[Daisuke] How to Recreate the Aqua Timez Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Daisuke, the guitarist of Aqua Timez, plays a crucial role in supporting the band’s soft yet powerful sound. His playing style is melodic, focusing on maintaining a solid rhythm, which is essential for expressing the fusion of pop and rock that defines the band.

In iconic songs like “Ketsui no Asahi ni” and “Toshindai no Love Song,” his clean and warm sound stands out, providing accompaniment that highlights the vocals while inserting memorable phrases. Conversely, in tracks like “Velonica” and “Niji,” he utilizes edgy riffs and spatial effects, contributing significantly to the thickness of the band’s sound.

Recent live footage and music videos confirm that Daisuke primarily uses the ESP E-II TE-7 SW (a 7-string guitar with Evertune) and the Fender Jim Root Telecaster. This combination allows him to achieve modern and stable tuning while delivering a rich sound. Additionally, his use of the Fractal Audio Axe-Fx II XL+ for digital modeling showcases his ability to create diverse soundscapes.

From his choice of gear, it is evident that Daisuke’s sound design revolves around the keywords “stability,” “harmony with the music,” and “versatility.” Particularly in live settings, he seamlessly switches tones using the Axe-Fx and MFC-101, achieving expressive results akin to studio recordings.

▶ Search official YouTube videos of Aqua Timez

List of Amplifiers and Features

Daisuke’s amplifier setup has notably shifted from traditional tube amplifiers to the digital modeling system of the Fractal Audio Axe-Fx II XL+ for live performances and recordings. This transition is a significant characteristic of his sound. For instance, during the Resurrection Fest EG 2019 performance (around 22:52), he is clearly seen using the Axe-Fx II XL+ as both his main amplifier and multi-effects unit.

The Axe-Fx II XL+ not only handles amp modeling but also encompasses effects and speaker simulations, allowing for a wide range of genres with limited gear. Given that Aqua Timez’s music spans from pop’s clean tones to rock’s distortion, along with spatial sounds utilizing delay and reverb, this equipment is particularly well-suited.

During live performances, Daisuke employs the Fractal Audio Systems MFC-101 MIDI Foot Controller to switch presets in real-time. This enables him to respond instantly, transitioning from the delicate clean sound of “Ketsui no Asahi ni” to the powerful drive of “Velonica.”

Historically, Aqua Timez may have used Fender or Marshall amps, especially considering Daisuke’s use of the Jim Root Telecaster. It is reasonable to assume combinations with louder rock amps like the EVH 5150 or Marshall DSL series. However, there is little confirmation regarding these setups, and it appears that he has fully transitioned to the Axe-Fx II system.

Overall, Daisuke’s amplifier system emphasizes “the freedom provided by digital modeling” and “stability in live settings.” This setup supports the diverse and dynamic nature of Aqua Timez’s music.

Types of Guitars Used and Features

Daisuke’s choice of guitars centers around models that balance practicality and individuality to achieve the wide range of expression required by Aqua Timez’s music. The confirmed main instruments are the ESP E-II TE-7 SW (a 7-string model with Evertune) and the Fender Jim Root Telecaster (white). By utilizing these two guitars, he accurately reproduces the tones needed for each song.

First, the ESP E-II TE-7 SW is confirmed to be used in the “True North” music video (around 0:10). This model features a 7-string configuration and an Evertune bridge, which is known for its exceptional tuning stability. This is particularly beneficial during intense live performances or in down-tuning scenarios, making it a favorite among modern rock and heavy sound guitarists. It plays a significant role in supporting the low-centered riffs and powerful sounds characteristic of Aqua Timez’s music.

On the other hand, the Fender Jim Root Telecaster (white) has been confirmed in the “Rollin” music video. This signature model of Slipknot/Stone Sour guitarist Jim Root is equipped with EMG pickups, delivering a powerful and thick sound. Daisuke utilizes this guitar to achieve a clean yet substantial tone, or a pronounced sound even with strong distortion. Notably, in Aqua Timez’s pop-oriented tracks, it supports a guitar sound that maintains presence without overshadowing the vocals.

Additionally, there are suggestions that he may have used Fender Stratocaster or Les Paul models at different times, but the primary guitars confirmed in recent live performances and music videos are the aforementioned two. By alternating between the modern 7-string ESP and the classic yet high-powered Fender Telecaster, Daisuke expands the overall sound range of the band. The balance of modern heaviness from the ESP E-II and the pop-rock clarity from the Fender Jim Root Telecaster aligns perfectly with Aqua Timez’s diverse musical styles.

