[Doki Taiyō] How to Recreate the LILI LIMIT Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Doki Taiyō, the guitarist of LILI LIMIT, is known for crafting an urban and sophisticated sound while maintaining a warm guitar tone that supports the band’s unique atmosphere. His playing style is characterized by ambient, ethereal arpeggios and a delicate balance between clean and distorted tones, showcasing a wide range of expressions.

In the iconic track “DRIVE,” the thick and warm clean tone from the Telecaster’s front pickup stands out, dominating the song’s minimalistic phrases and contributing significantly to its overall ambiance. Similarly, in “School Cast,” his cutting style is enhanced by spatial effects, creating a sense of depth and dimension.

During his time supporting the band yonige, he utilized a Stratocaster, which produced a sweet tone primarily from the front pickup, enhanced by a Tube Screamer for added thickness. This approach highlights his unique style among a diverse range of artists from J-Pop to alternative rock.

The reason his sound design garners attention lies in his ability to create rich nuances with a simple gear setup. It reflects his philosophy of “not using excessive equipment, but rather how to utilize carefully selected tools.” In the following sections, we will delve into the amplifiers, guitars, and effects used by Doki Taiyō (LILI LIMIT), exploring their settings and methods for sound recreation.

▶ Search official YouTube videos of LILI LIMIT

List of Amplifiers and Features

Doki Taiyō’s choice of amplifiers is crucial for understanding his clean-based sound design. The primary amplifiers he uses are the Roland JC-120 and the Fender 90s Twin Reverb. Both are renowned for their clean tones and are likely used interchangeably depending on the song.

The Roland JC-120 is commonly found in many live venues across Japan, making it a frequent choice for him. Known as a clean-focused amplifier, it features a hard and transparent tone that is ideal for clearly projecting his arpeggios and intricate chord work, while also complementing ambient effects beautifully.

On the other hand, the Fender 90s Twin Reverb provides a warmer and more spacious clean tone. Although it is equipped with reverb and vibrato circuits, Doki Taiyō seems to prefer using external effects for his sound construction, emphasizing the quality of the clean tone produced by the amp itself. This approach allows for greater freedom in tone shaping while prioritizing the amp’s inherent qualities.

While his usage of other Fender amps, such as the Deluxe Reverb, may not be well-documented, it is plausible that he employs similar models during studio sessions or when supporting other artists. Particularly with the Stratocaster, Fender amps are favored to highlight the sweetness of the front pickup.

Overall, Doki Taiyō’s amplifier selection consistently revolves around the concept of “clean tone quality.” He skillfully utilizes the hard clarity of the JC-120 and the warmth of the Twin Reverb as canvases for his spatial effects and overdrive, adapting his choices based on the live environment and the mood of the songs. This insight is valuable for fans and aspiring guitarists looking to replicate his sound.

Types of Guitars Used and Features

At the core of Doki Taiyō’s sound are his Fender guitars, particularly the Telecaster and Stratocaster, which are essential to his tone. Additionally, a JM-type guitar from Psychederhythm has appeared in promotional videos and demos, indicating his versatility in using various models depending on the genre and performance context.

The Fender American Deluxe Telecaster has been his long-time companion since the LILI LIMIT era. Notably, it features a STETSBAR PRO II tremolo unit and a kill switch installed between the volume and tone controls. Although the arm function is currently inoperable, this guitar frequently appears in live settings due to its warm clean tone from the front pickup, which is crucial for his style. It has been used in signature tracks like “DRIVE” and “School Cast,” providing the solid foundation of the Telecaster’s sound.

The Fender American Professional II Stratocaster began to appear during his support period for yonige, confirmed in songs like “superexpress.” He uses Ernie Ball .010–.046 strings, with the bridge set to a floating position of about 1mm and the springs adjusted slightly stronger. While he primarily uses the front pickup, he often reinforces the rear pickup with an Ibanez TUBE SCREAMER MINI, allowing for a wide range of tones from delicate sweetness to powerful leads.

Furthermore, the Psychederhythm JM-type guitar has been spotted in some videos, particularly in a demo for the BOSS CE-2W Chorus. While its use may be limited to specific projects, it plays an important role in testing the compatibility of modulation effects within Doki’s sound design.

Common to all his guitar choices is their ability to withstand sound design based on clean tones and spatial effects. Despite being single-coil oriented, they offer flexibility to adapt to various genres through pedal enhancements. Ultimately, this results in a “clear clean tone” and “warm drive sound” that faithfully reflect his playing style.

