[Tomoyasu Teranaka] How to Recreate the KEYTALK Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tomoyasu Teranaka, known as “The Maestro,” is the guitarist and vocalist of the Japanese band KEYTALK. His sound is characterized by an edgy tone centered around a Telecaster, combined with a heartfelt playing style that captivates many listeners. His guitar work is simple yet maximizes the band’s catchy essence, balancing the pop sensibilities with the dynamism of rock music.
In iconic tracks like “MONSTER DANCE” and “Ouka Ranman,” his crisp cutting and riffs significantly contribute to the overall sound. By utilizing the distinctive attack of the Telecaster and enhancing the clean tones crafted through his amplifiers with pedals, he creates a diverse array of expressions for each song.

Moreover, during live performances, his energetic playing is complemented by excellent sound separation, ensuring that both vocals and guitar coexist harmoniously. The use of effects is straightforward, blending seamlessly with the overall band sound using minimal gear.
This “simple yet clear guitar sound” is fundamental to KEYTALK’s pop-rock identity.

In essence, Teranaka’s sound design revolves around “a clean to crunchy tone centered on the Telecaster, with light distortion added according to the song.” Understanding this aspect will allow you to recreate a guitar sound similar to that of KEYTALK’s tracks.

▶ Search official YouTube videos of KEYTALK

List of Amplifiers and Features

When discussing Tomoyasu Teranaka’s sound, the choice of amplifiers is crucial. His playing style, which often involves simple chord work and riffs, relies on amplifiers that provide a clean setting to support the band’s groove. He typically adds distortion through pedals, favoring amplifiers that deliver clean tones with ample headroom.

The most notable amplifier he uses is the Fender ’59 Bassman LTD. This classic amp has been with KEYTALK since their major debut, featuring four 10-inch speakers. It produces a warm clean tone that serves as a foundation, enhanced with overdrive pedals like the Jan Ray. The synergy between Teranaka’s Telecaster and the Bassman is exceptional, naturally reproducing the low-end support and bright highs that the band needs.

Additionally, the Roland JC-160 has been confirmed in his setup. This model is based on the standard JC-120 but features four speakers, known for its transparent clean sound. It excels in live settings, providing quick response and compatibility with reverb and chorus effects, making Teranaka’s guitar sound more pop-oriented and clear.

Furthermore, he has a history of using the Fender Super Sonic Twin. The Super Sonic series is capable of delivering Fender’s signature sparkling clean tones as well as modern distortion, expanding Teranaka’s sound palette. Although it is now discontinued and difficult to find, its use has been confirmed in live videos and is believed to have been utilized in the studio.

A common thread among these amplifiers is the approach of “building tones based on clean sounds while shaping them with pedals.” Teranaka values a simple sound that blends into the overall band mix, which is why he opts for clean, wide-ranging models.

In summary, Teranaka’s amplifier selection is designed to “maximize the Telecaster’s character with a clean foundation,” layering boosts and overdrives according to the needs of each song.

Types of Guitars Used and Features

In Tomoyasu Teranaka’s sound design, the choice of guitars plays a significant role. He primarily uses a Fender Telecaster but switches between several guitars depending on the song or live situation. The sharp attack and fullness of the Telecaster’s sound serve as the backbone of KEYTALK’s catchy rock sound.

First and foremost is the Fender American Vintage 1952 Telecaster (Red Refinish). This particular guitar, painted red by a friend, is characterized by its pronounced low end. The volume and tone are always set to maximum, tuned to standard tuning with D’Addario Regular Light (.010-.046) strings. This guitar can be considered a symbol of “The Maestro’s Sound.”

Next is the Fender Made in Japan Hybrid II Jazzmaster (75th Anniversary Model), confirmed in 2021. This guitar is more powerful than the Telecaster, featuring a pronounced midrange. The pickups are fixed in the center position, allowing for excellent sound clarity even when distorted, ensuring it stands out in the band mix.

On the acoustic side, he uses the YAMAHA LL36C ARE, which appears during acoustic sections and solo performances. It is adjusted for lower action for playability while maintaining a rich tone. The presence of an acoustic guitar in KEYTALK’s live performances reflects Teranaka’s attention to detail.

Additionally, the early-used Fender Telecaster (3-Tone Sunburst) can be seen in the music video for “Kiete Iku yo.” This model is said to have specifications similar to the Heritage 60s Telecaster Custom, producing a warm and classical tone.
Other guitars include the Fender American Original ’60s Telecaster, Navigator N-ST-ASM, and YAMAHA SG1800 series, showcasing a variety of guitars tailored to different situations.

