[Asahi] How to Recreate the Necry Talkie Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Asahi, the guitarist of Necry Talkie, plays a crucial role in supporting the band’s unique and pop-oriented sound. His guitar playing is characterized by a clean to crunch tone that avoids excessive distortion, combined with vibrant cutting and riffs. Notably in songs like “Oshare Daisakusen” and “Tooboe no Sunset,” he crafts catchy guitar phrases while keeping the note count low, enhancing the overall momentum and lightness of the tracks.

He primarily uses distinctive custom-made guitars, such as the Nascaux from JERSEY GIRL homemade guitars and the custom Telecaster Thinline from Addictone, which create a unique tone that cannot be replicated with mass-produced models. Additionally, his robust drive sound based on the Marshall JCM900, along with spatial effects from Strymon and TC Electronic, captivates listeners in both live performances and recordings.

In the past, Asahi also used multi-effects like the Zoom G3X as his main setup, showcasing an evolution in his gear that has expanded his sound palette. His approach to sound design goes beyond mere “distortion plus spatial effects,” as he meticulously adjusts textures for each song, which has garnered attention from fans and fellow guitarists alike.

In the following sections, we will comprehensively cover the amplifiers, guitars, and effects he actually uses, detailing how these contribute to his distinctive sound.

▶ Search official YouTube videos of Necry Talkie

List of Amplifiers and Features

A key component of Asahi’s guitar sound is the iconic rock amplifier, the Marshall JCM900. This amplifier has been beloved by many guitarists since the 1990s, capable of delivering both bright clean tones and powerful distortion sounds. In Necry Talkie’s music, Asahi often opts for a sound that utilizes the JCM900’s characteristics without excessive distortion, aligning perfectly with his playing style.

Used regularly in both live and studio settings, the JCM900’s prominent mid-range presence is essential for tightening the overall band sound. Rather than pushing guitar riffs and chord work to the forefront, Asahi’s sound design emphasizes supporting the entire song, making the Marshall’s signature edgy tone a crucial element. It is presumed that he primarily uses this amplifier to express both “pop sensibility” and “rock thickness.”

There are indications that he may have used clean amps like the JC-120 in smaller live venues in the past, but it seems he has predominantly unified his sound around the JCM900. By basing the band’s sound concept on the high-gain characteristics of Marshall, he achieves a three-dimensionality that prevents the guitar from being overshadowed in vocal-driven tracks.

From these points, it can be inferred that Asahi’s amplifier setup is centered around the “Marshall JCM900-based classic rock sound,” designed to emphasize the momentum of the songs.

Types of Guitars Used and Features

A defining element of Asahi’s guitar playing is his unique selection of guitars. By primarily using custom-made and high-end models rather than mass-produced ones, he establishes his individuality both in tone and appearance. Notably, his vibrant green semi-hollow guitar has made a striking appearance in live performances, capturing the attention of fans.

One of his representative guitars is the “JERSEY GIRL homemade guitars Nascaux.” This guitar features a maple top and mahogany back, achieving a balance of warmth and clarity. The unique combination of walnut neck and karri fingerboard produces a sweet mid-range and solid attack. Equipped with two original humbuckers, it delivers a thick sound while maintaining clarity during chord work.

Another iconic guitar is the “Addictone Telecaster Thinline SSH (green/semi-hollow).” This fully custom-made instrument features a semi-hollow structure that provides an airy quality. The SSH pickup layout allows for a wide tonal range, covering everything from sharp single-coil tones to the thickness of humbuckers. This flexibility makes it more than just a secondary instrument for Necry Talkie’s diverse songs.

Additionally, Asahi uses the classic “Gibson Les Paul Custom.” This guitar shines in songs that require a more rock-oriented sound, enhancing the band’s dynamics with its thick mid-low range and sustain. It has been frequently spotted in live footage and photos, serving as a foundational instrument for him.

Thus, Asahi’s collection of guitars is characterized by a blend of “modern, unique custom guitars” and “traditional classic models,” allowing him to switch character styles for each song.

