[Nakashima Ikkyu] How to Recreate the tricot Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Nakashima Ikkyu, the vocalist and guitarist of tricot, presents a unique presence in the music scene. Her guitar playing is characterized by technical riffs, intricate cutting that aligns with odd time signatures, and melodic phrases that intertwine with her vocals.

Ikkyu’s guitar sound blends “flexibility that accommodates a wide range from clean to distorted tones” with “a sharp attack,” adding color to tricot’s complex and unconventional compositions.

In iconic tracks like “pool” and “おちゃんせんすぅす,” the sharp yet delicate tone of her Stratocaster tightens the overall sound, showcasing both the intensity of live performances and the meticulous sound design in recordings.

Additionally, in “模造紙ヒデキちゃん,” the heavy riffs in drop C tuning combined with spatial effects create a three-dimensional soundscape that leaves a lasting impression.

The reason Ikkyu’s sound garners attention lies in her ability to support the rhythm, melody, and texture of her songs with just one guitar, transcending the role of a typical guitar vocalist.

By exploring her sound design, one can gain significant insights not just for replication but for evolving their own band’s sound.

▶ Search official YouTube videos of tricot

List of Amplifiers and Features

One of the crucial elements supporting Nakashima Ikkyu’s sound is her choice of amplifiers. Whether performing live or recording, she selects simple yet robust amplifiers that allow her to manipulate everything from crunch to distortion and clean tones.

Her mainstay for many years has been the “Bruce Zinky Blue Velvet 25,” which can be considered the core of the tricot sound.

The “Blue Velvet 25” is a 25W combo amp with a single 12-inch speaker, manageable in size yet rich in harmonics and responsive, typical of tube amplifiers. Ikkyu has cherished this amp for over seven years, providing a stable tone during live performances. The clean tones are crystal clear, and it pairs excellently with boosters and overdrives.

In the studio or during recordings, she also utilizes amps like the Fender Bassman and Matchless DC-30. Notably, during the recording of “模造紙ヒデキちゃん,” she combined the drop C-tuned KTM-AS-IKKYU EDITION with the Matchless DC-30 to create a thick and three-dimensional sound.

The Fender Bassman is characterized by its robust mid-low range, effectively supporting the band’s sound foundation.

Ikkyu’s choice of amplifiers reflects her emphasis on “the tonal expression suited to each song.” For live performances, she primarily uses the portable and clear-sounding Blue Velvet, while in the studio, she actively employs rented or studio-provided amps.

This indicates that her sound design is underpinned by the flexibility to choose the optimal amp according to the situation.

To summarize the amplifiers used, the Bruce Zinky Blue Velvet 25 serves as the mainstay, while the Bassman and Matchless are assumed to be used as complementary options when needed.

Types of Guitars Used and Features

Nakashima Ikkyu employs a diverse range of guitars while standing as the guitar vocalist for tricot. The primary guitar is a 1969 Fender Stratocaster, refinished in candy apple red with a swapped pickguard. She uses Ernie Ball Regular Slinky #2221 (.010-.046) strings, making this guitar the backbone for both live performances and recordings.

The sharp attack and clear sound characteristic of the Stratocaster perfectly match tricot’s tight ensemble, which frequently employs odd time signatures.

Another significant guitar is the custom “KTM-AS-IKKYU EDITION” from Kanade SOUND DESIGN. This guitar is used in drop C tuning and excels in delivering tricky riffs and heavy tracks. During the recording of “模造紙ヒデキちゃん,” this guitar combined with the Matchless DC-30 produced a powerful sound.

Custom-made to Ikkyu’s specifications, it features a strong core tone that maintains clarity even when distorted.

Ikkyu has also been seen using a Tele-type guitar from Altero Custom Guitars, which features a lightning bolt sound hole. This guitar not only has a unique appearance but also offers excellent sound projection in the midrange, enhancing the presence of the vocals without overshadowing them.

Additionally, she uses a Fender Mustang, known for its short scale and dynamic vibrato, which adds a softness and fullness to chords, reinforcing the pop and experimental aspects of tricot’s sound.

To incorporate an acoustic texture, she has introduced the Fender American Acoustasonic Telecaster, a hybrid model that blends electric and acoustic elements, effectively adding an acoustic-like resonance to her songs.

Furthermore, the Kanade SOUND DESIGN KTM-AS (Telemaster type) has been confirmed as another custom model, playing an essential role in expanding her tonal options.

Ikkyu emphasizes “the optimal sound for each song” by skillfully selecting her guitars. While the 1969 Stratocaster serves as the main guitar for live performances, her approach of switching between Tele-types, short scales, and drop-tuned models for different songs demonstrates her commitment to achieving a well-balanced sound.

