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

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Introduction (Overview of Tone)

Kaneko Ayano is a unique presence in the singer-songwriter scene. Her music, rooted in folk and rock, often oscillates between noisy and rough textures, while at other times, it resonates with delicate and deeply emotional sounds.

As a guitarist, Kaneko Ayano employs a strumming and singing style, but in a band setting, she utilizes distortion and reverb to create a three-dimensional sound. Notable tracks like “Arcade,” “Towards the Light,” and “Emerald” showcase her ability to seamlessly switch between electric and acoustic guitars, strongly supporting the narrative of her songs.

Her sound design emphasizes creating an “atmosphere” that enhances her vocal delivery rather than merely serving as accompaniment. By incorporating the warmth of tube amplifiers and the grit of fuzz effects, she imbues her music with a unique sense of “rawness.”

This individuality is no accident; it is shaped by her use of vintage Gibson guitars, Orange amplifiers, and carefully selected fuzz and overdrive effects.

This article will meticulously explain the gear used by Kaneko Ayano for those who wish to recreate her sound. We will delve into the guitars, amplifiers, and effects confirmed through live performances and recordings, while also exploring the background of her sound design and setup techniques.

Let’s unravel the secrets behind Kaneko Ayano’s simple yet profound sound.

▶ Search official YouTube videos of Kaneko Ayano

List of Amplifiers and Features

One of the essential components of Kaneko Ayano’s sound is the vintage Orange OR80R amplifier from the 1970s. This 80W tube combo amp is currently her main choice for both live performances and recordings. Its warm and honest tone beautifully replicates the human warmth present in her music. Additionally, this amp features an Echo knob, which she has reportedly been using more actively in recent years to add spatial depth to her sound.

In the past, she also favored the Roland JC-160. The clean tones characteristic of the JC series were ideal for early performances and simple setups, as they effectively highlighted her vocals. Although its usage has decreased, it can still be seen in archival footage and interviews.

The choice of amplifier goes beyond just volume and distortion characteristics; it directly connects to Kaneko Ayano’s approach of showcasing her vocals. Vintage tube amps like the OR80R add soft overtones to chord strumming and arpeggios, creating a sense of depth in her music. Conversely, the transparent sound of the JC-160 was well-suited for arrangements that placed her vocals front and center.

Considering this background, it becomes clear that Kaneko Ayano’s amplifier selection is always mindful of the “natural coexistence of voice and guitar.” The amp serves as a canvas, respecting the character of the effects and guitars while ultimately placing the vocals at the forefront.

It is also possible that she uses backline equipment depending on the venue or tour, suggesting that she may borrow amps other than Orange or Roland. However, the core of her sound remains anchored in the OR80R, which undoubtedly supports her current tonal foundation.

In this way, Kaneko Ayano’s amplifier configuration reflects her musicality strongly yet simply. The warmth of the Orange OR80R and the clarity of the former Roland JC-160 have undoubtedly supported her sonic landscape.

Types of Guitars Used and Features

The guitars that Kaneko Ayano uses play a significant role in shaping her musical world. Her guitar playing may not be flashy, but it is a crucial element that adds deep nuance and warmth to her songs. Her preference for vintage Gibsons is a major reason for the distinctiveness of her sound.

One of her signature instruments is the Gibson Melody Maker D from 1966. Since 2016, this guitar has been her main electric guitar, reportedly used for about 70% of the recordings during the making of “Yosuga.” She has customized it by removing the vibrato unit and fixing the selector to the front position, emphasizing a thicker and warmer tone. The delicate yet solid tone harmonizes exquisitely with her voice.

For her strumming performances, she primarily uses the Gibson J-50 from 1965. Acquired around 2019, this guitar has been utilized in her acoustic sets and recordings, known for its strong presence during strumming. Its impact is particularly notable in her performance of “Emerald.”

Additionally, during the production of “Shukusai,” she introduced a Gibson Country Western from 1963. This model possesses a brilliant tone, chosen for recordings that require a sense of grandeur. The shimmering overtones during strumming play a role in illuminating her musical vision.

Although details are unclear, it has been confirmed that she also owns a Martin D-28. This model, synonymous with traditional folk sound, is characterized by its thick and stable bass, likely used to add depth to her acoustic arrangements.

All these guitars are selected with a focus on “tones that enhance the vocals.” The warmth of the Melody Maker D, the power of the J-50, the brilliance of the Country Western, and the depth of the Martin D-28 each contribute to the dynamic color of her music.

Thus, Kaneko Ayano’s guitar selection is strategic yet simple. Each instrument maximizes its tonal characteristics, creating a sound that integrates seamlessly with her voice.

