[Yoshiaki Manabe] How to Recreate the THE PILLOWS Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yoshiaki Manabe, the guitarist of THE PILLOWS, is renowned for his unique guitar work that hovers between alternative rock and pop. His powerful riffs, transparent arpeggios, and effective use of spatial effects create a sound that stands out in the Japanese rock scene since the 1990s.

In iconic songs like “Funny Bunny” and “Little Busters,” he showcases a tone that is simple yet profound, skillfully switching between strong distortion and soft clean tones. His contributions to the anime “FLCL” have also left a significant impact on listeners worldwide.

Manabe’s sound design revolves around the BOSS BD-2 Blues Driver as a central overdrive, complemented by distortion pedals like the ProCo RAT2, all powered through ORANGE amplifiers that deliver a thick midrange. He primarily uses guitars from ESP and Sago, adapting his sound over the years.

While his sound design may seem straightforward at first glance, it is filled with meticulous details. By varying the EQ and distortion texture for each song, he achieves a unique blend of “floating sensation and aggression.” This flexibility and solid style continue to inspire many guitarists.

In the following sections, we will chronologically explore the amplifiers, guitars, and effects used by Yoshiaki Manabe (THE PILLOWS) to uncover the secrets behind his sound.

▶ Search official YouTube videos of THE PILLOWS

List of Amplifiers and Features

The core of Yoshiaki Manabe’s sound is characterized by British tones, particularly represented by ORANGE amplifiers. The ORANGE OR120, which he has used for many years, provides a thick and punchy clean tone along with a uniquely rough distortion that has supported THE PILLOWS’ robust rock sound. This amplifier is known to be used with a step-up transformer in Japan, and it has been frequently confirmed in live footage and photographs, symbolizing his career.

Since the 2000s, he has also utilized Marshall JCM800 and JCM2000 TSL100 as secondary options. The hard-hitting mids characteristic of Marshall amplifiers likely expanded his tonal palette when combined with ORANGE. Despite being secondary equipment, these amps have been practical substitutes during festivals and overseas tours.

From 2017 onwards, the ORANGE Rockerverb 100 MkIII became his main amplifier. This modern amp features a well-developed clean channel, and he transitioned to creating distortion primarily through pedals. By combining the RAT and BD-2 in the front end, he achieves the current THE PILLOWS sound characterized by “transparent cleans and well-defined distortion.” This setup has become standard in tours since 2019.

Regarding cabinets, he has been using the ORANGE OR412 for many years. The powerful projection and range provided by its four 12-inch speakers are essential for Manabe’s thick band ensemble, and they pair excellently with the ORANGE head.

In recording environments, he has also utilized the Avid Eleven Rack for amp simulation. It is said that during the production of “Rutile,” he frequently used Soldano modeling, suggesting a flexible switch between real amps and simulators in the studio.

Thus, it can be concluded that Manabe constructs his sound by “centering on ORANGE while complementing with Marshall” in live settings, and “using amp simulators in the studio.” A significant characteristic of his approach is the shift toward creating distortion with pedals while ensuring a clean headroom.

Types of Guitars Used and Features

Yoshiaki Manabe has evolved his sound by using distinctive guitars at different times. In the late 1990s, he primarily used ESP Strat-type guitars, which colored the band’s early sound. Around 1996-1998, he was seen using ESP Strat models, such as the one featured in the PV for “ONE LIFE.” The clarity and brightness of single-coil pickups allowed for a raw yet defined sound.

From 1998 to 1999, the ESP XJ-6 was introduced, leading to a more modern sound. There were also sub-color variations used in live performances. Additionally, from 1999 to 2000, he used a Seymour Duncan DS-100R Strat-type guitar, known as “Teruhiko,” which featured unique modifications emphasizing the midrange edge characteristic of Manabe’s sound.

In the 2000s, the Fender Japan Mustang MG69 (1999-2006) became a long-term staple, including a sub-model equipped with a JB Jr. for higher gain. Between 2004 and 2006, he adopted the Epiphone Explorer “Pewter ’58,” known for its powerful midrange and low-end presence, which can be seen in live footage.