Effects and Pedalboard Setup

One of the most distinctive aspects of Doki Taiyō’s sound design is his use of effects. He combines a carefully selected array of pedals to add depth and character to his clean-based sound. His effects selection follows a consistent intention, structured around three pillars: “basic clean + spatial processing + minimal distortion.”

First and foremost is the Xotic SP Compressor. This compressor is essential for evening out the articulation of his clean tone, providing stability for his arpeggios and clean cuts. In ensemble-driven songs like those of LILI LIMIT, the compressor helps maintain balance by controlling the guitar’s attack.

For distortion, the Ibanez TUBE SCREAMER MINI plays a key role, often used to reinforce the rear pickup when using the Stratocaster, filling the gap between clean and drive. Additionally, two handmade overdrives (Morning Glory and Jan Ray types) are incorporated, allowing for a nuanced drive response. This setup enables him to transition from thick alternative rhythms to jazzy cleans.

For spatial effects, the Empress Reverb is central, with the BOSS CE-2W Chorus added as needed. The Empress Reverb, with its rich modes, is perfect for creating ambient echoes. The ethereal atmosphere heard in live performances and demos is supported by this reverb. The CE-2W is used sparingly as a modulation effect, adding a unique shimmer to specific phrases.

Controlling the entire system is the BOSS ES-5, a programmable switcher that allows for instant switching between multiple effects, enabling seamless setups for different songs. The Line 6 HX Effects is also integrated, covering spatial effects and supplementary distortion, allowing for a flexible system to adjust the number of effects as needed.

Other essential equipment includes the BOSS EV-30 (expression pedal), a handmade momentary switch (for HX control), a TC Electronic Polytune 3 noir (tuner), and a Vitoos DC8 (power supply). The momentary switch is particularly useful for temporarily controlling HX effects or adding special effects.

Overall, Doki Taiyō’s pedalboard is structured to “add color only when necessary without disrupting the clean foundation,” maintaining a presence that complements the band’s sound. This thoughtful arrangement suggests that his guitar plays a crucial role in shaping the essential texture of LILI LIMIT’s music.

Tone Settings, EQ, and Mixing Approaches

Doki Taiyō’s sound design is based on a simple principle: “adding necessary colors to a clean foundation.” Although his gear is often standard, the actual sound is highly three-dimensional and full of depth. This is attributed to his careful attention to amplifier EQ settings, effect application, and mixing techniques.

When using the Roland JC-120, he typically sets the bass slightly lower (10-11 o’clock), keeps the mids flat (12 o’clock), and raises the treble a bit (1 o’clock) to emphasize transparency and sharpness. This hard setting allows his arpeggios to stand out in the overall ensemble without getting buried.

Conversely, when using the Fender Twin Reverb, he likely lowers the treble (11 o’clock) while keeping the bass and mids flat. This approach yields a softer tone that is easier on the ears, creating space for the ambient effects to blend naturally.

For distortion, he typically uses the Tube Screamer Mini or handmade overdrives with a low gain setting. He tends to keep the distortion at a crunch level, using it as a boost when necessary. Particularly when using the rear pickup of the Stratocaster, he often engages the Tube Screamer to enhance the drive. The gain is set around 9-10 o’clock, the tone at around 12 o’clock, and the level at about 1 o’clock to maintain volume while ensuring a natural push.

The Xotic SP Compressor is usually set to always be on, with the blend around 50%, volume flat, and compression set to low. This setting preserves picking nuances while evening out the sound. It is particularly effective for the “backing that utilizes space” often found in LILI LIMIT’s songs.

For spatial effects, the Empress Reverb is frequently used in Hall or Ambient modes. The decay is set to around 3-4 seconds, and the mix is around 25-30% to maintain the core sound while expanding the reverberation. This transforms even simple phrases into expansive sounds.

The BOSS CE-2W Chorus is set with depth at 50% and a slow rate (9-10 o’clock) to add a subtle modulation. Modulation is not used constantly but is reserved for specific songs or phrases, creating dynamic spatial effects.

In live and recording mixes, the positioning of the guitar is crucial. Doki Taiyō’s guitar is often panned to one side, with reverb components spread across the opposite side. This technique creates a three-dimensional spread with a single guitar, adding depth to the band’s overall sound.

