[Kaito Yamada] How to Recreate the Novelbright Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kaito Yamada, the guitarist of Novelbright, is known for his ability to seamlessly blend powerful riffs with delicate arpeggios. His playing style embodies traditional rock while incorporating modern pop sensibilities and emotional phrasing. This unique combination is particularly evident in the band’s signature songs, such as “Walking with you” and “Kaimaku Sengen,” where thick guitar sounds are interwoven with sparkling cleans and atmospheric effects, significantly enhancing the drama of the music.

During live performances, Yamada’s sound is characterized by the weighty tones of a Les Paul, while in the studio, he utilizes various models, including Zemaitis and custom shop guitars, to create a diverse range of tones. His approach to sound design emphasizes maximizing the character of the guitar itself, whether it’s the thick and focused tone of a Les Paul, the bright cutting of a Stratocaster, or the warm resonance of an acoustic guitar. Each choice is made to suit the specific needs of the song.

Yamada’s sound is simple yet refined, with thoughtful details that play a crucial role in supporting the overall sound of Novelbright. By tracing his gear history, we can delve deeper into the essence of the band’s sound. In the following sections, we will thoroughly organize the confirmed amplifiers, guitars, and effects he uses, detailing their characteristics and usage backgrounds.

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List of Amplifiers and Features

Kaito Yamada’s choice of amplifiers clearly distinguishes between live and recording settings. For live performances, he primarily uses Marshall amps, which are iconic for their powerful and thick tones, driving the entire band forward. In contrast, during recording sessions, he opts for studio-friendly amplifiers such as Bogner, Friedman, and Suhr, focusing on meticulous sound crafting.

One of the standout amplifiers is the “Marshall JCM900.” This model, emblematic of ’90s rock, offers high gain without excessive low-end muddiness, providing a tight and manageable distortion. It serves as a backbone for Novelbright’s energetic tracks, supporting powerful rhythm guitar.

Additionally, the “Marshall Bluesbreaker 1962” is also utilized, known for its classic and bluesy character. It excels in clean to crunch tones, effectively drawing out delicate nuances during ballads and arpeggio sections.

In the studio, the “Bogner Shiva” and “Friedman Amp” play significant roles. The Bogner Shiva is renowned for its modern clean and rich distortion, making it an excellent match for spatial effects. Meanwhile, Friedman amps are tuned with an ’80s hard rock vibe but modernized, showcasing their presence in solos and lead tones.

The “Suhr Bella” is introduced as a dedicated clean amp, known for its transparent sound. This amp is complemented by distortion pedals like the Suhr Eclipse, allowing for a versatile range from crystal-clear cleans to heavy drives.

Thus, Yamada’s amplifier setup is practical and strategic, delivering powerful rock tones with Marshall for live shows while employing high-end amps for diverse tonal palettes in recordings. It is likely that new models will be introduced in the future, depending on the direction of his music.

Types of Guitars Used and Features

Kaito Yamada’s guitar collection is characterized by a central focus on traditional Les Paul models, while also incorporating a wide range of guitars for both live performances and recordings. He favors the presence of Les Pauls and Zemaitis guitars during live shows, while in the studio, he actively utilizes vintage and custom shop models to add unique character to his sound.

One of the prominent models is the “Gibson Les Paul Standard 50s Gold Top.” This classic model delivers a thick and warm sound, serving as a cornerstone for the band’s powerful rock sound. The “Gibson Les Paul Custom (Ebony Fingerboard Gloss)” is frequently seen in live and video performances, known for its luxurious feel and tight tone.

In recordings, Yamada employs the “Gibson Les Paul Custom Shop Jimmy Page Spec (3 Humbuckers + Bigsby)” and the “Gibson Les Paul Deluxe (1971 model),” both of which add a distinct character to the music. These models have been mentioned in interviews and are considered essential to his sound. The “Gibson Les Paul Standard (2019 model)” is a relatively new addition, likely chosen for its stability during live performances.

Recently, the “Zemaitis THE PORTRAIT Pearl Front” and “Zemaitis PFG24 Ring” have become mainstays on tour, adding a touch of elegance and unique midrange presence to the band’s overall sound.

For funk and cutting songs, Yamada utilizes “Fender Stratocaster” and “Nash Guitars ST-type” guitars. The bright and crisp sound of the Stratocaster contrasts with the thick tones of the Les Paul, providing variety in the setlist. Additionally, the “RS Guitarworks TeeByrd” is also used in recordings, contributing a classic tone.

On the acoustic side, he primarily uses “Maton EBG808” and “Epiphone Texan,” which add warmth to ballads during live performances and recordings. In the past, he has also rented “Guild acoustic guitars,” showcasing his flexible approach to sound selection based on the context.