From 2006 to 2007, he introduced the Squier Jagmaster, supporting tours with its powerful yet manageable tone. Subsequently, from 2007 to 2008, he used the Gibson Les Paul Jr. Special DC Faded, incorporating a rough P-90 sound into the band’s repertoire.

After 2008, Sago’s original models became his main choice. The Sago CAOS and CAOS Special (2008-2012) were modified with Bare Knuckle “The Mule” pickups, achieving a more classical and responsive tone. The following Sago Rutile (2012-2017, reappearing in 2024) was introduced in Burgundy Mist and unique colors, becoming emblematic of THE PILLOWS’ later sound. From 2017 onwards, he introduced the Sago Tron, utilizing Filter’Tron pickups to create a bright and three-dimensional sound.

Other notable guitars include the Sago Classic style T (used only in 2012 recordings), a Sago Telecaster-type (2014-), Sago Charm (2014), a Flying V with LED lights believed to be from Greco (2014-2015), and the Line 6 James Tyler Variax JTV-59 (used in 2012 recordings). There are also mentions of “mysterious red guitar” and “mysterious black guitar,” which were likely used for specific performances.

In the acoustic realm, he has been seen with the EKO Ranger (a modified version with his illustrations) during “BLUE SONG WITH BLUE POPIES.” This guitar has been equipped with a pickup, making it suitable for live performances as an electro-acoustic instrument.

Overall, Yoshiaki Manabe maintains a style of “switching guitars according to the song’s world and enhancing practicality through modifications,” keeping the band’s sound fresh. Especially since the Sago era, models designed specifically for him have become central to the later sound of THE PILLOWS. His tonal diversity is supported by his careful selection and modification of guitars.

Effects and Pedalboard Setup

The most distinctive aspect of Yoshiaki Manabe’s sound design is his selection of distortion pedals centered around overdrive, along with the evolving structure of his effects board over time. He has long favored the BOSS BD-2 Blues Driver, which serves as the foundation of his sound. Since around 1997, it has been his mainstay, and there was a period around 2007 when he incorporated two units with different settings on his board. The soft yet punchy drive of the BD-2 supports the floating guitar sound of THE PILLOWS.

For distortion, he has consistently used the ProCo RAT2. Although it disappeared from his setup in the early 2000s, it was reintroduced in 2023. The RAT’s characteristic grit and midrange emphasis match Manabe’s riffs and aggressive parts perfectly. Additionally, in the mid-2000s, he used the BOSS MD-2 Mega Distortion and VOX Bulldog Distortion. There were also periods when he incorporated high-end models like the BJFE Dyna Red Distortion and Suhr Riot, indicating a quest for “more edgy distortion” or “plexi-like thickness” for different songs.

In the fuzz/high-gain category, he used the Electro-Harmonix Big Muff π (Black Russian) until around 2007. After that, he transitioned to the Metal Muff (2008-2013) and MI Audio Megalith Delta (2013-2017), both powerful high-gain options. Recently, the One Control Baltic Blue Fuzz has become a staple, with Manabe expressing strong trust in it, stating in interviews that it is a must-have on his board.

For modulation, he began using BOSS CE-5, PH-3, and RV-3 around 2001, employing them in a simple yet effective manner to enhance the spatial quality of his sound. From around 2004, he introduced multi-effects units like the LINE 6 DL-4 and MM-4. Between 2009 and 2016, the LINE 6 M13 became the core of his board, integrating compact pedals. Since 2017, he has experimented with combinations of DL-4 and M9. In 2018-2019, he utilized the BOSS MS-3, implementing a hybrid approach with compact pedals. Currently, he has adopted the BOSS GT-1000 as his main multi-effects unit, balancing stability and diverse sound creation in live settings.

As supplementary components, he has long used the BOSS GE-7 EQ, primarily to cut midrange frequencies right after distortion. The MXR Micro Amp and Xotic EP Booster have also appeared for buffering and boosting purposes. Furthermore, he has effectively used line selectors like the Sobbat SW-1 and Free The Tone JB-21 to seamlessly switch between overdrive and fuzz.