All these choices are assumed to be pillars supporting tricot’s unique sound.

Effects and Pedalboard Setup

Effects play an indispensable role in Nakashima Ikkyu’s sound design. To broaden her sound palette for live performances and recordings, she has constructed a unique pedalboard that combines classic pedals like overdrives, fuzzes, and delays.

The foundational philosophy is “a constant ON base plus additional effects tailored to each song,” resulting in a simple yet meticulously calculated setup.

The “Union Tube & Transistor MORE (booster)” and “Ryra The Klone (overdrive)” serve as the constant ON components. The MORE functions as a clean booster, thickening the original sound while enhancing volume and dynamics. The Klone is set with GAIN at 2 o’clock and TREBLE slightly past 2 o’clock, adding pleasant harmonics while preserving the guitar’s inherent tone. These elements form the foundation of Ikkyu’s sound.

For spatial effects, the “One Control Sea Turquoise Delay” has been a long-time favorite. By setting LEVEL to MAX, DELAY to 10 o’clock, and FEEDBACK to 2 o’clock, she creates depth while retaining attack. The fact that she has used this for over seven years speaks volumes about its reliability.

To expand her distortion range, she employs the “Way Huge Swollen Pickle MKⅡ (fuzz),” “MAD PROFESSOR Little Green Wonder (overdrive),” and “BOSS SD-1 SUPER OverDrive.” The Swollen Pickle can deliver explosive volume boosts, and during the recording of “模造紙ヒデキちゃん,” it was combined with delay to create a powerful impact. The Little Green Wonder and SD-1 provide different characters of distortion depending on the situation.

Additionally, her pedalboard includes two tuners: the “KORG Pitchblack Advance” and “KORG DT-10,” ensuring precise pitch management. For power, she uses the “VITAL AUDIO POWER CARRIER VA-05 ADJ,” providing stable power supply.

Her pedalboard is also marked with tuning notes like “Regular / Capo 1 / Capo 3,” enabling quick adjustments during live performances.

Overall, Ikkyu’s pedalboard is minimal yet clearly organized, with a constant ON base, depth from spatial effects, and distinct distortions tailored to each song. It emphasizes practical functionality and sound stability rather than flashy variety.

Tone Settings, EQ, and Mixing Approaches

Nakashima Ikkyu’s sound is not only shaped by her choice of gear but also by her meticulous settings and mixing techniques. Her approach goes beyond merely using distortion and spatial effects; it focuses on balancing the guitar and vocals.

To achieve the goal of “a guitar that does not overshadow the vocals yet retains presence,” she manages EQ and gain settings with precision.

Starting with the amp settings, the “Bruce Zinky Blue Velvet 25,” which she primarily uses, is set with a clean-oriented foundation. The GAIN is kept modest, allowing the guitar and effects to adjust the drive. The BASS is fine-tuned around 12 o’clock based on the song, while the MID is emphasized around 1 o’clock to highlight the guitar’s outline. The TREBLE is kept between 11 o’clock and 12 o’clock to avoid harshness, and the PRESENCE is kept low to facilitate coexistence with the vocals.

The constant ON effect settings are also crucial. The Ryra The Klone is set with GAIN at 2 o’clock, adding thickness to the sound through light distortion. By slightly boosting the TREBLE, she creates a sound that stands out within the ensemble.

Moreover, keeping the Union Tube & Transistor MORE ON enhances the attack even in clean tones, supporting Ikkyu’s distinctive sharp cutting style.

The delay settings are particularly distinctive. The One Control Sea Turquoise Delay is set with LEVEL at MAX, DELAY at 10 o’clock, and FEEDBACK at 2 o’clock. This configuration adds depth without blurring the sound. Even in rhythmically intricate songs, it maintains a stable three-dimensionality, which is essential for tricot’s frequent use of odd time signatures.

In “模造紙ヒデキちゃん,” this delay was combined with the Swollen Pickle MKⅡ (fuzz) to create a thick wall of sound.

In terms of PA and mixing, Ikkyu consistently emphasizes the presence of the midrange. If the guitar dominates the low end, it interferes with the bass, and if the high end is overly emphasized, it can detract from the vocals. Therefore, it is assumed that Ikkyu’s guitar is often boosted in the 2-4kHz range during mixing while lightly cutting around 200Hz to avoid muddiness. This ensures a natural overlap between the vocals and guitar.

Additionally, during live performances, she skillfully blends the direct sound from the amp with PA corrections to add thickness to the overall ensemble. Particularly in smaller venues, she keeps the amp volume lower and relies on PA reinforcement to optimize balance. In larger stages, she likely utilizes the amp’s inherent power while tightening the low end.

