[Sasaki Ryosuke] How to Recreate the a flood of circle Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

a flood of circle, commonly known as afoc, is a Japanese rock band formed in 2006, characterized by a sound heavily influenced by blues and garage rock. The central figure of the band is Ryosuke Sasaki, who serves as both the frontman and guitarist.

His guitar style combines rawness and delicacy, with bluesy riffs and groovy chord work forming the foundation of his performance, which is impressively integrated with his powerful vocals. Iconic songs such as “Human License” and “Hana” showcase the significant presence of the guitar, which greatly influences the overall dynamism of the tracks.

Ryosuke Sasaki is particularly known for using the Gretsch Falcon series, whose thick sound is a crucial element supporting a flood of circle’s live performances and recordings. His gear often includes unique modifications and signs of aging, embodying a rough style that adds depth to his tone.

This article will delve into Ryosuke Sasaki’s sound design, exploring his actual guitars, amplifiers, and accessories, as well as methods for beginners to recreate similar tones.

▶ Search official YouTube videos of a flood of circle

List of Amplifiers and Features

One of the key elements supporting Ryosuke Sasaki’s sound is his amplifier choice. His tone features a blend of blues-inspired distortion and the rawness typical of garage rock, with the BadCat Hot Cat 30R being a central component.

The main amplifier, the “BadCat Hot Cat 30R (2013 model),” is known for its expressive gain and quick response, despite being a single-channel amp. During live performances, Sasaki adds a 1×12 extension cabinet to create a thicker and more expansive sound. It has also been confirmed that he uses it alone for recordings, demonstrating its versatility from clean to crunch to high gain, which aligns perfectly with his dynamic playing style.

Sasaki has shared specific settings for his amplifier, which are quite distinctive:
GAIN = 9 o’clock, LEVEL = 3 o’clock, BASS = 10 o’clock, MID = 8 o’clock, TREBLE = 11 o’clock, CUT = 2 o’clock.
This EQ setting reduces the midrange while emphasizing low-end and presence, ensuring that his vocals do not get buried during live performances while prominently showcasing the unique thickness of the Gretsch sound.

Historically, he is said to have experimented with Fender amps, but it is assumed that he shifted to BadCat in pursuit of a more aggressive and modern distortion and response. The tight and sharp character of the Hot Cat is considered optimal for a flood of circle’s music, which inherits the tradition of blues rock while requiring the explosive power typical of garage punk.

While there may have been instances of using other brands or studio Marshall amps, the BadCat Hot Cat 30R has consistently been confirmed through official statements and live footage as his main amplifier. Although there may be future changes in gear according to his style, it is expected that he will continue to build his sound around BadCat.

Types of Guitars Used and Features

At the core of Ryosuke Sasaki’s sound design are his distinctive guitars. His playing style embodies the raw and energetic impulses of rock while rooted in blues. The iconic Gretsch Falcon series is a significant part of his stage presence.

One of his main guitars is the “Gretsch G7593 Black Falcon.” This model, originally boasting luxurious decorations, has been modified by Sasaki with a Tune-o-matic bridge and a Vibramate Spoiler to enhance playability. He also embraces a rough style by leaving binding and escutcheon wear unaddressed, symbolizing his laid-back attitude towards sound. The tonal characteristics include a low center of gravity and a slightly slower response, functioning as a thick rhythm guitar that supports the entire band.

Another important guitar is the “Gretsch G6139T-CBDC Falcon,” which he purchased in 2013. This model features a double-cutaway design with a center block structure, excelling in high-position playability, making it ideal for live solos and dynamic phrases. Additionally, it has a special design featuring illustrations by Yoshitomo Nara, adding significant visual impact. Unlike the hollow body Falcon, this model is more resistant to feedback, making it suitable for a more rock-oriented approach.

In his acoustic set, he uses a “Zemaitis acoustic guitar,” which appears in songs like “BLACK BANANA” and “Meriru.” The Zemaitis guitar’s warmth and brilliance add depth to the predominantly electric stage sound.

The choice of Gretsch guitars is not merely for their visual impact but also because their thick mid-low range and expansive sound are ideal for a flood of circle’s bluesy and robust sound. Unlike the sharp tones of Fender or the compression of Gibson, the unique presence of Gretsch defines the band’s overall tone.

