[Motoki Omori] How to Recreate the Mrs. GREEN APPLE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Motoki Omori, the frontman and guitarist of Mrs. GREEN APPLE, captivates fans with a diverse sound that effortlessly traverses pop and rock. His sound design is characterized by weaving delicate nuances into simple backing, showcasing intricate chord work and melodic sensibilities throughout their songs.

Iconic tracks like “StaRt” and “Ao to Natsu” feature bright and refreshing clean tones paired with lively cutting, creating a memorable listening experience. In contrast, songs such as “Inferno” and “Kesera Sera” display a rock-oriented approach that utilizes distortion, highlighting his ability to switch between the clarity of Fender guitars and the thickness of Gibson models as needed.

As a singer, Omori also strongly asserts his presence as a guitarist, using the guitar’s resonance as a crucial element of the band’s sound, leaving a powerful impression on listeners. To recreate his sound, it is essential to note his use of custom Psychederhythm Telecasters and Gibson ES series guitars, along with the MATCHLESS DC-30 amplifier, which provides a dazzling and wide-ranging tone.

The result is a guitar sound that conveys a “singing heart,” whether clean or distorted, embodying the expressive qualities that make Motoki Omori an appealing guitarist.

▶ Search official YouTube videos of Mrs. GREEN APPLE

List of Amplifiers and Features

One of the key components supporting Motoki Omori’s sound is his choice of amplifiers. The MATCHLESS DC-30, a boutique amp from the UK, is widely recognized as his main amplifier. It features the clarity and depth of Class A circuitry, providing a clean tone with a sparkling mid-high response that balances the “freshness” and “core resonance” necessary for Mrs. GREEN APPLE’s music.

This amp is frequently used in live performances, especially for upbeat tracks like “StaRt” and “Ao to Natsu,” where he utilizes Channel 1 of the DC-30 to achieve a crisp tone ideal for cutting. Conversely, for rock-oriented songs like “Inferno” and “Speaking,” he draws out the amp’s natural drive, combining it with effects to create a powerful sound.

In studio work or secondary applications, it is assumed that he uses Fender amps. Models like the “Fender Twin Reverb” and “Deluxe Reverb,” which pair well with Telecaster guitars, are believed to be suitable for clean recordings. Listening to the recordings reveals a softer low-end and reverb characteristics, suggesting he may switch between these amps based on the song’s requirements.

Moreover, for tracks like “Kesera Sera” and “Kudari,” where semi-hollow and full-hollow guitars are used, the warm tones characteristic of tube amps are likely needed. It is speculated that he also utilizes VOX AC30 or Marshall amps as supplementary options. Although clear evidence is limited, the sound character and live soundcheck recordings suggest he adjusts his amp choices based on the context.

Overall, Omori’s selection of amplifiers emphasizes a “wide range that blends seamlessly in both clean and distorted settings,” with the MATCHLESS DC-30 at its core. This amp is complemented by Fender and VOX models, allowing him to construct sounds tailored to each song.

Types of Guitars Used and Features

One of the most crucial elements in Motoki Omori’s sound design is his choice of guitars. He primarily uses custom models from Psychederhythm, along with a variety of Fender, Gibson, and Baum guitars. Notably, the Psychederhythm Moderncaster T #051 (Performance White) serves as his signature instrument, equipped with Porter A90 and Sigil ’51 Tele Nocaster pickups, enhancing the mid-range frequencies. This guitar frequently appears in live performances and music videos, symbolizing Omori’s main sound.

Additionally, the Psychederhythm Moderncaster Standard-T LIMITED Neon Blue Metallic is utilized in tracks like “CHEERS” and “StaRt,” achieving a bright and cutting tone. His approach to selecting guitars varies by song, as seen with the Cheetah used in “Dear” and the Starmaster Black Metallic, showcasing his awareness of both sound and visual appeal.

Fender Telecasters are indispensable for Omori, with the 50th Anniversary Telecaster Sunburst being a long-time favorite confirmed in numerous live performances and music videos. In the latest release “Avoid Note,” he uses the American Vintage II 1963 Telecaster Surf Green, which features vibrant visuals and lively cutting tones.

On the other hand, he frequently employs Gibson semi-hollow and full-hollow guitars, such as the ES-330 and ES-335, which deliver warm tones in songs like “Kesera Sera” and “Kudari.” The SG Standard is used in “Inferno” and “Speaking,” showcasing a thick rock sound. Moreover, he diversifies his acoustic sound with guitars like the Taylor 614ce, Gibson Dove, and Simon & Patrick, enabling a wide range of expressions for both live performances and recordings.