Manabe used the Morley Bad Horsie wah until 2007, and in 2019, he briefly adopted the Morley Maverick. For compression, he has introduced the Empress Compressor (2012-2016) and BOSS CP-1X (2019) at various times, enhancing the clarity and definition of his clean tones. Power supply-wise, he has utilized Noah’sark AC/DC-1 and Free The Tone PT-1D for stable power delivery.

Overall, Yoshiaki Manabe’s effects board has evolved to “center around the BD-2, adjusting texture with RAT and fuzz,” “integrating modulation through multi-effects over time,” and “currently using the GT-1000 as the core while adding necessary compact pedals.” This evolution suggests a simple yet profound system.

Tone Settings, EQ, and Mixing Approaches

The most crucial aspect of Yoshiaki Manabe’s sound design is his ability to combine meticulous EQ adjustments with carefully selected distortion within a simple gear setup. For many years, he has established a style centered around the BOSS BD-2 Blues Driver while keeping his amp settings clean, allowing the pedals to shape his tone. The basic flow is “ensuring a wide clean headroom → shaping distortion with pedals → adjusting contours with EQ and boosters,” which generates a rich array of nuances.

Even with the current ORANGE Rockerverb 100 MkIII, he does not push the clean channel’s volume too high, leaving distortion primarily to the pedals. This choice emphasizes stability and reproducibility in live environments, ensuring that the transparent arpeggios and chordal textures of Manabe’s sound are preserved.

For EQ, he places the BOSS GE-7 after distortion, mainly using it to cut unnecessary midrange frequencies. Notably, he consciously adjusts the 3.2kHz range to create space that avoids clashing with other guitars and vocals in the ensemble. By not retaining excessive low frequencies, he ensures that the overall mix remains clear when blended with the rhythm section.

In terms of song-specific adjustments, in representative tracks like “Funny Bunny” and “Ride on Shooting Star,” he utilizes a crunch setting with just the BD-2 to coexist transparency and drive. Meanwhile, in powerful riff-driven songs like “Strange Chameleon” and “Little Busters,” he incorporates the ProCo RAT2 or fuzz pedals to create a more aggressive and raw tone. In these tracks, it is assumed that he opts for settings that emphasize attack while retaining some low-end to support the overall dynamics of the band.

For arpeggios and ballad-like songs, he integrates a compressor to refine clarity and achieve a polished clean tone. During the period when he used the Empress Compressor, the balance of capturing delicate touches while maintaining sound contours was exquisite. The compressor settings likely involved a shallow threshold and a natural sustain extension.

Regarding reverb and delay, he generally avoids excessive application, adding only a subtle touch according to the song’s needs. Using the LINE 6 DL-4 and M13 for delay, he adds light delay to arpeggios to create depth. His approach tends to be more about “creating a background expansion” rather than pushing spatial effects to the forefront. There was a period when he used the Flux Effects Liquid Ambience for reverb, but fundamentally, it served a supportive role in broadening the space.

In the mixing stage, Manabe’s guitar is often processed to “secure positioning by spreading widely left and right” while “organizing midrange to enhance vocals.” During album production, he likely balanced layers by combining real amps with Avid Eleven Rack modeling, adding thickness while ensuring that the mix does not become overly cluttered.

In summary, Yoshiaki Manabe’s sound design is built on five pillars: “keeping the amp clean,” “creating distortion and texture with pedals,” “organizing midrange with EQ,” “using spatial effects subtly for depth,” and “ensuring presence through positioning and frequency organization in the mix.” These strategies shape the unique sound of THE PILLOWS, characterized by a coexistence of “floating sensation and dynamism.”

Affordable Alternatives to Recreate the Tone

Yoshiaki Manabe’s sound design revolves around professional-grade Sago custom guitars and ORANGE amplifiers. However, there are ways for beginners and intermediate players to achieve a similar sound at a relatively low cost. Here, we will introduce gear that is accessible and highly reproducible, aiming for a price range of around $100 to $500.

