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

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Introduction (Overview of Tone)

KOHKI, the guitarist of BRAHMAN, is renowned for his unique sound that blends the intensity of hardcore and alternative music with lyrical beauty. His sharp riffs, spatial phrases enhanced by delay, and the use of the BOSS PS-2 create a soundscape that is distinctly BRAHMAN, one that cannot be found in other bands.

In iconic songs like “ARRIVAL” and “SEE OFF,” the coexistence of fierce distortion and deep reverb creates a memorable tone. During live performances, KOHKI utilizes three amplifiers simultaneously, allowing him to switch between clean and distorted sounds while crafting a three-dimensional sonic image. This approach directly reflects BRAHMAN’s pursuit of “beauty” within the hardcore scene.

KOHKI’s playing style encompasses a wide range, from powerful strokes and tight riffs to ethereal phrases interwoven with delay and reverb, enriching BRAHMAN’s music. His distinctive shift sound, achieved through the BOSS PS-2, has become an iconic element among fans.

The reason his sound garners attention lies not merely in “hard distortion” but in the combination of spatial effects and multiple amplifiers, achieving both “weight” and “expansiveness.” This ensures that each phrase stands out amidst the roaring sound, delivering a powerful presence that resonates with listeners.

Check out BRAHMAN’s official music videos through the link below to experience KOHKI’s sound firsthand.

▶ Search official YouTube videos of BRAHMAN

List of Amplifiers and Features

A significant factor supporting KOHKI’s sound is his choice of amplifiers. In BRAHMAN’s live performances and recordings, the MESA/Boogie Rectifier series is central, combined with clean tones from Bad Cat and Roland JC-120, creating an overwhelming sound pressure and a diverse range of clean tones.

The MESA/Boogie Dual Rectifier serves as the main distortion amplifier. It delivers intense high gain while maintaining clarity, allowing KOHKI’s riffs to be expressed vividly. For tours and larger venues, he sometimes employs the more powerful MESA/Boogie Triple Rectifier to ensure a powerful sound even in expansive settings. Additionally, he pairs it with the MESA/Boogie Recto Slant Cabinet 4×12, achieving a robust sound with a low-end emphasis.

For clean tones, the Bad Cat Black Cat 30R is utilized. It features a unique brilliance, ensuring that even in clean settings, the sound remains prominent without losing the chord clarity. This allows BRAHMAN to maintain its characteristic transparency during quieter sections amidst intense riffs.

The Roland JC-120 Jazz Chorus is often used with the chorus effect constantly on, functioning almost as an “effect pedal” to emphasize floating arpeggios and spatial resonance.

Live photos and magazine interviews confirm this three-amplifier setup has been a staple for years, forming the backbone of the BRAHMAN sound. In songs like “SEE OFF” and “SPECULATION,” the dynamic interplay of clean and distorted tones is beautifully recreated through amplifier switching.

Additionally, a KORG TONEWORKS DTR-1 tuner is installed on the rack, ensuring stable tuning management on stage. Overall, the combination of MESA for heavy distortion and Bad Cat and JC-120 for clean tones symbolizes KOHKI’s guitar sound.

Types of Guitars Used and Features

KOHKI primarily uses the Moderncaster series from the Japanese brand Psychederhythm. These guitars provide stability even during BRAHMAN’s intense live performances, with models featuring humbuckers and mahogany bodies that produce a thick sound.

Among them, the “Moderncaster TL” (mahogany body and neck, humbucker-equipped) has become his main guitar, frequently seen in live shows and music videos. He also owns multiple models from Psychederhythm, including the “Moderncaster T #005,” which he has used for over ten years, and the sonic green “Moderncaster T #042.” The latter features an alder top and mahogany back, equipped with Lundgren Heaven 57 and Vintage Vibe Blade Type T HB pickups, producing a unique tone that combines vintage warmth with modern power.

Additionally, KOHKI employs the Gretsch G6136T-WHT Players Edition Falcon on stage, which offers a distinctive brilliance and thickness in tone, used selectively depending on the song. He also utilizes a vintage 1962 Fender Stratocaster and a Fender Custom Shop Masterbuilt Stratocaster (crafted by Dale Wilson and borrowed from SUGIZO) during performances.

In the Gibson lineup, he owns a 1976 Explorer, modified with DiMarzio PAF and Seymour Duncan ’59 pickups, as well as an aluminum tailpiece. This guitar provides a thick sound that supports powerful riffs, perfectly suited for hardcore music. The Historic Les Paul 1957 Goldtop was once his main instrument, and he currently also uses the Navigator N-LP-350LTD (equipped with Seymour Duncan SH-1 ’59 & SH-5).