Overall, Nakashima Ikkyu’s sound design is built on “simple gear combined with meticulous EQ and gain management.” She prioritizes the balance between vocals and guitar in every song, adjusting the types of distortion and depth of spatial effects as needed. This is why her guitar consistently integrates with the overall composition while maintaining its presence.

Such a thorough approach to sound design provides significant insights into establishing her position as a guitar vocalist within the band.

Affordable Alternatives to Recreate the Tone

While fully replicating Nakashima Ikkyu’s sound is challenging, it is possible to achieve a similar vibe using relatively affordable gear. The key points are to “base the sound on clean tones, utilize a constant ON booster and light overdrive, add depth with delay, and switch distortions based on the context.”

By selecting gear within a beginner to intermediate price range (approximately $100 to $500), one can experience a tricot-like sound during band practices or small live shows.

For boosters, since the Union Tube & Transistor MORE can be pricey and hard to find, alternatives like the “Xotic EP Booster” or “BOSS GE-7 (equalizer/booster combo)” can effectively thicken the sound.

For overdrives, the “BOSS SD-1” or “JHS 3 Series Overdrive” serves as affordable substitutes for the Ryra The Klone. The SD-1 is particularly practical as Ikkyu has used it, allowing for a cost-effective way to achieve a similar texture.

Regarding fuzz, while the “Way Huge Swollen Pickle MKⅡ” can be somewhat expensive and aimed at experienced players, the “Electro-Harmonix Big Muff Nano” is a great alternative that can easily recreate a powerful fuzz sound. Its aggressive sonic pressure suits tricot’s heavier tracks.

For delay, using the “BOSS DD-3T” or “MXR Carbon Copy” instead of the One Control Sea Turquoise Delay can easily create a spacious atmosphere. Setting LEVEL high and FEEDBACK slightly deeper can bring you closer to Ikkyu’s unique floating sound.

For beginners looking for an all-in-one solution, multi-effects units are also a viable option. The “BOSS GT-1” or “ZOOM G3Xn” includes everything from overdrive to delay to boost, offering excellent cost performance for practice and home recording. The BOSS GT-1, in particular, is appealing for its high sound design flexibility and ease of tone shaping.

Finally, for amp environments, if you want to mimic the Bruce Zinky Blue Velvet 25, the “Fender Blues Junior IV” or “Blackstar HT-5R” are realistic alternatives. Both are tube amps that align with Ikkyu’s style of building sound on a clean foundation and layering effects.

Below is a table summarizing examples of gear that can help approximate the sound at a relatively affordable price. While they may not perfectly replicate the original, utilizing these options can bring you closer to the “tricot-like sharpness and depth of sound.”

Summary and Conclusion

Reflecting on Nakashima Ikkyu’s sound design, it becomes clear that her style is very “simple yet practical.” The Bruce Zinky Blue Velvet 25 serves as her main amp, combined with a constant ON booster and overdrive, while spatial effects are utilized minimally.

She does not clutter her setup with excessive gear; each pedal is incorporated with a clear purpose.

In terms of guitars, she primarily uses the 1969 Stratocaster while demonstrating flexibility by switching to Tele-types, short scales, and acoustic-oriented models based on the song. The presence of the KTM-AS-IKKYU EDITION, compatible with drop C tuning, is essential for establishing tricot’s unique, powerful riffs, symbolizing her commitment to sound exploration.

Her effect settings are intricate yet not overly complex, focusing on building a solid foundation with constant ON effects and adding color based on the song. For instance, she maintains a core sound with the Klone and MORE, layering delay and fuzz to dramatically alter the sound when necessary. This approach is particularly beneficial for her role as a guitar vocalist, allowing her to keep sound design intuitive while avoiding cumbersome switching.

Moreover, in mixing, she emphasizes the presence of the midrange, ensuring that her guitar does not get lost in the band sound. This is supported by her choices in gear, EQ settings, and collaboration with the PA system, creating a cohesive sound.

In summary, Ikkyu’s sound design embodies the balance of “flexibility to draw out the optimal sound for each situation” and “the coexistence of vocals and guitar.” She successfully navigates the challenging role of a guitar vocalist through her gear choices and settings.

For readers aspiring to achieve a tricot-like sound, the key insight is not merely to replicate the same gear but to derive the optimal solution tailored to their band using a minimal setup.

Tricot’s music leaves a strong impression on listeners, characterized by complex time signatures and developments. At its core lies Nakashima Ikkyu’s established guitar sound. By learning from her playing style and “philosophy of sound design,” one can add new possibilities to their own performances.