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

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Introduction (Overview of Tone)

Kana, the guitarist of CHAI, has gained international attention for her unique sound sensibility. CHAI is a pop-punk band that embraces the theme of “NEO Kawaii,” and their guitar sound is characterized by a bright yet sharp tone that powerfully supports the overall music.

Her playing style is notable for its balance between clean tones layered with effects and a drive sound that doesn’t become overly distorted. In iconic songs like “N.E.O.,” “Choose Go!,” and “GREAT JOB,” Kana expresses the positivity of the music through jangly cutting and a chorus-like tone.

At the core of her sound lies a philosophy of simplicity and playfulness. By avoiding excessive distortion and adding spatial effects to create depth, she gives CHAI’s music a unique warmth. In live performances, she showcases a rich tone centered around the Gibson ES-335, while in recordings, she uses a Fender Stratocaster to achieve a more nuanced and delicate performance.

Her choice of effects pedals reflects this philosophy, as she combines trusted models like the BOSS CH-1 chorus, the DS-2 distortion, and the HOLY GRAIL NEO reverb, all of which are simple yet reliable. This approach emphasizes her goal of creating sounds that support the songs rather than overshadow them.

For those seeking a sound that is not too flashy yet memorable, Kana’s gear setup and settings serve as an excellent reference. Below, we will delve into the specific amplifiers, guitars, and effects she uses.

▶ Search official YouTube videos of CHAI

List of Amplifiers and Features

One of the key elements supporting Kana’s sound is her choice of amplifiers. She uses different amps depending on the environment, such as live shows, recordings, and local performances, each chosen for its tonal characteristics and reasons.

The staple for live performances is the Fender Hot Rod Deville ML 212. This amp is known for its transparent clean tone typical of Fender amps, along with a wide range when distorted, which effectively brings out Kana’s bright and tight cutting. It is particularly chosen to deliver the warmth of the ES-335 to the audience.

For local performances, she often uses the Universal Audio UAFX Dream 65 as an alternative amp. She frequently connects it to the Roland JC-120, which is commonly found in venues. The JC-120 is a staple amp in live houses worldwide, and its sparkling clean tone pairs excellently with Kana’s clean sound. The Dream 65 helps recreate Fender-like nuances in this setup.

Thus, Kana prioritizes a system that can reproduce CHAI’s sound in any venue. Her flexible approach, combining Fender and Roland amps with amp simulators, represents an ideal method for modern bands seeking stable sound.

In recordings, she likely utilizes not only direct clean tones from the amp but also amp simulators for detailed EQ and texture adjustments. When using single coils, she emphasizes clean tones, with the JC-120 and Dream 65 complementing those nuances.

As a result, Kana’s use of amplifiers balances “adaptability to different venues” with “CHAI’s signature clean and modulation sounds,” ensuring that she can produce the same color in any setting. Overall, she is assumed to utilize a flexible system based on Fender and Roland amps.

Types of Guitars Used and Features

Kana’s choice of guitars is very clear-cut, using main and secondary guitars depending on the song and situation. Her guitar sound is characterized by being “colorful and cutting,” and this philosophy is reflected in her equipment choices.

Her main guitar for live performances is the Gibson ES-335. This semi-hollow guitar possesses a rich midrange and sweetness, allowing it to stand out without being buried in the band ensemble. Kana describes it as “an extension of her body,” making it indispensable for CHAI’s live performances. The ES-335 can adapt to a wide range of genres, from rock to soul to jazz, matching CHAI’s diverse musical style.

In recordings, she prefers using the Fender Stratocaster. By leveraging the clear tone of the single coils, she highlights the jangly texture of the songs included in the albums, as well as the rhythm guitar’s cutting. The Stratocaster excels in expressive clean tones, making it a perfect match for Kana’s meticulous playing style.

Additionally, it is said that she is considering introducing the Fender Telecaster to broaden her musical expression. The Telecaster’s punchy cutting and sharp attack could add further diversity to CHAI’s songs.

In this way, Kana employs a three-pronged approach: using the ES-335 for “thickness and presence” in live settings, the Stratocaster for “clarity and definition” in recordings, and potentially the Telecaster for “sharpness and diversity” in future works. Her choices represent a practical and musical strategy to derive optimal solutions for each scene.

