[Kōnosuke Sakazaki] How to Recreate the THE ALFEE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kōnosuke Sakazaki, the guitarist of THE ALFEE, is renowned for his sound design centered around acoustic guitars. His playing style showcases a wide range of expressions, from classical fingerpicking to rock-oriented strumming. This versatility is particularly evident in iconic songs like “Hoshizora no Distance” and “Merian,” where the rich blend of acoustic and electric sounds reflects Sakazaki’s unique approach to sound creation.

His sound is deeply rooted in the depth and brilliance produced by multiple vintage guitars, including the Martin D-45. Additionally, during live performances, he incorporates custom-made guitars from brands like ESP and T’sT, allowing him to switch sound characters according to each song. Sakazaki is not just a performer; he is an “artist who crafts tones.”

Moreover, Sakazaki enhances the overall expression of the ensemble by skillfully playing various instruments, including the blues harp and mandolin. One of the reasons THE ALFEE can produce a “full band sound with just three members” lies in Sakazaki’s choice of instruments and sound design.

This article will summarize the amplifiers, guitars, and effects that Kōnosuke Sakazaki actually uses, while thoroughly explaining their settings and EQ techniques. It aims to provide valuable insights for fans of THE ALFEE and acoustic guitar enthusiasts.

First, let’s experience Sakazaki’s sound directly through THE ALFEE’s official music videos.

▶ Search official YouTube videos of THE ALFEE

List of Amplifiers and Features

Kōnosuke Sakazaki primarily focuses on acoustic guitars, which means he rarely uses high-gain amplifiers like Marshall or Mesa Boogie, typically favored by rock guitarists. Instead, he adopts acoustic-specific amplifiers and PA systems for a balanced sound output. Particularly in large venues and stadiums, his main approach involves using a pickup and preamp routed through a direct box, ensuring that the guitar’s natural resonance is faithfully delivered rather than colored by an amplifier head.

One confirmed amplifier used by Sakazaki is the YAMAHA acoustic guitar amplifier, including the CWE and APX series, which he likely incorporated for monitoring during live performances. Roland’s AC-60 and AC-90, known for their portable and transparent sound, have also been observed in studio rehearsals and as part of his auxiliary systems.

When using vintage acoustics from brands like Martin or Gibson, he often connects them directly to the PA system via external acoustic preamps from L.R. Baggs or Fishman, emphasizing natural resonance during recordings through careful mic placement and blending. Given that THE ALFEE places significant importance on harmony and arrangement, Sakazaki’s sound typically does not dominate but rather complements the ensemble, achieving a sound that “stands out without being intrusive.”

In particular, the acoustic resonance during solo parts is likely enhanced by EQ settings that slightly boost the midrange, allowing harmonics to beautifully expand. Rather than cranking the amp to high volumes, his approach is to let the guitar resonate naturally within the overall mix of the PA system, perfectly aligning with THE ALFEE’s three-part harmonies.

In summary, Kōnosuke Sakazaki’s choice of amplifiers serves more as “supportive equipment to deliver the guitar’s inherent sound to the entire venue” rather than merely amplifying the sound. Therefore, the integration of acoustic amplifiers, preamps, and PA systems is central to his sound design.

Types of Guitars Used and Features

At the core of Kōnosuke Sakazaki’s sound design is undoubtedly the acoustic guitar. He owns several vintage models, primarily from Martin, with the D-45 series being his signature guitar. He utilizes various years of production, including 1941, 1968, 1981, and 2008 models of the D-45S, with the 1968 version frequently used in recordings. Additionally, the 1982 D-45 CUSTOM, a rare 7/8 size model passed down from Shigeta Sugai, is well-known among fans.

Moreover, Sakazaki’s signature model, the 00-21KS, is an officially produced guitar by Martin tailored to his specifications, making it a coveted piece among fans. He also possesses historically significant guitars like the MC-45 (a one-of-a-kind ornate model) and the D-45S KK (a model associated with Kazuhiko Kato, holding sentimental value). These instruments are not merely for performance; they symbolize interactions with the artist and serve as historical artifacts.

Furthermore, the Martin D-18 (1961) was purchased with the help of his grandmother before he became a professional, and it played a vital role in his early recordings. Its sound is simple yet well-balanced, supporting Sakazaki’s initial sound. He also owns Martin 000-28 models (from 1951 and 1954), known for their versatile resonance, which have been mainstays in his recordings.

From the Gibson line, the Hummingbird (1964) and J-185 are notable. The Hummingbird features a spruce and mahogany construction, producing a distinctive sound often used for vintage comparisons. The J-185 has been used in albums like “War and Peace” and the ending theme of “Tanpopo no Uta,” resonating with a mellow tone.

