[Akira Yasuda] How to Recreate the Kanjani Eight Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Akira Yasuda, the guitarist of Kanjani Eight, is an essential player supporting the band’s diverse musical repertoire. His sound is characterized by a wide range, from clear tones that complement catchy pop melodies to powerful driving sounds in rock tracks.

In songs like “NOROSHI” and “Samurai Uta,” his emotional expressiveness shines through, while his flexibility and sense of style are evident in jam session formats like “Kanjam.” Yasuda skillfully switches between tones using a variety of guitars, including Gibson Les Pauls, Fender Stratocasters, and Telecasters, adapting to each musical context.

His choice of gear is also notable, incorporating custom-made guitars from Provision and vintage equipment, showcasing a unique yet practical approach. This has made him a significant influence on many guitarists and fans, establishing him as a cornerstone of Kanjani Eight’s sound.

Yasuda’s sound design emphasizes the character of the guitar itself, optimized through carefully selected amplifiers and effects tailored for each song. This article will comprehensively cover the guitars, amplifiers, and effects he has used, providing a detailed explanation of his sound approach.

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List of Amplifiers and Features

When discussing Akira Yasuda’s sound design, one cannot overlook the amplifiers he has used in live performances and recordings. His playing style requires versatility to accommodate a wide range of songs, necessitating the ability to switch between clean tones and varying degrees of distortion. Notable amplifiers include Marshall, Bogner, and Divided by 13 (÷13).

One of the most famous is the Marshall Silver Jubilee. This model, characterized by its silver chassis, provides a thick distortion typical of classic rock, supporting Kanjani Eight’s powerful band sound. Its strong presence in live settings pairs excellently with the Les Paul, contributing to the robust sound of rock tracks.

Additionally, the combination of the Bogner Ecstasy head and 4×12 cabinet is a staple in Yasuda’s setup. Bogner amplifiers are known for their three-dimensional drive sound and wide range, making them suitable for both pop and hard rock. The frequent use of this setup in Kanjani Eight’s tours and performances indicates its reliability as a mainstay in his gear.

Recently, Yasuda has been noted for using Divided by 13 amplifiers. He has mentioned, “I am currently using ÷13,” suggesting that it has been incorporated into his latest live and studio work. This brand is known for its high-fidelity yet warm clean tones, aligning well with Yasuda’s musical style, particularly in jazz and pop contexts.

The choice of amplifiers reflects Yasuda’s musical philosophy. He does not rely solely on distortion; instead, he fluidly transitions between clean, crunch, and high-gain sounds depending on the song. With Marshall, he emphasizes traditional rock sounds; with Bogner, he focuses on thickness and modern range; and with ÷13, he prioritizes clarity and nuance. This suggests a thoughtful approach to using these amplifiers based on the structure of the songs and live performances.

However, the equipment used can vary depending on the time period and setlist, so it is not definitively clear which amplifier is currently his main choice. It can be assumed that “Marshall, Bogner, and ÷13 are central” to his setup.

Types of Guitars Used and Features

Akira Yasuda’s guitar playing is deeply connected to his diverse collection of guitars. He utilizes a variety of models, including the Gibson Les Paul, Fender Stratocaster, Telecaster, and unique guitars from Provision and Gretsch, switching between them based on the musical context.

One of the most representative is the Gibson Les Paul Classic (2000 model, Sunburst). Frequently used in live performances and television from 2004 to 2011, this guitar helped shape his early image. The thick and sticky tone characteristic of the Les Paul provides stability to the band’s rock tracks. Additionally, different-colored Les Pauls have been spotted since 2013, suggesting that this model has been a long-term favorite.

The Gibson Les Paul (Black) has been confirmed in the music video for “Koko ni” and during the GR8EST tour, noted for its sleek appearance and impressive low-end presence. Another variant was displayed with a red background, further supporting the notion that the Les Paul is central to Yasuda’s sound.

On the other hand, the Fender Stratocaster is often used for clean tones and delicate expressions. Custom shop models in pink from 2010 and cream variants have been frequently used in songs like “NOROSHI” and Kanjam, providing a refreshing and clear sound. A large-head version of the Stratocaster has also appeared, adding variety to his sound based on the song.

The Fender Telecaster is particularly notable with its black custom shop model and natural finish. It has been used in songs like “Zou” and “Tokyoholic,” showcasing the Telecaster’s sharpness and clarity to enhance the vocals. Furthermore, the Realdeal 1960TL Perfect Reproduction was confirmed during the “Outo Seiyo” period, indicating his pursuit of vintage Telecaster reproduction.

Additionally, the Gibson ES-335 (2006 model, Red) has been prominent in songs like “Misetekure” and “Samurai Uta.” The warm tone and depth characteristic of semi-hollow guitars greatly enhance ballads. Yasuda’s collection also includes custom models from Provision, Gretsch Brian Setzer Hot Rod, and PRS’s blue models, all contributing to his musical versatility.

