supports the vocals.

In terms of spatial effects, the FREE THE TONE AS-1R AMBI SPACE is set to a moderate reverb level. The decay is kept short (around 1.5-2.0 seconds for hall settings), and the mix is kept around 20%, creating a natural resonance that envelops the entire song. For ballads, the reverb is set deeper to evoke emotion, while for upbeat songs, it is kept shorter to emphasize rhythm.

Regarding modulation, the BOSS MD-500 is primarily used, applying a light chorus to add thickness. For example, in strumming-based songs like “Zenryoku Shounen,” a light chorus is added to create a sense of spaciousness in the backing, while in simple arpeggio songs, the chorus is turned off to enhance the natural sound.

Attention to PA and mixing is also crucial. Since Sukimaswitch’s music is centered around piano and guitar, the PA often places the vocals and piano at the forefront, positioning the guitar to support them. Panning is typically done with the guitar slightly to the side, maintaining the piano’s central spread while creating a sense of stereo.

In recordings, it is assumed that a blend of DI and mic recording techniques is used for the acoustic guitar. By capturing the core sound through DI while recording the airiness with a mic, a balance of warmth and clarity is achieved. For electric guitars, a combination of amp recording and line output is likely used to capture both the transparency of clean tones and the compression effectively.

Overall, Takuya Ohashi’s sound creation is characterized by “practical settings that enhance the vocals.” The EQ, reverb, and modulation settings are not extreme but focus on naturalness. As a result, the guitar does not overshadow the vocals, allowing for a sound that centers around the singing.

Affordable Alternatives to Recreate the Tone

Takuya Ohashi’s gear primarily consists of custom-made guitars and high-quality effects, but it is indeed possible for beginner and amateur guitarists to recreate a similar sound with relatively affordable equipment. Here, we will introduce commercially available gear priced between $100 and $500 (up to $1,000) that can help achieve a “Sukimaswitch-like sound.”

For acoustic guitars, while the BEFFNICK NEO he uses is custom-made and unavailable, YAMAHA’s acoustic guitars offer excellent cost performance, particularly the “YAMAHA FG/FS series” and “NTX series,” which are beginner-friendly. Although the NTX700 is discontinued, its successors, the “NTX1” and “NTX3,” can reproduce the soft tones of nylon strings.

For preamps/DIs, while the Fishman Aura Spectrum DI is expensive, more affordable options such as the “BOSS AD-2 Acoustic Preamp” and “Zoom AC-2 Acoustic Creator” are available. These are capable of handling live performances and home recordings, providing natural sound correction even when directly connecting the acoustic guitar.

Regarding effects, while the FREE THE TONE products used by Ohashi are costly, there are reasonable alternatives that can fulfill similar roles. For instance, a 10-band EQ can be effectively replaced with the “BOSS GE-7.” For reverb, the “BOSS RV-6” and for modulation, the “BOSS CH-1 Super Chorus” are viable options. All of these are standard and easily accessible pedals at reasonable prices.

For overdrive, while BamBasic and One Control are professional-grade, alternatives like the “BOSS SD-1” or “Ibanez TS9 Tube Screamer” can provide similar clean boost and light distortion. The SD-1, in particular, is affordable and well-suited for achieving the transparent tones characteristic of Ohashi’s sound.

While a switching system is not essential, if you wish to manage multiple effects efficiently, affordable multi-effects units like “Mooer L6” or “Valeton GP-200” can cover a wide range of sounds. Valeton, in particular, includes spatial effects and EQ, making it a convenient option to get closer to Ohashi’s setup while keeping costs down.

By combining such gear, it is possible to recreate a “solid acoustic-centric sound that supports the vocals” without needing custom models or high-end equipment. The key is to prioritize “naturalness over flashiness,” which will enable you to get closer to Takuya Ohashi’s sound.

By focusing on standard BOSS and Ibanez effects and YAMAHA acoustic guitars, you can easily mimic Takuya Ohashi’s sound creation. The key is to aim for “natural tones that support the vocals” rather than flashy sound creation.

Summary and Conclusion

As we have seen, Takuya Ohashi’s sound creation is characterized by a “solid and delicate style that prioritizes the vocals.” His guitar does not merely play chords; it functions as the backbone supporting Sukimaswitch’s entire musicality. By centering on acoustic guitars while selecting unique electric guitars like the Provision custom model and ES-330 for each song, he colors his sound with minimal effects. This is Ohashi’s philosophy.

In terms of acoustics, he equips guitars like the BEFFNICK NEO and YAMAHA NTX700 with the Fishman Matrix Infinity, thoroughly shaping the sound with preamps and EQ. This enables him to deliver stable sound regardless of venue. For electric guitars, distortion is kept minimal, using overdrive, reverb, and modulation sparingly. His approach is more about “supporting the vocals” than “pushing the sound forward,” which is a distinctive feature of Ohashi.

Moreover, the use of the BOSS ES-5 for switching and meticulous power supply management reflects a high level of operational efficiency in live settings. While not flashy, this is a testament to his years of experience and a professional’s effort to “produce consistent sound in any environment.”

Additionally, the essence of sound creation lies not in the gear itself but in the balance of “which frequencies to enhance and which to suppress.” Ohashi carefully adjusts EQ and reverb settings to avoid encroaching on the vocal range. This reflects not only his awareness as a guitarist but also his strong identity as a singer.

For those aspiring to achieve Ohashi’s sound, it is crucial to first focus on creating “sounds that do not interfere with the vocals.” Even without expensive gear, a combination of acoustic guitar and simple preamps, along with electric guitar, light overdrive, and reverb, can adequately recreate the atmosphere. If you have the budget, adding EQ and a switcher can bring you closer to a practical live setup.

In conclusion, Takuya Ohashi’s sound creation embodies “a simple philosophy aimed at making the vocals shine while maintaining a craftsman’s attention to detail.” By skillfully alternating between the warmth of acoustic guitars and the depth of electric guitars according to the scene, Sukimaswitch’s music exudes a unique presence.

Readers, start with accessible guitars and standard effects, and pursue naturalness. Doing so will surely bring you one step closer to the sound of Takuya Ohashi, where the guitar and vocals become one.