[Keiichi Sokabe] How to Recreate the Sunny Day Service Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Keiichi Sokabe, the central figure of Sunny Day Service, captivates listeners with his unique sound that blends warmth and melancholy. His sound design is characterized by a fusion of folk and rock, infused with an urban and sophisticated atmosphere that adds a pleasant buoyancy and emotional depth to the band’s music.

Iconic songs like “Seishun Kyosokyoku” and “NOW” showcase his ability to combine the rustic tones of acoustic guitars with the distortion and effects of electric guitars, creating a profound emotional resonance throughout the tracks.

Sokabe is particularly fond of acoustic models such as the Guild F-20 and F-30, as well as the Gibson B-25, which envelop listeners with simple yet delicate strumming. On the electric side, he primarily uses a modified Gibson Les Paul Standard equipped with P-90 pickups, crafting a unique spatial sound by combining it with fuzz and phaser effects. In recent years, he has also incorporated Gretsch White Falcon guitars, further enhancing the diversity of his live sound.

Thus, Sokabe’s guitar tone, while built on a simple gear setup, maximizes the nuances of his playing style and the individuality of his equipment, making him a reference point for many guitarists.

Another unique aspect of his sound design is its deep connection to his everyday life. Stories about using his Hiace as a gear transport vehicle and his daily use of headphones and notebooks illustrate how his gear choices support a worldview where music and life intertwine.

To truly understand Keiichi Sokabe as a guitarist, it’s essential to consider not just his gear list but also his lifestyle and sound philosophy.

In the following sections, we will detail the amplifiers, guitars, and effects used by Sokabe, summarizing his sound design in tabular format. This reference will help you get closer to the unique sound of Sunny Day Service.

▶ Search official YouTube videos of Sunny Day Service

List of Amplifiers and Features

The most famous amplifier used by Keiichi Sokabe is the Victoria Amp Co. #20112-T Deluxe. This boutique amp faithfully recreates the 1950s Fender Tweed Deluxe (5E3 circuit), boasting a 12W output characterized by vintage-like compression and rich midrange.

In live performances and recordings by Sunny Day Service, this amp’s unique sound, which floats between clean and drive, is frequently employed. Sokabe’s soft strumming combined with fuzz creates a psychedelic yet nostalgic soundscape.

The Victoria Deluxe naturally saturates the vacuum tubes when the volume is increased, yielding a tone that combines roughness and warmth, making it an excellent match for fuzz and phaser effects. Even when using pedals like the Big Muff or Small Stone, the sound remains distinct and maintains a solid core while creating spatial depth.

Furthermore, due to its relatively low output, it can be utilized in a variety of settings, from small venues to studio practices. It is believed that Sokabe uses this amp across various venues, large and small.

On the other hand, interviews and live photos suggest that he has also used Fender amps (such as the Twin Reverb and Deluxe Reverb), indicating that he may switch amplifiers depending on the period. Fender amps are commonly rented or provided as backline in Japan, so it is assumed that during tours, he often uses venue-provided Fender amps, adjusting his tone with pedals and guitars.

It’s important to note that Sokabe’s sound is not solely dependent on the brand of the amp but is built upon the combination of his playing and equipment.

Overall, Sokabe’s choice of amplifiers is grounded in “vintage warmth and the natural distortion characteristic of vacuum tubes,” layered with effects to create a unique floating sound. While the Victoria #20112-T Deluxe is undoubtedly his main amp, it is assumed that he also uses Fender amps as needed.

Types of Guitars Used and Features

The most crucial element in Keiichi Sokabe’s sound design is his choice of guitars. He skillfully alternates between acoustic and electric guitars depending on the scene, reflecting a wide range of expressive capabilities in his sound.

Notable acoustic models include the Guild F-20 and F-30, which produce delicate and rich strumming, making them indispensable for the lyrical songs of Sunny Day Service.

In the acoustic realm, models such as the Guild F-30 NT SPECIAL and Guild F-30 LM10 have been confirmed, suggesting that he uses them interchangeably for live performances and recordings. Additionally, the Gibson B-25 is also part of his arsenal, known for its compact body that produces a solid sound, frequently appearing in solo performances and singer-songwriter settings.

These guitars are optimized for “sound creation that supports the song,” focusing on warmth that envelops rather than a flashy presence.

On the electric side, Sokabe uses a modified Gibson Les Paul Standard (black), which has been altered by removing the pickguard and converting it to a bar bridge setup, while both the front and rear are equipped with P-90 pickups. This modification creates a unique thick yet clear sound that enhances his psychedelic expressions and adds a distinct floating quality to his music.