Custom models from T’sT and ESP are also staples in his live performances. Notably, the T’sT No.8 (TS-100CS) has been his main live guitar since its creation in 1991, showcasing its reliability. The ESP “Hoshinosuke,” featuring a star-shaped soundhole, is a unique guitar produced under Sakazaki’s supervision, balancing visual impact with distinct sound. His collaboration in developing YAMAHA’s silent guitars and APX series is also well-known, with practical usage in live performances and recordings.

Kōnosuke Sakazaki’s guitar collection is not merely about equipment selection; it reflects a pursuit of “optimal expression for each song and era,” serving as a pillar supporting THE ALFEE’s diverse musicality. Overall, his guitar choices converge on the direction of “grounding in the depth of acoustic sound while embellishing it with various custom models.”

Effects and Pedalboard Setup

Kōnosuke Sakazaki does not utilize flashy distortion or a wide array of spatial effects like many electric guitarists. Instead, he employs a minimal yet practical set of effects designed to maximize the natural resonance of his acoustic guitar. His fundamental approach to sound design is to “highlight the guitar’s inherent tone while applying spatial processing as needed.”

A prime example of this is the Stafford×Maxon Koh Chorus 6348ST, an analog chorus model named after his family’s music store, KOH Gakki. Sakazaki was deeply involved in the sound design of this model, which subtly adds a touch of modulation to acoustic arpeggios and strumming, enriching the songs with thickness and depth. This effect can be considered emblematic of Sakazaki’s sound.

In live performances and recordings, he often combines the chorus with acoustic-specific reverb and delay effects. By applying a light hall reverb, he enhances the stage’s spatial feel while maintaining a natural resonance. Additionally, it is likely that preamps from Fishman or L.R. Baggs are integrated into his effects board, sending signals to the PA system through a direct box.

Furthermore, compact reverb and delay units from YAMAHA or BOSS may be used as auxiliary effects. Sakazaki’s philosophy emphasizes not relying on equipment but rather on the nuances of the guitar and performance, leading to a relatively simple board. This simplicity is, in fact, a crucial element supporting THE ALFEE’s rich ensemble sound.

While Sakazaki’s effects board may lack flamboyance, it is designed for “maximum effect with minimal necessity,” making it highly relevant for acoustic-centric guitarists. In summary, his board likely centers around the signature chorus, complemented by preamps and spatial effects.

Tone Settings, EQ, and Mixing Approaches

The essence of Kōnosuke Sakazaki’s sound design lies in “respecting the inherent resonance of the acoustic guitar and utilizing it within the overall space.” Unlike electric guitarists who distort their sound through amplifiers or dramatically alter it with pedals, Sakazaki pursues settings that highlight the guitar’s unique characteristics. Key elements include blending pickups and microphones, EQ adjustments, and spatial processing through reverb and delay.

Regarding basic EQ settings, the Martin D-45 and 000-28 that Sakazaki loves tend to emphasize the brilliance of the mid-high frequencies. Therefore, during live performances, he often balances the sound by “slightly cutting the low frequencies around 250Hz to avoid muddiness,” “gently boosting the midrange (1kHz–2kHz) for clarity in chords,” and “adding a touch of high frequencies (around 8kHz) for airiness.” This approach ensures that the acoustic guitar does not get buried within THE ALFEE’s thick choral work while maintaining a natural sound that does not overpower the mix.

In terms of mixing, multiple microphones are often used during recordings. A condenser microphone placed about 20cm from the soundhole and a small diaphragm microphone near the 12th fret are blended to capture both “a solid resonance” and “delicate overtones.” Additionally, lightly mixing in the line output (pickup) enhances the attack, which is a hallmark of Sakazaki’s sound.

During live performances, effects are set up very simply. The chorus is applied lightly to create a stereo effect, while reverb is kept to a level that naturally integrates with the venue’s acoustics. In arenas or halls, a subtle hall reverb is added, while in smaller live houses, a light delay is applied to create depth, showcasing his flexible adjustments according to the environment.

Moreover, adjusting settings for each song is a notable feature. For example, in “Hoshizora no Distance,” where rhythmic strumming is central, he emphasizes the high frequencies while slightly cutting the midrange to create a sharp cutting sound. Conversely, in melodic pieces like “Merian,” he broadens the reverb and raises the midrange to achieve a warm resonance.