Effects and Pedalboard Setup

Supporting Asahi’s sound design are not only his unique guitars but also a diverse array of effects. Necry Talkie’s songs require a wide range of tones, from clean to crunch, thick drive sounds, and spatial effects, necessitating a meticulously arranged pedalboard.

Until around 2019, he operated with a simple multi-effects setup centered around the “Zoom G3X.” This single unit could handle delay, reverb, and drive, prioritizing mobility during their indie phase. However, following their major debut, he expanded his sound design by incorporating compact pedals and boutique effects, evolving towards a more three-dimensional sound.

Currently, his pedalboard includes the legendary overdrive “KLON CENTAUR (Gold),” along with multiple drive pedals like the BOSS BD-2W Blues Driver Waza Craft and BOSS OD-1X. Asahi is known for using different overdrives depending on the song, selecting finer overdrives for detailed articulation and powerful rock-oriented distortion. The “BD-2W,” in particular, is well-suited for crunch tones, enhancing his cutting play.

Additionally, by introducing amp-like overdrives such as the Bogner Ecstasy Red, he enhances compatibility with the Marshall amp, creating a three-dimensional lead sound. For spatial effects, the Strymon blueSky (reverb) and TC Electronic Flashback Delay serve as core components, creating a fantastical and deep soundscape. Furthermore, the Ernie Ball Volume Pedal allows for dynamic adjustments, adding drama to the songs.

The KORG Pitchblack Advance is used as a reliable tuner, ensuring stability during live performances. He has also incorporated domestic boutique pedals like the 320design Sunakake Overdrive, showcasing his meticulous approach to distinguishing nuances in distortion. Overall, Asahi’s sound design can be described as a hybrid of “boutique effects + classic pedals + practical multi-effects.”

Tone Settings, EQ, and Mixing Approaches

Asahi’s sound design is not simply a straightforward “amp direct + distortion” setup; rather, it involves meticulously adjusted EQ and spatial processing tailored for each song. Necry Talkie’s sound often features vocals and keyboards prominently, requiring the guitar to maintain a delicate balance of “not too forward, yet still present.”

The EQ settings on the Marshall JCM900 are presumed to be set around BASS at 5-6, MIDDLE at 6-7, and TREBLE at about 5. By avoiding excessive bass, he controls the low end to prevent interference with the bass and kick drum. Elevating the MIDDLE is crucial for bringing the “core” of chord strokes and riffs forward, which is one reason Asahi’s sound does not get buried in the mix.

Distortion pedals are used selectively for each song; for instance, the “KLON CENTAUR” and “BD-2W” are crunch-oriented and ideal for cutting. When he needs lead tones and thickness, he combines them with the “Bogner Ecstasy Red,” blending the natural drive of the Marshall with the texture of boutique pedals. The BOSS OD-1X often plays a role in adding modern articulation, frequently used to improve overall clarity.

For spatial effects, the “Strymon blueSky” is set to plate reverb, adding depth to the entire song. By keeping the decay short, he ensures it does not interfere with the vocals and keyboards. The “TC Flashback Delay” is set to a delay time synchronized with the song’s tempo, providing depth to single notes and arpeggios, characterized by adjustments that fill the gaps without being overly deep.

During the mixing stage, it is presumed that the PA engineer lightly cuts frequencies below 200Hz to tidy up the low end, while slightly boosting around 2kHz to 4kHz to emphasize attack. Necry Talkie’s songs are rhythmically tight, and if the guitar spreads into ambiguous frequency ranges, the entire song can become heavy, making EQ adjustments to maintain “lightness” essential.

Moreover, in live settings, Asahi utilizes the volume pedal to gradually raise the volume towards the chorus, showcasing dynamic adjustments. This allows him to extract completely different expressions from the same combination of amp and effects for each song. Ultimately, the essence of Asahi’s guitar sound lies in the thorough pursuit of “not getting buried in clean tones” and “not becoming heavy when distorted.”

Affordable Alternatives to Recreate the Tone

Asahi’s gear includes high-priced and hard-to-obtain pedals like the KLON CENTAUR and Bogner Ecstasy Red, along with custom-made guitars, making it challenging for beginners and intermediate players to replicate his sound directly. However, it is entirely possible to get close to the “Necry Talkie sound” with relatively affordable products. Here, we will introduce alternative gear available for around $100 to $500 and explain the reasons for each.

