[TOMO-ZO] How to Recreate the Gacharic Spin Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

TOMO-ZO is the core guitarist of Gacharic Spin, known for her bright and pop character that contrasts with her technical playing style and wide range of expression. Her sound encompasses everything from clean tones that support pop melodies to loud and aggressive distortion.

In the early days of the band, songs like “Lock On!!” and “Dangan Beat” showcased a straightforward rock sound, while more recent tracks such as “Shira Raia” and “MindSet” reveal a more delicate and three-dimensional tone. TOMO-ZO’s guitar playing adds color to the music with intricate chord work, energetic cutting, and vibrant lead phrases.

Her sound design is noteworthy not just for its flashy appearance but for delivering a sound that is “easy to listen to and powerful” across all songs. While she firmly grasps the fundamentals of being a guitarist, she continuously pursues her unique sound, influencing many players along the way.

In recent live performances, she has utilized the latest digital amps, primarily the Kemper, while also recreating classic Marshall and ENGL sounds. Depending on the song, she switches to acoustic guitars, further broadening her expressive range.

In the following sections, we will systematically explore the amplifiers, guitars, and effects used by TOMO-ZO, organized by time period, to provide a comprehensive understanding of her sound design.

For those who want to experience her actual playing style, check out the official music videos.

▶ Search official YouTube videos of Gacharic Spin

List of Amplifiers and Features

When discussing TOMO-ZO’s sound, the evolution of her amplifiers is essential. During the early days of Gacharic Spin, particularly in the “EU·PHORIA” era, she primarily used classic Marshall amps. The characteristic midrange emphasis of Marshall amps perfectly matched the straightforward and energetic songs of that time. Their high-gain yet clear sound supported the aggressive atmosphere of the band.

After joining Gacharic Spin, she introduced ENGL amps to enable a more technical and versatile expression. ENGL, a German brand popular among hard rock and metal guitarists, offers transparent distortion and powerful low-end, making it suitable for TOMO-ZO’s playing style, which includes fast picking and tapping. This transition reflects the band’s need to adapt to a more diverse range of songs, from intense tracks to delicate melodies.

Currently, her main amplifier is the Kemper Profiler Power Rack. This profiling amp is known for its ability to faithfully reproduce the sound of actual amps. It allows her to digitally recreate the sounds of Marshall and ENGL amps, adapting to different environments for live performances and recordings. Its portability and sound reproduction capabilities make it an optimal choice for Gacharic Spin, which tours nationally and internationally.

Live footage confirms the presence of the glowing Kemper rack on stage, providing stable sound whether clean or high-gain. The high degree of freedom in sound design suggests that it will continue to be her main amp for a long time.

Thus, TOMO-ZO’s choice of amplifiers directly correlates with the band’s evolving sound. From the classic rock sound of Marshall to the technical high-gain of ENGL and the flexibility and stability of Kemper, each choice maximizes her guitar playing, allowing her to select the most suitable option for each situation.

Overall, it is assumed that in recent live performances, she focuses on Kemper while still incorporating past amp sounds as needed.

Types of Guitars Used and Features

The core of TOMO-ZO’s sound design lies in her extensive guitar collection. Throughout her career, she has played various guitars, choosing them based on the sound required for each song and era. Her selections are not only influenced by aesthetics but are also musically essential.

Her first guitar was a Fernandes Strat-type (green and black gradient) given to her as a Christmas gift in elementary school. This guitar marked the beginning of TOMO-ZO’s journey and served as the foundation for her career. Upon entering high school, she purchased a black Epiphone SG, which she chose for its simple yet strong rock appeal, showing her awareness of stage presence even at that time.

Later, she introduced an Art Tech Strat-type guitar, which played a significant role in the early “EU·PHORIA” period and the recording of “MindSet.” Additionally, she used a white Fender Stratocaster (borrowed) during the early days of Gacharic Spin, taking advantage of Fender’s bright and sparkling clean tones.

As her band activities gained momentum, she began using PRS SE (pink, Mira, etc.) and the PRS Custom 24 in Blue Crab Blue. The latter has become her main guitar, combining the thickness of a Les Paul with the clarity of a Strat. It harmonizes beautifully with her vibrant stage outfits, balancing visual appeal with a strong sonic core.

Moreover, her orange PRS Custom 24 is suited for drop D and heavy tuning. At one point, it featured LED edging, creating a stunning visual impact. Another unique guitar is the ESP T-LAND, crafted by students at the ESP Guitar Craft Academy, which produces a metal-oriented sound despite its candy and ice-like appearance.