Other guitars, such as the Baum Guitars Leaper Tone (Deep Sea) in “Dear” and the Fano GF6 in “Hug,” reflect his thoughtful selection of instruments that balance sound and visual aesthetics. Overall, Motoki Omori’s guitar collection is characterized by its versatility, accommodating everything from pop to rock and acoustic styles, allowing him to choose the most suitable instrument for each song.

Effects and Pedalboard Setup

Motoki Omori’s pedalboard is simple yet capable of delivering a wide range of expressions for each song. His main distortion comes from the “BOSS BD-2 Blues Driver” and “Mad Professor Sweet Honey Overdrive.” Both are classified as overdrive pedals, with the BD-2 being versatile enough to handle everything from clean to light crunch, achieving a clear cutting sound when paired with Telecasters or Psychederhythm guitars.

On the other hand, the Sweet Honey Overdrive provides a more natural, tube-like distortion, making it ideal for semi-hollow guitars like the Gibson ES-330 and ES-335, supporting warm backing and arpeggios. For more intense moments, he utilizes the “Bogner Uberschall,” employing high-gain distortion. In tracks like “Inferno,” known as an anime theme song, this intense distortion contributes to the song’s power.

Additionally, the “BOSS TU-3 (tuner)” and “One Control Distro Tiny (power supply)” are used almost continuously. The TU-3 supports stable tuning, while the Distro Tiny provides a reliable power supply for the entire pedalboard, ensuring stability during live performances.

While specific information on spatial and modulation effects is limited, it is assumed that delay and reverb are used moderately based on the texture of live footage and audio. Particularly in acoustic-oriented tracks like “BFF” and “Nonisakuuta,” the sound features notable reverb and light delay. These effects may come from built-in amp reverb, studio gear, or standard delay units like the BOSS DD series.

Overall, Omori’s pedalboard is designed with a “distortion-centric + minimal utility” approach, allowing for diverse tones through the combination of guitars and amplifiers. He prioritizes “intuitive equipment” over complex systems, facilitating freedom of expression during performances.

Tone Settings, EQ, and Mixing Approaches

Motoki Omori’s sound design is optimized not only through his choice of guitars and amplifiers but also through careful EQ and mixing techniques tailored for each song. Analyzing his sound reveals that achieving both “transparency in clean tones” and “thickness in distorted sounds” is a significant theme. This balance is supported by amp channel selection, pedal combinations, and EQ adjustments during PA and recording stages.

In terms of specific EQ tendencies, during clean settings, he keeps the low frequencies subdued, cutting slightly below 200Hz to eliminate muddiness. He slightly boosts the midrange (800Hz to 1.2kHz), enhancing the characteristic crisp tone of Telecasters. The high frequencies are preserved naturally around 4kHz without excessive presence, ensuring a smooth clarity. This approach results in the refreshing sounds found in tracks like “StaRt” and “Ao to Natsu.”

For distorted tracks, he emphasizes the mids while reinforcing the lows, bringing the guitar’s presence forward. Notably, in “Inferno,” he highlights the 500Hz to 800Hz range, supporting a thick backing and enhancing the overall power of the band. Even when using high gain, he typically avoids creating distortion from both the amp and pedals simultaneously, instead opting to leverage the amp’s clean foundation while reinforcing it with pedals.

His approach to using different settings for each song is also noteworthy. For example, in songs like “Kesera Sera” and “Kudari,” where semi-hollow guitars are employed, he retains the low-end naturally while slightly pulling back the mids, allowing for a warm resonance within the ensemble. In acoustic tracks like “Nonisakuuta” and “BFF,” he applies deeper reverb to the acoustic guitar, creating a stereo effect that envelops the vocals.

During live performances, collaboration with the PA system is crucial. The MATCHLESS DC-30’s output is known for its wide range, so it is assumed that the PA often rolls off the highs slightly. In larger arenas or festivals, to avoid low-end buildup, they likely cut around 120Hz and tidy up the 250Hz to 400Hz range, resulting in a clearer mix.

Furthermore, since Omori’s pedalboard contains minimal spatial effects, it is believed that much of the reverb and delay is added by the FOH engineer at the mixing console. This allows for a simple setup on stage while delivering a rich and dimensional sound to the audience.

In the studio, it is likely that a hybrid approach is used, combining real amps with plugins via software like Apple Logic Pro X or Pro Tools. For instance, clean arpeggios may be recorded through real amps, while layered guitar sounds that expand like a wall are reinforced with amp simulators, optimizing the sound for each project.