Effects and Pedalboard Setup

In Kaneko Ayano’s sound, the composition of her pedalboard is as crucial as her guitars and amplifiers. While she combines a minimal number of effects, her choices are precise and significantly influence the atmosphere of her songs.

One of the effects she reportedly keeps on at all times is the Klon KTR. This legendary overdrive pedal shapes the foundation of her sound with its natural distortion and mid-range push, ensuring that even simple chord strumming remains clear without overshadowing her vocals.

For distortion, she also employs the Electro-Harmonix Op-Amp Big Muff, which is used in songs like “Mood” and “Moonlight.” This pedal provides a raw fuzz distortion that merges seamlessly with her emotional singing, creating a unique presence. Additionally, she has been seen using a borrowed Bixonic Expandora EXP-2000, which delivers a distinctive fuzz sound in the second chorus of “To Us.”

To enhance dynamics, she incorporates the Xotic RC Booster. This pedal is utilized during powerful moments in songs like “Emerald,” helping to elevate volume and harmonics, ensuring her guitar remains prominent even in a full band mix.

For modulation effects, the MXR Phase 90 has been confirmed, adding a phaser-like sway to the outro of “Seasonal Fruits.” This subtle psychedelic touch enhances the emotional quality of her music.

In terms of spatial effects, she primarily relies on the reverb from her amp, but occasionally combines it with the TC Electronic Hall of Fame 2. Particularly when used with fuzz, this combination adds depth and a floating quality to her sound.

Supporting her pedalboard is the essential MXR Iso-Brick, which provides stable power supply and prevents noise issues during live performances. For tuning, she uses the TC Electronic Polytune 3 Mini, ensuring quick and accurate tuning.

Her pedalboard may not be extensive, but each choice directly contributes to her sound, constructed with the goal of “integrating voice and guitar.” While there may be slight variations in usage for different performances, the core setup remains consistent.

This pedalboard balances a variety of distortion and spatial effects, serving as the core that supports her rich expressiveness. It truly embodies the essence of “sound design that enhances the vocals.”

Tone Settings, EQ, and Mixing Approaches

Kaneko Ayano’s sound design is not solely about selecting guitars and effects; it also encompasses amplifier settings, PA processing, and thoughtful mixing techniques that come together to create her signature sound. The overarching direction is consistently focused on “highlighting the vocals while allowing the guitar to support the atmosphere.”

For her main amplifier, the Orange OR80R, the basic setting is typically clean to crunch. The gain is kept moderate, and by keeping the Klon KTR always on, she adds natural distortion. This ensures that the sound does not overpower her voice while maintaining a fullness in the mid-range. Regarding EQ, she likely reduces the low frequencies slightly while boosting the mid-highs just a touch, enhancing the attack of strumming and allowing arpeggios to shimmer.

In songs that utilize fuzz, she employs the Op-Amp Big Muff and Expandora for their gritty distortion, but it is assumed that she adjusts the mix by applying a low cut to avoid encroaching on the vocal range. Particularly in “Mood” and “Moonlight,” the raw texture of the fuzz adds tension to the music, while the engineer organizes the space to highlight the emotion of her singing.

The RC Booster shines in moments when the overall sound pressure of the band increases. By enhancing volume and harmonics without drastically altering EQ, it sharpens the outline of the sound while strengthening the overall presence. This ensures that her guitar maintains a solid presence even amidst loud band dynamics.

For modulation effects, the gentle sway provided by the MXR Phase 90 adds a unique depth to simple chord progressions. By using it selectively in specific phrases, such as the outro of “Seasonal Fruits,” she creates memorable accents that linger in the listener’s mind. The spatial effect of the Hall of Fame 2 is controlled in conjunction with the amp’s reverb, crafting echoes that match the size of the venue and the atmosphere of the song.

In mixing, it is assumed that she carefully positions the guitar to keep the vocals at the forefront. During solo performances, the guitar is often centered, while in band settings, it is panned left and right to maintain vocal clarity. Additionally, light dynamic adjustments via compression help to minimize fluctuations in sound while preserving the nuances of live performance.

Moreover, it is likely that she varies her mic placements during recording for different songs. For acoustic guitar recordings of the J-50 and Country Western, she likely uses two condenser mics positioned near the bridge and neck to create a sense of depth, adding spatial expansiveness in the mix. For electric guitar, blending a mic in front of the amp with a room mic likely preserves the studio’s unique ambiance while adjusting the distance between the vocals and the guitar.

