[Yoshio Nomura] How to Recreate the Ayumi Hamasaki Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yoshio Nomura, affectionately known as “Yocchan,” has been the backbone of Ayumi Hamasaki’s live sound for many years. His playing style is characterized by a focus on “supporting the song” rather than flashy solos, showcasing a wide range of tonal expressions. Particularly in Hamasaki’s ballads, he employs delicate clean tones, while in upbeat dance tracks, he utilizes solid and sharp distortion to paint the musical landscape with his guitar.

The reason Yocchan’s sound crafting draws attention lies in his extensive guitar collection and the diverse tonal palette he creates with it. He uses a variety of iconic brands like Fender, Gibson, and PRS, as well as unique guitars from Danelectro, Burns, and Greco, reflecting a musicality that transcends genres on Hamasaki’s stage.

Moreover, Yocchan’s professional commitment to “reproducing the optimal tone for each song” is evident in his meticulous use of effect pedals and amplifiers. This allows him to give the same guitar a completely different character depending on the song.

Notable tracks such as “M,” “evolution,” and “Boys & Girls” feature powerful riffs alongside transparent clean tones, making Yocchan’s guitar a crucial element that enhances Hamasaki’s vocals while adding depth to the sound.

Watching Ayumi Hamasaki’s live performances allows one to truly appreciate the breadth and depth of Yoshio Nomura’s guitar sound. His sound crafting is not just about the combination of effects and amplifiers, but also heavily relies on the nuances of how he plays.

▶ Search official YouTube videos of Ayumi Hamasaki

List of Amplifiers and Features

Yoshio Nomura has utilized a wide range of amplifiers in Ayumi Hamasaki’s live performances, from traditional Fender models to high-gain options like Soldano and Sovtek. Given that Hamasaki’s music spans pop, rock, ballads, and electro, the guitar sound requires a diverse expression, leading to a broad selection of amplifiers that provide the ideal tone for each song.

Classic tube amplifiers like the Fender Vibrolux Reverb and Champ are often used for ballads that require delicate and clean tones. In particular, the warm clean tone of the Vibrolux enhances Hamasaki’s vocals in iconic ballads like “SEASONS” and “M.”

On the other hand, high-gain amplifiers like the Soldano Decatone and Sovtek MIG-50 shine in upbeat tracks that demand intense distortion, such as “evolution” and “Boys & Girls.” These amplifiers have a strong midrange presence, making them suitable for establishing a commanding stage presence.

Additionally, more manageable amplifiers like the Music Man 112 RD and Paul Reed Smith SE50 have been incorporated, offering versatility from clean to drive. Yoshio Nomura creates his unique sound not only through the amplifiers but also by combining them with carefully selected guitars and effects.

Overall, Yoshio Nomura’s amplifier selection strongly reflects his stance of “drawing out the optimal sound to support the song,” never sticking to just one amplifier but pursuing the best sound for each scene. This allows him to perfectly accommodate Ayumi Hamasaki’s diverse musicality.

Thus, Yocchan’s use of multiple amplifiers allows him to adapt to the wide range of songs by Ayumi Hamasaki. Therefore, his sound crafting is not merely about selecting amplifiers, but rather about the combination with guitars and effects to complete the sound, as is assumed.

Types of Guitars Used and Features

Yoshio Nomura’s most distinctive feature is his extensive guitar collection. On Ayumi Hamasaki’s stage, he frequently switches guitars, selecting the optimal one to match the song’s atmosphere. He employs classic models like the Fender Stratocaster and Telecaster, Gibson Les Paul and SG, as well as unique guitars such as the Burns Flyte (nicknamed “Ika Guitar”), Veleno, and PRS Santana SE Rhinestone, adding visual impact to the performance.

Notably, the PRS Santana SE Rhinestone, adorned with approximately 5,000 rhinestones, has become an iconic instrument frequently used in Hamasaki’s live shows. This dazzling guitar perfectly aligns with the stage aesthetics of Ayumi Hamasaki, captivating the audience not only with sound but also visually.

On the other hand, vintage Stratocasters like the Fender Stratocaster Fiesta Red 1965 and Olympic White 1964 are used for their warm clean tones and light cutting, playing a crucial role in pop songs. Additionally, Yoshio owns legendary instruments like the Gibson Les Paul Standard 1959, which resonates with a rich and powerful midrange in rock-oriented tracks.

Furthermore, he incorporates unique instruments like the Danelectro Double-Neck and Jerry Jones Electric Sitar, which are utilized in fantastical songs like “Surreal” and “Endless Sorrow,” coloring the musical landscape with their distinctive sounds.