On the acoustic side, she uses a Taylor 312ce Narrow, which is easy to play due to its slim body and neck, providing stable sound during live acoustic segments. Additionally, she owns a Framus Idolmaker (produced by Stevie Salas), which offers a luxurious sound and character similar to PRS, blending seamlessly with her playing style.

For recordings, she has borrowed a Paoletti Guitars Telecaster-type guitar, which she found impressive and is considering adding to her collection. This diverse selection of guitars indicates TOMO-ZO’s constant pursuit of new sounds.

In summary, TOMO-ZO skillfully utilizes the brilliance of Fender guitars, the versatility of PRS, the metal sound of ESP, and the acoustic resonance of Taylor to adapt to Gacharic Spin’s diverse songs. Her guitar collection embodies both “visual enjoyment” and “musical necessity,” suggesting that she currently focuses on PRS while switching to other guitars based on the song.

Effects and Pedalboard Setup

TOMO-ZO’s pedalboard configuration is unique and plays a crucial role in supporting the diverse songs she performs. She incorporates both standard gear and original custom pedals, showcasing a playful spirit and expressive capability that sets her apart from other guitarists.

The board starts with the reliable KORG Pitch Black tuner, essential for live stability. Following that, she uses the Ernie Ball PO6180 volume pedal to control sound levels freely, adding dynamics to her performances. The volume technique is frequently employed, significantly influencing the dynamics of guitar solos.

For wah effects, she uses the G-LAB WOWEE-WAH WW-1, which has a fast response and wide variable range, adding accents to flashy cutting and solos. Additionally, she incorporates the BOSS PS-5 and DigiTech Whammy 5, creating pitch-shifted phrases that make her live guitar sound more diverse and unpredictable.

For octave effects, she employs the Electro-Harmonix Pitch Fork, enhancing low-end and producing a thicker sound. Even simple riffs gain power, playing a supportive role in the overall band sound.

In terms of modulation, TOMO-ZO uses the ROULETT∃ Chorus (her own model with original LED), which not only has visual impact but also creates a unique shimmering effect, symbolizing her individuality. She also utilizes the BOSS MD-500, which allows her to switch between multiple modulation effects like flanger and phaser with ease.

Overall control of the effects is managed by the BOSS ES-8 switcher, which oversees complex effect chains. For power supply, she uses the Noah’sark DC-STICK, ensuring stable power delivery. For acoustic performances, she employs the ZOOM AC-3 and BOSS AD-10, delivering high-quality sound even for electric-acoustic setups.

TOMO-ZO’s pedalboard merges playful visuals with practical sound design, allowing her to adapt flexibly to different song styles during live performances. The active use of custom and original models distinguishes her from other guitarists, resulting in a hybrid setup that combines established gear with originality.

Tone Settings, EQ, and Mixing Approaches

TOMO-ZO’s sound balances the seemingly contradictory elements of being “pop and easy to listen to, yet powerful and robust.” This balance is achieved through her EQ settings, amp configurations, and mixing techniques. She has distinct settings for live performances and recordings, suggesting she makes detailed adjustments based on the situation.

For instance, her main guitar, the PRS Custom 24, has a dense midrange presence, but to prevent it from getting buried in the overall band sound, she boosts the mids slightly while ensuring enough treble. The bass is kept slightly cut to avoid muddiness in the low end. When recreating Marshall-type sounds, she emphasizes the thickness of the mids, while for ENGL-type sounds, she keeps the gain slightly lower to highlight tightness.

When using the Kemper, she switches profiles for each song. For example, in upbeat tracks like “Shira Raia” and “Dangan Beat,” she selects a high-gain Marshall profile, adjusting the gain to around 60-65% to maintain chord clarity. During leads, she uses the ES-8 to route a separate path, pushing the volume and mids forward.

For clean tones required in “MindSet” or ballads, she opts for a Fender amp profile, slightly lowering the bass and boosting the treble to achieve a bright and transparent sound. Applying a light touch of chorus effects (ROULETT∃ Chorus and MD-500) adds a sense of spaciousness within the ensemble.

In songs utilizing pitch shifters or whammy effects, the blend ratio of the original sound and effect sound is crucial. With the BOSS PS-5 and Whammy 5, she retains about 50-60% of the original sound to minimize dissonance, ensuring clarity even in live settings. Particularly in large venues like festivals, where low-end can easily overwhelm, she collaborates with PA engineers to manage the lows effectively.

