[JUN SASAKI] How to Recreate the nano.RIPE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

JUN SASAKI, the guitarist of nano.RIPE, is renowned for his diverse sound-making that supports the band’s unique world. His tonal creations have left a strong impression on many listeners through anime theme songs and live performances. The ability to seamlessly transition between the warmth of acoustic guitars and the edge of rock guitars is an essential element of nano.RIPE’s music.

His playing style is characterized by a flexibility that accommodates a wide range, from delicate arpeggios to powerful chord cuts. Notable tracks such as “細胞キオク” (Cell Memory) and “リアルワールド” (Real World) showcase beautiful clean to crunchy tones, with emotionally charged chord work that resonates with listeners. While supporting the overall sound of the band, his guitar approach harmonizes with the vocals, making it one of his significant strengths.

Moreover, his sound-making has different aspects in live and recording settings, ranging from the dynamic resonance of direct amp sounds to the three-dimensional tones created using effects. The skillful variation of colors in each song through the choice of guitar types and amplifiers serves as a reference for many guitarists.

In the following sections, we will thoroughly explain the details of the amplifiers, guitars, and effects that JUN SASAKI actually uses, along with settings and methods to recreate his sound.

This article aims to provide practical tips for those interested in his sound-making or guitarists who wish to recreate the nano.RIPE sound.

▶ Search official YouTube videos of nano.RIPE

List of Amplifiers and Features

When discussing JUN SASAKI’s sound-making, the choice of amplifiers is indispensable. The songs of nano.RIPE have been expressed in a wide range of environments, from the production of anime theme songs to performances in live houses and halls. He loves using amplifiers that can flexibly handle everything from clean tones to distortion while leveraging the warmth and response of tube amplifiers.

One of the representative amplifiers is MATCHLESS. The combination of a top combo and a bottom cabinet features a brilliant clean tone with high separation when chords are played. This amplifier shines in an ensemble, making it ideal for supporting guitar sounds in bands like nano.RIPE that feature female vocals.

Another amplifier used is Honda Sound Works. This combo + cabinet setup boasts a wide range and excellent sound clarity typical of handmade Japanese products. It provides high stability in live settings and pairs well with distortion pedals, contributing to a sound makeup centered around natural drive.

Additionally, the Fender Super-Sonic has been confirmed in live reports. Its ability to achieve both the sparkling clean tones and the sticky distortion of the drive channel aligns well with SASAKI’s playing style of “expressing different textures for each song.”

Furthermore, Two-Rock is mentioned in official Instagram hashtags, suggesting its use when seeking modern and three-dimensional tones. The rich cleans and thick low-end characteristic of Two-Rock naturally blend with acoustic guitars.

All these amplifiers are high-end equipment, but they are essential for embodying SASAKI’s desired sound that balances delicacy and strength. In live settings, it is assumed that he primarily uses MATCHLESS and Honda Sound Works, while also incorporating Super-Sonic and Two-Rock depending on the song and venue size.

Types of Guitars Used and Features

JUN SASAKI’s choice of guitars reflects his sound-making most vividly. He uses multiple guitars for live performances and recordings, achieving tones that correspond to the color of each song. The balanced combination of electric and acoustic guitars is a crucial element supporting the wide sound of nano.RIPE.

The main guitar known is the Gibson Les Paul Special. He has mentioned that he has “five prepared for live use,” indicating its high reliability. The thick yet clear sound characteristic of P-90 pickups allows it to stand out in the band ensemble while maintaining a delicate balance that does not overshadow the vocals. It is often used with distortion for rock-oriented songs and with a clean sound for ballads.

Additionally, Fender Stratocaster and Telecaster have been confirmed for live use. The Stratocaster is utilized for its bright clean and crunch tones, while the Telecaster is perfect for cutting and crisp riffs. His Instagram also shows hashtags related to the Telecaster, indicating its active use.

On the acoustic side, he has reported purchasing a Gibson J-45, commenting that it is “the second one after a 1968 model,” suggesting a special attachment to this model. Furthermore, mentions of Martin D-28 and Guild D-50 indicate their contribution to the presence in folk-style songs and recordings.

In the semi-hollow and full-hollow categories, the use of Gibson ES-335 and ES-345, as well as Les Paul Standard, has been confirmed in live reports. These models are assumed to be used for creating jazzy, warm tones and thick lead sounds.

