[Yoda] How to Recreate the MONO Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

In the realm of post-rock, Yoda stands as a pivotal guitarist alongside Takaakira ‘Taka’ Goto in the band MONO.
His sound is characterized by a “contrast of thunderous noise and silence,” creating a fantastical soundscape with deep reverb and layers of delay.
Additionally, he utilizes distortion effects like the Danelectro Fab Tone and Big Muff to craft massive sonic sections, showcasing his unique approach to sound design.

Yoda’s playing style is more straightforward and solid compared to Goto’s, serving a crucial role in supporting the ensemble.
In iconic tracks such as “Ashes in the Snow” and “Everlasting Light,” the clear arpeggios produced by his black Stratocaster contrast with Goto’s emotional phrases,
functioning as the backbone of the overall composition.

His sound design is built upon the Fender Twin Reverb, layering multiple delays and reverbs to create depth.
During live performances, he connects his pedalboard in series, executing complex switches for dynamic transitions.
This ability to control MONO’s unique “prayer-like tranquility” and “explosive thunder” as a single guitarist is one of his greatest charms.

This article will meticulously explain the amplifiers, guitars, and effects used by Yoda,
providing insights on how to recreate the MONO sound in your home or studio.
By reading on, you will gain a concrete understanding of “why his sound is one of a kind.”

▶ Search official YouTube videos of MONO

List of Amplifiers and Features

The foundation of Yoda’s sound design is the Fender Twin Reverb ’65 Reissue.
This amplifier has been used extensively in MONO’s live performances and recordings, known for its transparent and expansive clean tone.
It pairs exceptionally well with spatial effects like delay and reverb, which are essential in shaping MONO’s ethereal sound.

The Twin Reverb’s speakers provide excellent clarity, allowing arpeggios to be distinctly heard even in large venues.
In MONO’s ensemble, where guitar sounds overlap like a “wall,” this amplifier ensures that the sound remains prominent without getting buried.
Moreover, the built-in reverb model is crucial, as it allows for layering the amp’s reverb with pedal-based reverb for a deep, resonant sound.

There are indications that Yoda may also use Marshall amplifiers alongside the Twin Reverb.
Live footage has shown instances where he combines the Twin Reverb with a Marshall head,
blending the transparent clean tone with the characteristic mid-range punch of Marshall amps, adding thickness to MONO’s thunderous sound.

Thus, Yoda’s amplifier setup prioritizes a “clean foundation plus spatial effects” for a fantastical tone,
while also incorporating the powerful sound of Marshall when necessary, maximizing the contrast between quiet and loud.
Every choice of amplifier directly contributes to building the foundation that supports MONO’s musical world.

However, the specific combinations and usage periods of the amplifiers have not been explicitly stated in interviews or official gear lists,
so it is assumed that “the Twin Reverb is the mainstay, with the possibility of Marshall being used in conjunction.”

Types of Guitars Used and Features

Yoda’s main guitar is a black Fender Stratocaster.
Specifically, he has been using a 1974 model Stratocaster (rosewood fretboard) for many years in live performances and recordings,
with the body paint significantly worn, resulting in a “relic” condition.
The sound produced from this Stratocaster, layered with deep reverb and delay, creates the unique transparency and ethereality characteristic of MONO,
playing a crucial role in supporting the band’s overall sonic depth.

Additionally, a black Stratocaster from the 1970s with a maple fretboard has also been confirmed.
This guitar is often used in a secondary role, switched out for the rosewood model depending on the song.
The strong attack characteristic of the maple fretboard shines through in arpeggios and clean cuts,
providing a variety of tones that match the live setlist.

Furthermore, Yoda has been seen using a Gibson SG Junior (TV White).
Equipped with P-90 pickups, this model possesses a raw nuance and powerful mid-range,
often deployed in MONO’s thunderous sections and fuzz-heavy parts.
In contrast to Yoda’s black Stratocaster, the rough, rock-like tone of the SG Junior adds spice to the compositions.

Yoda’s guitar selection reflects a dual approach of “delicate and clear expression with the Stratocaster” and “rough and aggressive expression with the SG Junior.”
This serves to embody the structural contrasts in MONO’s music—quiet and loud, prayer and explosion—through the guitar alone,
resulting in a more dynamic overall sound for the band.

The switching between these guitars is primarily considered for ensemble purposes during live performances,
where the combination of the Twin Reverb with delay/reverb becomes essential for constructing unique sound layers for each song.
Based on current photos and video materials, it is assumed that the “two black Stratocasters are the mainstay, with the SG Junior added as needed.”