First and foremost, the most critical element is overdrive. The BOSS BD-2 Blues Driver, essential to Manabe’s sound, is a widely available standard pedal that can be purchased for around $100. By adjusting the gain without cranking it too high and tweaking the volume and tone, you can recreate Manabe’s characteristic crunch. Even if a budget amp feels lacking, inserting the BD-2 can instantly create a richer tone.

For distortion, the ProCo RAT2 is the best choice. Manabe has frequently incorporated the RAT, and its reintroduction indicates its reliability. The RAT’s gritty texture is ideal for recreating aggressive riffs like in “Little Busters,” and it can also be obtained for around $150 to $200.

If you’re looking for a fuzz-like texture, the One Control Baltic Blue Fuzz is recommended. This model has been a staple on Manabe’s board in recent years, and while it is slightly more expensive (around $200), it is compact and easy to handle, allowing you to easily replicate the thickness of distortion.

While the actual ORANGE Rockerverb or Marshall JCM800 amps are costly, using modeling amps from BOSS or Positive Grid can help you achieve a similar texture at a lower price. The BOSS Katana series, in particular, allows you to combine the clean channel with the BD-2 or RAT to reproduce a sound reminiscent of Manabe’s for around $400, making it a versatile amp suitable for practice and live performances.

For spatial effects, while replicating the LINE 6 DL-4 or M13 can be expensive, beginners might consider the BOSS DD-8 (delay) or NUX Atlantic (delay & reverb) as realistic options. Since Manabe tends to use spatial effects subtly, a simple delay can effectively recreate the ambiance.

For EQ, while you can opt for the professional-grade GE-7, beginners can substitute with tone adjustments on their amp. Simply cutting some midrange and organizing the low-end can help achieve a clear and floating sound characteristic of Manabe.

In conclusion, a combination of “using your existing guitar,” “leveraging modeling amps or the Katana,” “pairing the BD-2 with the RAT for distortion,” and “utilizing simple delay for spatial effects” can bring you close to Yoshiaki Manabe’s sound for around $500. The key is to focus on “keeping the amp clean,” “creating texture with pedals,” and “organizing frequencies with EQ.”

Summary and Conclusion

Reflecting on Yoshiaki Manabe’s sound design, its essence lies in “a simple setup paired with thorough texture control.” He utilizes classic amplifiers like ORANGE and Marshall in a cleaner manner, delegating most distortion to staple pedals like the BOSS BD-2 Blues Driver and RAT2. By finely adjusting frequencies with EQ and boosters, he crafts a sound that blends seamlessly into the band while maintaining its presence.

The evolution of his guitar choices over time also clearly illustrates “sound design tailored to the song’s world.” In the 1990s, he pursued sharp tones with ESP and Strat-type guitars, experimenting with unique sounds through Mustangs and Explorers in the 2000s, and establishing his tone with Sago custom models in the 2010s. His flexibility in selecting “the optimal sound for each song” has supported THE PILLOWS’ long career.

Similarly, his approach to effects involves introducing new gear as needed while ultimately retaining what suits him best. The long-term use of equipment like the BD-2 and RAT has become synonymous with his sound identity, symbolizing the “Manabe sound” for fans. His tendency to keep spatial effects subtle and supportive reflects his perspective as a guitarist focused on the overall band sound.

Moreover, the distinction between his live and studio approaches is noteworthy. In live settings, he prioritizes stability with the ORANGE Rockerverb and GT-1000, while in the studio, he expands his sound using simulators like the Avid Eleven Rack. This hybrid approach achieves a balance between practicality and creativity.

In summary, the hallmark of Yoshiaki Manabe’s sound design is “the meticulousness embedded within a stripped-down simplicity.” For beginners aiming to replicate his sound, focusing on “keeping the amp clean,” “establishing distortion with the BD-2 and RAT,” and “organizing frequencies with EQ” will allow them to approach a sound reminiscent of his.

One reason THE PILLOWS’ music continues to resonate across generations is this “simple yet profound” sound. Studying Yoshiaki Manabe’s sound design will provide valuable insights for guitarists of all levels, emphasizing that the essence lies not just in the gear but in the attitude of choosing sounds that complement the music.