Furthermore, recent live photos and videos have shown him using a Gretsch White Falcon semi-hollow body guitar (white with gold parts). This model is characterized by its overwhelming presence and brilliant tone, making a striking visual impression.

It is assumed that this guitar plays a role in adding thickness and brilliance to the recent sound of Sunny Day Service.

The background of Sokabe’s guitar choices reflects a consistent style of “maximizing the atmosphere of the song and vocals.” Rather than flashy technical play, he focuses on simple chord strumming and arpeggios to create the overall mood, leading to the selection of guitars that are “warm, deep, and possess presence.”

As a result, it is assumed that his core sound is supported by Guild and Gibson B-25 acoustics, along with a modified Les Paul and Gretsch White Falcon on the electric side.

Effects and Pedalboard Setup

Keiichi Sokabe’s pedalboard is simple yet exudes a strong personality. The main effect used is the SOVTEK Electro-Harmonix Big Muff Pi, which provides a thick fuzz sound that adds a unique depth to his electric guitar tone.

This effect is indispensable during live performances, especially in loud sections and psychedelic song developments, symbolizing Sokabe’s electric tone.

Additionally, the Electro-Harmonix Small Stone is used as a phaser, creating a spatial depth with a gentle undulation. By subtly applying this phaser, he adds a unique floating quality to chord strumming, perfectly matching the lyrical songs of Sunny Day Service.

A significant characteristic of Sokabe’s playing style is his focus on subtle changes rather than layering many sounds, using effects to create the overall mood.

The board also features a BOSS TU-2 tuner, known for its reliability and stable tuning on stage, widely loved by both professionals and amateurs. It is assumed that this tuner is a fundamental piece of equipment that supports Sokabe’s performance stability.

While these three effects are the main ones confirmed, there may be additional boosters or delays used depending on the live situation or period. However, Sokabe’s approach to effects is fundamentally about “minimal necessity,” emphasizing the nuances of the guitar itself, amp, and performance style.

Therefore, when trying to replicate his sound, focusing on a minimal setup of fuzz, phaser, and a simple tuner will be the most effective approach.

This simple pedalboard configuration reflects Sokabe’s musical philosophy that “the natural resonance of the song and guitar is paramount.” For him, effects are not tools for sound manipulation but rather minimal embellishments to aid expression.

Tone Settings, EQ, and Mixing Approaches

Keiichi Sokabe’s sound design is characterized by a simple gear setup that showcases diverse expressions through careful EQ and mixing techniques. His sound prioritizes “having the right resonance within the ensemble rather than being flashy when heard solo,” resulting in a warm and unique sound image.

Regarding amp settings, it is assumed that he uses the Victoria Amp Co. #20112-T Deluxe as a foundation, with the volume set slightly above halfway to achieve natural tube compression, while the tone is often set around noon.

When the Big Muff is engaged in this state, it combines with the amp’s natural distortion to create a thick and dimensional sound. When combining with the Small Stone, he likely sets the depth shallow to avoid overwhelming the vocals and the overall band, adding airiness instead.

In terms of EQ, there is a tendency to avoid overly emphasizing the midrange and slightly cutting the low end. Acoustic guitars like the Guild F-30 and Gibson B-25 possess rich resonance in the mid-high range, so during PA or recording EQ, it is common to suppress around 200Hz while naturally retaining the 500Hz to 1kHz range to achieve a sound that blends with the vocals.

On the electric side, it is essential to maintain the roughness characteristic of P-90 while slightly rounding off the high end during mixing to avoid harshness.

The differentiation in sound for each song is clear; for straightforward rock tunes like “Seishun Kyosokyoku,” a thick sound centered around the Big Muff is used, while for delicate songs like “NOW” and “Koi ni Ochitara,” the natural resonance of the acoustic guitar takes precedence.

In solo performances, he often lightly adds reverb to the mic’d acoustic to highlight the unity of voice and guitar.

In recording and live mixing, “utilizing the spaces in sound” is key to Sokabe’s sound. Instead of pushing the guitar to the forefront, he balances the positioning and EQ to support the vocals, using spatial effects as needed to create a sound that is pleasant to the ear.

Even when applying fuzz heavily, it is kept within a range that does not clash with the bass and drums, resulting in an overall sound that is easy to listen to.

Furthermore, from a PA perspective, it is noteworthy that “Sokabe creates dynamics through guitar volume and picking nuances.” This means that there is little need for excessive processing in EQ or mixing; rather, the performance itself determines the expression of the sound.

Thus, when attempting to replicate his sound, it is crucial to focus not only on gear settings but also on the “lightly strummed touch” and “sense of balance with the vocals.”

