[Todaka Kenji] How to Recreate the ART-SCHOOL MONOEYES Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kenji Todaka, the guitarist for ART-SCHOOL and MONOEYES, is one of the leading figures in the Japanese alternative rock scene. His playing style is characterized by a masterful use of spatial effects, combined with a solid cutting tone and expansive lead work.

In ART-SCHOOL, he creates a floating tone within an art-rock shoegaze sound, while in MONOEYES, he supports the fast-paced, punk-emo songs of Takashi Hosomi with a crunchier, cleaner sound. Todaka’s sound design is not just about distortion; it emphasizes the “texture” that supports the entire song.

For example, in ART-SCHOOL’s “Scarlet,” you can hear an ambient sound created by combining deep reverb with a swirling chorus, while in MONOEYES’ “My Instant Song,” a tight cutting tone is paired with expansive spatial effects. His sound embodies both “presence and clarity” and “floating spatial processing,” making it particularly appealing.

On stage, he primarily uses Fender-style amplifiers, incorporating VOX AC30 and Dr. Z amps that excel in crunch to clean tones. His pedalboard showcases a dedication to sound design, featuring everything from boosters to fuzz, spatial effects, and even a custom ABY box.

Kenji Todaka’s sound seamlessly transitions between the shoegaze world of ART-SCHOOL and the energetic punk sound of MONOEYES, establishing a unique tone. Understanding his sound design can provide insights that extend beyond mere replication, allowing for broader applications in various guitar sounds.

▶ Search official YouTube videos of ART-SCHOOL

▶ Search official YouTube videos of MONOEYES

List of Amplifiers and Features

Kenji Todaka’s choice of amplifiers is directly linked to the style of his band activities at any given time. During the early ART-SCHOOL period, he relied on the clean tones of Fender amps, layering spatial effects to create deep shoegaze soundscapes. The Fender Twin Reverb is a prime example, providing thick, warm cleans that are perfect for showcasing effects.

In contrast, during periods when a more robust drive was required, he turned to the VOX AC30 and Dr. Z Amplification SRZ-65. The Dr. Z amp is currently his main amplifier, covering a wide range from light crunch to clean tones, making it suitable for the driving riffs and chord work in MONOEYES. The VOX AC30 is known for its iconic British crunch sound, and it has been used in conjunction with the Twin Amp.

Interestingly, he has also been known to use SUNN amps and Selmer Treble ‘n’ Bass mkⅡ for short periods. These were not high-gain options but were likely set up for unique clean to crunch tones. The Selmer, in particular, is thought to match the decadent and aesthetic atmosphere of ART-SCHOOL, reminiscent of 60s British rock.

To enhance the sound’s clarity on stage, he has incorporated a Marshall 4×12 cabinet (previously owned by LOSTAGE’s Gomi), showcasing his attention to cabinet characteristics alongside the amp itself. For cleaner setups, he has also utilized the Fender Hot Rod Deluxe Lacquer Tweed, which is lightweight and user-friendly, making it suitable for live performances and smaller stages.

Notably, he uses Mad Professor RED Cable for connecting his amps, indicating a keen interest in the tonal changes that cables can bring to his sound. This attention to detail reflects his commitment to achieving the best possible tone.

Overall, Kenji Todaka’s amplifier choices emphasize a range focused on clean to crunch tones that match the atmosphere of each song. Given his extensive use of effects, the amps themselves do not overly assert their character, instead functioning as a canvas to enhance the nuances of his playing and spatial processing.

Types of Guitars Used and Features

Kenji Todaka’s guitar history has changed significantly based on the style and period of his band activities. In ART-SCHOOL, he primarily used a Fender Jazzmaster to support the shoegaze sound, while in MONOEYES, he incorporated Telecasters and Stratocasters to achieve a more straightforward rock sound.

Notably, his 1965 Fender Jazzmaster (Black) has been a mainstay for live performances. This particular guitar has undergone a refinishing from its original paint, and its sweet midrange pairs well with spatial effects, supporting the floating sound of ART-SCHOOL. Additionally, a 1965 Jazzmaster (Natural finish with paint wear) has also been used, delivering a warm tone that blends beautifully with deep reverb and chorus.

In MONOEYES, he utilizes the Sago New Material Guitars Custom Model: JM (Lake Placid Blue), which features a P-90 pickup in the rear, creating a unique character that combines the crispness of a Telecaster with the depth of a Jazzmaster. He also employs the Sago Custom: JG (Black/Jaguar type), which fits well within MONOEYES’ powerful and tight sound.

Moreover, he has several Telecaster models, including the Fender Telecaster Deluxe (Mocha Brown) and Fender Telecaster (See-through Red with Lace Sensor pickups). The Lace Sensor model is particularly noteworthy for its noiseless and clear sound, making it suitable for the fast-paced songs of MONOEYES.

