[Maruyama Baku] How to Recreate the a crowd of rebellion Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Maruyama Baku, the guitarist of a crowd of rebellion, has crafted a unique sound that blends sharp, cutting riffs with explosive distortion, rooted in loud rock and metalcore. His playing style showcases intricate riff work and tight rhythmic sensibility, capable of transitioning from powerful, high-gain tones to expansive, atmospheric clean sounds. This versatility is particularly evident in his signature tracks, where he seamlessly switches between clean and high-gain sounds, creating an impressive sonic impact during live performances.

At the heart of Maruyama’s sound design lies a focus on “stability” and “clarity.” By utilizing a compressor and noise suppressor that are always on, he ensures that even the most intense distortion maintains a well-defined character. His pedalboard, primarily built around BOSS compact effects, serves as a reference point for many guitarists. The combination of a white Les Paul-style guitar and Orange/Marshall-type amplifiers results in a robust and prominent guitar sound.

As a result, the music of a crowd of rebellion delivers an “aggressive yet clearly defined guitar sound,” leaving a strong impression on listeners and garnering support from loud music fans both domestically and internationally.

In the following sections, we will delve into Maruyama Baku’s gear choices, including amplifiers, guitars, effects, and sound design techniques. Understanding his equipment selection and settings is essential for recreating his signature sound.

▶ Search official YouTube videos of a crowd of rebellion

List of Amplifiers and Features

Maruyama Baku primarily uses two types of amplifiers for live performances and recordings: Orange amplifier heads and cabinets and Marshall stack amplifiers. The distinctive orange casing of the Orange amps is known for its thick mid-low range and powerful saturation, providing the necessary heft for loud rock and metalcore.

On the other hand, the Marshall stack amplifiers, often seen with blue cabinets in live photos, are likely chosen for their ability to deliver sharper cutting tones and pronounced riffs. This versatility allows Maruyama to switch between amplifiers depending on the musical context, enhancing the overall sound.

The Orange amps pair well with boosts and compressors, making them a reliable choice for Maruyama’s pedalboard setup. Even when set to clean, they maintain a rich midrange, ensuring that the core of the sound remains intact when using distortion pedals. Conversely, the Marshall stacks excel at high-gain settings, allowing the guitar to stand out in the mix, particularly during complex riffs and breakdowns.

In live settings, Maruyama may switch between these amplifiers or use them simultaneously to create a stereo effect. Additionally, it is speculated that he incorporates amp simulators like Line 6 or Kemper during studio sessions and recordings. This modern approach to metalcore often involves combining real amplifiers with digital simulators to expand sonic possibilities.

Ultimately, his sound can be described as a blend of “Orange’s thickness and Marshall’s clarity,” meticulously controlled through his effects setup.

Types of Guitars Used and Features

The most prominent guitar used by Maruyama Baku is the white Les Paul-type guitar (Gibson-style), frequently seen in live performances and artist photos. The thick, robust sound characteristic of Les Paul guitars is essential for supporting the heavy riffs and metalcore breakdowns typical of a crowd of rebellion. The strong mid-low range and rich sustain contribute to a sound that is both aggressive and clearly defined.

While Les Pauls are a staple among many rock guitarists, Maruyama particularly values their ability to maintain tonal integrity even under intense distortion. The striking white finish enhances his stage presence, making it a visually impactful signature.

The Les Paul is assumed to be used not only in live settings but also in recordings, making it suitable for the heavy downtuning and high-gain demands of the genre. Although there is no clear confirmation of other models, it is likely that he uses Strat-style or modern guitars as backups, especially given the diverse tonal and tuning requirements in contemporary metalcore and loud music scenes.

In summary, Maruyama’s guitar selection emphasizes “visual impact,” “sound thickness,” and “stability,” with the white Les Paul-type guitar serving as the cornerstone of his sound.

Effects and Pedalboard Setup

One of Maruyama Baku’s defining features is his extensive effects board centered around BOSS compact effects. Live photos and board images reveal that he switches between multiple distortion and overdrive pedals, supporting the high-gain sound characteristic of his genre.

Always on his board are the CP-1X Compressor and NS-1X Noise Suppressor. These ensure that even with aggressive picking and drop tuning, the sound remains tight and noise-free. For distortion, he utilizes several pedals, including the DS-1X Distortion, MT-2 Metal Zone, and the classic Distortion DS-1, switching them based on the context.

In addition, he incorporates the OD-1X OverDrive and SD-1W Super OverDrive Waza Craft for boosting and lead tones. For spatial effects, the DD-200 Digital Delay and RV-200 Reverb add depth to clean parts and arpeggios, creating a sense of space in the music. The PH-3 Phase Shifter is also used for modulation effects, adding uniqueness to his sound.

For boosting, he employs the BP-1W Booster/Preamp and another BOSS booster, allowing him to push solos and riffs forward in the mix. At the center of his board is the Free The Tone ARC-53M switcher, efficiently controlling a multitude of effects. The Mooer Micro Power is used for stable power supply, ensuring consistent voltage.

Moreover, he uses BOSS’s BIC-P series cables, emphasizing both sound quality and reliability in his professional setup. Maruyama’s pedalboard is characterized by “using multiple distortions for different scenes,” “maintaining stability with always-on effects,” and “efficient control through a switcher,” allowing him to achieve a powerful and clear sound amidst the loud band mix.

Ultimately, his effects board serves as a crucial foundation for achieving an “aggressive yet organized sound.”

Tone Settings, EQ, and Mixing Approaches

The essence of Maruyama Baku’s sound design lies in achieving a “high-gain yet clearly defined sound.” Therefore, his amplifier and effects settings are adjusted not merely to create distortion but to maintain tightness and clarity.

