[Nobuo Oki] How to Recreate the ACIDMAN Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Nobuo Oki, the guitarist and vocalist of ACIDMAN, is the cornerstone of the band’s sound. His playing style is emotional and powerful, characterized by a unique sonic landscape that utilizes ethereal delays and fuzz sounds. Notable tracks like “Akadō,” “Your Song,” and “Aru Shōmei” showcase the sharp contours typical of Rickenbacker guitars, combined with the edgy drive of Orange amplifiers, creating a one-of-a-kind musical atmosphere.

In ACIDMAN’s sound design, the balance between transparent clean tones and thick distortion is crucial. Live performances primarily feature Rickenbacker guitars, while various Fender models are used depending on the situation, allowing for expressions ranging from delicate arpeggios to thunderous riffs. Additionally, the delay sounds centered around the Line6 DL4 add depth and expansiveness to their music, while the aggressive fuzz tones from the Big Muff support the explosive nature of their songs.

Nobuo Oki’s guitar playing captivates with its ability to convey deep emotions even within simple chord progressions, influencing many guitarists along the way. This article will thoroughly explain the key points for recreating the ACIDMAN sound, focusing on the amplifiers, guitars, and effects used by the band.

▶ Search official YouTube videos of ACIDMAN

List of Amplifiers and Features

The core of ACIDMAN’s sound is the tube amplifiers from the British brand Orange. Nobuo Oki is particularly fond of the “ORANGE AD140HTC,” which has been confirmed as a central part of his live setup. The thick and edgy drive sound characteristic of Orange amplifiers supports the grandeur and weightiness that permeates ACIDMAN’s music.

The ORANGE AD140HTC is versatile, capable of handling everything from clean tones to aggressive distortion. Oki’s playing often features clear, transparent clean tones for arpeggios, while combining it with the Big Muff to produce powerful, explosive riffs. In songs like “Akadō” and “Aru Shōmei,” the thick tone emphasized in the mid to low frequencies typical of Orange amplifiers stands out prominently.

Past interviews and live footage suggest that Fender and Marshall amplifiers may have been used in studio recordings. For example, Fender Twin Reverb models might be employed for their bright clean tones, while Marshall amps could provide aggressive distortion for heavier tracks, allowing for optimal sound design tailored to each recording. However, it is safe to assume that the ORANGE AD140HTC is primarily used in live settings, making it the main amplifier.

Furthermore, it is speculated that studio work involves nuanced adjustments in mic placement and recording techniques. For instance, using a Shure SM57 mic positioned in front of the cabinet, along with an ambient mic to capture the surrounding atmosphere, likely contributes to the expansive guitar tone. Such techniques directly relate to ACIDMAN’s “cosmic” soundscape.

Overall, Nobuo Oki’s amplifier selection can be summarized as “using the ORANGE AD140HTC as the main amp live, while supplementing with Fender and Marshall amps in the studio as needed,” demonstrating a flexible approach to achieving the best sound for each song.

Types of Guitars Used and Features

When discussing ACIDMAN’s sound, the Rickenbacker guitars used by frontman Nobuo Oki are indispensable. He has been seen using various models such as the “Rickenbacker 330,” “Rickenbacker 360FG,” and “Rickenbacker 381MG,” as confirmed by live footage and photographs. The sharp and clearly defined sound characteristic of Rickenbackers complements both clean and distorted tones, making them a perfect match for ACIDMAN’s musical style.

The “Rickenbacker 330” is one of Oki’s main guitars, known for its clarity in chord separation and the beauty of arpeggios. In transparent tracks like “Akadō” and “Your Song,” its balanced sound is particularly effective. The “Rickenbacker 360FG” utilizes stereo output, making it easy to combine with spatial effects, contributing to ACIDMAN’s expansive soundscapes. The “Rickenbacker 381MG,” with its arched top structure, boasts a rich resonance that enhances its presence during live performances.

In addition to Rickenbackers, Oki has been confirmed to own several Fender models. The “Fender Telecaster” produces a sharp sound, often used to emphasize the attack in rock tracks. The “Fender Telecaster Deluxe,” equipped with humbuckers, generates a sweet and thick tone, making it suitable for ballads and grand arrangements. The “Fender Jazzmaster” and “Stratocaster” are also utilized in various recordings and live performances, enabling a diverse range of tones.

For acoustic performances, he uses the “Martin D-18 Golden Era,” known for its bright highs and mellow lows. This guitar shines during ACIDMAN’s acoustic sets and studio recordings, particularly in unplugged live performances and solo singing, captivating audiences with its unique resonance.

