[TAKUYA] How to Recreate the JUDY AND MARY Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

TAKUYA, whose real name is Takuya Asanuma, is the guitarist of JUDY AND MARY, a band that played a pivotal role in the J-Pop rock scene of the 1990s. His playing style is characterized by a wide range of expressive sounds, from colorful pop backing and sharp cutting to explosive distortion riffs.

Iconic songs such as “Sobakasu” and “Over Drive” showcase his brisk cutting and dazzling chord work. In contrast, tracks like “Classic” and “LOVER SOUL” reveal his ability to create lyrical and delicate guitar tones that support the overall atmosphere of the songs.

The reason his sound garners attention lies in his unique pop sensibility and diverse effects processing woven into simple guitar phrases, establishing the band’s sound as “pop rock.” His choice of guitars, including the classic Fender Telecaster, Zemaitis, and his signature model, the Fernandes JAM-T, reflects a strong commitment to tone and aesthetics.

Moreover, his use of a variety of amplifiers and effects demonstrates a craftsmanship that allows him to switch tones for each song, ranging from clean to crunch, deep delay, and chorus. To recreate the sound of the 90s, it is essential to consider not only the types of guitars but also the effects board and EQ settings.

This article will delve into the guitars, amplifiers, and effects used by TAKUYA (JUDY AND MARY) while exploring the essence of his sound design. It will also provide tips for those looking to replicate the JUDY AND MARY sound in their own playing or home recordings.

▶ Search official YouTube videos of JUDY AND MARY

List of Amplifiers and Features

Supporting TAKUYA’s sound is not only his unique guitar collection but also a carefully selected array of amplifiers. He utilized multiple amplifiers for live performances and recordings, crafting tones tailored to each song. Below is a list of confirmed amplifiers along with their characteristics.

One of the most notable amplifiers used is the Roland JC-120. This classic transistor amplifier is known for its bright clean tone and built-in stereo chorus. The poppy and brisk guitar sounds in songs like “Sobakasu” and “Over Drive” are believed to be built on the clean tone foundation provided by the JC-120.

Additionally, the Matchless DC-30 is known to be part of TAKUYA’s gear. This tube amplifier delivers a thick crunch sound, particularly effective in rock-oriented tracks. Its strong mid-range presence ensures that the guitar tone stands out in ensemble settings.

The Dumble Overdrive Special has also been confirmed as part of his setup, a rare handmade amplifier known for its delicate and rich harmonics, which shine in ballads and emotional guitar phrases. It has been spotted in his live sets since the mid-period of JUDY AND MARY.

Furthermore, boutique amplifiers such as Divided by 13 and Rocket Amp have been integrated into his rig. These amplifiers produce soft yet dimensional sounds, serving as auxiliary amps during studio recordings and live performances. The Divided by 13, in particular, offers a modern update on the classic tube sound reminiscent of Matchless and Vox, allowing seamless transitions between clean and crunch tones.

Through this combination of amplifiers, TAKUYA has been able to express a wide range of sounds, including “brilliant cleans,” “sharp cutting,” “thick crunch,” and “rich lead tones.” His flexibility in adjusting settings for live and recording contexts is a significant aspect of his sound design.

By utilizing these amplifiers in various contexts, it is assumed that JUDY AND MARY’s unique “colorful and diverse sound” was created.

Types of Guitars Used and Features

The core of TAKUYA’s sound lies in his rich and colorful guitar collection. He selects different guitars for live performances and recordings, adding vibrancy to JUDY AND MARY’s songs. His choices reflect a comprehensive consideration of tone, aesthetics, and playability rather than mere brand preference.

First and foremost is the Fender Telecaster, which TAKUYA owns in multiple versions, including a 70s model. This guitar serves as a primary instrument, supporting sharp and bright cutting sounds. Its brilliance is showcased in representative songs like “Sobakasu” and “Over Drive.”

Another noteworthy guitar is the Fernandes JAM-T Signature Model, which has become synonymous with TAKUYA. Available in various colors such as black, blue, clear, and pink, these guitars reflect the pop and visual image of JUDY AND MARY. They frequently appear in live performances and symbolize his stage presence.

The Zemaitis series is also essential when discussing TAKUYA’s sound. Featuring shell tops, metal tops, and wood tops, the metal top used during a 1997 live performance is particularly famous for having experienced a neck break, which was repaired and continued to be used. The Zemaitis guitars’ unique mid-low range thickness and brilliant harmonics provided a significant presence in JUDY AND MARY’s rock-oriented songs.

Moreover, guitars like the Gretsch Duo Jet (1950s, 56 model), Gretsch 6120 Chet Atkins, and Rancher acoustic guitar have also been incorporated, allowing for a wide range of sound creation across genres. The Cadillac Green Duo Jet left a strong impression during performances.