Thus, Ryosuke Sasaki’s sound maximizes the individuality of Gretsch while embracing modifications and aging, creating a unique tone. While he varies his sound for different performances, the Gretsch Falcon series remains the foundational element that defines his sound.

Effects and Pedalboard Setup

Ryosuke Sasaki’s style is fundamentally based on a rough sound directly from the amp, and he does not excessively use effects. However, to create nuances for live performances and songs, he employs a simple pedalboard with minimal effects. His approach typically revolves around amp distortion, supplemented by spatial effects and boosters.

It has been confirmed that he uses “NEO OYAIDE FORCE’77G” cables for his signal chain. He maintains consistency even with patch cables, preventing signal degradation while also favoring the design. This attention to detail indicates his strong commitment to the foundational aspects of his sound.

The pedalboard itself is simple, and the following components are typically assumed:

• Booster: It is highly likely that he uses a clean booster to elevate the amp’s gain for solos, as the BadCat settings lean towards low gain. This booster is essential for ensuring clarity during performances.
• Delay/Reverb: Used in ballads like “Hana” or songs requiring spatial effects. A short digital delay is likely applied to create a sense of lingering sound without being too deep.
• Wah Pedal: There are instances where a wah is used for wild expressions, adding a blues-rock element to his sound.
• Tuner: Considering practicality on stage, it is likely that he incorporates a standard pedal tuner like the BOSS TU-3.

There are testimonies suggesting that he has occasionally added overdrive or fuzz for distortion reinforcement, but he emphasizes in interviews that he trusts the amp’s distortion, indicating that the primary focus is on amp-driven sound.

Overall, Sasaki’s pedalboard is simple yet practical. Rather than being flashy, it is structured to blend seamlessly with the band’s overall sound, complementing the thick tone of the Gretsch Falcon and the sharp response of the BadCat. While confirmed information is limited, based on live footage and interview statements, the above configuration is assumed to be prevalent.

Tone Settings, EQ, and Mixing Approaches

Ryosuke Sasaki’s sound design is significantly influenced by his choices in guitars and amplifiers, as well as his EQ and mixing techniques. While his sound may initially appear rough, it is actually finely tuned with a strong focus on the overall balance within the band.

Starting with the amp settings, the previously mentioned “BadCat Hot Cat 30R” features a distinctive setup. By setting the GAIN to 9 o’clock and the LEVEL to 3 o’clock, he achieves a clean tone with a deep drive. The BASS is set at 10 o’clock, MID is significantly reduced to 8 o’clock, TREBLE is elevated to 11 o’clock for a nice bite, and the CUT is set to 2 o’clock to adjust the high-end clarity, ensuring that vocals and other instruments do not interfere too much. This allows the unique thickness of the Gretsch tone to be maintained while ensuring clarity within the band sound.

During live performances, this setup serves as a foundation, with the booster added as needed to enhance gain. This is particularly useful for emphasizing solos and riffs, showcasing his ability to adjust flexibly for each performance. The thick mid-low range of the Falcon supports the band sound, while the booster temporarily elevates the midrange to create moments where the guitar stands out.

On the EQ front, collaboration with the engineer and PA is crucial. In studio recordings, it is common to lightly cut around 200Hz to prevent the Gretsch’s low end from becoming too bloated while slightly boosting around 3kHz to enhance attack. This helps to clarify the contours of the sound within the band ensemble. Conversely, during live performances, the amp settings are maintained as is, with light compression applied by the PA to prevent frequency clashes.

Another notable aspect is his approach to sound design for different songs. For instance, in ballads like “Hana,” he sets the delay to a shorter length to create a sense of space. In contrast, for more intense tracks like “Human License” or “Blood Red Shoes,” he uses minimal delay and reverb, opting for a dry sound that is close to direct amp output to emphasize aggression. This indicates a thoughtful adjustment of spatial effects based on the character of each song.

Additionally, creative mic placement during recording plays a significant role. It is common to place a dynamic mic like the Shure SM57 close to the BadCat Hot Cat 30R cabinet, along with a condenser mic to capture room ambiance, blending both for a rough yet deep sound.