In summary, Daisuke’s guitar selection emphasizes “tuning stability,” “versatility across genres,” and “a sound that supports the vocals while retaining presence.” This dual focus on ESP and Fender guitars allows him to achieve a highly reproducible sound in both studio and live settings.

Effects and Pedalboard Setup

Daisuke employs a system centered around Fractal Audio’s digital multi-effects to cover a wide variety of sound variations for live performances and recordings. In the Resurrection Fest EG 2019 footage (around 22:52), the Fractal Audio Axe-Fx II XL+ is clearly visible, along with the MFC-101 MIDI Foot Controller, allowing him to switch sounds freely.

This setup allows for the consolidation of multiple compact effects that would traditionally be arranged on a pedalboard into a single multi-effects unit. The ability to instantly call up a wide range of effects—including distortion, clean tones, delay, reverb, and modulation—per preset is a significant advantage in live settings.

Aqua Timez’s music requires a broad spectrum of sounds, from the clean and delicate reverb needed for pop and ballads to the spatial delay sounds found in tracks like “Velonica” and “Niji,” as well as the heavy modern rock distortion in songs like “True North.” A professional-grade multi-effects unit like the Axe-Fx is ideal for meeting these diverse demands.

In the past, it is also conceivable that Daisuke used compact effects from brands like BOSS or MXR. Particularly, to enhance the character of the Jim Root Telecaster, he may have employed high-gain distortion or overdrive as supplementary effects. However, it appears that he has fully transitioned to a digital setup, relying primarily on the Axe-Fx for most effects.

For live performance, the MFC-101 is central to preset management, allowing him to turn on delay during solos or instantly call up different distortion settings for each song. This approach is ideal for a band that needs to reproduce a wide variety of songs, enabling a performance that closely resembles the studio recordings.

In summary, Daisuke’s effects board configuration is characterized by “simplicity yet versatility,” balancing stability and reproducibility in live settings while maximizing the use of the latest digital equipment.

Tone Settings, EQ, and Mixing Approaches

Daisuke’s sound design is characterized by a focus not only on the guitar’s individual tone but also on the overall mix of the band. Aqua Timez’s songs often feature multi-layered arrangements with vocals, keyboards, bass, and strings, meaning the guitar often plays a role in “supporting” and “coloring the space” rather than being front and center.

As a result, midrange processing is crucial in his EQ settings. While typical rock guitar sounds tend to emphasize the midrange, Daisuke’s sound is characterized by slightly reducing the midrange and focusing on balancing the low and high ends, allowing the guitar to blend into the overall mix while maintaining presence.

For example, in songs that heavily utilize clean tones like “Ketsui no Asahi ni” and “Toshindai no Love Song,” the EQ settings within the amp modeling are likely configured as follows:

• Bass: Slightly cut (-2 to -3dB around 50Hz)
• Mid: Moderately reduced (-2dB around 500Hz to 800Hz)
• Treble: Slightly boosted (+2 to +3dB around 3kHz to 5kHz)
• Presence: +1 to +2dB, not interfering with vocal range

This configuration allows for a bright and expansive clean tone without interfering with the vocal range (1kHz to 3kHz). The combination of reverb and delay creates a spacious sound.

In contrast, for edgier songs like “Velonica” and “Niji,” the tone shifts to distortion. Here, it is likely that high-gain amp models (such as Mesa/Boogie Rectifier or EVH5150 simulations) within the Axe-Fx II XL+ are utilized. The EQ settings for these tones might be as follows:

• Bass: Moderately boosted (+2 to +3dB around 80Hz)
• Mid: Slightly scooped (-3dB around 600Hz to 1kHz)
• Treble: Strongly boosted (+3 to +4dB around 3kHz)
• Presence: Medium to high (+2dB in live settings)

This results in a modern and powerful distortion sound while maintaining stability in the low end and clarity in the high end. When using a 7-string guitar, it is common to incorporate a high-pass filter to prevent excessive low-end output.

From a mixing perspective, Daisuke’s guitar is often panned widely across the stereo field, frequently utilizing double-tracking techniques to record the same phrase and pan it left and right. This technique enhances the sound image, contributing to the band’s overall thickness. Additionally, spatial effects (especially delay) are finely adjusted for each song, with ballads featuring deep 1/4 delay and reverb settings, while upbeat tracks utilize short delay to maintain attack.

In live settings, switching presets with the MFC-101 allows for instant recall of optimized EQ and effects tailored to each song. This approach maintains a high level of fidelity to studio recordings while achieving the unique energy of live performances.

