[Yonezawa Tsuji] How to Recreate the Akai Kōen Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yonezawa Tsuji, the guitarist of Akai Kōen, has carved a unique niche in the Japanese rock scene with her sound design.
Her tone is characterized by a blend of “sharp cutting” and “delicate, ethereal clean tones,” which, combined with her ability to create a “wall of sound” during lead play, captivates audiences.
Tsuji’s keen sense of adding subtle colors to the band’s overall music while maintaining the strength of rock is a significant aspect of her style.

In iconic tracks like “Imasara” and “Zettaiteki na Kankei,” the robust sound based on a Stratocaster and Marshall JCM900 shines through.
Conversely, songs like “KOIKI” and “Kiena” showcase her use of delay and reverb to create an ethereal tone.
Tsuji’s guitar serves not merely as accompaniment but as the core of the compositions, elevating the entire ensemble’s sound.

Moreover, Tsuji frequently employs classic effects from brands like BOSS, Ibanez, and ProCo, adhering to a style of “stepping on each pedal individually” rather than relying on a programmed system.
This “human touch” in her operation is what makes her sound truly unique, adding unpredictable nuances during live performances.
Her commitment to using cherished gear, such as the Tokai TDL-1, reflects her philosophy towards sound design.

Tsuji’s sound is built on three key elements: the “clear tone of the Stratocaster,” the “solid distortion of Marshall,” and the “variety of effects centered around BOSS compact pedals.”
Understanding this combination will bring you closer to the essence of Akai Kōen’s distinctive sound.

▶ Search official YouTube videos of Akai Kōen

List of Amplifiers and Features

The backbone of Tsuji’s sound is the Marshall tube amplifier, the JCM900.
Since the debut of Akai Kōen, it has consistently served as her main amplifier, producing a robust and sharp rock sound.
By setting the treble lower, she ensures that the high frequencies of the Stratocaster do not become overly piercing, maintaining warmth and richness while achieving a clear sound image.

The JCM900 is a staple model from the 90s, perfectly matching the demands of Akai Kōen’s music for “mid-range clarity even in loud volumes,” “power that shakes live venues,” and “flexibility between pop and rock.”
In Tsuji’s style, rather than deriving distortion directly from the amp, she seems to amplify and reinforce the tones crafted with effects, often using a crunch base and settings with pedals like the SD-1 and RAT2.

Additionally, it has been suggested that Tsuji might have used other amplifiers, such as the Roland JC-120 or Fender Hot Rod series, during studio practices or sound design tests.
However, in live settings and official photographs, the JCM900 is consistently present, leaving fans with the impression that “Yonezawa Tsuji = JCM900.”
The combination of Marshall’s strong mid-range presence and the delicate overtones of the Stratocaster creates the “axis” of Akai Kōen’s unique ensemble.

On the other hand, it cannot be denied that she may have used amp simulators or small combo amps for rehearsals and recordings.
Especially when layering with analog delays like the Tokai TDL-1, monitoring through a clean amp would be effective.
Nevertheless, based on official testimonies and live gear photos, it is reasonable to conclude that the JCM900 held the most critical position in her setup.

Overall, Tsuji’s amp settings revolve around “the Marshall JCM900 as the core while crafting various expressions with effects.”
To recreate her sound, understanding the characteristics of the JCM900 and focusing on settings based around a crunch channel is likely the first step.

Types of Guitars Used and Features

When it comes to Tsuji’s guitars, the “Fender Custom Shop All Rosewood Stratocaster,” affectionately known as “Benzou,” is indispensable.
Since around 2015, it has been frequently used as her main guitar for both live performances and recordings, leaving a strong impression on fans with its distinctive all-rosewood appearance.
This guitar combines the sharpness typical of a Stratocaster with the warmth and fullness of rosewood, forming a sound that perfectly aligns with Tsuji’s musicality.
It can be heard in representative tracks like “Zettaiteki na Kankei” and “KOIKI,” proving to be a versatile instrument that handles everything from clean to distorted tones.

Next in importance is the “Fender Japan Stratocaster,” affectionately called “Shiratomi.”
This long-time companion has been used since her high school days and has been seen in live performances since the formation of Akai Kōen.
This model features a maple fingerboard, enabling clearer and more articulate cutting tones.
It supports Tsuji’s clean tones and frequently appears in footage from the indie period, symbolizing the band’s early sound.

Another distinctive model is the “VOX APACHE,” which features a built-in amplifier.
With its unique shape and built-in rhythm machine function, Tsuji incorporated it into her performances with a playful approach, using it more for experimental and decorative purposes than for standard band sound.
This gear represents Akai Kōen’s free and unconventional musicality.

Tsuji’s guitar selection consistently reflects three axes: “the versatility of the Stratocaster,” “unique models that reflect her musical identity,” and “cherished instruments she has used for years.”
By skillfully alternating between the contrasting characters of the rosewood Strat and the white Strat, she supported the diverse repertoire of Akai Kōen.
Throughout her career, she has maintained a relatively stable gear lineup, emphasizing the style of thoroughly utilizing her beloved guitars.