Nobuo Oki’s guitar selection can be summarized as “supporting ACIDMAN’s spatial sound with Rickenbackers while supplementing sound variations with Fenders and adding warmth with acoustics.” This combination creates different dynamics for each live performance and allows for flexible sound design tailored to the mood of each song. Ultimately, the Rickenbacker remains the core of his setup, as its resonance is central to ACIDMAN’s musical identity.

Effects and Pedalboard Setup

Nobuo Oki’s pedalboard is simple yet significantly broadens his sound palette. A notable feature is the clever combination of fuzz and overdrive effects with delay, allowing him to navigate effortlessly from clean tones to thunderous sounds. The ethereal and grand sonic landscape present in ACIDMAN’s music is largely supported by this pedalboard.

For booster/overdrive effects, he uses the “MXR Micro Amp” as a preamp to elevate the basic sound pressure. By combining it with the “HUGHES & KETTNER TUBE FACTOR” and “BOSS BD-2,” he achieves a wide range from natural drive to intense distortion. The “Marshall Drive Master” and “Electro-Harmonix Big Muff Pi Original” are essential for producing powerful fuzz/distortion sounds, particularly evident in tracks like “Aru Shōmei” and “FREE STAR,” where this explosive sound is striking.

For spatial effects, he employs the “Line6 DL4” and “BOSS DD-5.” The DL4 utilizes various delay patterns to add depth to the music and is also used as a looper. The DD-5 offers tight and manageable delay, enhancing the intricacy of arpeggios and riffs. By combining these two, Oki creates a fantastical and three-dimensional soundscape.

In terms of modulation effects, the “BOSS CH-1 Super Chorus” and “BOSS TR-2 Tremolo” have been confirmed. The CH-1 adds thickness to the sharp tones of the Rickenbacker, emphasizing the clarity of clean tones. The TR-2 creates a sense of movement that highlights the dynamics of the music, adding a dreamy quality to specific passages. Additionally, the “Sobbat A/B Breaker” is used for signal switching, allowing efficient operation of multiple amps and effects loops.

Overall, Nobuo Oki’s effects setup can be summarized as “leveraging the sharp fundamental tones of Rickenbackers while adding space and explosiveness with the Big Muff and DL4.” Live footage shows that while maintaining the same basic structure, he makes fine adjustments to suit each song. This simple yet profound pedalboard configuration is undoubtedly the source of ACIDMAN’s unique sound.

Tone Settings, EQ, and Mixing Approaches

Nobuo Oki’s sound design is completed not only through the equipment he uses but also through EQ settings, amplifier adjustments, and mixing techniques during the PA stage. ACIDMAN’s music embodies a grand spatiality and powerful drive, and the secret lies in the meticulous details of the setup.

Regarding the basic settings of the amplifier, it can be inferred from live footage and recordings that Oki tends to emphasize the mids while utilizing the characteristics of the ORANGE AD140HTC. This approach allows the sharp fundamental tones of the Rickenbacker to stand out without being buried, maintaining a prominent presence within the overall band sound. The bass is typically set around 50-60%, treble slightly lower (40-50%), and mids higher (60-70%). Gain is adjusted according to the song, likely set around 30% for clean tones and above 70% for tracks that emphasize distortion.

The use of effects is also crucial in Oki’s sound design. For example, during clean tones, he boosts sound pressure with the “MXR Micro Amp” while lightly applying chorus (BOSS CH-1) to enhance transparency. In arpeggio parts, he may use the “BOSS DD-5” for a short delay to add depth. Conversely, for powerful riffs and choruses, the “Electro-Harmonix Big Muff Pi” is central, adding the rawness characteristic of fuzz, creating dynamic developments. This setup is particularly evident in “Aru Shōmei,” where the sound remains balanced despite its explosive nature.

The use of the Line6 DL4 is also a significant point. The DL4 not only serves as a delay but also utilizes reverse delay and looper functions to create a fantastical, cosmic sound space. Layering loops within songs adds thickness, while reverse effects emphasize a sense of levitation, tailored to the song’s atmosphere.

In studio recordings, mic placement becomes a crucial factor. ACIDMAN’s works likely feature a dynamic mic like the SM57 positioned in front of the cabinet, complemented by a condenser mic placed slightly further away to capture the ambient resonance. This setup yields a naturally expansive guitar tone that blends seamlessly with the overall band sound. Furthermore, during the mixing stage, EQ adjustments are made to refine the low end around 200Hz-400Hz, while boosting around 3kHz to emphasize the jangly attack typical of Rickenbackers.

