[Yutaka Takezawa] How to Recreate the Anzenchitai Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yutaka Takezawa, the guitarist of Anzenchitai, is renowned for his delicate and intricate guitar arrangements that support Koji Tamaki’s deep vocals. His style is characterized by chord work and arpeggios that enhance the atmosphere of the songs, rather than flashy lead play. The tones he creates often feature spatial effects that envelop the listener in warmth and clarity.

In iconic tracks like “Wine Red Heart” and “Goodbye to Sadness,” his guitar sound resonates with a simple yet warm and transparent quality that envelops the entire composition. Additionally, by utilizing unique guitars such as the Rick Turner Model 1, he showcases a distinctive mid-range thickness in his tone. This approach highlights that his sound design is not merely accompaniment but a crucial element that shapes the emotional essence of the music.

Furthermore, the introduction of electric and acoustic guitars allows for delicate expressions in ballads and acoustic arrangements. By clearly distinguishing between the strong electric sound and the softer gut guitar, he provides the optimal tone for each song. This versatility is evident in his approach to sound design, which is built on a professional setup that utilizes effects and rack systems.

His use of products from tc electronic and Rockman units is particularly noteworthy, as they help recreate expansive spatial sounds and thick drive tones. The settings are not only focused on the guitar’s tone but also consider the overall sound balance and mix of the band. This results in a rare tone that is “beautiful when heard alone, yet does not get lost in the band.”

By exploring Yutaka Takezawa’s sound design, one can learn the importance of “sound design integrated with the song,” transcending mere gear selection.

▶ Search official YouTube videos of Anzenchitai

List of Amplifiers and Features

Among the amplifiers that Yutaka Takezawa has favored, the VOX AC30 stands out as particularly famous. Known as a representative of British sound, this amplifier can handle a wide range from bright, expansive clean tones to light crunch. Its ability to complement Anzenchitai’s transparent sound without overshadowing Koji Tamaki’s vocals is a significant appeal.

The VOX AC30 is a staple in both live performances and recordings, beautifully reproducing Takezawa’s arpeggios and clean phrases. The dimensionality achieved when combined with chorus and delay effects is central to his sound design.

Additionally, it is said that he also used the VOX Pathfinder 10 for home practice and small studio environments. Despite being a compact combo amp, it delivers the characteristic bright tone of VOX, making it suitable for daily practice and sketching ideas.

Moreover, Takezawa prefers to create his sound connected to a rack system, often processing the sound through Rockman units or tc electronic rack effects rather than relying solely on the amp’s distortion. Thus, while the amp serves as the foundation for sound creation, it is ultimately designed for processing through the rack system.

This background suggests that Takezawa’s amplifier selection is based on three key points: “stage presence,” “ease of use for practice,” and “compatibility with the rack.” Consequently, his style can be assumed to be characterized by a foundation of British clean tones, enhanced through rack processing.

Types of Guitars Used and Features

Yutaka Takezawa’s guitar history has evolved significantly alongside Anzenchitai’s musical style. From the early days of his career to the present, he has utilized a wide range of guitars, from classic models like the Fender Stratocaster to unique instruments like the Rick Turner Model 1, as well as gut and acoustic guitars.

The Fender Stratocaster is one of his most representative guitars. Its bright and crisp clean tone matches Anzenchitai’s transparent band sound, particularly emphasizing presence in arpeggios and cutting. The Stratocaster frequently appears in both live performances and recordings, serving as a fundamental element of Takezawa’s sound.

On the other hand, the Rick Turner Model 1 is also a distinctive presence. With a 24-fret design and two humbuckers, along with a unique circular pickguard, this guitar boasts a rich mid-range and powerful output. It is an essential choice for rock-oriented tracks or situations where thickness is desired, adding depth and richness that a standard Stratocaster cannot provide.

Acoustic and gut guitars also play a crucial role. The S.Yairi YE-50/BK is a black electric acoustic with a single rounded cutaway structure, making it ideal for ballads and acoustic arrangements in live settings. Additionally, the Stafford SSC-1000AX is a gut guitar that is often played in a fixed position, suitable for classical phrases and delicate backing.

The Morris Groovin is a thin-bodied electric gut guitar shaped like a Telecaster, known for its playability and ease of handling. It provides a sound that blends acoustic and electric qualities, making it easy to switch between during live performances. These gut guitars are believed to be introduced to complement the “softness that cannot be expressed with electric guitars.”

