[Yusuke Koide] How to Recreate the Base Ball Bear Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yusuke Koide, the frontman and guitarist of Base Ball Bear, is renowned for his ability to craft a sound that balances transparent clean tones with expertly utilized distortion. In iconic tracks like “changes” and “Dramatic,” his guitar plays a pivotal role in enhancing the vocal melodies while driving the entire band forward, showcasing a unique timbre that retains a delicate touch despite its rock foundation.

His guitar playing spans a wide range, from exhilarating arpeggios to sharp, precise cuts, particularly highlighting the characteristics of single-coil guitars like the Stratocaster and Telecaster. However, depending on the era or the song, he also incorporates the powerful sounds of Les Paul-style guitars, demonstrating a flexible sensibility that supports the band’s musical diversity.

At the core of his sound design is the philosophy of “enhancing the song and the overall ensemble,” which reflects an approach that goes beyond mere solo guitar work, embodying a producer’s ear for arrangement. Consequently, his gear choices are not merely flashy distortions or special effects; instead, they focus on balancing clean and distorted tones while utilizing spatial effects to construct a three-dimensional soundscape.

The reason Yusuke Koide’s sound garners attention is his relentless pursuit of “tones that maximize the potential of the music” in both live performances and recordings. His guitar maintains a solid presence without overshadowing the mix, creating a tone that naturally resonates with listeners.

In the following sections, we will thoroughly explore Yusuke Koide’s amplifiers, guitars, and effects setup, delving into the secrets behind his sound design.

▶ Search official YouTube videos of Base Ball Bear

List of Amplifiers and Features

Choosing the right amplifier is crucial in shaping Yusuke Koide’s sound. He primarily relies on the clean range of Fender amps while also incorporating unique brands like Zinky and SHINOS to achieve a diverse palette of tones. His amplifier selection reflects a consistent philosophy of enhancing the guitar’s presence without disrupting the overall band ensemble.

One of the most notable amplifiers is the Fender Twin Reverb. This amp is a staple for professionals worldwide, known for its rich headroom and sparkling highs. Given Koide’s playing style, which often features arpeggios and cutting techniques, he likely utilizes the Twin Reverb to achieve a clear, articulate tone. Live photos and interviews frequently confirm this amp’s presence in his rig.

Another significant choice is the Bruce Zinky (Zinky Amps). Koide uses multiple units of this amp, which, while rooted in the Fender tradition, offers a more modern and powerful sound. It is employed to emphasize the band’s rock side and pairs well with distortion pedals, allowing him to broaden his sound palette on stage alongside the Twin Reverb.

Additionally, Koide has integrated the SHINOS “luck6v”, a handmade Japanese amp known for its warm tube characteristics and modern output. When paired with an all-rosewood Stratocaster, it enhances the natural overtones, symbolizing Koide’s commitment to tone quality. This SHINOS amp is also used with a bass cabinet to add a unique low-end presence.

By strategically utilizing these amplifiers, Yusuke Koide achieves a balance between “clear cleans” and “defined distortion.” In studio recordings, he often lays the foundation with the Twin Reverb, while amplifying his presence in live settings with Zinky or SHINOS. This approach emphasizes designing the overall sound image in conjunction with the guitar and effects rather than relying solely on the amp’s character.

In summary, Koide’s amplifier setup is built on three pillars: the classic Fender, the unique Zinky, and the meticulous SHINOS, showcasing a style that selects the optimal sound for each context. It is anticipated that these combinations will continue to shape his sound in future tours and recordings.

Types of Guitars Used and Features

Yusuke Koide’s diverse guitar collection and his adept use of each instrument contribute significantly to his sound. By skillfully switching between primary and secondary guitars for different songs, he exercises strong control over the band’s overall sound image.

The most iconic guitar in his arsenal is the Fender Custom Shop Stratocaster (all rosewood, nicknamed “Benzou”). This guitar was passed down from 米咲津野 of 赤い公園 and has been the mainstay in live performances and recordings since 2023. The unique texture and sound of all rosewood provide a warm midrange and subdued overtones, enriching the nuances of his songs. It is particularly well-suited for Koide’s clean and expansive arpeggios.

Another staple in Koide’s collection is the Fender Telecaster. He owns several models, including a USA-made version modified from single-coil to humbucker and a Fender Japan Telecaster that he has used since his student days. The modified Telecaster excels in delivering powerful distortion, while the Fender Japan model serves as a reliable backup.

Koide also possesses multiple Stratocasters, featuring variations in red, white, and all-rosewood bodies, which he switches based on the song’s requirements. This allows him to select the most suitable sound character for each track.

For Les Paul-style guitars, he uses the Gibson Les Paul Special Double Cutaway and Les Paul Junior. These guitars offer a robust midrange and thick sound, ideal for rock-oriented tracks and adding depth to the band’s overall sound. Their distinct presence expands Koide’s tonal palette beyond the Fender-style guitars.

Additionally, unique choices like the Stargazer (blue, majora, white) and a Telecaster-style Strat hybrid guitar have been spotted on stage. These guitars not only make a visual impact but also provide distinctive sounds due to their unusual constructions.