Yocchan’s choice of guitars reflects a conscious effort to create a “comprehensive expression” that encompasses not only tonal differences but also the message of the song and stage presentation. As a result, the guitars used often change from tour to tour, symbolizing an evolving live expression.

In this way, Yoshio Nomura’s guitar selection balances practicality and presentation, making it a significant element supporting Ayumi Hamasaki’s stage. The changing lineup of guitars from tour to tour reflects his continuous evolution in sound crafting, as is assumed.

Effects and Pedalboard Setup

Yoshio Nomura’s pedalboard is as diverse as his extensive guitar collection. Given that Ayumi Hamasaki’s songs range from delicate ballads to intense rock numbers, his sound crafting incorporates overdrive, fuzz, delay, and modulation effects. From live footage and interviews, it is evident that he rotates dozens of pedals, often reconfiguring the board for different songs.

Among his go-to effects are BOSS compact pedals, with the OD-1 Over Drive and SD-1 Super Over Drive being long-time favorites. In rock tracks like “evolution” and “Boys & Girls,” this overdrive forms the foundation of his sound. Additionally, modulation effects like the MXR Phase 90 and Electro-Harmonix Small Stone are integrated into songs with strong spatial elements, such as “AUDIENCE,” enhancing cutting and arpeggio sections.

Yoshio also favors classic fuzz pedals, utilizing the Dallas-Arbiter Fuzz Face and Electro-Harmonix Big Muff to achieve psychedelic tones. These are effectively employed to create a fantastical atmosphere during stage performances. For delay, he uses the BOSS DM-2 and Strymon Brigadier, adding beautiful echoes to ballads like “SEASONS” and “M.”

His collection of wah pedals, primarily from the Jim Dunlop Crybaby series, is extensive, allowing for varied use in live settings. Particularly in staple live tracks like “UNITE!” and “Fly high,” the filter effect of the wah is prominently featured. Recently, unique pedals like the Korg Miku Stomp and Digitech Jimi Hendrix Experience have also been introduced, adding a playful element to the sound.

Thus, Yoshio Nomura’s pedalboard structure strongly emphasizes “selecting the optimal pedals for each song,” resulting in a setup that is not fixed but rather changes significantly depending on the moment. This flexibility allows him to fully recreate Ayumi Hamasaki’s diverse musicality in live settings.

In summary, Yoshio Nomura’s effects are selected as tools to produce the necessary sounds when needed. His pedalboard is not fixed but is flexibly reconfigured according to the composition and staging of Ayumi Hamasaki’s songs, as is assumed.

Tone Settings, EQ, and Mixing Approaches

Yoshio Nomura’s sound crafting is characterized by not just the combination of guitar and amplifier, but also by the careful adjustments of EQ and mixing that support Ayumi Hamasaki’s songs. Given that Hamasaki’s music spans from mainstream pop to hard rock and grand ballads, the approach is always to “highlight the vocals while adding depth to the sound.”

For clean tone-focused songs, the amplifier’s EQ is set with treble slightly boosted and bass kept low, ensuring that Hamasaki’s high notes are not overshadowed. The midrange is often adjusted to be subtle yet present during cutting sections, resulting in a transparent sound that resonates throughout the live performance.

In rock songs and dance tunes, the midrange is significantly boosted, adding thickness with overdrive or fuzz. Particularly in upbeat tracks like “evolution” and “Boys & Girls,” the distortion is crafted to emphasize the mids, ensuring the powerful riffs are not buried under the bass and drums. Treble is kept at a comfortable level, while the low end is typically tight.

For ballads, the settings for delay and reverb are crucial. Yoshio Nomura utilizes the BOSS DM-2 and Strymon Brigadier, with delay times adjusted to about 300–450ms according to the song’s tempo, and repeats kept to 2-3 times, creating a natural spatial expansion. This allows for a blend of acoustic feel and fantastical atmosphere.

From a PA and engineer’s perspective, a notable feature of Ayumi Hamasaki’s live performances is the stereo positioning of the guitar across the left and right channels. Especially when using double tracking or a combination of clean and distorted sounds, one side may be expanded with delay while the other remains dry, creating a sense of depth. This results in a symphonic sound that fills the venue.

In terms of unique equipment, he sometimes uses a wah pedal fixed in a filter-like manner or combines fuzz with modulation to create an “unstable wavering.” These are not merely effects but serve as “staging tools” that concretely shape the song’s atmosphere.

