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

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Introduction (Overview of Tone)

Yoshi, the guitarist of Aldious, has been a pivotal figure in the band’s sound since its inception. His playing style embodies classic metal elements such as fast picking, sweeping, and tight riff work, while also focusing on creating melodic phrases that support the vocal melodies. Iconic songs like “Spirit Black” and “Ultimate Melodious” showcase a balance between heavy rhythm guitar and soaring lead guitar, reflecting Yoshi’s keen sense of tone crafting.

The allure of Yoshi’s sound lies not merely in high-gain aggression but in his ability to blend articulate distortion with spatial effects, adjusting to the dynamics of the song and the nuances of the vocals. Listening to live footage or recordings, you can hear how he switches amp channels to produce a thick, expansive lead tone during solos, while maintaining tight, cutting riffs during backing sections. This meticulous approach to sound design supports the overall speed and scale of Aldious’s music.

Yoshi’s gear choices reflect his dedication to achieving his signature sound. He actively incorporates brands like Zemaitis with custom models, PRS with 24-fret designs, and other staple metal brands such as Schecter and ESP. His main amp, the Hughes & Kettner TriAmp MK II, is central to his setup, allowing him to switch channels for solos and rhythms, thus expressing a wide variety of tones from a single amplifier.

The essence of his sound design is the coexistence of “metal’s heaviness” and “melody’s beauty.” Yoshi achieves this balance through careful selection of guitars, amplifiers, effects, and even detailed modifications. Learning from his sound design can provide invaluable insights for aspiring metal guitarists.

▶ Search official YouTube videos of Aldious

List of Amplifiers and Features

A crucial element in discussing Yoshi’s sound is the array of Hughes & Kettner amplifiers he employs. The “TriAmp MK II,” in particular, has been his mainstay for both live performances and recordings for many years. This model features three independent amp sections, each capable of A/B switching, effectively allowing for six distinct sounds. Yoshi often utilizes AMP3 for tight distortion during backing and boosts AMP2 for thick lead solos, indicating a meticulous control over tone tailored to each song.

For live performances, he pairs the TriAmp with the Hughes & Kettner “CC412AV” cabinet. This 4×12 configuration is known for its white reverse L-marking, which serves as a guide for mic placement, ensuring stable sound production in conjunction with the PA system. This setup allows for a commanding guitar sound that holds its own on large stages like arenas and concert halls.

In home and rehearsal settings, Yoshi uses the “GrandMeister 36,” which features a Power Soak function for 0W operation, a RED BOX DI for line-out recording, and remote control via an iPad app. This choice emphasizes convenience, allowing for sound crafting that mirrors live performance conditions even in a home environment.

Historically, he has also been confirmed to use the “Marshall JMD:1 (JMD100 Head),” a hybrid amp combining digital preamp and tube power sections, noted for its versatility in sound. While he has since consolidated his setup around Hughes & Kettner, this evolution in his amp selection highlights a preference for a single unit that can handle a wide range of tones.

From this, it can be inferred that Yoshi is not merely focused on high-gain sounds; rather, he optimizes his amp choices for various performance contexts, song dynamics, and practice environments. This approach is key to achieving the powerful yet melodic sound characteristic of Aldious.

Types of Guitars Used and Features

At the core of Yoshi’s sound is the Zemaitis Custom Shop “Pearl Front Series CS24PF.” This guitar features a distinctive shell top design and a 24-fret configuration, allowing for a wide tonal range. Despite its thicker neck, it remains comfortable to play, producing articulate distortion suitable for metal while also delivering a flat and calm tone when clean. Modifications such as locking tuners, repositioned pickup selectors, and integrated controls have significantly improved its playability during live performances, making it versatile enough for both tight riffs and lead solos.

Another important model is the “PRS Custom 24,” which Yoshi has described as the first guitar that felt like an extension of himself. Known for its high tuning stability due to locking tuners and beautiful clean tones, it has been equipped with high-output pickups (specific model unknown), providing a powerful yet transparent sound for arpeggios and backing parts in Aldious’s songs.

Yoshi has also used the Schecter RJ-1-24-TOM, a reliable guitar featuring a 24-fret design and locking tuners. The ESP FOREST-GT, equipped with a Floyd Rose, has been used as a main guitar in recent live performances, particularly for songs requiring aggressive whammy bar work and stable tuning.

Additionally, his signature model from Combat Guitars, the “Aly Series,” plays a significant role. The Aly 450 Deco Custom features Seymour Duncan SH-2n / SH-4 pickups, delivering powerful and stable tones typical of humbuckers. In contrast, the Aly 700 is equipped with DiMarzio Air Norton / D-Sonic pickups, focusing on a more modern and tight sound. These custom models are designed to align with Yoshi’s playing style and symbolize his sound crafting.