Additionally, he frequently uses various Stratocaster models, including the Fender Japan Stratocaster (Black with rear P-94), Fender JV Stratocaster (Candy Apple Red with electronic modifications), and Fender Custom Shop ’65 Stratocaster (Sherwood Green). These guitars are chosen for their ability to deliver clean tones and quick response during arpeggios, emphasizing the dynamics of the songs.

The selection of these guitars reflects a focus on achieving “clear articulation within the ensemble” and “maintaining presence even when blended with spatial effects,” which is central to Kenji Todaka’s sound design.

Effects and Pedalboard Setup

At the core of Kenji Todaka’s sound is a richly diverse and meticulously arranged pedalboard. It enables a wide range of expressions, from the spatial effects supporting ART-SCHOOL’s shoegaze sound to the tight drives used in MONOEYES. His clever combination of boosters and overdrives allows him to finely switch the texture of distortion depending on the context.

For wah and volume effects, he uses the Cry Baby (TBP modified) and Xotic XW-1 (Lake Placid Blue). These allow for delicate nuance adjustments and dramatic filter effects, tailored to each song. He also incorporates high-precision volume pedals like the Shin’s Music Baby Perfect Volume, enabling dynamic adjustments during live performances.

His overdrive setup prominently features the ANALOG.MAN King of Tone, Lovepedal AMP Eleven, and BJFE Honey Bee OD, often layered in a multi-stage configuration. The King of Tone, in particular, is known for balancing boost and crunch, making it a staple for the robust cutting tones in MONOEYES. For fuzz, he employs the EarthQuaker Devices Hoof and MASF Pedals RAPTIO, adding texture to the noisier parts of ART-SCHOOL.

In terms of modulation, effects like the Neunaber Inspire Tri Chorus, MXR Phase90, and Electro-Harmonix Small Clone are utilized to create a sense of movement in the sound. These effects are essential for the floating riffs and arpeggios characteristic of ART-SCHOOL. For delay and reverb, he frequently uses high-end models like the BOSS RE-20, strymon El Capistan, and BigSky, which help recreate ambient sounds during live performances.

Special effects include the Electro-Harmonix Micro POG and Eventide H9, which add thickness through octave effects and multi-functional capabilities. His custom ABY box (with phase adjustment) also underscores his flexibility, allowing for stereo output and dual amp configurations.

Overall, Todaka’s effects setup revolves around “multi-stage distortion + modulation + deep spatial processing.” While the specific components may change over time, the fundamental philosophy remains consistent. His pedalboard functions as a singular “instrument,” ensuring both live fidelity and sonic richness.

Tone Settings, EQ, and Mixing Approaches

Kenji Todaka’s sound design is rooted in “a meticulous layering based on clean tones.” In ART-SCHOOL, he extensively uses spatial effects to create a sense of floating ambiance with deep reverb and modulation. In MONOEYES, he opts for tight, clearly defined crunch tones to match the fast-paced songs. Therefore, the EQ settings on his amps and the degree of effects applied are always focused on “how they sound within the overall mix of the song.”

When using the Fender Twin Amp or Dr. Z SRZ-65, the basic setup is centered around clean to light crunch tones, with a suggested balance of Bass at 4-5, Middle at 5-6, and Treble around 6. By avoiding excessive low-end boost and slightly emphasizing the mid-high frequencies, he achieves a tone that cuts through the band sound. This is particularly important in MONOEYES, where the double guitar setup requires his sound to remain clear without muddying the guitar work of Takashi Hosomi.

For distortion and overdrive, settings based on the King of Tone and Lovepedal AMP Eleven typically avoid excessive gain. The distortion level is often kept around 9-11 o’clock, primarily used to boost volume and texture, with gain increased only during solos or riffs to maintain a “consistently clear sound” while adding thickness when necessary.

In terms of spatial processing, the strymon BigSky and BOSS RE-20 play crucial roles. In ART-SCHOOL, he sets Plate and Modulated reverb to deeper levels, with Decay set to 3-4 seconds to create a shoegaze-like echo. Conversely, in MONOEYES, he shortens the Decay to about 1.5-2 seconds to maintain a natural spread without losing speed. Delay is often synchronized with the rhythm, particularly using eighth or dotted eighth delays to add depth to riffs.

In the mixing process, Todaka’s sound plays a significant role. In ART-SCHOOL, he emphasizes stereo imaging, spreading the Jazzmaster and spatial effects across the left and right channels to create a layered sound that envelops the entire song. In MONOEYES, he tends to position his tight riffs in the center to slightly right, balancing with Hosomi’s guitar.

Furthermore, his board incorporates a custom ABY BOX (with phase adjustment), allowing for immediate adjustments to the output balance of two amps based on the stage or PA environment. This flexibility enables him to tailor his sound to the acoustics of each venue, ensuring consistent quality.