In summary, Daisuke’s sound design prioritizes “supporting the vocals above all,” with EQ and effects adjusted to ensure harmony within the overall composition. Rather than asserting the guitar’s presence alone, he focuses on the balance of the entire band, ensuring that the guitar stands out when necessary. This flexibility is a significant factor in shaping the Aqua Timez sound.

Affordable Alternatives to Recreate the Tone

The professional-grade equipment used by Daisuke, such as ESP and Fractal Audio, comes with a high price tag. However, for beginners and intermediate players aiming to achieve an “Aqua Timez-like sound,” it is entirely possible to select relatively affordable gear and set it up correctly to recreate a similar sound. Here are some recommended pieces of equipment available in the price range of approximately $100 to $500.

Regarding guitars, while the ESP E-II TE-7 SW is expensive, Ibanez’s 7-string models (like the RG series) are more affordable and excel in tuning stability and playability. This makes them a great choice for those looking to replicate the heavy riffs found in Aqua Timez’s “True North.” For an alternative to the Fender Jim Root Telecaster, the Squier by Fender Telecaster series is a good option. While it does not come equipped with high-gain pickups like EMG, swapping the pickups later can help achieve a similar sound character.

In terms of amplifiers and effects, while the Fractal Audio Axe-Fx II XL+ is a high-end unit often priced over several thousand dollars even in the used market, options like the BOSS GT-1000 Core or Line 6 HX Stomp can be purchased for around $500 to $800 and offer professional-quality sound. The HX Stomp, in particular, is known for its high-quality amp modeling and effects, capable of covering the clean to modern distortion sounds that Daisuke frequently uses.

If you’re looking for even more affordable options, the BOSS GT-1 is a multi-effects unit available for about $200, which is sufficient for beginners to cover “spatial effects + distortion.” By effectively combining reverb and delay, you can get close to the expansive sound heard in tracks like “Toshindai no Love Song” and “Ketsui no Asahi ni.” For standalone distortion, classic compact pedals like the BOSS DS-1 or MXR Distortion+ can provide powerful drive sounds even with guitars like the Telecaster.

For spatial effects, the TC Electronic Hall of Fame (reverb) and Flashback (delay) offer excellent cost-performance ratios. They are effective for recreating the “depth of sound” often found in Aqua Timez’s music and match well with both ballads and rock tracks.

In summary, the key to achieving a similar sound at an affordable price is to “invest in a versatile multi-effects unit and choose an affordable guitar model.” Particularly with thoughtful EQ and reverb/delay settings, it is possible to recreate the refreshing and spacious guitar sound characteristic of Aqua Timez without relying on professional-grade equipment.

Summary and Conclusion

Reflecting on Daisuke’s sound design in Aqua Timez, its essence can be summed up as “supporting the music and enhancing the overall sound of the band.” His guitar does not make a strong individual statement; instead, it provides a meticulously crafted sound that allows vocals, rhythm, and keyboards to shine. This approach is a key factor in completing Aqua Timez’s unique fusion of pop and rock.

Specifically, he utilizes modern and stable guitars like the ESP E-II TE-7 SW and Fender Jim Root Telecaster, while employing the Fractal Audio Axe-Fx II XL+ to control a wide range of tones. This combination allows for seamless transitions between warm cleans and expansive reverbs in ballads, as well as sharp, powerful distortions in uptempo tracks. Furthermore, the use of the MFC-101 for preset management during live performances enables him to execute complex effect changes instantly.

The key points in his sound design are “midrange control” and “utilization of spatial effects.” By subtly reducing the midrange while boosting the high end when necessary, he ensures presence without interfering with vocals. Reverb and delay settings are adjusted for depth and timing, contributing to the overall atmosphere of the songs. As a result, the sound supports the refreshing and embracing qualities of Aqua Timez’s music.

While much of his gear is professional-grade and expensive, everyday players can get close to Daisuke’s sound using commercially available multi-effects from brands like BOSS or Line 6, along with guitars from the Squier series. The focus should be on how to utilize the equipment effectively, with an emphasis on EQ settings, effects, and understanding the role within the band ensemble being the most crucial aspects.

In summary, Daisuke’s sound design is characterized by “reliability yet versatility,” balancing presence and harmony. Guitarists aspiring to achieve the Aqua Timez sound should adopt a mindset of “supporting the vocals” while accumulating creative adjustments within their own gear setups, marking the most important first step in their musical journey.