For the Orange amplifier, the gain is kept slightly lower while emphasizing the mid-low frequencies to ensure “thickness.” By layering BOSS distortion pedals, he crafts a core modern high-gain sound. In contrast, when using the Marshall stack, it is assumed that he raises the mids slightly while cutting back on highs, preserving the sharpness of riffs without piercing the ears, thus maintaining overall mix balance.

In terms of EQ, it is crucial to avoid excessive low-end frequencies, allowing the bass and drum kick to coexist. Maruyama’s sound is heavy but not overly muddy in the low end, which helps the guitar remain distinct in the mix. Therefore, it is assumed that he lightly cuts lows around 50-80Hz while boosting 100-200Hz for added thickness.

For distortion pedal settings, it is likely that he keeps the gain around 70% and uses boosters or overdrives to reinforce the sound. This approach prevents excessive squashing of the distortion while retaining the sharpness of the riffs. The combination of DS-1X and OD-1X is a standard approach in modern metal.

For spatial effects (delay and reverb), he likely employs subtle settings to enhance stereo feel during clean parts. The DD-200 is set with a delay time of around 300-400ms and short feedback to add depth to riffs and arpeggios while maintaining clarity. The RV-200 reverb is likely applied in a shallow manner using hall or plate settings to ensure the sound doesn’t get buried during live performances.

In mixing, double-tracking with two or more guitar tracks is essential. Maruyama’s guitars are panned to create a wide backing wall, while lead and harmony parts are centered, with reverb and delay controlling the depth. This processing results in a heavy yet clear loud sound.

From a PA engineer’s perspective, Maruyama’s sound design is focused on the overall mix. While the guitar may sound somewhat dry when heard in isolation, it delivers an exquisite punch when blended with the band. The constant use of the noise suppressor is a crucial technique for maintaining clarity even in the loud live environment.

In summary, Maruyama Baku’s sound design hinges on “utilizing high gain while maintaining organized tightness,” “designing sounds that shine within the band mix,” and “strategically using multiple distortions and spatial effects based on the scene.”

Affordable Alternatives to Recreate the Tone

Maruyama Baku’s sound is built around BOSS compact pedals, making it relatively affordable to recreate. Here, we introduce gear that is accessible for beginners and intermediate players, allowing them to achieve a “Maruyama Baku-like sound.”

For distortion, the classic BOSS DS-1 Distortion and MT-2 Metal Zone are recommended. The DS-1 can be found for under $100 and provides a simple yet “hard-edged and cutting” sound. The MT-2 offers aggressive gain and a wide EQ range, making it ideal for recreating a metalcore sound.

As for overdrive, the SD-1 Super OverDrive offers excellent cost performance. It can be used on its own or placed before distortion to achieve the “tight high-gain” sound that Maruyama practices.

For spatial effects, models like the BOSS DD-8 Digital Delay and RV-6 Reverb are good options. While they are simpler than the higher-end DD-200 and RV-200, they provide solid basic functions for delay and reverb, ensuring sufficient recreatability.

For noise management, the BOSS NS-2 Noise Suppressor is a staple. While Maruyama uses the newer NS-1X, the NS-2 is still effective in reducing noise, making it practical for live and studio settings.

For beginners, the multi-effects unit BOSS GT-1 is also a viable option. It covers distortion, spatial effects, and noise reduction all in one unit, making it ideal for those on a budget who want to experiment with a “Maruyama Baku-like sound.”

By assembling such gear, one can capture the essence of “Maruyama Baku’s sound” with an investment of around $500. Paying attention to the quality of distortion, noise handling, and spatial depth will help achieve a sound that closely resembles his.

Summary and Conclusion

Maruyama Baku’s sound design is characterized by the ability to achieve both “overwhelming power” and “organized clarity,” essential for loud rock and metalcore. Rather than simply cranking up the gain, he employs compressors and noise suppressors to ensure that clarity is maintained even amidst distortion.

This approach enables him to consistently deliver a “tight, aggressive, and easily discernible” guitar sound in both live and recording settings.

Additionally, his pedalboard, centered around BOSS compact pedals, is easy for many guitarists to emulate while providing the flexibility to switch between optimal distortions for different scenes. The inclusion of multiple distortion and overdrive pedals, organized through a switcher, is a vital strategy for the often intense compositions of a crowd of rebellion’s live performances.

On the amplifier side, the use of both Orange and Marshall amplifiers allows him to balance “thickness” and “clarity.” The white Les Paul-type guitar serves as the mainstay, supporting a thick mid-low range while forming the sonic center of the band’s overall sound. This combination ensures that even complex riffs and breakdowns remain impactful and resonate strongly with the audience.

In conclusion, Maruyama’s sound design exemplifies “organized chaos.” It possesses a powerful, distorted quality while remaining clear and accessible, achieving a seemingly contradictory balance. This is the result of years of meticulous setup and thoughtful gear selection.

If readers wish to “mimic Maruyama Baku’s sound,” starting with a collection of BOSS’s standard pedals is a shortcut to success. By adding a compressor and noise suppressor, one can move closer to achieving a “cohesive explosion” rather than just loud noise. Furthermore, selecting a Les Paul-type guitar and focusing on mid-low frequencies in amplifier settings will bring them one step closer to his signature sound.

Maruyama Baku’s sound design can be described as “a culmination of simple gear elevated through meticulous attention to detail.” Understanding and attempting to replicate this philosophy will undoubtedly lead to significant growth for any guitarist.