These guitars are chosen to coexist with “heaviness and clarity,” providing durability to withstand the intense movements of live performances while supporting BRAHMAN’s expansive sound. Overall, KOHKI’s collection of guitars embodies the essence of BRAHMAN’s musical identity.

Effects and Pedalboard Setup

When discussing KOHKI’s sound, one cannot overlook the presence of effects. BRAHMAN’s music features intricate spatial processing amidst the roaring sound, much of which is supported by the pedalboard setup. Notably, while a programmable switcher is incorporated, KOHKI often returns to a “series connection,” utilizing the inherent “sound thinning” as part of the BRAHMAN sound.

The board includes A/B boxes from Lehle and Providence, allowing for a complex system that seamlessly switches between three amplifiers. The Lehle 1@3 is particularly used for switching between the three amps, enhancing switching precision during live performances. Providence P-3G and A/B BOX are positioned for tuner mute and signal splitting purposes.

For drive effects, the legendary KLON Centaur is employed, used for crunch and boost, ensuring that even when combined with the intense distortion of the Rectifier, clarity is maintained. Additionally, the Ibanez and Vemuram collaboration TSV808, along with Xotic EP Booster and UNION TUBE & TRANSISTOR MODEL MORE preamp/booster types, are regularly used, allowing for detailed gain and tone adjustments for each song.

The HUMAN GEAR TENUTO compressor is utilized to even out the picking dynamics while ensuring the guitar’s presence is not lost amidst BRAHMAN’s signature roar. For modulation, KOHKI employs the MXR Phase 90 and BOSS HF-2 Hi Band Flanger. The phaser, in particular, adds a floating quality during arpeggios and bridge sections, emphasizing the contrast of “stillness and motion” in BRAHMAN’s music.

In terms of spatial effects, high-quality pedals like the Strymon TIME LINE (delay), Strymon FLINT (tremolo + reverb), LINE6 DL4, and DigiTech RV-7 Stereo Reverb are combined. The delay and reverb processing that adds depth to the songs is at the core of the BRAHMAN sound, accommodating a wide range from quiet tracks to explosive developments.

Notably, the BOSS PS-2 Pitch Shifter/Delay stands out. Despite being a discontinued model, KOHKI continues to use it actively, making it a symbolic part of BRAHMAN’s sound. Through these combinations, BRAHMAN’s stage performances create a unique soundscape where roaring sound and floating qualities intertwine.

Tone Settings, EQ, and Mixing Approaches

KOHKI’s sound design goes beyond mere combinations of amplifiers and effects; it achieves BRAHMAN’s distinctive heavy yet expansive sound through careful EQ and mixing techniques. Here, we will outline the tendencies in settings based on actual live performances and recordings, as well as insights from the PA and engineering perspectives.

First, let’s discuss the role of the amplifiers. The MESA/Boogie Dual Rectifier is primarily set for the distortion channel, with gain relatively high (around 12 o’clock to 2 o’clock), tightening the lows while retaining thickness in the low-end. The mids are adjusted to avoid excessive cutting, focusing on clarity within the overall band sound. The treble varies by song, but during arpeggio sections, it is slightly boosted, while in riff-heavy tracks, it is dialed back.

The Bad Cat Black Cat 30R, responsible for clean tones, has its gain kept low, emphasizing treble and mids to ensure separation when playing chords. The resulting “brilliance” strongly asserts itself during BRAHMAN’s quieter sections and build-ups. The Roland JC-120 is set with the chorus always on, providing deep depth and creating a “second guitar-like reverb” within the mix.

In terms of EQ processing, during recordings, lows are somewhat cut to avoid interference with the bass and drum kick. Conversely, in live settings, the lows are emphasized to create a powerful low-end that shakes the entire venue, reflecting BRAHMAN’s intention for their live shows to be an “experiential sound.”

Regarding effects usage, KOHKI lightly applies crunch with the KLON Centaur or TSV808, creating contrast with the intense distortion. Booster types (EP Booster and MODEL MORE) are used to elevate the volume of solos and arpeggios, ensuring they do not get buried in the mix. The TENUTO compressor naturally adjusts the attack, creating sustain and expansiveness when combined with delay and reverb.

For delay, both short and long delays are confirmed with the Strymon Timeline, adding thickness and emphasizing spatial expansiveness. In songs like “SEE OFF” and “Speculation,” the reverberation intertwines with the next phrases, forming the characteristic floating quality of BRAHMAN. The Strymon Flint and DigiTech RV-7 are incorporated as ambient reverbs, adding a resonant quality that envelops the entire stage.