This guitar selection is an essential element in recreating CHAI’s pop yet rock-oriented band sound, and it is expected to play a significant role in future live performances and new songs.

Effects and Pedalboard Setup

The core of Kana’s sound design lies in a simple yet expressive effects pedalboard. While she uses many standard models, the combination and application of these pedals create a unique and colorful tone characteristic of CHAI.

One of the standout pedals is the BOSS CH-1 Super Chorus. Kana has been using it since her university days, and it remains an essential part of her live and recording setups. By adding it to her clean tones, she creates a sense of depth and a sparkling atmosphere. The depth of the cutting sound heard in CHAI’s signature songs is largely attributed to this CH-1.

For distortion, the BOSS DS-2 Turbo Distortion and Ibanez TS808DX are key players. The DS-2 provides a sharp and powerful distortion reminiscent of 80s and 90s rock, supporting Kana’s tight riffs. The TS808DX, a classic tube screamer with a booster function, is used when she wants to add a crunchy nuance or to enhance volume and thickness during solos.

For spatial effects, she employs the ELECTRO-HARMONIX HOLY GRAIL NEO as her reverb. Its simple operation belies a deep resonance with spring and hall settings, adding depth and echo to CHAI’s songs. Additionally, the MXR PHASE 90 is used for modulation, creating a psychedelic sway that matches the song’s developments.

For tuning, she uses the reliable tc electronic POLYTUNE 3. It allows for instant tuning during live performances, stabilizing Kana’s playing. The Universal Audio UAFX Dream 65 also serves as an amp simulator, functioning not only as an amp substitute but also fulfilling a preamp role, balancing the overall sound of the board.

The power supply for these pedals is the Vital Audio POWER CARRIER VA-08 Mk-II. It provides a noiseless and stable power supply, ensuring consistent sound quality during live shows and studio sessions.

Kana’s pedalboard setup is not overly complex. However, each pedal functions as an essential element supporting “CHAI’s sound,” achieving a balance of bright cleans, moderate distortion, and expansive spatial effects. Consequently, her setup exudes a unique presence that immediately feels “CHAI.” This indicates that Kana chooses effects that “maximize impact with minimal necessity.”

Tone Settings, EQ, and Mixing Approaches

Kana’s sound design embodies the band’s theme of “simple yet colorful.” While she uses many standard pieces of equipment, her settings and choices reflect unique ingenuity. Here, we will delve into her amp settings, EQ, tonal variations for different songs, and approaches during the mixing stage.

Starting with amp settings, the Fender Hot Rod Deville ML 212 used for live performances primarily utilizes the clean channel. The volume is typically set around 4-5, allowing the clean tone to resonate while providing a hint of drive. For tone settings, she often keeps the bass low (around 3), raises the mids slightly (around 6), and increases treble (6-7). This configuration allows the guitar’s attack and brightness to stand out within the band mix.

In local performances, the combination of Universal Audio UAFX Dream 65 and Roland JC-120 is frequently used. The Dream 65 provides Fender-like nuances while leveraging the unique hard clean sound of the JC-120. In this case, the EQ is adjusted to cut some lows while boosting treble and presence, ensuring that the characters of the Stratocaster and ES-335 are effectively highlighted.

When it comes to effects, the BOSS CH-1 Super Chorus is typically applied lightly. It is adjusted to avoid overwhelming the cutting clarity. The refreshing guitar sound heard in CHAI’s signature song “N.E.O.” is a product of this subtle chorus combined with clean tones.

For distortion, the primary pedal is the BOSS DS-2. The gain is kept moderate, with the knob set around 12-1 o’clock, creating a fuller distortion that emphasizes the mids. This ensures that her riffs and solos remain prominent in the band sound. Conversely, the Ibanez TS808DX is used with lower gain and in conjunction with the booster to maintain volume and clarity during solos.

In terms of spatial effects, the HOLY GRAIL NEO is often set to spring mode at a shallow depth. Kana avoids deep reverb to maintain the pop feel, instead using it to enhance the spatial depth. The MXR PHASE 90 is activated during song transitions to add a unique psychedelic effect.

During recordings, Kana frequently employs the Fender Stratocaster for cutting and arpeggios, which are likely fine-tuned with compression and EQ. The engineer may lightly apply low-cut or multiband compression to retain high-end brightness without harshness.