Thus, Kaneko Ayano’s sound design is not merely about equipment settings; it is completed through careful EQ, effect differentiation, and meticulous adjustments in the PA and mixing stages. As a result, her vocals remain central, while the guitar plays a vital role in shaping the overall “atmosphere” of the music.

Affordable Alternatives to Recreate the Tone

While achieving Kaneko Ayano’s sound may require vintage Gibson guitars and rare amplifiers like the Orange OR80R, the reality is that these can be challenging for beginners and intermediate players to acquire due to their cost. Therefore, we will explore more accessible and affordable gear options that can help approximate her sound.

For electric guitars, the Epiphone Les Paul Special VE is a viable option. It features a simple structure and lively sound similar to the Gibson Melody Maker, capable of handling everything from clean to crunchy tones. Additionally, by fixing the pickups to the front position, players can achieve a warmer tone akin to Kaneko Ayano’s.

For acoustic guitars, the YAMAHA FG series or Epiphone J-45 Studio are recommended. Both can be purchased for around $500 and deliver a strong sound during strumming. The J-45 Studio, in particular, is closely related to the Gibson J-50 and offers an ideal balance for strumming performances.

In terms of amplifiers, the Orange Crush 35RT is a budget-friendly choice. While it may not have the depth of the OR80R tube amp, it possesses the characteristic mid-rich sound of Orange, making it sufficient for recreating Kaneko Ayano’s warm guitar tones. It is suitable for home practice and small gigs, offering excellent cost performance.

For distortion pedals, the BOSS DS-1 Distortion and BOSS BD-2 Blues Driver are solid contenders. The BD-2, in particular, produces natural distortion and can be used as a foundation for sound when kept on continuously, similar to the Klon KTR. Alternatives to the Big Muff include the Electro-Harmonix Little Big Muff or Nano Big Muff, which provide a raw fuzz tone at a lower price, allowing players to capture the essence of songs like “Mood.”

As a booster, the TC Electronic Spark Booster is user-friendly. It can elevate both volume and harmonics, ensuring presence within a band mix. It is more affordable and simpler to operate compared to the RC Booster.

For modulation effects, the BOSS PH-3 Phase Shifter is a recommended alternative to the MXR Phase 90, offering precise settings to recreate the sway found in the outro of “Seasonal Fruits.” For reverb, the BOSS RV-6 can serve as a substitute for the Hall of Fame 2, covering a wide range from simple echoes to deep spatial effects.

By combining these alternatives, it is possible to achieve a sound close to Kaneko Ayano’s for under $1,000. The key is to focus on creating “natural distortion” and “supportive atmosphere” around the vocals.

By using these alternative pieces of gear, even beginners can experience the essence of Kaneko Ayano’s sound, characterized by “warm crunch,” “powerful fuzz,” and “supportive reverb.” The key is not the expensive gear itself but the focus on “sound design that complements the voice.”

Summary and Conclusion

Reflecting on Kaneko Ayano’s sound design, it boils down to one core principle: “guitar sounds that enhance the vocals.” Each piece of gear, whether guitar, amplifier, or effect, possesses a strong personality, and through careful selection and combination, her unique sound is constructed.

By centering her setup around vintage guitars like the Gibson Melody Maker D and J-50, she achieves a sound that naturally blends with her voice. This is further enhanced by the straightforward and harmonically rich Orange OR80R amplifier, along with pedals like the Klon KTR and Big Muff that add color. The result is a harmonious coexistence of “voice and guitar,” where even a single strum resonates with rich expression.

The essence of her sound lies not in flashy techniques or complex gear setups but in the simplicity of sound design that embodies “humanity” and “rawness.” When using fuzz, she opts for a rough edge, while her acoustic performances are delicate. Despite the flexibility in her choices based on the situation or song, her focus on “keeping the vocals at the center” remains unwavering.

Moreover, her thoughtful EQ and mixing adjustments during live performances and recordings are designed to elevate her vocals. The guitar does not merely serve as accompaniment but plays a role as “the atmosphere that envelops the voice.” This approach is likely what draws many listeners to Kaneko Ayano’s sound.

If you wish to recreate her sound, it is not necessary to gather the same vintage gear. The important perspective is to consider “how the guitar can support the voice.” With affordable alternative gear, it is entirely possible to create a similar atmosphere through thoughtful setup and playing style.

In essence, learning about Kaneko Ayano’s sound design goes beyond mere gear replication; it leads to understanding the essence of “how to express oneself through music.” Emphasizing the role of instruments in supporting vocals and being mindful of the distance between sound and voice can provide significant insights for your own sound design.