For acoustic tracks, she uses the Taylor 312ce Narrow, running through preamps like the ZOOM AC-3 or BOSS AD-10. Here, she slightly boosts the mids and cuts the lows to avoid masking with other instruments, achieving a clear and prominent sound. The ZOOM AC-3 adds texture, while the AD-10 serves a DI role, ensuring noise-free output.

During the mixing phase, TOMO-ZO often positions her guitar centrally rather than overly wide. This is because her guitar frequently serves as both lead and rhythm, needing to be the “face” of the song. By lightly boosting the 2kHz-3kHz range in EQ, she ensures that guitar solos and riffs stand out against vocals and synths. Conversely, she boldly cuts frequencies below 150Hz to create space for bass and drums.

In summary, TOMO-ZO’s sound design is characterized as a “balanced approach centered around the midrange.” She seamlessly transitions between Marshall’s rock feel, ENGL’s technicality, and Fender’s transparency, maintaining both listenability and power across different songs. Her meticulous attention to the overall band sound and collaboration with PA engineers ensures that she consistently delivers a sound that is both “flashy yet familiar.”

Affordable Alternatives to Recreate the Tone

TOMO-ZO’s gear primarily consists of high-end professional models like PRS and Kemper, which can be challenging for beginners or intermediate players to acquire all at once. Here, we introduce more affordable commercial models (priced between $100-$500) that can help recreate TOMO-ZO’s sound.

Starting with guitars, the PRS SE Custom 24 is the closest alternative to TOMO-ZO’s main PRS Custom 24 Blue Crab Blue. It is available for under $1,000 and can replicate a sound that balances thickness and clarity, making it suitable for intermediate players and stage use.

Regarding amplifiers, while the Kemper is quite expensive, using BOSS’s GT-1000CORE or GT-1 multi-effects/amp simulators can simulate Marshall and ENGL sounds. The GT-1, priced around $200, is particularly recommended for its versatility in live and home recording settings.

For effects, it’s essential to find affordable alternatives for the wah, whammy, and chorus effects she frequently uses. The BOSS PW-3 Wah is a compact and budget-friendly wah pedal, while the DigiTech Whammy Ricochet serves as a small, affordable pitch shifter. Additionally, the BOSS CH-1 Super Chorus is a classic choice that easily provides a shimmering effect. Combining these will allow you to create TOMO-ZO’s signature sound with a spatial effect.

For acoustic sounds, the BOSS AD-2 Acoustic Preamp is an excellent entry-level option. Priced in the $100 range, it delivers sufficient quality for live acoustic segments, though it may not fully replicate the high-end feel of the Taylor 312ce Narrow.

In summary, the essence of TOMO-ZO’s sound is “brilliant yet robust,” “utilizing modulation for color,” and “flexibility to switch between songs.” By combining the affordable gear introduced here, beginners and intermediate players can effectively recreate her distinctive playing feel.

Summary and Conclusion

When we look at TOMO-ZO’s sound design, a consistent theme emerges: the balance between “visual flair and solid playability.” From visually engaging guitars like the candy and ice-themed ESP T-LAND to the classic PRS Custom 24, her gear choices may seem diverse, but they all unify under the principle of delivering a sound that is “easy to listen to, powerful, and blends well with the music.”

Her amplifier journey began with the classic rock sound of Marshall, evolved through the technical high-gain of ENGL, and now incorporates the flexible reproduction capabilities of Kemper. This evolution allows her to adapt to the band’s changing sound while consistently providing the optimal tone. It’s not just about switching gear; it’s about a deliberate approach to delivering the necessary sound for each situation and song.

Her approach to effects also reflects this philosophy, skillfully utilizing classic wah and whammy pedals while integrating her original model, the ROULETT∃ Chorus, showcasing her playful spirit. This dual focus on performance and sound design ensures she leaves a strong impression on both fans and fellow players.

Including her EQ and mixing techniques, TOMO-ZO’s sound can be summarized as a “versatile approach centered around the midrange.” She emphasizes brilliance and thickness while maintaining a balance that considers the overall ensemble. In essence, her sound design is about “asserting her sound while maintaining harmony within the band.”

For beginners looking to replicate TOMO-ZO’s sound, utilizing the PRS SE series and BOSS multi-effects can help achieve a similar vibe. The key lies not in the gear itself but in how one adjusts it to fit the song, reflecting TOMO-ZO’s ongoing experimentation.

In conclusion, TOMO-ZO’s sound design aims for “brilliance and individuality while remaining universally pleasant to listen to.” This dedication makes her sound unique. As Gacharic Spin continues to evolve, TOMO-ZO’s sound design will undoubtedly be a captivating journey for both guitarists and listeners alike.