From an engineer’s perspective, Sakazaki’s guitar is treated with light compression to maintain dynamics while preserving the nuances of the original sound. Especially when using 12-string or gut guitars, where sound can easily get buried, panning and fine-tuning EQ adjustments are crucial. The description of THE ALFEE’s sound as “an orchestra with three members” is rooted in such meticulous sound design.

Overall, Kōnosuke Sakazaki’s settings are characterized as “simple yet precise.” By avoiding extravagant processing, he draws out the guitar’s inherent sound while making delicate adjustments tailored to each song. Therefore, when aiming to replicate his sound, understanding and setting the EQ should be prioritized over effects.

Affordable Alternatives to Recreate the Tone

Kōnosuke Sakazaki’s sound is built around high-end vintage guitars like those from Martin and Gibson. However, many aspiring guitarists may think, “I want to emulate Sakazaki’s sound, but I can’t afford a D-45 right away.” Thus, here are some relatively affordable and accessible gear options that can help you achieve a similar nuance.

Regarding the guitar itself, domestic brands like YAMAHA and Morris offer excellent options. In particular, the YAMAHA FG series and LL series provide stable construction and well-balanced sound at a lower price point, making them suitable alternatives to the Martin D-18 or 000-28. Given that Sakazaki has been involved in the development of YAMAHA’s APX series and silent guitars, their acoustic offerings align closely with his sound direction.

For effects, BOSS’s classic models are highly recommended for easy integration. While the Stafford×Maxon Koh Chorus supervised by Sakazaki may be hard to find, alternatives like the BOSS CH-1 Super Chorus or CE-5 Chorus Ensemble can replicate the natural modulation suitable for acoustic guitars. Additionally, the BOSS RV-6 is a reliable choice for reverb, offering a wide range of adjustments for studios or home use.

In terms of preamps, while L.R. Baggs and Fishman can be pricey, multi-effects units from Zoom or BOSS often include acoustic-specific preamp/DI functions, making them sufficient for live performances or practice. The BOSS AD-2 Acoustic Preamp, in particular, is affordably priced and capable of recreating a natural resonance, making it an excellent choice for beginners to intermediates.

Furthermore, incorporating a multi-effect unit is a practical approach. The BOSS GT-1 or Zoom A1 FOUR can consolidate essential spatial effects like reverb and chorus into one unit, providing excellent cost performance. To recreate Sakazaki’s “simple yet precise” settings, such multi-effects may even be more suitable.

In summary, it’s not about achieving a sound that can only be produced by high-end vintage instruments. Instead, focusing on “preserving the acoustic guitar’s original tone while adding light spatial processing” allows you to experience the essence of Sakazaki’s sound with more affordable gear.

Summary and Conclusion

Reflecting on Kōnosuke Sakazaki’s sound design, its essence lies in “maximizing the natural resonance of the guitar.” Utilizing a range of vintage guitars like the Martin D-45 and custom models from ESP and T’sT, he consistently seeks a sound that is “natural yet blends seamlessly with the band.” This approach is crucial in the unique three-member structure of THE ALFEE, where the guitar serves as the foundation while not interfering with the chorus or ensemble.

Another hallmark of Sakazaki’s style is his “minimalist sound design.” While many guitarists layer distortion and spatial effects, Sakazaki keeps his effects to a minimum. In practice, he primarily utilizes the supervised Koh Chorus, adding only reverb and delay, avoiding excessive embellishments. Instead, he focuses on EQ adjustments and control of picking nuances to faithfully reproduce the acoustic sound on stage.

Moreover, the “optimization for each song” is vital. For songs requiring vigorous strumming, he emphasizes high frequencies for sharpness, while for pieces centered around arpeggios, he boosts the midrange to create warmth. Such flexible settings are achievable due to his ability to view the entire ensemble from a producer’s perspective.

For beginners aspiring to capture the Sakazaki sound, it is not necessary to invest in high-end guitars or vintage models. Instead, focusing on “understanding the guitar’s character and adjusting EQ, picking, and reverb accordingly” is the shortcut to achieving a similar tone. Affordable YAMAHA acoustics, BOSS spatial effect pedals, or Zoom’s acoustic multi-effects can effectively recreate the essence of Sakazaki’s sound.

In conclusion, Kōnosuke Sakazaki’s sound design is characterized by “adjustment techniques that draw out the instrument and performer’s individuality rather than relying on flashy effects.” His style, which has supported THE ALFEE’s grand sound, provides universal insights for all acoustic guitar lovers. By incorporating the “aesthetic of subtraction” into your own guitar playing, you too can achieve a natural and impactful sound reminiscent of Sakazaki’s artistry.