Overall, Kenji Todaka’s setup appears “simple but is actually intricate.” By controlling distortion levels and creating depth through EQ and spatial processing, he achieves a clear mix that defines his role within the band. This approach reflects not just equipment choices but a “total sound design” that includes collaboration with the PA and engineers, embodying the essence of a professional guitarist.

Affordable Alternatives to Recreate the Tone

To fully replicate Kenji Todaka’s sound, one would typically need expensive gear such as vintage Jazzmasters, Dr. Z amps, and strymon BigSky units. However, it is entirely possible for beginners and intermediate players to grasp the “character of the sound” with more affordable options. Here, we introduce gear that can be acquired for a reasonable price (around $100-$500) and can help approximate Todaka’s sound.

For amplifiers, while the original Dr. Z and VOX AC30 are costly, smaller alternatives like the VOX Pathfinder 10 or Roland JC-22 can serve as substitutes. The Pathfinder is adept at recreating British-style crunch, while the JC-22 pairs excellently with spatial effects, making it suitable for achieving the floating sound characteristic of ART-SCHOOL.

For guitars, targeting used Fender Jazzmasters or Stratocasters is a practical approach. The Squier Classic Vibe Jazzmaster is available for around $400-$500 and can approximate Todaka’s ART-SCHOOL sound when paired with deep reverb and chorus. If aiming for a MONOEYES sound, the Squier Classic Vibe Telecaster is recommended, providing a tight rhythm tone.

For effects, alternatives to Todaka’s high-end models include “BOSS compact” and “MXR series” pedals. For instance, the BOSS OD-3 and BD-2 can serve as substitutes for the King of Tone and Honey Bee, providing low-gain overdrive suitable for arpeggios and crunch sounds. For fuzz, options like the BOSS FZ-5 or Electro-Harmonix Big Muff Nano are viable alternatives.

In terms of spatial effects, the BOSS RV-6 and TC Electronic Hall of Fame 2 are affordable yet high-performance choices. Setting the reverb modes to Plate or Shimmer can recreate the deep expanses characteristic of ART-SCHOOL. For delay, the BOSS DD-8 or TC Electronic Flashback 2 offer excellent cost-performance, accommodating the dotted eighth delays frequently used in MONOEYES.

Additionally, for convenience during practice or live settings, multi-effects units like the ZOOM G3Xn or Line6 HX Stomp are effective. While the HX Stomp is slightly pricier, its superior amp simulation and spatial effect quality make it attractive for simulating Todaka’s setup in one unit.

In summary, it’s important to “combine gear with similar characteristics without needing high-end equipment.” Todaka’s sound is not merely about distortion but is built on a foundation of clean tones combined with spatial effects and meticulous EQ control. When attempting to replicate his sound, focusing on simplicity in guitar and amp while utilizing reverb and delay can yield significant results.

Summary and Conclusion

Kenji Todaka’s sound design essence lies in “controlling space” and “maintaining balance that fits within the overall song.” In ART-SCHOOL, he utilizes deep reverb and modulation to transform the guitar from a mere lead instrument into a “soundscape.” Conversely, in MONOEYES, he establishes a tight, core crunch sound to support the band’s speed and emotional intensity. This duality is a significant appeal of Todaka’s sound.

The guitars he uses range from vintage Fender Jazzmasters to custom Sago models, as well as Telecasters and Stratocasters, all chosen for their “compatibility with effects” and “clarity within the ensemble.” The amplifiers are primarily models like Fender, VOX, and Dr. Z, focusing on clean to crunch tones while avoiding excessive distortion, allowing for nuanced expression in his playing.

On his pedalboard, he has multiple overdrives and boosters to switch the texture of distortion based on the context, while utilizing strymon and BOSS for spatial effects, from ambient to tight reverb. His inclusion of a custom ABY box and high-quality cables reflects his philosophy of “ensuring sound quality through attention to detail.”

Moreover, sound design encompasses not just equipment selection but also EQ settings and collaboration with PA and engineers, forming a “total sound design.” His EQ processing emphasizes mid-high frequencies while keeping low-end subdued, adjusting reverb decay settings for each song, and synchronizing delay times with the rhythm.

In conclusion, to replicate Kenji Todaka’s sound, one should focus on the three elements: “vintage Fender + clean-voiced amps + diverse spatial effects.” However, even without identical gear, combining a restrained crunch with deep reverb can capture the essence of his sound. As readers attempt to recreate this sound, it is crucial to consider “how to create sonic depth” and “how to EQ for presence while blending into the band.”

Kenji Todaka’s sound is not merely a collection of gear but a reflection of his playing style and worldview, embodying “musical expression.” Both the decadent and ethereal sounds of ART-SCHOOL and the driving rock grooves of MONOEYES stem from his sound design philosophy. Understanding this essence will provide significant insights for enriching your own guitar playing.