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

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Introduction (Overview of Tone)

The guitarist Tetsu Aoki of the band a flood of circle captivates many listeners with his heavy yet dynamic guitar sound. His playing style is rooted in blues and rock ‘n’ roll, while also incorporating a modern attack. During live performances, he skillfully alternates between the thick riffs characteristic of a Les Paul and the unique nuances provided by a Stratocaster or semi-hollow body guitar, creating vivid contrasts for each song.

Iconic tracks include the bright riffs from “I’M ALIVE” played on a Stratocaster, the raw drive sound from a Marshall JMP in “Cobalt Blue,” and the warm, rich tones from an ES-335 in “Hoshikuzu no Record.” His main guitar, a 1973 Gibson Les Paul Custom, has undergone modifications and part replacements, achieving a balance between thickness and delicate expressiveness. He primarily plays with the rear pickup, skillfully manipulating the volume and tone controls to create varying sound colors for each song during live performances.

As a result, Aoki’s sound embodies “the tradition of rock ‘n’ roll combined with modern explosiveness,” strongly supporting the groove of a flood of circle. Understanding his sound design can provide insights into creating a contemporary sound based on the classical tones centered around the Les Paul.

In the following sections, we will delve into the details of the amplifiers, guitars, effects, EQ settings, and more that he uses.

▶ Search official YouTube videos of a flood of circle

List of Amplifiers and Features

Aoki’s choice of amplifiers is a crucial element supporting his sound. The core of his live performances and recordings revolves around Marshall amplifiers. He notably utilizes the 1959SLP, which carries the legacy of 1970s rock, and the JMP 2203, which offers a more modern distortion, showcasing a distinctive style.

First, the main amplifier is the “Marshall 1959SLP.” This is a reissue of the Plexi Super Lead, a favorite of legendary guitarists like Jimi Hendrix and Jimmy Page. Aoki pairs it with a 1960B HW cabinet. His EQ settings are unique, with TREBLE set to 0 and both MID and BASS cranked to 10. This bold configuration suppresses harsh attacks while enhancing the thickness of the low and mid frequencies, allowing the thick tone of the Les Paul to shine through.

Additionally, he has modified the 1959SLP to include a master volume, making it practical to use at manageable volumes, which is essential for live settings. He uses a BOSS FS-5L for switching, enabling instant adjustments to volume and gain on stage. This modification uniquely balances classic tone with modern convenience.

On the other hand, the “Cobalt Blue” features the Marshall JMP 2203. This amplifier, popular in the late ’70s and early ’80s for hard rock and heavy metal, has a higher gain than the 1959SLP, producing tight and edgy drive sounds. Aoki likely uses this JMP to reinforce the sharpness and power needed for riff-driven songs.

Overall, his amplifier settings reflect a blend of “classic rock thickness” and “modern drive.” By emphasizing low and mid frequencies to maximize the Les Paul’s thick tone, he adds sharpness with the JMP when necessary, allowing for a wide range of expression. These equipment choices are essential for delivering the robust rock ‘n’ roll sound of a flood of circle during live performances.

Based on past live footage and interviews, it appears that while the amplifier setup remains relatively stable, fine-tuning and switching methods are likely adjusted for each tour and song.

Types of Guitars Used and Features

The core of Aoki’s sound is undeniably his collection of Les Paul models. His playing style is characterized by the “heavy and powerful rock ‘n’ roll sound” symbolized by the Les Paul, which he clearly differentiates into main, backup, and special-use guitars.

The centerpiece is the “1973 Gibson Les Paul Custom.” This guitar is not just a vintage piece; it has been customized for performance. Modifications include refretting, a Delrin nut, brass Kluson tuners, and a stickered-numbered PAF with a pickup cover, all aimed at enhancing playability and sound. Notably, he uses the rear pickup 95% of the time, allowing for a wide range of expression from aggressive rock riffs to delicate arpeggios.

As a backup, he employs the “1996 Gibson Les Paul Custom.” This model features ’57 Classic and Classic Plus pickups, along with modern components like Jim Dunlop 6105 frets and Gotoh locking tuners. Despite being a backup, it offers sound quality that rivals the main guitar, making it an important asset for tours and festivals.

Aoki also showcases his versatility by using different guitars for specific songs. In “BLACK BANANA,” he plays a 1990s Gibson Les Paul Special (equipped with P-90s) to achieve a rough and aggressive sound. For “I’M ALIVE,” he opts for a Fender Stratocaster, delivering sharp and bright riffs characteristic of single-coil pickups. The gunmetal gray Gibson ES-335 appears in “Hoshikuzu no Record,” producing a warm and rich tone.