First, a standard alternative for the core overdrive “KLON CENTAUR” is the “Electro-Harmonix Soul Food.” This pedal replicates the design philosophy of the KLON, featuring finely articulated crunch and transparent drive. It is also excellent as a clean boost, making it ideal for applications like Asahi’s, where “the natural sound of the amp is enhanced with light drive.”

Next, for an alternative to the Bogner Ecstasy Red, the “BOSS SD-1W Super OverDrive Waza Craft” is recommended. It can easily reproduce amp-like distortion, especially pairing excellently with Marshall amps. It has sufficient capability to achieve a rock-oriented lead sound similar to Asahi’s. Additionally, BOSS products are highly accessible, priced in the $100 range, making them attractive.

For spatial effects, alternatives to the “Strymon blueSky” include the “TC Electronic HOF Mini Reverb” or “NUX Atlantic.” The former is simple and easy to use, while the latter features both reverb and delay, offering great cost performance. Asahi’s use of reverb emphasizes “expansion” over depth, so these devices can adequately meet his needs.

Regarding delay, while purchasing the “TC Electronic Flashback Delay” directly is a good option, more affordable alternatives like the “BOSS DD-8” or “NUX Tape Core Deluxe” are also viable choices. Utilizing tempo synchronization can help replicate Necry Talkie’s tight rhythmic feel.

As for guitars, while replicating custom models is difficult, viable alternatives include the “Fender Player Telecaster Thinline” and “Epiphone Les Paul Custom.” Both are commercially available models priced between $400 and $700, capturing features such as semi-hollow construction and humbuckers that form the basis of Asahi’s sound design.

In summary, while gathering boutique pedals and custom guitars may be challenging, it is possible to create a similar sound using commercially available models. By focusing on overdrive, reverb, and delay, one can get sufficiently close to Asahi’s sound.

Summary and Conclusion

In summarizing Asahi’s sound design for Necry Talkie, it can be encapsulated as a fusion of “unique custom-made guitars + classic Marshall sound + boutique effects.” Rather than pushing the sound forward like a typical rock guitarist, he consistently seeks a delicate balance of “adequate presence while supporting the overall band ensemble.”

His guitars, such as the JERSEY GIRL Nascaux and Addictone Telecaster Thinline, are centered around highly distinctive custom models, while also incorporating traditional models like the Gibson Les Paul Custom. This versatility enables him to adapt to a wide range of songs, from pop and light tracks to powerful rock numbers.

Regarding amplifiers, the primary focus is on the Marshall JCM900, utilizing EQ settings that enhance the mid-range to establish a position that “does not get buried yet does not overpower.” Furthermore, in terms of effects, he employs a diverse array of overdrives centered around the KLON CENTAUR and spatial pedals like the Strymon blueSky and Flashback Delay to add depth.

Notably, his gear selection reflects a thorough consideration of “how it functions within the band sound” rather than a “luxury one-off” approach. While it may not be flashy when heard in isolation, the sound blends seamlessly while maintaining a unique presence, making it a significant element supporting Necry Talkie’s music.

While it may be challenging for beginners to fully replicate his sound, using affordable alternative gear and focusing on “transparent overdrive,” “plate reverb,” and “tight delay” can bring one sufficiently close to Asahi’s sound. Ultimately, the essence of his sound design lies in the coexistence of “clarity and lightness,” which requires not only attention to gear but also nuances in playing and band ensemble awareness.

In conclusion, to recreate Asahi’s sound, three key elements are essential:


1. EQ settings on Marshall-style amps focusing on mid-range


2. Transparent overdrive ranging from crunch to low gain


3. Spatial effects with reverb and delay that are not overly deep


By mastering these three aspects, one can undoubtedly approach the “Asahi sound” heard in Necry Talkie’s songs.

Asahi’s sound design is a style where simplicity and attention to detail coexist, making him a true “guitarist who prioritizes the music.” There are many lessons to be learned for fans of the band, as well as for researchers and players of guitar sounds.