Furthermore, in the mixing stage, she actively utilizes panning to distribute the guitar sounds across the stereo field. One side features clean tones (CH-1 + reverb), while the other showcases a crunch tone (DS-2 + light chorus), adding depth to the overall track. These strategies contribute to CHAI’s songs being both simple and richly layered.

Overall, Kana’s sound design philosophy revolves around “not over-distorting, but creating depth through clean and modulation.” These settings and adjustments are designed to be adaptable for live houses and large festivals, achieving a sound that listeners immediately recognize as “CHAI.”

Affordable Alternatives to Recreate the Tone

To fully replicate Kana’s sound from CHAI, one would typically need high-end gear like the Gibson ES-335 and Fender amps. However, for beginners or those looking to save costs, it is entirely possible to achieve a similar nuance with more affordable alternative gear. Here, we will explore ways to approach Kana’s sound using equipment priced between $100 to $500.

For guitars, strong alternatives to the semi-hollow design include the Epiphone ES-335 and Squier Classic Vibe Stratocaster. The Epiphone version is more budget-friendly than its Gibson counterpart while still capturing the rich midrange typical of semi-hollows. The Squier Stratocaster provides the bright cutting associated with single coils, making it ideal for emulating CHAI’s recording sound.

For amplifiers, the BOSS Katana 50 MkII is recommended as a substitute for the Fender Hot Rod Deville. This modeling amp can handle Fender-like cleans and light distortion while offering a variety of built-in effects, making it perfect for beginners wanting to experiment with Kana’s sound. Additionally, the Roland JC-22 (a smaller version of the JC-120) allows users to experience its unique clean and chorus sounds.

Regarding effects, it is fortunate that the models Kana uses are relatively affordable. The BOSS CH-1 Super Chorus and BOSS DS-2 Turbo Distortion can be purchased for around $100 each, providing the same distortion and chorus quality as Kana’s setup. Furthermore, for reverb, the TC Electronic HOF Mini Reverb can replicate the HOLY GRAIL’s ambiance in a compact and budget-friendly format.

For power supplies, alternatives like the more affordable One Control Distro Minimal are suitable for beginners looking to build a small pedalboard.

By combining these options, one can approach Kana’s sound within a budget of $1,000. The key is to maintain the principle of “starting with clean tones and lightly adding distortion and chorus.” Even with simple gear, adjustments can yield a pop and colorful sound reminiscent of Kana’s style.

Summary and Conclusion

In summary, Kana’s sound design in CHAI is centered around “expressing maximum color within a simple setup.” The guitars and effects she uses are primarily standard and relatively orthodox, but her choices and combinations reflect a unique philosophy.

For guitar selection, she uses the Gibson ES-335 in live settings, supporting the songs with its thick and warm midrange. In contrast, she employs the Fender Stratocaster in recordings to utilize its clear cutting and arpeggios, creating optimal sound for each situation. This flexibility adds diverse colors to CHAI’s music.

Regarding amplifiers, she primarily uses the Fender Hot Rod Deville while also leveraging the Roland JC-120 for local performances, combining it with the UAFX Dream 65 to create a system that can reproduce “the same CHAI sound anywhere.” This is a very rational choice for modern touring bands seeking stable sound.

Her effects setup includes staples like the chorus (BOSS CH-1), distortion (BOSS DS-2), reverb (HOLY GRAIL NEO), and phaser (MXR PHASE 90), all of which are user-friendly models. However, it is this simplicity that forms the core of her sound, allowing her to add “only the necessary sounds in appropriate amounts,” blending clean guitars seamlessly into the music.

Moreover, Kana’s ingenuity in EQ and settings highlights the guitar’s presence within the band by keeping bass low while emphasizing mids and treble. She carefully controls spatial effects to maintain the pop impression of the songs.

Overall, Kana prioritizes “the balance of the entire song over flashiness,” ensuring that the sound design effectively highlights the band’s individuality. Thus, to replicate her sound, one does not need to invest in expensive gear; simply focusing on “clean + chorus + light distortion + subtle reverb” will suffice to achieve a sound reminiscent of Kana’s style.

As readers pursue Kana’s sound, it is essential to consider “how much color can be added within a simple structure.” Equipment is merely a means, and the essence lies in how to enrich the music itself. For guitarists resonating with CHAI’s songs, Kana’s sound design offers a highly practical and insightful approach.