In summary, Tsuji’s guitar setup revolves around “a core of Stratocasters combined with supplementary gear that emphasizes individuality.”
To replicate her sound, acquiring a Strat-type guitar and skillfully using the pickup selector and tone controls in combination with amps and effects to draw out a wide range of nuances is essential.

Effects and Pedalboard Setup

The most distinctive aspect of Tsuji’s sound design is her effects board.
As seen in live footage and magazine articles, she extensively uses compact effects centered around BOSS, treating each unit as an “extension of her limbs.”
By adhering to an intuitive style of stepping on each pedal rather than using a programmed switching system, she creates a live atmosphere and a human touch in her sound design.

In terms of distortion, she is known to use the “BOSS SD-1 SUPER OverDrive” set to maximum for loud applications.
This creates a sharp sound when combined with the crunch of the Marshall JCM900, forming the core of Akai Kōen’s powerful live performances.
Additionally, the “Ibanez TS9 Tube Screamer” is used for crunchy cutting, adding a soft yet solid mid-range.
For lead parts, she employs the “Pro Co RAT2,” which produces a strong sustain.

For boosting, she utilizes the “Providence FBT-1 FINAL BOOSTER” and a homemade treble booster.
Moreover, she has incorporated unique drive pedals like the “Xotic Soul Driven AH” and “Tortuga Effects ABDUCTION,” allowing her to create different characters depending on the song.
The extensive use of boosters is a significant feature of Tsuji’s sound design, suggesting an intention to adjust volume and clarity for each phrase.

In terms of spatial effects, the “Tokai TDL-1 Analog Delay” holds a symbolic presence.
This model, which she inherited from her father, has a strong emotional connection for Tsuji.
The warm modulation it provides, which cannot be achieved with digital delays, underpins Akai Kōen’s ethereal sound.
Furthermore, by combining the “BOSS CH-1 SUPER Chorus,” “BOSS RV-3 Digital Reverb,” and “One Control Dimension Blue Monger,” she adds depth to her clean tones, creating an enveloping atmosphere for the entire song.

As auxiliary gear, she uses the “BOSS LS-2 Line Selector” for switching between distortions and delays and the “XOTIC X-Blender” to blend effects with the original sound.
Using the “BOSS RC-2 Loop Station” as a looper, she layers improvised phrases during live performances, challenging the boundaries of the band.
Her board, including the “BOSS TU-2 Tuner” for tuning, is a perfect blend of practicality and playfulness.

In summary, Tsuji’s effects board consists of three pillars: “intense distortion from SD-1 and RAT2,” “expressive crunch from TS9 and Soul Driven,” and “depth from spatial effects centered around TDL-1.”
Connecting these simply in series and finely adjusting them for each live performance reflects her individuality as a guitarist.
To aim for a similar sound, focusing on BOSS and Ibanez’s classic compact pedals will likely yield close results.

Tone Settings, EQ, and Mixing Approaches

Tsuji’s sound design goes beyond just a combination of effects; it includes amp settings and processing through the PA system.
The basic setup for the Marshall JCM900 likely involves lowering the treble while prominently featuring the presence and mid-range.
This approach prevents the high frequencies typical of the Stratocaster from becoming harsh while balancing the clarity of cutting tones and the presence of leads.

The gain setting on the amp is not overly distorted but kept at a crunch level, with overdrive and distortion pedals added as needed.
For instance, the SD-1 is often used with volume lowered while gaining more, pushing the Marshall, while the RAT2 is set to cut through the lead tone.
The TS9 boosts the mid-range, playing a role in bringing forward the crunchy cutting tones.

On the EQ front, controlling the low end tightly without overemphasizing it is crucial.
In the overall ensemble, Akai Kōen’s bass and drums are prominent, so the guitar is designed to maintain its presence primarily in the mid to high range.
Tsuji’s guitar achieves a balance of “slightly boosting the mid-range peak while moderately suppressing the highs,” ensuring both blendability and clarity.

The use of reverb and delay is also distinctive.
The analog delay from the Tokai TDL-1 maintains a tight rhythm with a short delay time while naturally expanding the resonance.
Conversely, with the BOSS RV-3, she alters settings per song, sometimes allowing for a larger spread and other times using a short reverb to emphasize attack.
Thus, spatial effects serve not merely to “thicken the sound” but to “switch the atmosphere according to the scene.”

In studio recordings, collaboration with engineers is evident, utilizing double tracking and panning to emphasize dimensionality.
Tsuji’s guitar is not always centered; in some songs, it is split left and right, intertwining with other members’ sounds to create a unique sound field.
Especially after the album “Junjou Randoseru,” the layering of guitars and EQ processing clearly highlight Tsuji’s “sharp yet gentle” sound.