During the mixing phase, spatial processing that spreads across the stereo field is emphasized, with guitars sometimes placed in a double-tracked manner. The PA operator positions the Rectifier’s distortion component thickly in the center, while clean and spatial components are spread across the sides, creating a three-dimensional sound even amidst the roaring noise. This allows the audience to experience a sensation of being enveloped by a “wall of sound.”

Overall, KOHKI’s settings are meticulously crafted to create “transparency within the roar,” consistently utilizing multiple amplifiers, precisely managing effects, ensuring clarity through EQ, and processing during the PA mix. This is the core of BRAHMAN’s unique sound, forming a sonic world that is challenging for other bands to replicate.

Affordable Alternatives to Recreate the Tone

KOHKI’s gear includes many high-end models, such as the KLON Centaur and vintage Stratocasters, which can be quite inaccessible. However, the essence of BRAHMAN’s sound lies in “simple configurations through series connections,” “the clever combination of intense distortion and spatial effects,” and the “unique effects reminiscent of the BOSS PS-2.” Here, we will introduce alternative gear available for around $100 to $500 that beginners can use to approximate KOHKI’s sound.

For distortion, while acquiring a head like the MESA/Boogie Dual Rectifier is costly, alternatives like the BOSS DS-1X or MXR M75 Super Badass Distortion are recommended. These options provide mid-range cutting and sound pressure that can closely replicate KOHKI’s sharp riffs. Additionally, the Xotic EP Booster serves as an affordable option to enhance clarity.

In terms of spatial effects, the BOSS DD-8 (digital delay) is versatile. While it may not offer the multi-functionality of the Strymon Timeline, it can handle both short and long delays, effectively recreating BRAHMAN’s floating quality. For reverb, the BOSS RV-6 is an excellent choice, offering stereo capabilities and rich reverberation.

The BOSS CE-2W (chorus) can serve as a substitute for the Roland JC-120, allowing users to mimic the setting of having it always on to create depth.

As for the BOSS PS-2, which is already discontinued and hard to find, the BOSS PS-6 Harmonist can realistically take on a similar role. By utilizing the pitch shift and delay functions of the PS-6, one can somewhat replicate that unique effect.

For amplifiers, the Roland JC-22 (a smaller version of the JC-120) is recommended for home practice or small gigs, allowing users to experience the clean transparency and chorus functionality. Distortion should be created using pedals rather than directly from the amp, allowing for a compact imitation of KOHKI’s three-amp setup.

In summary, focusing on “high-gain distortion + booster,” “delay + reverb for spatial processing,” and “pitch shifter for accents” will help you achieve a sound similar to KOHKI’s at a lower budget. The following table outlines some examples.

Summary and Conclusion

In summarizing KOHKI’s sound design, its essence lies in the coexistence of “roaring sound and transparency.” Centered around the overwhelming high-gain sound of the MESA/Boogie Rectifier, he skillfully combines clean tones from Bad Cat and Roland JC-120, even turning the “sound thinning” of series connections into an asset. This results in a unique sound where hard-hitting riffs and expansive floating qualities exist simultaneously.

His choice of guitars is diverse, ranging from the Psychederhythm Moderncaster series to Gibson, Gretsch, and vintage Fender models. The ability to leverage the character of each guitar and select the optimal tone for each song is a significant factor supporting BRAHMAN’s dynamic live performances.

Moreover, KOHKI’s effects board may appear complex, but its usage is straightforward. The gain adjustments with KLON Centaur and TSV808, spatial processing with Strymon Timeline and FLINT, and the iconic sound of the BOSS PS-2 all define BRAHMAN’s identity. These choices stem from a philosophy of “creating sound for the song,” prioritizing expression over technique or brand.

The innovations in EQ and mixing during live and recording sessions are equally crucial. The balance of retaining thick lows while ensuring no interference with the overall band sound has been refined through collaboration with PA and engineers. This meticulous approach allows audiences to experience a sensation of being enveloped by a “wall of sound” while preserving the clarity of each phrase, contributing to BRAHMAN’s high acclaim both domestically and internationally.

In summary, KOHKI’s sound design features a duality of “overwhelming sound pressure” and “delicate resonance.” When attempting to emulate his sound as a guitarist, it is not necessary to acquire the same expensive gear. Instead, focus on:

• Creating impact with distortion + booster
• Enhancing space with delay/reverb
• Adding accents with pitch shifter

By keeping these three points in mind, you can experience a sound close to KOHKI’s.

The reason BRAHMAN’s music captivates many listeners is that their sound is not merely “hardcore noise,” but an expression accompanied by spirituality and a worldview. Studying KOHKI’s sound design leads to learning how to convey messages through sound rather than just equipment selection.