Ultimately, Takezawa’s guitar selection reflects a design that utilizes “clean, bright electrics,” “thick humbucker sounds,” and “delicate acoustic expressions,” tailored to each song. By combining these appropriately, he achieves Anzenchitai’s diverse musical world.

Effects and Pedalboard Setup

A significant feature of Yutaka Takezawa’s sound design is the effects configuration centered around a rack system. The combination of tc electronic rack effects and Rockman units is crucial, greatly expanding the sound of the guitar.

A representative effect is the ISP Technologies Decimator ProRackG. This dual-channel noise reduction unit effectively suppresses unwanted noise in environments that heavily utilize racks, making it essential for achieving Takezawa’s clean and transparent tone.

Next, important components include the tc electronic TC1140 HS Parametric EQ and Rockman Instrument EQ. These equalizers allow for precise control over the guitar’s frequency range, creating a guitar tone that does not overshadow Koji Tamaki’s vocals while still standing out. Adjusting the mid-range thickness is particularly beneficial for enhancing the rich sound of the Rick Turner Model 1.

For spatial effects, the tc electronic TC 1210 (stereo chorus/flanger) and TC 2290 (delay) are employed. These create a three-dimensional and expansive sound, achieving the ethereal resonance heard in songs like “Wine Red Heart” and “Love’s Prediction.”

Additionally, the Rockman Distortion Generator produces a unique edge to the distortion, creating a mid-range-heavy tone that differs from standard amp drives. This element adds a distinctive presence to the electric sound.

Among the pedals, the VOX Tonelab LE (a tube-equipped multi-effect unit) is used on stage, contributing to modern tracks and auxiliary sound creation. The combination of KORG XVP10 (volume/expression pedal) and Radial PRO 48 (active DI) ensures flexible control during live performances.

Overall, Takezawa’s effects setup converges on a style that places the rack at the core while using pedals as auxiliary tools. This approach emphasizes spatial effects and EQ processing rather than excessive distortion, which is a significant characteristic of his sound. Although the specific models used may vary over time, this configuration is believed to support Takezawa’s sound.

Tone Settings, EQ, and Mixing Approaches

The most significant feature of Yutaka Takezawa’s sound design is not merely the “guitar tone” but the thorough EQ and spatial processing that considers the overall mix of the band. Anzenchitai’s songs are arranged with layers of keyboards and strings, centered around Koji Tamaki’s vocals, where the guitar is required to “fill the gaps without overwhelming, yet never disappear.”

Regarding EQ, handling the mid-range is crucial. When using the Rick Turner Model 1, the direct output from the amp tends to have an excess of mid-range. Therefore, the Rockman Instrument EQ and tc electronic TC1140 HS Parametric EQ are used to tame peaks while boosting around 2-3kHz to ensure clarity. Conversely, when using the Stratocaster, adjustments are made to enhance the mid-range, allowing it to blend into the band ensemble.

Low frequencies are often set modestly on the amp, typically adjusting the AC30’s tone knob to around 10-11 o’clock to avoid interference with bass and synth lows. High frequencies are generally set around noon, with fine-tuning based on the amount of chorus and delay applied.

The strategic use of spatial effects is also very deliberate. In ballads, a long delay set with the tc electronic TC 2290 creates an echo that lingers in the listener’s ear. In contrast, for up-tempo songs, short delays and stronger stereo choruses are applied to push the sound forward in rhythm. The stereo chorus from the TC 1210 expands the left-right positioning, centering around the vocals, significantly enhancing the overall dimensionality of the mix.

For distortion processing, rather than heavily driving the amp, the “rack-based distortion” centered around the Rockman Distortion Generator is key. This results in a mid-range-focused tone that differs from the roughness of standard tube amps, maintaining a delicate balance that neither overwhelms nor gets buried in the ensemble.

During live performances, the Voodoo Lab GCX Guitar Audio Switcher is used to instantly switch between multiple effects in the rack, faithfully reproducing the atmosphere of each song. For example, in “Wine Red Heart,” a deep chorus combined with delay creates a dreamy resonance, while in “Goodbye to Sadness,” switching to an acoustic guitar with a light reverb enhances the warmth of the vocals.

In terms of mixing, the guitar is typically positioned closer to the center rather than panned widely left and right. This is to “maintain presence without losing the vocals,” ensuring that the guitar does not dominate the mix. By organizing unnecessary frequency ranges through EQ processing and expanding the remaining parts with tc electronic’s spatial effects, a sound characterized by “clarity with a solid core” is achieved.