Thus, JUN SASAKI not only differentiates between electric and acoustic guitars but also understands the characteristics of each guitar and skillfully utilizes them according to the song. As a result, he creates a soundscape that establishes the broad worldview of nano.RIPE. While the specific frequency of use and differentiation by setlist is not entirely clear, it is assumed that the models introduced here are part of his main lineup.

Effects and Pedalboard Setup

JUN SASAKI’s pedalboard is designed to cover a wide range, from delicate cleans to powerful drives and spacious effects. To achieve stable tones in live and studio settings, a meticulous setup combining standard equipment with unique effects has been confirmed.

The core of the board is the FREE THE TONE ARC-3. This high-performance switching system efficiently routes multiple effects while minimizing sound quality degradation. It has become an indispensable tool for smoothly changing settings during live performances.

For drive effects, the Keeley KATANA booster and TBCFX MIGHTY DRIVE / MIGHTY DRIVE 2 are key players. The KATANA serves as a clean boost, enhancing the presence of the Les Paul Special and Telecaster, while the MIGHTY DRIVE provides a thick midrange overdrive suitable for rock leads and riffs.

In terms of spatial effects, the DigiTech WHAMMY is notable for its bold pitch shifting, creating impressive effects before choruses or guitar solos. Multiple delays are used, including the Empress Superdelay, DLS Digital Delay, and BOSS DD-6. Each has different delay times and characteristics, allowing for selective use depending on the song.

The Shin’s Music PERFECT VOLUME is included as a volume pedal, enabling smooth volume control. It plays a crucial role in transitioning from clean to distorted sounds or adding an acoustic quality. Additionally, modulation effects like Demeter Tremulator and Strymon Mobius add depth and texture.

Supporting effects include the Keeley Compressor for evenness in sound and the Korg Tuner / Sonic Research Tuner for precise tuning management. These are essential items for delivering stable sound during live performances. The Kemper Profiler has also been introduced, with SASAKI posting that he “profiled his own amps,” indicating a digital recreation of MATCHLESS and Honda Sound Works while ensuring portability.

This pedalboard setup is not merely a collection of effects; it reflects a thorough consideration of “sound-making to express the song’s worldview.” SASAKI’s sound is assumed to balance strength and delicacy through the combination of these devices.

Tone Settings, EQ, and Mixing Approaches

JUN SASAKI’s sound-making is not completed merely by connecting equipment. The charm of his sound relies heavily on EQ settings, the combination of effects, and clever adjustments during the mixing stage. The songs of nano.RIPE often require a clear and powerful sound, similar to anime theme songs, leading to the formation of his unique settings.

Starting with EQ, the basic balance for clean tones emphasizes midrange. The P-90 pickups in the Les Paul Special have a thick midrange characteristic, so it is common to slightly reduce treble on the amp side while boosting mids to ensure presence without interfering with the vocal range. The bass is usually adjusted to avoid excessive boosting, maintaining overall balance.

For distorted sounds, it is assumed that a combination of MIGHTY DRIVE and Keeley KATANA is often used, with the gain on the drive channel set to a moderate level. Instead of overly distorting, the focus is on achieving thickness across the band, realizing a natural overdrive that does not sharpen the edges too much. It is speculated that the EQ is set to keep lows slightly suppressed while extending highs to ensure separation when chords are played.

A distinctive feature is the use of multiple delays for different songs. For example, in quieter songs centered around arpeggios, a longer delay time is set with the Empress Superdelay to create a sense of spaciousness. In up-tempo songs, short delays from BOSS DD-6 or DLS Digital Delay are used to add thickness without disrupting the rhythm. This allows the same guitar part to have a significantly different impression depending on the song.

For modulation, the Strymon Mobius is used to add phaser or chorus-like fluctuations, changing the atmosphere in different sections. For instance, light modulation is added just before entering the chorus to enhance the sense of excitement in the development. The Demeter Tremulator is effectively used in ballads or songs that require an acoustic feel.

In terms of mixing, JUN SASAKI’s guitar is often treated with a tendency towards center positioning rather than stereo spread. This aligns with the vocal-centered style of nano.RIPE’s music. The guitar does not spread too widely, tightly blending with the bass and drums to support the vocals. In contrast, acoustic guitars are assumed to be panned wider to create depth in the space.