Other notable mentions include the SCHECTER Diamond Series C-1 Classic, which has been confirmed as part of his past gear. Guitars such as the Zemaitis metal top model, B.C. Rich PXECJP CJ Pierce Signature Pro X Eagle, and T’s Guitar 24F model were considered during the trial phase but ultimately not adopted. This indicates Yoshi’s strong preference for 24-fret configurations and tuning stability in his guitar selection.

Overall, Yoshi’s guitar choices emphasize “the wide tonal range provided by 24 frets,” “tuning stability,” and “the ability to handle articulate high-gain sounds.” This results in a lineup that consistently supports heavy riffs, beautiful cleans, and soaring leads.

Effects and Pedalboard Setup

Yoshi’s effects system is characterized by a robust yet flexible setup that combines rack-mounted units with compact pedals. At the center is the BOSS “GT-PRO,” which integrates with the amp’s send-return, effectively placing boosts and delays in the signal chain. Notably, the delay is set after the preamp, enhancing the sustain of notes during solo sections. This configuration ensures that the clarity of sound is maintained during transitions between lead and backing parts.

To enhance his presence during solos, Yoshi employs the “Xvive V10 AMPLITONE” booster and the “Xvive V5 DELAY.” The former boosts the sound pressure during leads, while the latter adds spatial depth with a shorter delay time. Additionally, the “Xvive T1 Golden Brownie Distortion” serves as his primary distortion pedal, effectively replicating a Marshall-style brown sound in a compact form. These smaller pedals offer high mobility on stage and work seamlessly with the rack multi-effects for adaptable sound crafting.

Moreover, the original effect pedal “ALD-1” from Combat Guitars has been confirmed as part of his setup. While the specific circuitry remains undisclosed, it is presumed to be designed around metal-oriented distortion, reflecting the band’s sonic character and serving as an essential element in Yoshi’s sound design.

For control, Yoshi utilizes the “TECH21 MIDI MOOSE,” allowing for comprehensive MIDI control over his amp and effects. With a maximum of 128 presets, it enables seamless switching of amp channels and effects during complex song arrangements, ensuring stable operation during Aldious’s performances.

For tuning, a “KORG DTR-1” is installed in the rack, allowing for constant tuning checks in conjunction with the GrandMeister’s RED BOX output. In terms of power management, the “TASCAM AV-P250” serves as the central power supply, focusing on noise reduction and stable power delivery, which is crucial for maintaining consistent sound quality on tour. For live portability, a “FURMAN SS-6B” power strip is also used.

Overall, Yoshi’s pedalboard can be described as a “simple yet practical system that supports amp-centric sound crafting.” Rather than pursuing overly diverse tones, the design philosophy focuses on ensuring that necessary effects are applied effectively. The choice of equipment is meticulously selected to balance the tight riffs and expansive leads characteristic of metal.

Tone Settings, EQ, and Mixing Approaches

Yoshi’s sound design is characterized by the ability to balance “heavy and tight riffs” with “expansive and melodic leads,” which is achieved through meticulous amp settings, EQ adjustments, and mixing techniques. Live footage and interviews reveal his style of using multiple channels on the Hughes & Kettner TriAmp MK II. Typically, he centers his backing on AMP3 (A/B) while boosting AMP2 for solos, allowing for smooth transitions between different tonal qualities throughout a song.

In terms of EQ settings, he adheres to the metal-specific “scooped mid” approach but does not completely eliminate the midrange. Instead, he adjusts to ensure separation from vocals and keyboards. Specifically, he slightly boosts the Bass from 12 to 1 o’clock, lightly cuts the Mid around 10 to 11 o’clock, and emphasizes Treble from 1 to 2 o’clock for brightness. The Presence is adjusted widely depending on the song, often raised for leads and lowered for riffs to prioritize tightness.

The handling of delay and reverb is also crucial in Yoshi’s sound design. For solos, he sets the Xvive V5 DELAY to a shorter time (around 300ms) with minimal feedback, ensuring that the sound does not get buried while maintaining an expansive spatial quality. Reverb is kept to a light setting within the amp, ensuring that the characteristic speed of metal is not compromised. By placing spatial effects after the rack-mounted BOSS GT-PRO, he maintains the core of the sound during transitions between riffs and solos, ensuring it does not get lost in the overall mix.

During recording and mixing, double-tracking is rigorously applied. By panning the same riff left and right, he emphasizes harmony and achieves the thick guitar sound characteristic of Aldious. During this process, one side of the guitar is slightly boosted in the low frequencies, while the other is emphasized in the highs, creating a natural stereo spread. For lead guitar, he positions it in the center while lightly boosting the 2-3kHz range for clarity, applying a compressor to even out the sound’s articulation.

Furthermore, modifications to his guitars directly enhance playability, impacting sound design. On the Zemaitis CS24PF, the pickup selector has been relocated to the lower side, allowing for instant switching while maintaining right-hand muting. This modification facilitates smooth transitions from clean to high-gain tones before solos, ensuring precise tonal control during live performances. Consolidating controls to a master volume and master tone also aims for quick adjustments during play.