Yasuda’s choice of guitars reflects his focus on delivering the optimal sound for each song. For intense rock, he favors the Les Paul; for refreshing pop, the Stratocaster; and for heartfelt ballads, the semi-hollow body. This balance is central to his playing style, suggesting that Yasuda’s sound is rich in diversity and flexibility.

Effects and Pedalboard Setup

Akira Yasuda’s sound design is not only about the combination of guitars and amplifiers but also involves a meticulously arranged pedalboard utilizing a variety of effects. Photos from Kanjam and live performances confirm the use of a wide range of effects, from standard BOSS pedals to boutique models.

At the core is the BOSS FV-500 (H/L), a staple volume pedal used for dynamic volume adjustments during songs. The H and L refer to different impedance settings, suggesting that he switches between them based on the situation.

The BOSS OC-3 Super Octave is an octave pedal that reinforces the low end, adding thickness to the band sound, especially in heavy riffs or solos. Additionally, the Lovepedal AMP Eleven serves both as an overdrive and booster, capable of enhancing clarity from crunch to solo tones.

Among vintage effects, the BOSS CE-1 Chorus Ensemble stands out, known for its deep modulation and slight distortion, making it valuable for clean tone ballads. Similarly, modern boost applications include the TC Electronic Spark Booster and the standard tuner TC Electronic PolyTune integrated into his board.

For fuzz/distortion effects, the Electro-Harmonix Big Muff Pi with Tone Wicker has been confirmed, producing powerful sounds for heavy riffs and emotional solos. For high-gain applications, the Blackstar HT-DISTX is utilized, creating a modern rock sound.

Furthermore, the Free The Tone ARC-3 routing controller allows for organized pedalboard management, enabling intuitive sound switching during live performances, significantly contributing to Yasuda’s play stability.

Among boutique options, the Vemuram Jan Ray is notable, having been used during the JUKE BOX period. It replicates a natural drive characteristic of TS pedals, blending well with vocal-oriented songs. Additionally, the Electro-Harmonix Soul Food serves as a Klon Centaur-style overdrive, excelling in warm and quick response scenarios.

This collection of pedals is combined to balance the power of rock with the delicacy of pop, indicating that Yasuda’s board is constructed with a focus on versatility and immediate usability. While the specific effects may change over time, it can be assumed that the above-mentioned pedals have been central to his sound.

Tone Settings, EQ, and Mixing Approaches

Akira Yasuda’s sound is completed not only by his choice of guitars, amplifiers, and effects but also through careful settings and EQ adjustments. Given Kanjani Eight’s wide range of songs, from pop to hard rock and ballads, it is evident that he meticulously crafts his sound for each scene.

When using the Les Paul, he emphasizes the mid and low frequencies to support a robust rhythm guitar. In terms of amplifier settings, it is likely that he boosts the mids with Marshall to thicken the distortion, while keeping the gain slightly lower with Bogner to maintain clarity and depth. This approach allows his sound to be present without overshadowing the vocals.

In contrast, when using the Stratocaster or Telecaster, he often prioritizes clean tones, likely keeping the low end subdued while boosting the mids and highs in the amp EQ. In songs like “NOROSHI” and “Tokyoholic,” he seems to focus on achieving a clean tone with minimal compression to enhance the clarity of his cutting style.

Incorporating effects into his sound design, he builds on overdrive pedals (Lovepedal AMP Eleven and Vemuram Jan Ray) while using boosters (Spark Booster) as needed to enhance volume and clarity. Fuzz (Big Muff) and high-gain distortion (Blackstar HT-DISTX) are utilized during hard sections or solos to create a powerful presence. Even when using distortion heavily, he likely avoids excessive low-end output, focusing instead on mid-range adjustments to consider the bass and drums.

The chorus (CE-1) is particularly used in ballads, adding depth and modulation to the guitar. Settings that emphasize stereo effects create a sense of space, contributing to the enveloping sound in ballads like “Samurai Uta” and “Misetekure,” which can be attributed to his use of modulation effects.

In terms of PA and mixing, Yasuda’s guitar is typically processed to “support the vocals without interference.” In recordings, it is common to cut low frequencies below 200Hz and slightly boost around 2kHz to maintain presence while avoiding interference with the vocal range. During live performances, he likely experiments with cabinet simulations and mic placements, blending on-mic and room sounds for a three-dimensional effect.

Moreover, he adapts the guitar placement for each song. For up-tempo tracks, he may use double-tracking spread across stereo left and right, while for ballads, he might position the guitar closer to the center with deeper spatial effects. This variation in mixing helps maintain listener interest throughout albums and live performances.