In live PA processing, it is assumed that EQ was applied to ensure mid-range presence while not killing the nuances crafted with effects.
Particularly, the chorus from the BOSS CH-1 and the modulation from the One Control Dimension Blue Monger likely produced a greater effect when combined with PA spatial processing.
This further indicates that Tsuji’s sound design is not self-contained but rather designed with the entire band sound in mind.

Overall, Tsuji’s sound design is unified by the principles of “building on Marshall crunch while adding thickness and distortion with SD-1 and RAT2,” “adjusting the atmosphere of each song with delay and reverb,” and “prioritizing mid-range presence for overall blendability.”
This approach symbolizes her musicality and the sound of Akai Kōen, and when aiming for replication, it is crucial to grasp these three points.

Affordable Alternatives to Recreate the Tone

While Tsuji’s gear setup centers around high-end equipment like the Fender Custom Shop Stratocaster and Marshall JCM900,
there are more affordable options available for fans and guitarists looking to recreate her sound.
Here, we introduce guitars, amps, and effects that can be acquired for around $100 to $500, explaining how each can approximate Tsuji’s tone.

For guitars, the Fender Japan and Squier Stratocaster series are ideal.
In particular, the “Squier Classic Vibe Stratocaster” offers a clear cutting sound typical of a Stratocaster for under $600, making it easier to replicate Tsuji’s sharp yet warm tone.
While the neck and pickup characteristics are somewhat simpler compared to higher-end models, combining it with amps and effects can sufficiently capture the essence.

Regarding amps, while fully replicating the Marshall JCM900 is challenging, lower-priced models like the “Marshall DSL20C” and “Marshall MG30FX” allow for experiencing the mid-range push and characteristic distortion of Marshall.
The DSL20C, being tube-driven, has sufficient output for home use or small gigs, aligning closely with Tsuji’s method of building from a crunch base with pedals.

For effects, BOSS’s classic models are optimal.
The “SD-1,” “CH-1,” and “RV-3,” which Tsuji herself used, are still available and can be found for around $100 used.
Additionally, the Ibanez “TS9 Tube Screamer” and Pro Co “RAT2” can also be acquired for around $200, making them essential for recreating Tsuji’s sound.
Combining the SD-1 and RAT2 can provide the powerful distortion heard in Akai Kōen’s live performances.

If you’re looking to assemble spatial effects affordably, options like the “BOSS DD-7 Digital Delay” or “NUX Atlantic Delay & Reverb” are effective.
While it may be difficult to fully replicate the analog modulation of the Tokai TDL-1, combining short delay times with reverb can create a similar nuance.
Moreover, One Control’s compact effects can be purchased for around $200 new, making them a good choice for those wanting to recreate the modulation effect of the Dimension Blue Monger.

In summary, combining “Strat-type guitars, Marshall-style amps, and classic pedals from BOSS or Ibanez” can bring you quite close to Yonezawa Tsuji’s sound.
The essence of her sound lies in “mid-range presence,” “fine distortion control with pedals,” and “creating atmospheres for each song with spatial effects,” all of which can be effectively replicated with more affordable gear.
For beginners and intermediates, focusing on these three points when assembling your setup is advisable.

Summary and Conclusion

Reflecting on Yonezawa Tsuji’s sound design, its essence lies in “thoroughly utilizing a simple gear setup while changing expressions according to each song.”
The core of her sound is “Stratocaster + Marshall JCM900,” along with “a collection of compact effects centered around BOSS,” which is not a complex gear system.
However, her mastery and nuance in using these tools are incredibly delicate and precise.

For example, her boldness in cranking the SD-1 for loud applications and her subtlety in pushing the mid-range with the TS9 reflect Tsuji’s unique character.
Her continued use of cherished gear like the Tokai TDL-1 transcends mere sound design, projecting her “musical perspective.”
Furthermore, her balance of creating ethereal qualities through BOSS reverb and chorus while integrating seamlessly into the band showcases her qualities as an arranger.

When attempting to replicate her sound, there is no need to fixate on expensive custom shop Stratocasters or the JCM900 itself.
What is crucial are the three perspectives: “amp settings that leverage mid-range,” “the nuanced use of distortion pedals according to the situation,” and “creating atmospheres for each song with spatial effects.”
By grasping these points, even lower-priced models from Squier or Marshall, along with classic BOSS pedals, can bring you closer to Tsuji’s sound.

Tsuji’s sound design is not only technical but also strongly focused on “how to support the overall sound of the band.”
Rather than merely crafting the guitar’s sound, her emphasis on the relationship with vocals and rhythm sections has culminated in the uniqueness of Akai Kōen.
Thus, the most important aspect for those aiming to replicate her sound is not just gathering gear but maintaining an awareness of “how to play within the song.”

In summary, Yonezawa Tsuji’s sound design can be encapsulated as “a fusion of intuitive, human-like operation and rationality backed by arrangement skills.”
Her sound is not just a guitar tone but the very “blueprint” that shapes the entire band, Akai Kōen.
When striving for replication, being mindful of this philosophy will help you get closer to the essence of her sound.