Overall, Yusuke Koide employs a strategy of “mainly using Stratocasters and Telecasters,” “Les Pauls for rock tones,” and “unique models for individuality,” which collectively shape the band’s sound design. While some of this information is confirmed, there are also unconfirmed elements. Based on live footage, photos, and interviews, this setup appears to be the foundational axis of his sound.

Effects and Pedalboard Setup

Effects play a crucial role in Yusuke Koide’s sound design. He combines simple yet effective distortion and spatial effects to create a wide range of tones, from clean to distorted. He emphasizes “not killing the natural sound of the guitar” and achieving a “natural sound that blends into the song,” resulting in a collection of practical pedals favored by many professionals.

For distortion, he primarily relies on the Human Gear FINE OD, a renowned natural overdrive pedal. This pedal serves as the core of Koide’s sound, frequently used to add a natural drive to his clean tones. Additionally, he employs two VOX BIG BEN OVERDRIVE pedals, which can be used for boosting or switching between different distortion characters depending on the song.

For compression, Koide uses the MXR SUPER COMP, which helps even out the volume differences typical of single-coil guitars, making it ideal for enhancing the clarity of his arpeggios. This pedal is essential for supporting the delicate nuances of his picking style.

In terms of spatial effects, he utilizes two BOSS RV-3 units (a reverb/delay combo) along with a BOSS DD-20 to create a diverse array of delay sounds. The RV-3, in particular, combines depth with short delays to achieve a “three-dimensional clean” sound. The DD-20 excels in long delays and rhythmic delay applications.

For modulation, Koide employs two t.c. electronic Stereo Chorus + Pitch Modulator & Flanger units, which contribute to the spaciousness of his sound. He also incorporates the Electro-Harmonix Small Clone, known for its warmth and modulation, which significantly alters the texture of his arpeggios and clean cuts.

As for auxiliary gear, he has implemented two Providence PEC-2 switching systems, designed for efficient management of his complex pedalboard. He also uses high-quality DC cables, specifically the DC-3398LL, to ensure power stability and sound quality.

In summary, Yusuke Koide’s pedalboard is built on three main pillars: “layered distortion,” “three-dimensional delay/reverb,” and “spatial modulation,” all of which are significant elements supporting Base Ball Bear’s sound. While there may be minor adjustments in live and recording settings, this foundational approach is expected to remain consistent.

Tone Settings, EQ, and Mixing Approaches

Yusuke Koide’s sound design is characterized by a comprehensive approach that includes not only the arrangement of gear but also the settings of amplifiers and effects, along with considerations during the PA and mixing stages. A key focus is on “maintaining the overall balance of the song while highlighting the guitar’s presence,” ensuring that the guitar sounds pleasant on its own and shines even more when blended into the band ensemble.

Starting with amplifier EQ settings, Koide primarily uses the Fender Twin Reverb and Zinky. A common trend in his settings is to keep the bass slightly lower while adjusting treble and midrange to fit the band. For the Twin Reverb, he often sets the bass around 3-4, treble at 5-6, and midrange around 5. This approach prevents the low end from becoming too pronounced in clean tones, allowing for clarity in cutting and arpeggio playing.

When engaging distortion pedals, he typically sets the gain on the Human Gear FINE OD and VOX BIG BEN to a lower level (around 9-10 o’clock) while boosting the volume. This method ensures that even during chord playing, the sound remains clear without being squashed, allowing for a driving feel while retaining nuanced clarity. When using two VOX BIG BENs, one is likely designated for boosting, while the other serves a deeper distortion role.

The compressor (MXR SUPER COMP) is utilized more for equalizing sound rather than extending sustain, with settings typically favoring lower sustain and slightly faster attack. This configuration helps suppress volume differences in arpeggios and strokes, resulting in a guitar sound that blends seamlessly into the overall song.

Regarding spatial effects, the combination of the BOSS RV-3 and DD-20 is essential. The RV-3 is often set to Plate or Hall reverb, with the mix kept around 20-30% to create a “depth-enhancing clean” sound. The DD-20 is configured for delay times that match the song’s tempo, such as using eighth-note delays in “Dramatic,” allowing for rhythmic integration. This layering of spatial effects transforms the guitar from a mere accompaniment into a key element that expands the song’s atmosphere.

The modulation effects from the t.c. electronic Stereo Chorus/Flanger are employed to emphasize spatial expansion. When played in stereo, the modulation creates a sense of width, making it feel as if there are two guitars playing simultaneously. The Small Clone is similarly used to add warmth to arpeggios.

From a mixing and PA perspective, Koide’s guitar sound is characterized by intentionally cutting low-end frequencies while slightly boosting the 2kHz-4kHz range to ensure presence. This approach prevents interference with the bass and drums’ low end and the vocals’ midrange, effectively organizing the guitar’s frequency range. This processing is particularly crucial in live settings, resulting in a sound that is clear without being harsh.

Additionally, utilizing the switching system (Providence PEC-2) allows for instant recall of optimal settings for each song. For example, he can smoothly transition from clean + reverb in the intro to overdrive + delay in the chorus, which is a key factor in achieving the polished sound of Koide.