Overall, Kaito Yamada’s guitar collection spans a wide range, centered around Les Pauls but also including Zemaitis, Stratocasters, and acoustics, providing optimized sounds for each song. It is likely that new models will be introduced in future works and tours.

Effects and Pedalboard Setup

Kaito Yamada’s pedalboard encompasses a wide range of effects, including classic distortion pedals, modulation effects, delay, reverb, and even compressors and wah pedals, enabling a rich palette of sounds. Notably, he utilizes multiple types of overdrive and boosters, allowing him to adjust the articulation, separation, and frequency push for each song.

At the core of his distortion setup is the “Suhr Eclipse.” This versatile pedal, featuring two channels and EQ, can cover everything from clean boosts to full-on distortion, making it a central piece for both live and studio use. The “Xotic EP Booster” and “RC Booster” are used for clean boost applications, enhancing clarity during solos and adding richness to the overall sound.

Additionally, the “Vemuram Shanks” is employed in conjunction with Friedman amps to create thick and rich solo sounds. Unique overdrives like “tanabe.tv Zen Drive” and “Anasounds SAVAGE” are also incorporated, allowing for detailed tonal adjustments based on the song or recording.

For modulation, the “Providence Anadime Chorus (ADC-4)” is frequently used, known for its warm, analog BBD-style modulation. The “Wampler Terraform” serves as a multi-modulation pedal, offering phaser and rotary speaker effects, which are effective for solos and atmospheric textures.

In terms of spatial effects, the “Eventide TimeFactor” stands out, utilizing a variety of delay algorithms to add depth to the music. The “Walrus Audio Fathom” is dedicated to reverb, achieving ethereal sounds primarily through Hall and Plate settings.

As for compression, Yamada uses the “AYA tokyo japan R-comp,” a limited edition model featuring a Fuji Mountain design that appeals to collectors while providing stability in his playing. The “Xotic Wah XW-1” and “Free The Tone DVL-1L” (belt-driven volume pedal) are also crucial for expressive playing.

Yamada’s pedalboard is structured to combine distortion effects in a layered manner, selecting the appropriate character for each song. The diverse tones he showcases during live performances and recordings are made possible by this well-rounded collection of effects.

Tone Settings, EQ, and Mixing Approaches

Kaito Yamada’s sound design is characterized by leveraging the unique qualities of his guitars and amplifiers while finely adjusting EQ and effects to create a distinct sound. The foundation of his tone lies in balancing the thickness of the Les Paul with the clarity of clean tones, allowing for dynamic shifts in sound based on the song’s progression.

For EQ settings, when using the Marshall JCM900 live, he typically keeps the BASS around 4-5, raises the MIDDLE to 6-7 to bring the guitar’s core forward, and sets the TREBLE around 5 to maintain picking nuances without clashing with the overall high frequencies of the band. When using the Bluesbreaker, he likely avoids overemphasizing the lows, focusing instead on the midrange for crunch tones.

With studio amps like the Suhr Bella and Bogner Shiva, he maximizes the clarity of the clean tones by slightly reducing the mids and compensating with EQ from effects. The Suhr Eclipse, in particular, allows for precise midrange control, enabling him to push the MID during solos while keeping it subdued during rhythm sections.

The use of distortion pedals is highly meticulous. For instance, the “Zen Drive” and “Anasounds SAVAGE” are effective for achieving separation in backing tracks, while the “Vemuram Shanks” combines with Friedman amps to create thick, soaring lead tones. The EP Booster and RC Booster are not always on but are strategically used to enhance presence during choruses or solos.

Mixing techniques reveal a thoughtful approach to stereo placement. Rhythm guitars are spread across the left and right channels with the Les Paul providing a solid backing, while clean Stratocaster cuts and arpeggios are placed centrally. This balance creates thickness and clarity, giving the overall song a three-dimensional feel. Doubling the acoustic guitar further softens the overall sound.

Delay and reverb are carefully crafted to expand the space without muddying the mix. The TimeFactor is set to sync delay times with the tempo and has shallow feedback settings. Reverb (Fathom) is selected based on the song’s mood, particularly deep settings for ballads to create a dreamy atmosphere.

From a PA and engineering perspective, Yamada’s guitar occupies a central frequency range within the band, often requiring cuts in the 200-400Hz range to avoid muddiness while boosting around 2-3kHz for clarity. The low end is kept in check to avoid clashing with the bass and drums, and light compression is applied to ensure consistent articulation.