Mic placement in consideration of PA systems is another critical element. The white reverse L-marking on the Hughes & Kettner CC412AV cabinet allows for consistent mic placement, minimizing sound variations across different venues. Engineers likely use this marking as a reference to combine SM57 and condenser mics, achieving stable sound quality during live performances akin to studio recordings.

Overall, Yoshi’s setup emphasizes “not just producing a wide range of sounds with one guitar,” but rather “maximizing the potential of amp channels and modified guitars to instantly summon the optimal tone for each situation.” Behind this approach lies meticulous EQ adjustments, strategic effect placements, and close collaboration with the PA system, resulting in a finely crafted sound that supports Aldious’s fast-paced music. Ultimately, this culminates in a unique guitar sound that balances heaviness and melody.

Affordable Alternatives to Recreate the Tone

While fully replicating Yoshi’s sound may require high-end gear like Zemaitis custom models and the Hughes & Kettner TriAmp MK II, beginners or budget-conscious guitarists can still achieve a similar sound. Here, we present alternative gear that can be acquired for around $100 to $500, which offers high reproducibility of Yoshi’s tone.

For amp sound reproduction, the “BOSS Katana series” stands out as a strong candidate. Specifically, the Katana-50 MkII can be purchased for around $500, allowing for easy switching between high-gain, crunch, and clean tones. While it does not offer the extensive channel switching of the TriAmp MK II, utilizing its built-in effects and EQ can facilitate settings that switch between riffs and solos. Additionally, the ability to connect via USB for detailed sound adjustments makes it versatile for both home practice and live performance.

For distortion, alternatives to the “Xvive Golden Brownie Distortion” include the “BOSS DS-1X” or “BOSS OD-200.” The DS-1X adds modern elements to classic high-gain sounds, providing tight and articulate distortion that is well-suited for Yoshi’s sound. Its pronounced midrange ensures it stands out in a band mix, making it ideal for reproducing his tone.

For spatial effects, the “BOSS DD-8” delay is highly recommended. It can be set to a shorter delay time, enhancing solos with depth and allowing adjustments to feedback and mix levels to closely match Yoshi’s expansive solo sound. Furthermore, incorporating the “BOSS RV-6” reverb will provide a simple yet natural spatial effect, making it easy to use in both live and studio settings.

Regarding guitars, alternatives to Zemaitis or PRS include the “Ibanez RG series” or “YAMAHA REVSTAR Professional series.” Both feature 24-fret designs and high tuning stability, making them suitable for modern metal and hard rock. The Ibanez RG, in particular, is known for its bridge stability and high-output pickups, aligning well with Yoshi’s style of fast playing and tight riffs.

Lastly, for simplifying MIDI control and complex switching, the “BOSS MS-3” multi-effects unit is an effective choice. This single unit can manage distortion, delay, modulation, and switching, making it ideal for beginners looking to efficiently experience Yoshi’s sound design.

In summary, for beginners and intermediate players aiming to approach Yoshi’s sound, focusing on “articulate high-gain,” “short delay for leads,” and “playing with a 24-fret guitar” is key. By combining these elements with relatively affordable gear, one can effectively recreate his essence.

Summary and Conclusion

Yoshi’s sound design in Aldious transcends mere high-gain metal sounds, embodying a unique style that harmonizes “heaviness” with “beauty.” The foundation of his tone is built upon guitars like Zemaitis and PRS, featuring 24 frets and high tuning stability, along with the multi-channel Hughes & Kettner amps. His meticulous approach to switching tones for different songs and sections is evident throughout his setup.

Additionally, effects such as the BOSS GT-PRO and Xvive pedals play a supportive role, enhancing the sustain of leads and tightening the distortion for riffs. By combining rack-mounted, compact, power management, and MIDI controllers, Yoshi has developed a system that balances reproducibility and responsiveness in live settings. His modified Zemaitis CS24PF and Combat Guitars Aly models exemplify his commitment to optimizing gear for his playing style.

The essence of sound design lies not in “forcing a wide range of sounds from a single unit,” but in “selecting optimized equipment and settings for each scene.” His EQ adjustments emphasize a thick low end while moderately cutting mids to avoid clashes with vocals and keyboards. During solos, he boosts the 2-3kHz range for clarity, showcasing meticulous attention to detail. Furthermore, his collaboration with the PA system, including clear mic placement guidelines, ensures stable tone reproduction during live performances.

For beginners and intermediate players aspiring to approach Yoshi’s sound, it is not necessary to acquire all his gear; instead, focusing on “modern guitars with 24 frets,” “articulate high-gain amps,” and “short delays for lead processing” is crucial. By combining these elements with relatively affordable gear, one can effectively experience his sound.

In conclusion, Yoshi’s sound design represents a process of fully integrating technique and gear into his playing style. His ability to overwhelm audiences with riffs and evoke emotion through solos showcases the intricate craftsmanship behind his sound, offering valuable lessons for all guitarists. In the pursuit of his tone, one can discover insights that lead to “personalized sound design” tailored to their own style.