In summary, Yusuke Koide’s sound design is established through “frequency range organization via EQ,” “lower gain settings,” “layering of spatial effects,” and “boosting mid-high frequencies in the PA.” His focus on the comfort of the overall band mix, rather than the flashiness of individual guitar tones, is what makes Base Ball Bear’s sound unique.

Affordable Alternatives to Recreate the Tone

Yusuke Koide’s sound is built on a foundation of Fender-style guitars and amplifiers, combined with overdrive and spatial effects. However, acquiring all high-end custom shop or handmade gear can be a significant financial burden. Therefore, we present alternative gear that beginners to intermediate players can use to approximate the “Koide sound” at a more accessible price point, typically ranging from $100 to $500 (with a maximum of $1,000).

Starting with guitars, Koide’s main Fender Custom Shop Stratocaster (all rosewood) is quite expensive. A recommended alternative would be the Fender Player Stratocaster or the Squier Classic Vibe series. These models possess the bright tones characteristic of single-coils, and with EQ adjustments to the midrange, they can closely resemble the warmth of “Benzou.” For Telecaster tones, the Squier Telecaster Classic Vibe offers a great balance of price and quality.

Regarding amplifiers, the Fender Twin Reverb and Zinky are professional-grade amps with high price tags. Instead, the Fender Champion 40 or Boss Katana-50 MkII are excellent alternatives. Both provide solid clean tones and pair well with distortion pedals, allowing for the recreation of Koide’s clean to crunch sounds. The Katana, in particular, is beginner-friendly due to its rich built-in effects, including reverb and delay.

For effects, the Human Gear FINE OD and VOX BIG BEN can be hard to find and often come with a hefty price tag. Instead, consider the BOSS SD-1 or Ibanez TS9 Tubescreamer, both of which are excellent low-gain overdrives that enhance the amp’s clean sound while providing a natural drive. These alternatives can effectively replicate the essence of Koide’s distortion sound, which emphasizes adding thickness without squashing the tone.

In terms of spatial effects, the BOSS DD-7 and NUX Atlantic offer great cost-performance ratios. The DD-7 is compact yet multifunctional, serving as a suitable replacement for the RV-3 or DD-20. The NUX Atlantic is particularly beginner-friendly as it combines delay and reverb in one unit.

For modulation, the BOSS CH-1 Super Chorus and Electro-Harmonix Neo Clone are recommended. Both can create modulation effects similar to Koide’s sound, and their prices are reasonable. The Neo Clone is designed as a budget-friendly version of the Small Clone, making it a practical choice for live use.

While the switching system (Providence PEC-2) and high-quality DC cables may not be essential for beginners, alternatives like the One Control Minimal Series or Palmer PWT08 power supply can ensure board stability while keeping costs down.

In summary, combining guitars like the Squier or Player series, amplifiers like the Katana or Champion, overdrives such as the SD-1 or TS9, spatial effects like the DD-7 or NUX, and modulation like the CH-1 or Neo Clone can help you get closer to Yusuke Koide’s sound. The key is to “avoid excessive distortion and make the clean tones shine.” With the right settings, you can achieve remarkably similar sounds.

Summary and Conclusion

As we’ve seen, Yusuke Koide’s sound design fundamentally revolves around “meticulously selecting simple combinations.” While centered on Fender-style guitars and amplifiers, he skillfully employs unique pedals like the Human Gear FINE OD and VOX BIG BEN to maximize the nuances of arpeggios and cuts. The result is a sound that is not overly flashy on its own but possesses a commanding presence within the context of the entire band.

Notably, his approach targets the “boundary between clean and distortion.” By setting up his gear so that playing harder results in distortion while softer playing retains clean tones, his playing nuances are directly reflected in the sound. This sensitivity is characteristic of a guitarist with a strong sense of melody, and it showcases Koide’s thoughtful balance with the vocals.

Moreover, layering spatial effects is crucial for creating a “three-dimensional sound image.” By combining two or more reverb and delay units, he forms a depth of sound that expands the song’s atmosphere. The addition of modulation effects further transforms the guitar from mere accompaniment into a “soundscape” that elevates the music.

On the other hand, despite the complexity of his board and amplifier setup, he positions them strictly as “tools to produce the necessary sounds for the song.” Rather than showcasing rare gear for the sake of it, he selects the most suitable equipment based on clear sound objectives. For instance, the choice of the all-rosewood Strat “Benzou” stems not from rarity but from the need for a warm tone suited to the music.

For those looking to replicate Koide’s sound, it is vital to focus on “avoiding excessive distortion and allowing clean tones to shine.” Additionally, layering spatial effects and maintaining an EQ balance that emphasizes mid-high frequencies will be key. Even without expensive gear, selecting affordable alternatives and carefully crafting settings can yield surprisingly similar sounds. By prioritizing clarity in arpeggios and the sharpness of chord cuts, you can experience the transparent band sound characteristic of Base Ball Bear.

In conclusion, Yusuke Koide’s sound design is all about “enhancing the music.” His guitar does not overpower the mix, yet it maintains a distinct presence, supporting the vocals and rhythm section. This approach is what makes Base Ball Bear’s music truly unique.