Other notable instruments include the Journeyman Stratocaster and Journeyman Telecaster, along with prototypes and signature models from his original brand Tsubasa Guitar (featuring a red body painted with “GUITAR DE POP” and “JAM”). These models strongly reflect his musical sensibility and design aesthetics.

Unconventional choices such as the Parker Fly, Vox Guitar Organ, and even the 12-string Zemaitis Acoustic and Taylor Guitar have been confirmed. By navigating between electric and acoustic realms, TAKUYA expressed the world of his songs.

In this way, by assigning roles to each guitar, he supported a wide range of expressions from JUDY AND MARY’s pop rock to emotional ballads.

By ensuring a range of tones through various guitars, TAKUYA’s sound can adapt to the needs of each song, revealing the secret behind his unique sound.

Effects and Pedalboard Setup

In TAKUYA’s sound design, effects are just as crucial as guitars and amplifiers. His effects board has evolved over time, but it consistently aims for “brilliance,” “pop,” and “dimensionality.” In the 90s, he combined individual pedals, while recent setups have incorporated digital equipment.

One indispensable pedal is the ProCo RAT Prototype. This pedal forms the foundation of the crisp distortion sound in representative songs like “Over Drive” and “Sobakasu,” frequently used to enhance the rock flavor. The RAT’s characteristic mid-range roughness adds just the right edge to JUDY AND MARY’s pop rock.

Additionally, the HUMAN GEAR Vivace / Passionate is known as a boutique pedal that delivers delicate and expressive distortion and boost. It has been used to create presence in solos and arpeggios.

For modulation effects, the BOSS CE-1 Chorus Ensemble stands out. Combined with the JC-120, this bright stereo chorus has become emblematic of TAKUYA’s guitar sound. The use of BOSS DM-2 Delay and Roland Space Echo has contributed to creating spatial and expansive sounds.

Moreover, the Mu-Tron series (Flanger / Digital Delay / Wah / Octave / Bi-Phase) has been utilized for experimental sounds. The psychedelic expressions involving wah and phaser add a unique touch to the pop rock genre.

In recent years, TAKUYA has also employed the Kemper Profiler Remote and KORG Pitchblack tuner. By leveraging digital equipment, he aims to recreate the analog quality of his past sounds. The Kemper allows for modeling of previously used amplifiers and effects, providing stable sound creation for tours and studios.

Thus, TAKUYA’s effects board is believed to be structured around “distortion + chorus + delay,” with a flexible configuration that changes color according to each song.

Constructed around distortion, chorus, and delay, TAKUYA’s effects board is versatile enough to accommodate a wide range of styles, supporting his unique colorful sound.

Tone Settings, EQ, and Mixing Approaches

TAKUYA’s sound design goes beyond merely selecting guitars, amplifiers, and effects; it is also completed through meticulous EQ and mixing techniques. As a representative band of 90s J-Pop, JUDY AND MARY’s songs were intricately designed for radio, television, and CD playback, with the guitar sound being an integral part of this design.

For basic amp settings using the Roland JC-120, it is common to boost the treble slightly while keeping the bass lower. This ensures that the guitar does not get buried in the overall band sound, especially in upbeat songs like “Sobakasu” and “Chiisana Koro Kara,” where the cutting stands out. Additionally, leveraging the built-in chorus adds stereo width, forming TAKUYA’s signature “pop and sparkling sound.”

When using the Matchless DC-30 or Dumble Overdrive Special, boosting the mid-range creates a thick and present tone. Particularly in ballads, adding a touch of bass creates a warm texture, supporting the vocals without overshadowing them.

Regarding effects, the ProCo RAT distortion is set to medium gain rather than full, achieving a crisp distortion that maintains overall band pressure while allowing the vocal melody to shine. Furthermore, the BOSS CE-1 chorus and DM-2 delay are adjusted to avoid excessive depth, providing spatial expansion while keeping the vocals as the focal point.

EQ adjustments for each song are also carefully crafted. In fast-paced tracks like “Over Drive” and “Classic,” treble is emphasized to create a lively impression, while songs like “LOVER SOUL” and “Sanpomichi” push the mids for a warmer tone. This approach allows for distinct character variations across songs, even with the same guitarist.

During the mixing phase, panning the guitar left and right creates a sense of dimension. TAKUYA’s guitar is positioned to envelop YUKI’s vocals, resulting in a pop and dramatic overall sound. Particularly in “Sobakasu,” the wide-cutting on the sides and centrally placed vocals create a vivid contrast.