In summary, Yocchan’s EQ and settings can be organized as follows:

• Clean tone: Treble 6-7, Middle 4, Bass 3
• Rock drive: Treble 5, Middle 7-8, Bass 5
• Ballad: Treble 6, Middle 5, Bass 4 + heavy use of delay & reverb

Thus, Yoshio Nomura’s sound crafting is built on the perspective of “supporting the song” and “highlighting the vocals.” Therefore, adjustments are thoroughly made with the overall mix in mind, ensuring that Ayumi Hamasaki’s live sound possesses both unity and depth, as is assumed.

Affordable Alternatives to Recreate the Tone

To fully replicate Yoshio Nomura’s sound, one would need an extensive guitar collection, vintage amplifiers, and custom effects. However, it is entirely possible for beginners and intermediate players to “capture the essence” with more affordable gear. Here, we introduce equipment that can be obtained for a relatively low price (around $100-$500) and explain why they can approximate Ayumi Hamasaki’s live sound.

To recreate the overdrive sound, the BOSS SD-1 Super Over Drive is highly recommended. Yoshio Nomura himself has used it, and its warm midrange and defined distortion can closely match the powerful rock sounds of Hamasaki’s signature tracks like “Boys & Girls” and “evolution.” It’s easy to use, affordable, and provides excellent stability in both live and studio settings.

Next, for creating spatial sounds, a current delay like the BOSS DD-8 Digital Delay is convenient. If you want to add depth to ballads like “M” or “SEASONS,” simply adjusting the delay time to match the tempo can significantly enhance the live atmosphere. For a warmer analog delay feel, the MXR Carbon Copy is also a great option.

As for modulation, the MXR Phase 90 is very effective. It can replicate the wavering effects used by Yocchan, making it easy to create an ethereal feel suitable for songs like “AUDIENCE.”

Regarding amplifiers, a Fender Champion 40 or similar affordable transistor amp can suffice. It has a high clean tone reproduction and can cover a wide range of sounds when paired with an overdrive pedal. Its versatility makes it suitable for studio practice and small live performances.

For guitars, Squier series Stratocasters or Telecasters offer excellent cost performance. They can serve as affordable substitutes for the Fender models Yocchan frequently uses, allowing beginners to achieve sounds suitable for Ayumi Hamasaki’s music.

In summary, to get closer to Yoshio Nomura’s sound, the first step is to gather “overdrive + delay + modulation” as a basic set. By combining these, one can come quite close to the live sound of Ayumi Hamasaki.

By combining these pieces of gear, even beginners can easily recreate a “Yocchan-like sound.” Especially when covering Ayumi Hamasaki’s ballads and rock numbers, these are the essential pieces of equipment to start with.

Summary and Conclusion

The sound of Yoshio Nomura, who has supported Ayumi Hamasaki’s long career, can be summed up as “a diverse palette of tones that color the songs.” The essence of his sound crafting lies not in showcasing his playing but in enhancing the vocals and the overall musicality. Therefore, his extensive collection of guitars, amplifiers, and effects are all chosen with the purpose of accurately expressing the tones suited for each song.

The breadth of sound he demonstrates on stage ranges from classic models like Strats and Les Pauls to the dazzling PRS models, and even unique instruments like sitars and double-necks. This versatility allows him to seamlessly adapt to Hamasaki’s pop, rock, ballad, and dance tracks. The audience may subconsciously feel the “different atmospheres for each song,” yet many are unaware of the meticulous equipment selection and sound crafting that underpins it.

Moreover, his approach to using effects is notable. Instead of having a fixed board, he possesses the flexibility to swap pedals according to the songs and tours, resulting in a consistently fresh and expressive sound. In addition to the basic combination of overdrive, delay, and modulation, the introduction of unique pedals allows the guitar to transcend mere accompaniment and become a “staging tool.”

EQ and mixing techniques should not be overlooked. Yocchan’s settings are characterized by how he utilizes the midrange, making it powerful in rock songs and delicate in ballads. Through collaboration with the PA and engineer, he finely adjusts positioning and spatial processing to deliver a pleasant sound to the audience. This “player awareness that considers the whole” is the source of his artisanal charm.

For those aspiring to achieve a sound similar to Yoshio Nomura, it is important to understand that it is not about “acquiring expensive gear,” but rather about adopting the mindset of “thinking about the sound that fits the song.” By focusing on overdrive, delay, and the beauty of clean tones, one can stand at the entrance to Yocchan’s signature sound. Most importantly, viewing the guitar as a “tool for expression” is the core of sound crafting.

Yocchan’s guitar, which has continuously colored Ayumi Hamasaki’s live performances, is a unique existence that balances flashiness and meticulousness. Experiencing his sound crafting goes beyond mere “copying” and provides an opportunity to learn the essence of “how to deliver music.”