Yasuda’s playing style is characterized by his tendency not to overly distort during guitar solos, allowing the nuances of his picking to shine through. This is reflected in his EQ adjustments and amplifier gain settings, where he avoids excessive compression, prioritizing natural expression.

In summary, Akira Yasuda’s sound design revolves around “optimizing for each song,” “harmonizing with the entire band,” and “respecting playing nuances,” with EQ and mixing approaches tailored to these principles.

Affordable Alternatives to Recreate the Tone

The equipment used by Akira Yasuda includes many high-end guitars from brands like Gibson and Fender, as well as boutique effects and professional-grade amplifiers, which can be challenging for beginners or intermediate players to access. However, in recent years, a variety of affordable gear has emerged that allows aspiring players to achieve a sound similar to Yasuda’s without breaking the bank.

For guitars, Yasuda’s approach involves using both Les Paul-style and Strat/Tele-style guitars. A great alternative to the expensive Gibson Les Paul Classic is the Epiphone Les Paul Standard. As a direct subsidiary of Gibson, it offers a similar thick sound profile. For the Stratocaster, the Squier Classic Vibe Stratocaster is recommended, providing Fender-like clean tones and cutting capabilities. For the Telecaster, the Squier Affinity Telecaster allows players to easily replicate the sharp rhythm work characteristic of the Telecaster.

When it comes to amplifiers, high-end brands like Bogner and ÷13 are realistically difficult to incorporate, making the BOSS Katana series an excellent alternative. This series features a wide range of amp modeling and effects, allowing players to switch between Marshall-style and clean tones, suitable for practice and small gigs. The Yamaha THR series is also ideal for home use or small environments, boasting natural tones and spatial effects.

For effects, choosing BOSS products, which Yasuda has used, is a shortcut to achieving a similar sound. The BOSS SD-1 Super OverDrive can easily replicate the natural drive of Jan Ray or AMP Eleven. Additionally, the BOSS DS-1 Distortion can produce sounds similar to the high-gain distortion of the Blackstar HT-DISTX. For fuzz effects, the Electro-Harmonix Nano Big Muff offers a compact and affordable way to experience the original Big Muff sound.

For modulation and spatial effects, the BOSS CE-2W Chorus serves as a modern take on the CE-1, capable of recreating vintage-style modulation. If you want to add delay or reverb, the BOSS DD-8 Digital Delay and TC Electronic Hall of Fame Reverb can accommodate songs that emphasize ballads and spaciousness.

Overall, the key to recreating Yasuda’s sound affordably lies in achieving the “thickness of Les Paul-style,” the “sharpness of Strat and Tele,” and the combination of “BOSS overdrive/fuzz/chorus.” This approach allows players to obtain a versatile sound set suitable for pop, rock, and ballads. The following table summarizes specific alternative gear.

Summary and Conclusion

Akira Yasuda’s sound design can be summarized as a balance of “flexibility and expressiveness.” He possesses a robust sound as a rock guitarist while seamlessly adapting his tones to fit the world of pop and the emotions of ballads. This is reflected in his selection of thick and core guitars like the Gibson Les Paul, cutting guitars from the Fender family, and unique models from Provision and PRS, chosen according to the musical context.

Similarly, his amplifiers are varied, utilizing the classic distortion of Marshall, the wide range of Bogner, and the clarity of Divided by 13, allowing him to create a “Yasuda sound” across any genre. His guitar work supports the band without overpowering it, contributing significantly to the overall thickness of the songs.

In terms of effects, his pedalboard showcases a rational approach of “only what is necessary.” Centered around overdrives, fuzz, and boosters, he skillfully combines clean effects like chorus and spatial effects, maintaining a wide palette of tones while keeping his setup organized. The use of a routing system enhances his operational efficiency, demonstrating his professionalism as a live artist.

When delving into the essence of his sound design, it becomes clear that Yasuda’s sound is about “serving the song.” Even in solos, he prioritizes harmony with the band and vocals over self-assertion. His playing is often described as “easy to listen to” and “emotionally resonant,” not just due to technical skill but because his sound design resonates with listeners’ feelings.

For players aspiring to achieve the Yasuda sound, it is crucial to focus on “what sound is needed for which song” rather than merely acquiring expensive gear. By using an Epiphone to replicate the thickness of a Les Paul, a Squier for the cutting feel of a Strat or Tele, and BOSS’s standard effects, players can come close to achieving a sound reminiscent of Yasuda’s.

In conclusion, Akira Yasuda’s sound design exemplifies a balance of “the beauty of subtraction” and “the moderation of maximum expression when needed.” This philosophy offers valuable lessons not only for guitarists but for all band members. His thoughtful gear selection and sound design innovations that have supported Kanjani Eight’s sound will continue to serve as a guiding light for many players in the future.