Overall, Kaito Yamada’s sound design is supported by a juxtaposition of “thick, classic rock sounds” and “delicate clean contrasts.” By respecting the characteristics of the guitar and amp, he makes necessary adjustments through EQ, effects, and mixing to achieve the dramatic sound unique to Novelbright.

Affordable Alternatives to Recreate the Tone

While fully replicating Kaito Yamada’s sound may require high-end gear like Gibson Les Pauls, Zemaitis guitars, premium amplifiers, and numerous effects, there are many cost-effective options available for beginners and intermediate players. Here, we introduce alternatives priced around $100 to $500 that can help you get closer to Yamada’s tone.

For guitars, the “Epiphone Les Paul Standard 50s” is a top contender for experiencing Les Paul sounds affordably. As a direct subsidiary of Gibson, Epiphone offers a model that delivers authentic Les Paul tones while keeping costs down. Its midrange thickness and sustain ensure it stands out in a band setting, making it a perfect match for Novelbright’s classic rock sound.

For amplifiers, the “Marshall MG Series” and “Boss Katana Series” are ideal for beginners. The Marshall MG easily produces rock-oriented distortion and pairs well with Les Pauls. The Boss Katana is versatile with built-in effects, covering everything from clean to high-gain tones, allowing you to recreate Yamada’s clean and drive sounds with just one amp.

For effects, alternatives to the Suhr Eclipse include the “Boss SD-1 Super OverDrive” and “Boss OD-3 OverDrive.” The SD-1, in particular, is known for its midrange push, making it easy to create thick lead tones when paired with a Les Paul. Additionally, the “TC Electronic Spark Booster” can serve as a substitute for the Xotic EP Booster, enhancing clarity during solos.

For spatial effects, the “Boss DD-8 Digital Delay” is affordable and multifunctional. It can easily replicate the diverse expressions achieved with the TimeFactor, including tempo-sync delays and modulation effects. For reverb, the “TC Electronic Hall of Fame 2” is a staple, offering a variety of modes like Hall and Plate, providing a similar ethereal sound to the Walrus Fathom.

As for compression, the “MXR Dyna Comp” is a practical and affordable option. Its simplicity helps even out attack, enhancing both clean cuts and arpeggios. For those wanting to try a wah pedal, the “Dunlop Cry Baby Standard” is a great choice. While it may not have the advanced features of the Xotic Wah, it provides a classic wah sound that is perfect for beginners.

By combining an Epiphone Les Paul with Boss or TC Electronic pedals, you can capture the essence of Kaito Yamada’s sound. Especially for beginners, using multi-effects units like the “Zoom G5n” or “Line6 HX Stomp” can provide a wide range of effects, from distortion to spatial effects, making it possible to aim for a similar sound while keeping costs down.

Summary and Conclusion

Kaito Yamada’s essence of sound design lies in balancing “classic rock sounds” with “delicate clean and spatial effects.” During live performances, he delivers thick and powerful tones through Les Pauls and Zemaitis guitars, amplified by Marshall amps to captivate the audience. In the studio, he meticulously crafts sounds using studio-friendly amps like Bogner, Friedman, and Suhr, along with vintage guitars, optimizing each track’s sonic character.

The reason his sound design stands out is due to its breadth and the skillful differentiation between tones. Heavy riffs from the Les Paul, bright cuts from the Stratocaster, and warm resonances from acoustics are all selected based on the song’s progression and live performance dynamics, creating a three-dimensional world within Novelbright’s music.

His pedalboard is also a significant element supporting his sound. Centered around the Suhr Eclipse, he cleverly combines multiple overdrives and boosters to express the character of each song. Moreover, he utilizes established brands like Providence and Eventide for modulation and delay, enhancing the spatial depth and dimension of his sound. This approach is not about relying on flashy effects but rather about applying the right effects at the right moments.

In mixing, he spreads the guitars across the stereo field while placing clean tones and arpeggios centrally, adding thickness and transparency to the overall band sound. His use of EQ processing and compression ensures that the sound is well-defined while maintaining balance with the bass and drums.

While it may be challenging for beginners to replicate the exact environment, simply choosing an Epiphone Les Paul, a Boss Katana amp, and pedals like the SD-1 or DD-8 can bring you closer to Kaito Yamada’s sound. The key is to focus on achieving a balance of thickness and clarity, making it essential to first emulate the direction of sound design rather than solely relying on expensive gear.

In conclusion, Kaito Yamada’s sound is characterized by respecting the inherent qualities of the guitar while selecting the most suitable effects for each moment, prioritizing the overall balance of the song. To recreate the powerful guitar sound that supports Novelbright’s music, one should focus on classic gear combined with thoughtful EQ adjustments.