Effects and Pedalboard Setup

Effects play an extremely important role in Yoda’s sound design.
MONO’s music is characterized by soundscapes layered with multiple delays and reverbs,
and the diverse array of effects on his pedalboard supports this fantastical and thunderous space.
Like Goto, Yoda connects his pedalboard in series, performing complex switches during live shows to create the unique atmosphere for each song.

Among distortion effects, the Danelectro Fab Tone is particularly famous.
This pedal is essential for forming MONO’s loud and thunderous sound,
providing deep, saturated distortion and a robust low end.
Additionally, the Electro-Harmonix Big Muff and BOSS DS-1 are also used, allowing him to switch the character of distortion for each song,
creating a meticulously controlled wall of noise rather than just a loud sound.

In terms of modulation, the Electro-Harmonix Small Clone (chorus) has been confirmed,
adding a unique wavering effect to clean tone arpeggios.
The Mad Professor Tiny Orange Phaser is used to impart a soft, organic swirl,
adding depth to the song’s developments.

Spatial effects are particularly abundant, with multiple BOSS DD-7s in use, alongside the Line6 DL4 Delay Modeler,
Strymon Timeline, and EarthQuaker Devices Afterneath, all high-function delay units.
The Strymon BlueSky Reverb adds deep reverb processing,
forming MONO’s unique “prayer-like soundscape.”
In some songs, delays are layered in 3 to 4 stages, creating a space where echoes expand in multiple dimensions.

Other auxiliary pedals include the DigiTech Drop for down-tuning and the ISP Decimator for noise suppression during thunderous sounds.
The Maxon DB-10 is used in a modified state for boosting and controlling sound pressure.
The entire pedalboard is powered by a Free The Tone power supply, ensuring stable power delivery,
which allows for consistent sound creation during live performances.

Overall, Yoda’s pedalboard is designed to achieve a “back-and-forth between thunder and silence,”
considered one of the most crucial elements in establishing MONO’s musical world.
The currently confirmed effects are as follows, but it is assumed that there are frequent changes and additions based on the time period and tour.

Tone Settings, EQ, and Mixing Approaches

At the core of Yoda’s sound design is the balance between “a clean foundation and expansive space” and “layered distortion for thunderous sound.”
Starting with the clean tone of the Fender Twin Reverb, he layers delays and reverbs in multiple stages,
creating a prayer-like resonance even in a single arpeggio.
Notably, the BOSS DD-7 and Strymon Timeline delays are used in multiple units, expanding the sound image with stereo effects and echoes with different rhythmic feels.

The basic EQ settings tend to “slightly suppress the low end while bringing out the mid to high frequencies.”
To leverage the brightness of the Stratocaster, the Treble is set around 5 to 6,
while the Middle is kept around 4 to control the fullness of the sound.
The Bass is maintained at about 3 to 4, ensuring that the overall sound does not lean too heavily towards the low end,
allowing for clear differentiation from other instruments.

For reverb, the built-in spring reverb of the amp serves as the foundation,
while the Strymon BlueSky and EarthQuaker Devices Afterneath are added to create layers with different depths.
This results in a sound field where “sounds close by” and “sounds far away” can coexist, creating a three-dimensional audio landscape.

During thunderous sections, deep distortion from the Fab Tone and Big Muff is employed.
At this point, the EQ is adjusted to slightly lower the high end on the amp side, while boosting the mid-range through effects,
ensuring that the overall sound does not become a “mass of low frequencies” but rather a punchy thunder that comes forward.
Live footage shows Yoda meticulously controlling picking position and force to maintain clarity even amidst the thunderous sound.

Additionally, MONO’s approach to studio recordings differs from live performances.
In the studio, it is common to avoid excessive reverb, adjusting reverb and delay during the mixing phase.
Conversely, in live settings, it is necessary to fill the space with sound, so stronger reverb is applied at the pedal stage,
layering multiple delays to create depth that does not get lost through the PA system.

In mixing, Yoda’s guitar is often placed slightly more center than Goto’s,
playing a role in ensuring the clarity of arpeggios and riffs.
While Goto plays emotional lead lines, Yoda’s sound overlaps like “layers of earth” beneath,
resulting in MONO’s overall sound approaching “one large wave.”