What these guitars have in common is their ability to “change character according to the song.” The Telecaster serves as the foundation, while the Jazzmaster adds sharpness, and the acoustic guitar provides warmth. Teranaka’s guitar selection reflects a highly rational intent within a simple structure.
In summary, he is “anchored by the Telecaster while diversifying sound colors with various secondary guitars.”

Effects and Pedalboard Setup

Tomoyasu Teranaka’s pedalboard is simple yet effectively supports the band’s sound. He does not rely heavily on complex spatial effects or modulation; instead, he typically builds his sound around “clean + distortion + minimal spatial effects.” Particularly, the combination of the Telecaster and Fender Bassman, with pedals like the Jan Ray for distortion, is central to his sound design.

The centerpiece of his electric pedalboard is the Vemuram Jan Ray. This overdrive pedal is beloved by professional guitarists worldwide, adding natural compression and harmonics without compromising the Telecaster’s attack, resulting in a rich sound. It has established itself as his main distortion pedal, consistently used in live performances.

Additionally, he incorporates overdrives and clean boosters made by acquaintances. Although details are unclear since they are not commercial products, they are believed to be tuned to fit the band sound, playing a crucial supportive role in Teranaka’s sound design. The booster is likely optimized for enhancing clarity during solos or specific sections of songs.

The BOSS TU-3 is a staple tuner that is always included in his setup. While simple, it is an essential tool for live performances. For spatial effects, he uses the BOSS DD-6, which adds depth and reverb to the sound. This simple approach provides the band sound with added dimension.

Power supply is managed with the FREE THE TONE PT-1D, which ensures stable voltage to maximize the potential of the pedals. In a professional setting, noise management and power stability are crucial, and Teranaka’s setup reflects this awareness.

For his acoustic setup, he uses a combination of KORG DT-10 (tuner) and L.R.Baggs Para Acoustic D.I.. The Para Acoustic D.I. is essential for optimizing the acoustic guitar sound for the PA system, ensuring the acoustic guitar stands out during live performances.

In summary, Teranaka’s effects system is a simple configuration that achieves “maximum effect with minimal gear.” He adjusts dynamics with overdrive and boosters, creates space with delay, and optimizes the acoustic guitar with a D.I. While not flashy, it is a solid and professional choice that supports the overall band sound. Overall, it can be assumed that he aims for “maximum musical effect with the minimum necessary gear.”

Tone Settings, EQ, and Mixing Approaches

Tomoyasu Teranaka’s sound design is built on the premise of “simple guitar sounds that blend seamlessly with the music.” Therefore, his EQ settings and amplifier configurations are typically not extreme, often starting from a flat state with slight adjustments.
His Telecaster naturally emphasizes low frequencies, with slightly subdued highs, so it is assumed that he raises the treble a bit while tightening the lows on the amp to balance the overall sound.

For instance, when using the Fender ’59 Bassman LTD, the settings might be:
– Bass: 4-5 (tightening the lows without overemphasizing them)
– Middle: 5-6 (focusing on chord cohesion)
– Treble: 6-7 (enhancing the attack)
– Presence: 5 (to ensure it stands out in live settings)
These settings likely help maintain the core of the Telecaster while ensuring clarity within the overall band sound.

Regarding distortion, he primarily uses the Vemuram Jan Ray for light crunch to clean boost, controlling nuances through the dynamics of his playing with the guitar’s volume set to full. During solos and riffs, he adds a booster to enhance volume and midrange presence, ensuring his position within the song is well-defined.

The DD-6 delay is typically set for short delays (around 200ms) to add thickness to the rhythm. The repeat count is usually kept to 2-3 times, ensuring that the delay does not interfere with the clarity of the cutting sound. Depending on the song, he may apply deeper delay settings to create spatial depth, but the fundamental approach is to maintain the band’s rhythm.

For the acoustic guitar, the L.R.Baggs Para Acoustic D.I. sends the sound to the PA, and it is assumed that EQ adjustments are made in consultation with the sound engineer for each performance. The low frequencies are likely cut to avoid feedback, while the mid-high frequencies are slightly boosted to enhance the presence of the cutting sound.

In the overall mix, KEYTALK is supported by two guitarists (Teranaka and Takeshi Ono). Teranaka’s role is to provide “thick guitars leaning towards the center to low-end,” while Ono focuses on “sharp cutting and lead parts.” In the PA mix, Teranaka’s guitar is likely treated with slightly boosted lows and thicker mids to create a sense of unity with the rhythm section (bass & drums).