Additionally, the L’s TRUST TL-type guitar used in “Cobalt Blue” stands out. This Telecaster-style guitar delivers a hard-edged tone that contrasts with the thick sound of a Les Paul. By boldly switching guitars for each song, Aoki expands the overall sound range of a flood of circle.

In summary, Aoki’s guitar selection prioritizes “maximizing the energy of each song.” His vintage-based Les Paul, updated for performance, serves as the foundation, while the Stratocaster and semi-hollow body guitars complement the nuances. This combination is believed to create his unique tonal palette.

Effects and Pedalboard Setup

Aoki’s pedalboard is designed to enhance classic rock sounds while incorporating modern usability and a wider range of tones. Its simple yet effective configuration serves as a “seasoning” to complement the traditional combination of Les Paul and Marshall.

At the signal entry point is the “Sonic Research ST-300,” known for its accurate and quick response. In live settings, tuning accuracy and speed are paramount, making this strobe tuner indispensable. Next, the “Electro-Harmonix Nano POG” adds thickness and unique overtones through octave effects, enhancing the power of riffs and solos.

The core of his distortion is the “idea sound product IDEA-TSX.” This overdrive pedal, based on the Tube Screamer design, lightly pushes the Marshall amp while emphasizing the midrange. Instead of creating intense distortion on its own, it is used to enhance the amp’s natural character.

For spatial effects, the “ANALOG.MAN ARDX20” is included. This dual-channel analog delay allows switching between short and long delays to create depth tailored to each song. It is effectively used in more lyrical tracks like “Hoshikuzu no Record.” Additionally, the “Jim Dunlop SU95 (Shinichi Nagai Signature)” wah pedal is integrated, emphasizing dynamics within songs. It captures both the bluesy feel and the rawness of rock.

Powering the setup is the “Truetone 1SPOT PRO,” ensuring a stable power environment. The modified master volume switching for the Marshall 1959SLP utilizes the “BOSS FS-5L,” allowing for instant volume and drive adjustments on stage.

Thus, Aoki’s effect configuration aims for “maximum effect with minimal components.” Instead of solely relying on the classic combination of Les Paul and Marshall, he enhances the modern tonal range with octaves and delays, coloring the songs according to their themes.

Tone Settings, EQ, and Mixing Approaches

Aoki’s sound is rooted in the traditional combination of a Les Paul and Marshall, yet it radiates a unique character through meticulous EQ settings, volume manipulation, and mixing techniques. Here, we will explore actual EQ settings and how he differentiates them by song.

Starting with the basic amplifier settings, the Marshall 1959SLP typically has a strong treble response. However, Aoki opts to set TREBLE to zero while cranking MID and BASS to full. This approach may seem extreme, but it perfectly matches his playing style, which primarily utilizes the Les Paul’s rear pickup. By maintaining a thick tone with a low center of gravity, he can control the high-end clarity through the guitar’s volume knob.

Observing his performances, he adjusts the volume to around 7-8 for rhythm playing, cranks it to 10 for leads, and lowers it to about 5 for a cleaner sound. He also uses the tone knob, rolling it back for added thickness during solos and opening it up for sharpness during riffs and cuts.

Looking at specific songs, in “I’M ALIVE,” he employs the Fender Stratocaster to leverage the high frequencies of single-coil pickups, applying a light delay for added atmosphere. In “Hoshikuzu no Record,” he combines the ES-335 with the Marshall, using the ARDX20’s long delay to emphasize warmth and resonance, enhancing the song’s lyrical quality. Conversely, in “Cobalt Blue,” he uses the JMP 2203 alongside the IDEA-TSX overdrive to achieve a tight and sharp tone.

From a mixing and PA perspective, Aoki’s guitar settings are characterized by a midrange foundation. To avoid interfering with the bass and drums, the low frequencies are rounded off on the amp, while the PA is adjusted to bring the mid-high frequencies forward. Particularly in live settings, the natural sound pressure of the Marshall is felt on stage, while the audience receives a clear and defined sound.

For EQ processing, it is assumed that during recording, microphones are placed slightly off-center from the speaker to soften the attack while capturing the richness of the mid-low frequencies. Compression is likely applied lightly to maintain the raw attack while balancing the overall dynamics of the guitar.