Thus, Takezawa’s settings may seem somewhat subdued when listening to the guitar alone. However, when experienced within the context of the entire band, the brilliance of this design shines through, playing a decisive role in shaping the song’s atmosphere. Ultimately, it can be assumed that his sound serves as an essential “secret ingredient” in the Anzenchitai sound.

Affordable Alternatives to Recreate the Tone

Yutaka Takezawa’s sound is built around rack effects and high-end guitars, requiring a significant investment for complete replication. However, in recent years, multifunctional multi-effects units from brands like BOSS, ZOOM, and Line 6 have emerged at affordable price points, allowing for the experience of “Anzenchitai-style sound” without breaking the bank.

First and foremost are the spatial effects. To replicate the delays and choruses frequently used by Takezawa, BOSS’s compact effects or multi-effects units are effective. For instance, the BOSS DD-8 (digital delay) features stereo output and a variety of delay modes, making it easy to achieve the lingering echoes characteristic of Takezawa’s sound. Combining it with the BOSS CE-5 (Chorus Ensemble) can recreate the expansive feel of the TC 1210.

Another key element is EQ. While Takezawa meticulously adjusts frequencies in his rack, beginners can achieve significant results by incorporating the BOSS GE-7 (Graphic EQ). By boosting the mid-range for clarity and organizing the low frequencies, one can approach a tone that stands out even in a band setting.

Regarding distortion, while it is challenging to fully replicate the Rockman Distortion Generator, selecting overdrive pedals like the BOSS OD-3 or BD-2 can yield a natural distortion that blends well into the mix. The key is to avoid excessive distortion and focus on a clean setting that emphasizes “mid-range thickness.”

Additionally, introducing a multi-effects unit can be effective. Units like the BOSS GT-1 or Line 6 POD Go include simulations of the tc electronic and Rockman rack sounds that Takezawa has utilized, allowing for the creation of a classic Takezawa sound with “clean + chorus + delay + EQ adjustments” all in one unit. These are user-friendly for beginners and provide flexibility in sound crafting while keeping costs down.

For acoustic/gut guitar sounds, introducing an affordable electric acoustic and lightly adding reverb through a DI can closely replicate the desired atmosphere. Electric acoustics from YAMAHA or Ibanez in the 30,000 to 50,000 yen range can effectively express the ballad sound characteristic of Takezawa.

In summary, the quickest route to achieving the sound is to “build on clean tones, add chorus and delay, and organize with EQ.” Beginners and intermediate players can experience Anzenchitai’s sonic world at a relatively low cost by incorporating the following commercially available gear.

Summary and Conclusion

Yutaka Takezawa’s sound is not merely about guitar tones but serves as a crucial element supporting the world of Anzenchitai. Rather than flashy solos or excessive distortion, his role is to “create an atmosphere” within the overall composition. The balance in which the guitar resonates without excess, amidst the thick arrangements of strings and synths surrounding Koji Tamaki’s vocals, is the essence of Takezawa’s sound design.

Therefore, his gear selection and settings are unified under the perspective of “how to maintain presence while keeping the assertion minimal.” The bright clean tones from the VOX AC30, the mid-range thickness from Rockman units, and the depth and expansiveness from tc electronic racks all combine organically to achieve a unique “balance of transparency and warmth.”

Moreover, the introduction of acoustic and gut guitars is a significant feature of Takezawa’s style. In ballads and softer tracks, incorporating electric acoustics like S.Yairi and Stafford allows for delicate expressions. His clear differentiation between electric and gut guitars is an essential strategy for generating varying emotional nuances across different songs.

For modern guitarists aiming to replicate Takezawa’s sound, it is vital to focus on three points: “organizing frequency ranges with EQ,” “adding spatial effects appropriately,” and “building the sound on clean tones.” Even incorporating compact EQs or multi-effects units can significantly bring one closer to his sound.

Furthermore, it is essential to remember that Takezawa is not pursuing the “sound of the guitar alone.” His sound design always considers the harmony with the entire band’s resonance, utilizing rack effects and switching systems to prepare the optimal tone for each song. This “ensemble-oriented approach” is the hallmark of guitarist Yutaka Takezawa and a perspective that many players should learn from.

In summary, Yutaka Takezawa’s sound design embodies “transparency, warmth, and balance.” Centered around clean tones, finely adjusted with EQ and spatial effects, and enhanced with mid-range thickness as needed, it results in the “comfortably enveloping guitar sound” that is indispensable to Anzenchitai’s music. Understanding and replicating this can allow one to experience not just similar tones but the fundamental role of the guitar in supporting the entire band’s music.