In summary, Yoda’s sound design can be distilled into a two-pronged setup of “clean + spatial effects as the foundation, shifting to thunderous sound as needed.”
At its core lies the philosophy of “expressing contrasts of quiet and loud through a single guitarist,”
which elevates MONO’s music to a truly unique existence.

Affordable Alternatives to Recreate the Tone

Yoda’s sound is constructed using vintage Stratocasters and high-end spatial pedals,
but it is possible for beginners or players on a budget to approach a “MONO-like” sound.
Here, we will introduce relatively affordable and easily obtainable alternative gear.
The key points are how to secure “transparent clean tones,” “multiple stages of delay,” “deep reverb,” and “thick distortion.”

For amplifiers, I recommend the BOSS “Katana” series as an alternative to the Twin Reverb.
It offers transparent clean tones and a variety of built-in effects, suitable for home practice and small gigs.
With a price under $1,000, it allows you to easily experience a clean-centric sound like Yoda’s.

For guitars, the Squier Classic Vibe Stratocaster is an excellent choice.
It is significantly more affordable than the original Fender, yet it can adequately reproduce the Strat’s characteristic brightness and clarity in arpeggios.
Both rosewood and maple fretboard versions are available, allowing you to mimic Yoda’s dual-guitar setup.

For distortion pedals, the BOSS DS-1 offers outstanding cost performance.
While cheaper than the Fab Tone and Big Muff, it provides sufficient distortion and mid-range presence,
making it an ideal first step to mimic Yoda’s thunderous sections.
If you seek a thicker distortion, the Electro-Harmonix Little Big Muff is also recommended.

For delay, the BOSS DD-8 (or DD-7) is practical.
Despite its multifunctionality, it is reasonably priced and can replicate Yoda’s style of “layering multiple delays” to a degree,
and it also features a loop function for live performance applications.

For reverb, the TC Electronic Hall of Fame 2 is affordable yet high-quality.
It performs well as a substitute for the Strymon BlueSky, providing deep echoes and expansive spaces.
Using such multifunctional reverb pedals is effective for approaching MONO’s mystical sound.

Finally, for noise reduction, the BOSS NS-2 is suitable for beginners.
While not as precise as the ISP Decimator, it effectively reduces unwanted noise during thunderous sections,
keeping the sound’s outline clear.

As such, by combining equipment in the several thousand dollar range, it is possible to get quite close to Yoda’s sound.
Particularly, aligning the three elements of “clean foundation + delay + reverb” is the quickest route to recreating the MONO sound.

Summary and Conclusion

Reflecting on Yoda’s sound design in MONO, its essence lies in his ability to manipulate the “contrast of silence and motion.”
His playing is designed to support the overall structure of the band while complementing Goto’s passionate guitar work.
The clean foundation of arpeggios, the soundscape built with deep reverb and delay, and the thick distortion when transitioning to thunderous sounds
all combine to create MONO’s unique coexistence of “prayer-like silence” and “soul-stirring thunder.”

In summarizing Yoda’s gear choices, the bright and delicate clean from the Fender Stratocaster,
the rough and aggressive sound from the Gibson SG Junior, and the transparent clean tone from the Fender Twin Reverb form the core.
When combined with strong distortions like the Fab Tone and Big Muff, multiple stages of delay, and deep reverb,
his dynamic expression is completed.
While the gear itself is straightforward, the series configuration of the pedalboard and meticulous operation create an “infinite wall of sound.”

What is crucial is not merely a combination of expensive gear,
but the design philosophy of “which effects to layer at which moments” and “how to transition from clean to thunderous sound.”
This cannot be achieved by simply mimicking the gear; it is deeply intertwined with Yoda’s cultivated musical perspective and performance philosophy.
Thus, to recreate MONO’s sound, it is essential to first handle the clean and spatial elements with care,
gradually building up to the thunderous sound.

Moreover, as there are ways to approximate the sound with relatively affordable gear,
the key to copying Yoda’s sound is “how to create the atmosphere.”
By creatively applying delay and reverb, a basic setup of Stratocaster and clean amp can yield a similar ambiance.
Understanding the essence of Yoda’s sound design and adapting it to your own gear will surely bring you closer to MONO’s sonic world.

In summary, Yoda’s sound design embodies the duality of “prayer and thunder,” “transparency and pressure,” expressed by a single guitarist.
This unique approach is at the core of MONO’s sound and is what makes him a special presence in the global post-rock scene.
When attempting to replicate his sound in your environment, being mindful of the philosophy behind sound design, rather than just copying the gear, will provide the greatest insight.