During the mixing stage, EQ processing often involves cutting low frequencies below 100Hz and lightly boosting around 2-4kHz to enhance the guitar’s attack without interfering with the vocal range. This approach ensures that the guitar maintains its presence while blending seamlessly with the mix.

In summary, Doki Taiyō’s settings are structured around “prioritizing clean tones,” “keeping distortion light,” “utilizing spatial effects for ambiance,” and “careful positioning and EQ in mixing.” This simple yet finely controlled approach results in his unique three-dimensional sound.

Affordable Alternatives to Recreate the Tone

Attempting to replicate Doki Taiyō’s sound can be challenging due to the need for high-end Fender models and expensive effects like the Empress Reverb, which may be daunting for beginners or budget-conscious guitarists.

Fortunately, his sound philosophy of “clean foundation + light distortion + spatial expansion” can be achieved with relatively affordable gear. Here, we will introduce equipment that can be acquired within a budget of $100-$500.

First, a compressor is essential for reinforcing clean tones. While the Xotic SP Compressor is somewhat pricey, a great alternative is the BOSS CS-3 Compression Sustainer. Priced in the $100 range, it effectively evens out the sound while adding sustain, bringing it closer to Doki’s nuanced arpeggios.

For distortion, the Ibanez TUBE SCREAMER MINI is a relatively affordable option and is already used by him, making it a high-priority addition. If you’re looking for a more budget-friendly alternative, the BOSS SD-1 Super OverDrive is also effective. It captures the “light crunch” that Doki prefers, especially when paired with the Stratocaster.

Spatial effects are key to creating sound depth. While the Empress Reverb is professional-grade, the TC Electronic HOF Mini Reverb is a solid choice for beginners. It offers ample ambient echoes, adding depth to clean tones. For chorus, the BOSS CH-1 Super Chorus can serve as an alternative to the CE-2W, available for under $200, providing pleasant modulation to clean tones.

Additionally, considering a multi-effects unit can be beneficial. If the Line 6 HX Effects is out of reach, more affordable options like the ZOOM G3Xn or NUX MG-300 can comprehensively replicate reverb, chorus, and overdrive effects. For those aiming to capture the essence of the sound in a band setting, these alternatives are more than sufficient.

Regarding amplifiers, since the Roland JC-120 and Fender Twin Reverb may be financially or spatially impractical, smaller models like the Roland JC-22 or Fender Champion 40 are realistic choices. The JC-22, in particular, is a compact version of the JC-120, making it ideal for practice and small gigs.

By combining these pieces of equipment, you can achieve “transparent clean,” “light overdrive,” and “spatial expansion” without the need for high-end professional gear, bringing you closer to the sound of Doki Taiyō and LILI LIMIT.

Summary and Conclusion

As discussed, Doki Taiyō’s sound design in LILI LIMIT emphasizes how to effectively utilize “the minimum necessary gear.” The essence of his sound revolves around a transparent clean tone, refined with a compressor, reinforced with light overdrive, and expanded with reverb and chorus for spatial depth.

His amplifier choices, such as the Roland JC-120 and Fender Twin Reverb, are clean-focused models that ensure stable and transparent sound in any venue, maximizing compatibility with effects. By selecting neutral and low-character amps, he creates a solid foundation that supports the band’s ensemble.

In terms of guitars, he skillfully alternates between the Telecaster’s solid clean and the Stratocaster’s sweet front pickup tone, allowing for a wide range of expressions from LILI LIMIT’s urban sophistication to the emotional nuances seen during his time with yonige. This approach prioritizes “utilizing the character of the guitar itself.”

While his effects may seem diverse, their roles are clear:

• Compressor: Aligns sound articulation
• Overdrive: Adds necessary thickness
• Reverb/Chorus: Creates a three-dimensional space
• Switcher: Facilitates smooth transitions based on context

This clear division of roles ensures that his tone remains consistent during live performances, delivering a coherent “Doki Taiyō sound” to the audience.

In conclusion, Doki Taiyō’s sound design is characterized by a “three-dimensional sound design centered around clean tones.” Guitarists aiming to replicate this should focus on developing their clean tone before adding light distortion and spatial effects. By doing so, they can approach the “floating yet solid guitar sound” that Doki Taiyō embodies.

Ultimately, what can be learned from his sound design is the importance of “maximizing effects with minimal elements.” This approach serves as a valuable reference for beginner to intermediate guitarists, providing guidance when navigating instrument choices and performance environments.