The differentiation in sound for each song is also clear. For example, in “MONSTER DANCE,” he emphasizes the attack with a crunchy tone to highlight the riffs. In contrast, for more melodic tracks like “Ouka Ranman,” he opts for a lightly applied delay to achieve a clean to crunchy sound that supports the vocals.

Overall, Teranaka’s EQ and setting strategies focus on “minimal adjustments to highlight the Telecaster’s inherent character while ensuring the overall sound shines.” His settings are always conscious of the role of the guitar as a supportive element for the song and the band, which is likely a key aspect of KEYTALK’s sound.

Affordable Alternatives to Recreate the Tone

Tomoyasu Teranaka’s sound is built on expensive vintage guitars and professional-grade amps and pedals, but it is possible for beginners and amateurs to approximate his tone at a relatively low cost. The key is to replicate “the clean and crunchy tones of the Telecaster,” “a simple overdrive,” and “a light delay.” Here, we will introduce alternative gear available for around $100 to $500.

For guitars, while the Fender American Vintage is costly, a great alternative is the Squier Classic Vibe ‘50s Telecaster. Priced around $500, it effectively captures the cutting feel and sharp attack characteristic of a Telecaster. Especially with the bridge pickup, it can closely replicate the nuances of Teranaka’s rhythm playing.

Regarding amplifiers, while the Fender Bassman and Super Sonic Twin are expensive and hard to find, the Fender Champion 100 and BOSS Katana 50 MkII are excellent alternatives. The Champion can recreate the sparkling clean tone typical of Fender at an affordable price, while the Katana offers versatile clean and distortion options through modeling. Both are versatile enough for live and home practice.

For effects, while the Vemuram Jan Ray is quite expensive (over $600), the BOSS BD-2 Blues Driver and MXR Timmy Overdrive are ideal substitutes. The BD-2 covers a wide range from natural crunch to boost, pairing well with the Telecaster. Additionally, introducing the Xotic EP Booster as a clean boost can easily replicate the clarity needed during solos.

For spatial effects, alternatives to the BOSS DD-6 include the BOSS DD-8 and NUX Atlantic, both of which are affordable and practical. The DD-8 is a newer model capable of handling everything from short delays to modulation, making it perfect for adding thickness to KEYTALK-style rhythmic cutting.

For acoustic guitars, since the YAMAHA LL36C ARE costs over $2000, alternatives like the YAMAHA FGX5 or FGX830C in the $500-$1000 range are recommended. These models offer excellent playability and rich tone, providing a balanced sound even without the Para Acoustic D.I.

In conclusion, “a Telecaster-type guitar + simple overdrive + clean amp or modeling amp” can get you quite close to Teranaka’s sound. The important takeaway is understanding the philosophy of sound design: “adding the minimum necessary distortion to a clean foundation.”

Summary and Conclusion

Tomoyasu Teranaka’s sound design may seem simple at first glance, but it is built on a meticulous framework that supports the overall band sound. The clean-oriented tones centered around the Telecaster, the wide-ranging clean sound from Fender amplifiers, and the natural overdrive provided by the Vemuram Jan Ray combine to create a guitar sound that is both pop-oriented and substantial.

Notably, he avoids flashy effects and extreme distortion. The essence of his sound design is “a clear rhythm guitar that supports the song,” prioritizing sounds that enhance both vocals and the rhythm section. Even during solos, he refrains from excessive distortion, using clean boosts to elevate volume and midrange without disrupting the band’s balance.

The inclusion of acoustic guitars is also a crucial element. The rich sound of the YAMAHA LL36C ARE is optimized through the Para Acoustic D.I., adding color to the songs in contrast to the electric guitar. This “contextual differentiation” is a key secret to the breadth of Teranaka’s sound.

For beginners or cover bands aiming to replicate Teranaka’s sound, the key points are “to have a Telecaster-type guitar,” “to build on a clean foundation with light overdrive,” and “to keep EQ settings close to flat, making minor adjustments as needed.” By combining a Telecaster with overdrives like the BD-2 or Timmy, it is possible to easily recreate KEYTALK’s signature cutting and crunchy tones.

In conclusion, the essence of Tomoyasu Teranaka’s sound design is “a simple and sincere guitar sound centered around the Telecaster.” The sophistication within this simplicity is the greatest charm that supports KEYTALK’s music and attracts many listeners.
Thus, what is needed to replicate his sound is not necessarily expensive gear, but rather “a mindset to strip away the unnecessary and select only the essential sounds.”

For guitarists pursuing “The Maestro’s Sound,” his sound design philosophy will undoubtedly serve as a valuable reference for future performances and gear selection.