Additionally, in live settings, careful adjustments ensure that the guitar does not get buried in the mix. Since Oki also handles vocals, balancing the guitar with his voice is vital. Therefore, the guitar’s midrange is retained while lightly cutting around 2kHz to avoid clashing with the vocal frequencies, indicating meticulous adjustments. This PA approach supports ACIDMAN’s live sound, which is grand yet ensures the vocals are clearly heard.

In summary, Nobuo Oki’s sound design revolves around three key elements: “sharp tones from the Rickenbacker, thick mids from the ORANGE, and spatial effects from fuzz and delay.” By fine-tuning EQ and gain for each song and balancing with the overall band sound during mixing and PA, a unique sound is achieved.

Affordable Alternatives to Recreate the Tone

To fully replicate Nobuo Oki’s sound, expensive gear like Rickenbacker guitars and ORANGE amplifiers are often necessary. However, there are ways for beginners and intermediate players to approximate this sound at a more affordable price. Here, we introduce cost-effective alternative gear that can help achieve a similar tone.

Starting with guitars, Rickenbackers typically cost over $3,000, making them difficult for beginners to access. Instead, models like the “YAMAHA Revstar” series or “Epiphone Casino” can provide a similar jangly midrange sound. The Casino, in particular, is famous for its association with The Beatles and can express a brightness akin to Rickenbackers.

For amplifiers, the ORANGE AD140HTC is expensive and hard to find. However, alternatives like the “ORANGE Crush Pro series” or “Blackstar HT Club” can serve as substitutes in the mid-price range. These models are designed to capture the essence of tube warmth, allowing for tones close to the characteristic midrange push of Orange amps. For home practice, the “BOSS Katana” series is also powerful, offering diverse amp modeling suitable for both live and practice scenarios.

Effects pedals are relatively affordable and easy to acquire. The “Electro-Harmonix Big Muff Pi,” used by Oki, can be purchased for around $100-$200, effectively replicating the essential fuzz sound in his setup. The “BOSS BD-2” is a classic overdrive that can complement the sharpness of Rickenbackers. For delay, the “BOSS DD-8” is a readily available successor that captures the three-dimensional spatial quality present in ACIDMAN’s sound.

Additionally, utilizing multi-effects units can be a practical approach. Models like the “LINE6 POD GO” or “ZOOM G5n” offer robust amp simulations and spatial effects, allowing users to replicate the ORANGE and DL4 combination in a single unit. These devices are user-friendly, making them suitable for beginners while being effective in studio settings.

In summary, to achieve a sound similar to Nobuo Oki’s, one can start with “semi-hollow guitars with a strong midrange,” “amps with emphasized midrange,” and an effects setup centered around the Big Muff and delay. This approach allows for a relatively low-budget way to recreate his sound. Beginners can start with these alternative options and gradually upgrade to Rickenbackers and ORANGE gear as they progress.

Summary and Conclusion

Nobuo Oki’s sound may appear to stem from a simple gear setup, but it is actually supported by meticulous design and thoughtful play style. The sharp and defined tones based on Rickenbackers, the midrange push of Orange amplifiers, and the spatial effects centered around the Big Muff and DL4 create a grand sonic landscape that is uniquely ACIDMAN.

Notably, his sound design exemplifies the “aesthetic of subtraction.” Rather than stacking numerous effects, he extracts maximum expression from a minimal setup. Even when using delay and fuzz, the sound design aligns with the flow and message of the songs, ensuring that listeners are always drawn to both the music and its overarching atmosphere.

Moreover, the approaches differ between studio recordings and live performances. In the studio, mic placement and EQ processing create a sense of dimensionality, while live performances optimize the balance between vocals and guitar through careful PA adjustments. This philosophy reflects Oki’s perspective as both a guitarist and vocalist.

For beginners and intermediate players aspiring to emulate Oki’s sound, starting with “guitars with strong midrange similar to Rickenbackers,” “amps with emphasized midrange,” and a “simple effects setup centered around Big Muff and delay” is advisable. The key lies not in the gear itself but in understanding “how to use the sound” and “when to let it resonate.” His sound design essence is found in a delicate approach that conveys emotions and imagery through music.

In conclusion, Nobuo Oki’s sound is built on three pillars: “the transparency of Rickenbackers, the midrange of Orange amplifiers, and the spatial effects of fuzz and delay.” While high-end gear is often necessary for replication, being mindful of sound design philosophy and the aesthetic of subtraction allows players to approximate this sound with their existing equipment. Through the process of covering ACIDMAN’s songs, one can engage with the philosophy of “painting scenes with sound” rather than merely reproducing tones.

We encourage you to use this article as a reference to study Nobuo Oki’s sound design and apply it to your own guitar tone. The insights gained in this process will lead to new musical expressions that transcend simple imitation.