In summary, Ryosuke Sasaki’s sound design revolves around three main pillars: “boldly cutting mids,” “leveraging the thick low end of Gretsch,” and “adjusting boosts and spatial effects according to the situation.” While it may seem rough, there is a meticulous design focused on the overall resonance of the band, resulting in a unique tone. Based on his own words and live testimonies, it is expected that he will continue to build on this style while making subtle adjustments for each song.

Affordable Alternatives to Recreate the Tone

Reproducing Ryosuke Sasaki’s sound perfectly requires high-end gear like the Gretsch Falcon and BadCat amp, which can be quite costly. However, by grasping the essence of his sound design, beginners and intermediate players can achieve a similar tone with relatively affordable equipment. Here, we introduce alternative gear priced between $100 and $500 that can be practically used for rehearsals or home practice.

For guitars, if you want to approximate the thick and brilliant tone of the Gretsch Falcon, the Gretsch Electromatic series is a realistic choice. In particular, the “G5420T Electromatic Hollow Body” can be purchased for under $1,000 and offers a hollow structure that provides a similar airiness and brilliance to the Falcon. If you prefer a center block model, the “G5622T Electromatic Center Block Double-Cut” is recommended. Both options have stage-worthy quality.

Regarding amplifiers, the BadCat Hot Cat 30R is expensive and not widely available. Therefore, suitable alternatives include the “VOX AC15C1” or “Orange Crush Pro CR120H,” both of which can produce thick lows while pulling back the mids. The VOX AC15, in particular, excels in clean to crunch tones and pairs well with pedals, offering a range that closely resembles Sasaki’s sound.

For effects, a simple setup is sufficient. An analog delay like the MXR Carbon Copy can easily recreate spatial depth. Additionally, a budget-friendly booster such as the BOSS SD-1 or a lower-cost model of the Xotic RC Booster can effectively enhance clarity during solos. The Dunlop Cry Baby Standard wah pedal is also a classic and accessible option.

A beginner’s ideal setup could include the Gretsch Electromatic guitar, the VOX AC15 amp, and a pedalboard featuring the BOSS TU-3 tuner, SD-1, and Carbon Copy delay. This combination should allow you to experience a “Ryosuke Sasaki-style” rough and bluesy sound during band performances. The key is to focus on “boldly cutting mids” and pairing a thick-bodied guitar with a crunch-oriented amp, as the direction of sound design is more critical than the price of the gear.

Summary and Conclusion

As discussed, Ryosuke Sasaki’s sound design may seem simple at first glance, comprising “high-end Gretsch guitars + BadCat amps.” However, the reality is a meticulous design tailored to his playing style and the overall resonance of the band, supported by a calculated roughness that appears intentional.

Three major characteristics stand out:
1. A thick and prominent tone centered around the Gretsch Falcon.
2. A clean-crunch sound created by the BadCat Hot Cat 30R.
3. A unique EQ balance that boldly cuts mids while highlighting lows and highs.
These elements combine to create a unique a flood of circle sound that integrates seamlessly with his vocals and the band’s overall sound.

Moreover, his approach to handling guitars—using them without concern for modifications or wear—reflects his musical philosophy. Rather than simply accepting that “as long as it makes sound, it’s good,” he actively incorporates the sounds produced by instruments that have aged and been used over time. This attitude can be seen as a continuation of the spirit of blues and garage rock in the modern rock scene.

Additionally, his gear choices are not overly diverse. His pedalboard is minimal, focusing on the direct amp sound while only adding spatial effects and boosters when necessary. This approach enhances the sound’s persuasiveness by “streamlining rather than adding unnecessary elements.” This insight can be a significant hint for guitarists seeking a simple yet profound rock sound.

For beginners looking to recreate his sound, it is not essential to acquire the same high-end gear. The critical concept is to “cut the mids and combine a thick-bodied guitar with a crunch amp.” By utilizing boosters and delays minimally, it is possible to create a rough and powerful tone reminiscent of Ryosuke Sasaki.

In conclusion, the essence of Ryosuke Sasaki’s sound design lies in a simple yet practical configuration based on “the thickness of Gretsch” and “the responsiveness of BadCat.” This, combined with his rough and human-like playing style, forms a unique rock sound. Readers are encouraged to experiment with their gear, focusing on “boldly cutting mids” and “the necessary minimal effects,” as this will be the first step toward approaching the sound of a flood of circle.