From an engineer’s perspective, the use of compressors is also crucial, with attack settings lowered and sustain extended to make the cutting sound more pronounced. Spatial effects are applied with a moderate amount of reverb, and plate reverb is added as needed to achieve transparency.

Overall, TAKUYA’s sound design is centered around maximizing the individuality of each song, opting for tones optimized for the moment rather than fixed sounds. This reflects not only the quality of the gear but also an exceptional sense of both performance and sound design.

By layering amp settings, EQ, effects usage, and mixing techniques, JUDY AND MARY’s guitar sound is assumed to construct a unique world that is both pop and profound.

Affordable Alternatives to Recreate the Tone

TAKUYA’s gear includes high-end equipment like Zemaitis and Dumble, which can be financially challenging for beginners to acquire. However, the essence of his sound lies in “crisp cutting,” “brilliant clean tones,” “moderately edgy distortion,” and “dimensional spatial effects.” Here, we will introduce recommended gear that is relatively accessible and can help you get closer to TAKUYA’s sound.

For guitars, the Fender Player Telecaster is an excellent choice. Priced around 70,000 to 80,000 yen, it features bright tones and lively cutting, effectively replicating the vibe of TAKUYA’s frequently used Fender Telecaster. Additionally, if you want to broaden your sound palette, the Gretsch Electromatic series, particularly the Duo Jet type, can easily recreate the rich mid-low range seen in JUDY AND MARY’s later works.

For amplifiers, the Roland JC-22 is a strong contender. This compact version of the JC-120 offers sufficient output for home use or small gigs while replicating that unique stereo chorus. The bright cleans characteristic of the JC series are essential to achieving the JUDY AND MARY sound, making it a solid foundation.

For effects, distortion options like the BOSS DS-1 or ProCo RAT2 are good choices. The RAT2, in particular, serves as a successor to TAKUYA’s actual gear, possessing a similar mid-range edge and priced affordably in the 10,000 yen range. For spatial effects, the BOSS CE-2W (Waza Craft) can simulate the CE-1 sound when combined with the JC-120, recreating that brilliant chorus.

For delay, the BOSS DD-8 is versatile, capable of handling everything from analog warmth to clear digital reflections. While fully replicating the Roland Space Echo is challenging, this model can get you close. Additionally, for reverb, adding the TC Electronic Hall of Fame 2 allows you to choose between plate and room reverb, easily creating the depth that TAKUYA varied in his songs.

For beginners, all-in-one options like the ZOOM G3Xn or Line6 POD Go are also recommended. These multi-effects units come with amp simulators, chorus, and delay, making them convenient for home recording and practice. While not professional-grade like the Kemper, they offer sufficient quality to experience TAKUYA’s sound.

By combining these pieces of gear, it is possible to approach JUDY AND MARY’s colorful and pop guitar sound for under 100,000 yen.

By combining these pieces of gear, it is assumed that you can recreate TAKUYA’s “bright, pop, and dimensional guitar sound” at a relatively affordable price.

Summary and Conclusion

In summarizing TAKUYA’s sound design, its essence lies in the “delicate balance between pop and rock.” From guitar selection to amplifier and effects configuration, every choice is meticulously designed to align with the songs and the overall world of the band.

For instance, the bright and clear cutting produced by the Fender Telecaster and Fernandes JAM-T is an essential element of JUDY AND MARY’s fast-paced pop rock. On the other hand, unique guitars like Zemaitis and Gretsch Duo Jet provide depth in ballads and heavier tracks. Each guitar has a defined role, drawing out the colors of each song.

In terms of amplifiers, the brilliant cleans from the JC-120 and the rich crunch from the Matchless DC-30 and Dumble demonstrate flexibility in tone selection according to the song, allowing for character changes while maintaining consistency.

Regarding effects, the rough distortion from the RAT, the brilliant spatial effects from the CE-1 and DM-2, and the experimental sounds created with Mu-Tron showcase a diverse palette that goes beyond mere sound creation, acting as a “voice” to express the character of each song.

Furthermore, the engineering aspects, such as EQ balance, compression adjustments for clarity, and panning for stereo imaging, enhance the overall quality of the sound. As a result, JUDY AND MARY’s songs deliver catchy and powerful guitar sounds regardless of the playback environment.

Ultimately, TAKUYA’s sound design values “flexibility in deriving optimal solutions for each song” over “the luxury of gear.” Even without high-end equipment, focusing on fundamental elements—bright cleans, pronounced cutting, and dimensional chorus and delay—can bring you closer to that sound.

As you practice at home or perform live, aim not for a perfect copy but rather to embody the “colorful world of JUDY AND MARY’s music” in your gear selection and sound adjustments. This perspective is at the core of TAKUYA’s sound design and is the most crucial viewpoint when attempting to replicate his sound.