In summary, Aoki’s sound design essence lies in “maximizing the potential of the guitar and amp, using careful volume and tone manipulation to adapt to each song.” Instead of heavily processing with numerous effects, his style of crafting tone through EQ and performance nuances maintains the dynamism of rock ‘n’ roll while adding a modern range. This approach is believed to be a significant factor supporting the robust sound of a flood of circle.

Affordable Alternatives to Recreate the Tone

Aoki’s sound is built around high-end gear like 1970s Les Pauls and Marshalls, but it is not necessary to have the exact same equipment to replicate it. Beginners and intermediate players can achieve a similar vibe by selecting relatively affordable commercial gear. Here, we will introduce practical alternative equipment that can be acquired for around $100 to $500.

For guitars, Epiphone’s “Les Paul Standard” or “Les Paul Custom” are excellent choices. Compared to Gibson, these options are significantly more budget-friendly while still providing the thick mid-low tones that Aoki frequently utilizes. If a rough sound with P-90s is desired, the Epiphone Les Paul Special or YAMAHA Revstar series are also recommended.

For amplifiers, the “Marshall DSL20HR” or “Marshall Origin 20” offer great cost-performance. While it may be challenging to fully replicate the Plexi tone of the 1959SLP, their crunch to drive characteristics are quite similar, suitable for home practice or small gigs. Particularly, setting the EQ to suppress TREBLE while emphasizing MID and BASS can yield a thick tone reminiscent of Aoki’s sound.

For effects, the BOSS “SD-1 Super OverDrive” is a top alternative. It can achieve midrange boost characteristic of Tube Screamer designs, and when paired with a Marshall amp, it can create a push similar to the IDEA-TSX. For delay, the “BOSS DD-8” or “MXR Carbon Copy” are stable options. The former is multifunctional and digital, while the latter offers the warmth of analog, making it suitable for the lyrical moments often found in Aoki’s music.

Additionally, alternatives to the Nano POG include the “Mooer Tender Octaver” or “BOSS OC-5,” both of which are practical for adding thickness to riffs or enhancing presence in solos. For wah pedals, the “Dunlop Cry Baby GCB95” is a standard choice, making it a great introduction to experiencing Aoki’s wah sound.

Overall, a simple setup of a Les Paul-style guitar, Marshall DSL/Origin, and SD-1 or DD-8 can closely approximate Aoki’s rock ‘n’ roll sound. The key lies in “volume and tone manipulation” and “creative EQ settings,” allowing players to capture the nuances regardless of their gear’s price range.

Summary and Conclusion

Reflecting on Aoki’s sound design, its essence lies in the “reinterpretation of traditional rock ‘n’ roll sound.” Centered around the classic combination of a 1973 Les Paul Custom and Marshall 1959SLP, he incorporates extreme EQ settings and amplifier modifications to create a sound that resonates powerfully on modern stages. Moreover, his flexibility in using Stratocasters, semi-hollows, and P-90 models for different songs supports the wide expressive range of a flood of circle.

His effect configuration also stands out, integrating modern pedals like the Nano POG and IDEA-TSX while aiming for simplicity to achieve maximum impact. Notably, his nuanced use of volume and tone is fundamental, demonstrating a close connection between “the player’s touch” and “the potential of the equipment.” Thus, Aoki’s sound is less about the gear itself and more about “how to handle the gear.”

For guitarists looking to replicate his sound, it is crucial to understand the importance of “EQ that emphasizes midrange,” “overdrive that lightly pushes the amp,” and “a simple effects setup.” Additionally, the approach of boldly manipulating the guitar’s volume during performances to switch tonal colors is key to achieving a closer sound.

Beginners can grasp the essence of Aoki’s sound using Epiphone or Marshall DSL series and standard BOSS pedals. The focus should be on “stable mid-low frequencies” and “tonal variations for different contexts.” By keeping these two elements in mind, one can achieve the robust rock ‘n’ roll sound characteristic of Aoki.

Ultimately, the charm of Aoki’s sound design lies in the coexistence of aggression and warmth. He overwhelms audiences with powerful riffs while infusing depth into songs with semi-hollows and delays. This breadth is not only his individuality as a guitarist but also the core of a flood of circle’s sound identity.

Whether practicing at home or performing on stage, by focusing on the three points of “thick midrange,” “tonal variations using volume,” and “simple gear selection,” you can certainly get closer to Tetsu Aoki’s sound. Above all, trusting your touch and sensitivity while playing is the greatest hint for truly replicating his sound.