In summary, Keiichi Sokabe’s sound design is established through “the simplicity of gear × accurate EQ adjustments × spatial processing in mixing,” emphasizing “sound creation that utilizes the spaces.” This approach shapes the unique nostalgic atmosphere that permeates the music of Sunny Day Service.

Affordable Alternatives to Recreate the Tone

Keiichi Sokabe’s sound relies on vintage-style Guild acoustics, modified Les Pauls, and boutique amps, making it challenging for beginners or intermediate players to assemble the same gear due to cost.

However, the essence of Sokabe’s sound design lies in “utilizing simple gear in a personal playing style,” and it is entirely possible to achieve a similar atmosphere using relatively affordable commercial equipment. Here, we will introduce gear that can be acquired within a budget of approximately $100 to $500.

For acoustics, alternatives to Guild include Yamaha FG series or entry-level models from Morris. Many of these models have rich mid-low frequencies and are strong for chord strumming, making them suitable for recreating the singer-songwriter sound found in Sunny Day Service’s “Seishun Kyosokyoku” or “Koi ni Ochitara.”

The Yamaha FG830, priced around $200 to $300, offers a good balance and can achieve nuances similar to Sokabe’s sound.

Regarding electric guitars, if you’re looking for a budget-friendly way to achieve the P-90 sound of a modified Les Paul, consider the Epiphone Les Paul Special or Yamaha Revstar RS320.

These models either come equipped with P-90-like pickups or are ideal for modifications, allowing you to get close to Sokabe’s raw yet solid tone.

For effects, while the ideal setup would include the Electro-Harmonix Big Muff and Small Stone, more affordable alternatives like the BOSS DS-1 (distortion) or Joyo JF-12 Voodoo Octave (Big Muff clone) can effectively produce similar sounds.

For phasers, domestic pedals like the BOSS PH-3 are user-friendly and provide stable effects for live performances. To create the “waviness” and “thickness” that Sokabe aims for, simply incorporating fuzz and phaser effects can effectively recreate the desired atmosphere.

When it comes to amplifiers, introducing a boutique model like the Victoria is realistically challenging, so using affordable transistor/tube amps like the Roland JC-22 or Fender Champion 40, which excel in clean tones, is the best approach.

The Roland JC series, in particular, pairs well with spatial effects, making it excellent for recreating the “floating” quality of Sokabe’s sound.

In summary, when pursuing Keiichi Sokabe’s sound, starting with a minimal combination of “guitar + fuzz + phaser + simple amp” is effective.

By focusing on relatively affordable alternative gear and being mindful of playing style, you can get quite close to the sound of Sunny Day Service without relying on expensive vintage equipment.

Summary and Conclusion

Reflecting on Keiichi Sokabe’s (Sunny Day Service) sound design, its essence can be summarized as “simple yet deeply resonant.” His gear list includes acoustics like Guild and Gibson B-25, electric guitars such as modified Les Pauls and Gretsch White Falcons, along with the Victoria Deluxe amp and a minimal effects setup, showcasing a selective approach without unnecessary additions.

Sokabe’s sound is shaped more by “how he plays” than by the gear itself. For instance, even when using the Big Muff, he achieves a soft dynamic that resonates with the strumming, creating a unique tone that is “rough yet pleasant to the ear.” The phaser effect from the Small Stone is also used subtly, adding just a hint of waviness to create the “floating quality” characteristic of Sokabe’s sound.

Another critical aspect is his awareness of “leaving space” in EQ and mixing. Instead of pushing the guitar to the forefront, he balances it with vocals and other instruments, resulting in a sound that reaches listeners as “the unity of Sokabe’s voice and guitar.” This aesthetic of “leaving space” is fundamental to his music and supports the nostalgic and poetic atmosphere that flows throughout Sunny Day Service’s works.

Moreover, his sound design extends to his lifestyle, including his beloved Hiace and everyday items (like sunglasses from Hakusan Glass Shop and Moleskine notebooks). This integration of life and music allows Sokabe’s guitar to produce a “human-like sound.”

For guitarists wishing to replicate Sokabe’s sound, it is essential to adopt the mindset of “selecting minimal gear to produce sounds that support the song,” rather than merely copying his equipment.

Even without vintage guitars or boutique amps, affordable options like Epiphone or Yamaha guitars and BOSS pedals can be creatively utilized to get close to his sound.

In conclusion, Keiichi Sokabe’s sound design is built on “simple choices and thorough sensitivity to maximize the emotional expression of the songs.” For fans and guitarists of Sunny Day Service, pursuing this sound is not just about mimicking gear but learning the attitude of “connecting music and life.”

This perspective is the most crucial insight for understanding the Sokabe sound and represents a universal essence that anyone can incorporate into their music.