Overall, Motoki Omori’s sound design revolves around “maximizing the guitar’s individuality while trimming excess through EQ and mixing to construct the most suitable sound image for each song.” More than just equipment selection, collaboration with the PA and engineering is vital, which supports the pop and powerful sound of Mrs. GREEN APPLE.

Affordable Alternatives to Recreate the Tone

Given that Motoki Omori’s actual gear consists of high-end professional equipment, it may not be realistic for beginners or intermediate players to assemble the same setup. However, by selecting commercially available models in a more affordable price range, it is entirely possible to recreate a “Mrs. GREEN APPLE” sound. Here are some recommended items that can help achieve a similar tone for around $100 to $500.

For guitars, models from Fender Japan or Squier by Fender’s Telecaster series are highly recommended. Since Omori’s core sound is based on Telecasters, even the relatively affordable Squier Classic Vibe series can effectively capture the essence. These guitars are particularly suitable for tracks focusing on cutting and refreshing clean tones.

In terms of amplifiers, considering ease of use for home practice, options like the “Boss Katana” or “Fender Champion” series are good choices. These amps can handle a wide range from clean to distorted sounds, and their built-in effects allow for easy recreation of the textures Omori uses for different songs.

For effects, the “BOSS SD-1 Super OverDrive,” which is a budget-friendly alternative to the BOSS BD-2 Blues Driver, and the “Joyo Sweet Baby Overdrive” offer excellent cost-performance. They possess nuances similar to the BD-2, and when paired with Telecaster guitars, they can create a crisp sound reminiscent of Mrs. GREEN APPLE. Additionally, for reverb and delay, opting for BOSS’s “DD-3T” or “RV-6” can add the necessary spatial depth.

If you prefer a multi-effects unit, consider the “ZOOM G3Xn” or “Line 6 POD Go.” These devices cover a wide range of sounds from overdrive to delay and reverb while being practical for home recording and practice due to their ease of integration with DAWs.

For acoustic expressions, entry-level models from YAMAHA (FG/FS series) or Epiphone’s acoustic guitars are excellent choices. Omori’s acoustic tracks like “BFF” and “Nonisakuuta” can achieve a similar vibe with appropriate reverb and EQ adjustments.

In summary, the key to recreating Motoki Omori’s sound affordably lies in the combination of “Telecaster-style guitars + simple overdrive + clean-oriented amplifiers.” By adding a few spatial effects, even beginners can get close to the refreshing sounds of tracks like “Ao to Natsu” and “StaRt.”

Summary and Conclusion

Reflecting on Motoki Omori’s sound design, its essence lies in “simplicity combined with diverse expressiveness.” Centered around the clear sounds of the Psychederhythm Moderncaster T and Fender Telecaster, he incorporates Gibson ES-330 and SG guitars as needed, further expanding his sound world with acoustic guitars. His approach is characterized by “selecting guitars based on the song and extracting the necessary minimum effects to highlight their character.”

With the MATCHLESS DC-30 as the core of his amplification, he utilizes its wide-ranging clean tones and dimensional resonance, while maintaining a simple effects setup based on classic overdrives like the BOSS BD-2 and Sweet Honey Overdrive. By avoiding reliance on excessive effects, he embodies a style that maximizes the guitar’s natural resonance and play style, truly representing a “singing guitar.”

Moreover, EQ processing during PA and recording is crucial, as he organizes the lows and emphasizes the mids to establish a sound that “does not get buried within the band ensemble.” Particularly in Mrs. GREEN APPLE’s music, which requires a balance of pop and rock, his ability to control the sound’s positioning is a significant strength as a professional.

For beginners aiming to emulate his sound, the first step is to gather a Telecaster-style guitar, a simple overdrive, and a clean-oriented amplifier. Adding some spatial effects will allow them to recreate refreshing sounds akin to “Ao to Natsu” or “StaRt.” Conversely, for more intense tracks like “Inferno,” incorporating high-gain distortion will help achieve a closer sound.

Ultimately, Motoki Omori’s sound design revolves around creating a “guitar sound that aligns with the song.” By not depending on extravagant equipment or special effects, he combines the essential elements needed for the music he wants to express. The result is a guitar performance that enhances the band sound while leaving a strong impression on listeners.

Readers, start by exploring “the sound that fits your song” with your own gear. Finding the sound that best suits your voice or band, just like Motoki Omori, is the true first step towards “sound design.”