Furthermore, the introduction of the Kemper Profiler allows for the flexible reproduction of the character of each amp during live performances. By profiling the qualities of MATCHLESS and Fender Super-Sonic, he can finely switch EQ and gain settings to achieve a sound optimized for each song.

Overall, JUN SASAKI’s sound-making can be summarized in three points: “leveraging the character of the guitar,” “using effects that complement the song’s worldview without being overly flashy,” and “supporting the vocals in the mix.” By considering these aspects, readers can recreate his sound to some extent in their home environments. While not all information is confirmed, it is assumed that such settings and considerations are reflected in his actual sound-making.

Affordable Alternatives to Recreate the Tone

While JUN SASAKI’s sound is supported by high-end amplifiers and effects, it is entirely possible to recreate the atmosphere on a budget. Here, we introduce commercially available equipment that can be obtained for around $100 to $500, focusing on beginner and intermediate-friendly alternatives with high reproducibility.

As an amplifier alternative, the BOSS Katana series is highly recommended. It excels at clean to crunch tones similar to MATCHLESS and Fender Super-Sonic and includes multi-effects, making it useful for live practice and home recording. Particularly, the “Katana-50 MkII” offers sufficient sound pressure and a wide range of settings at an affordable price.

For drive pedals, the BOSS BD-2 Blues Driver is a strong candidate. While simpler than TBCFX MIGHTY DRIVE, it provides a natural overdrive with midrange presence. By introducing TC Electronic Spark Booster as a substitute for the KATANA booster, it is also possible to recreate the clean push.

For spatial effects, the BOSS DD-8 is a versatile choice. It is an updated model of the DD-6, offering high freedom in delay time and modes, delivering quality sufficient for use without being as expensive as the Empress Superdelay. The TC Electronic Flashback 2 is also suitable for practicing the use of various delay characters for different songs.

For modulation, compact multi-effects like Zoom MS-70CDR or Line 6 HX One are convenient. They can somewhat replicate the fluctuations of the Mobius and Tremulator that SASAKI uses, accommodating multiple modulation effects in one unit.

If you’re looking to complement acoustic guitar sounds, entry-level models like Yamaha FG820 or Taylor GS Mini are also recommended. Compared to the J-45 or D-28, these options are significantly more affordable while still achieving a warm tone, suitable for strumming.

By combining such equipment, it is entirely feasible to enjoy a “JUN SASAKI-like resonance” in your home or studio, even if it doesn’t reach professional specifications. Beginners should start with amp simulators or multi-effects as a foundation, gradually introducing individual pedals to efficiently learn sound-making.

Summary and Conclusion

As we have seen, JUN SASAKI’s sound-making is supported by “a variety of guitars and solid amplifier choices,” “effective use of effects for different scenarios,” and “meticulous adjustments in EQ and mixing.” It cannot be replicated simply by gathering expensive equipment; rather, it is characterized by a constant awareness of “how to make it sound” in accordance with the song’s worldview.

His main guitar, the Gibson Les Paul Special, leverages the thickness and clarity of the P-90 pickups to create a presence that supports the vocals. Furthermore, by skillfully differentiating between Stratocasters, Telecasters, semi-hollows, and acoustics, he has produced a wide range of tones for nano.RIPE’s songs. This reflects an approach of “not relying on a single guitar but deriving the optimal solution for each song.”

His amplifiers, centered around MATCHLESS and Honda Sound Works, along with models like Fender Super-Sonic and Two-Rock, utilize their respective characteristics. Each amplifier shares a commonality of “the beauty of clean tones and the naturalness of distortion,” broadening the expressive range without compromising the music.

The effects are organized around the ARC-3, adjusting dynamics with boosters and overdrives while adding depth to the songs with delays and modulation. Rather than using flashy effects excessively, he places them with a sense of balance that accurately reflects the necessary effects for each situation.

Additionally, the ingenuity in EQ and mixing should not be overlooked. His guitar often emphasizes midrange while suppressing lows, achieving a sound that stands out within the overall band context. The use of the Kemper Profiler allows for flexible reproduction of amp characters, delivering consistent sound in both live and recording settings.

In summary, the essence of JUN SASAKI’s sound-making is “a guitar that embraces diversity while supporting the song.” While there are certainly techniques and equipment considerations, the central focus remains on “how to support the beauty of the song.” By adopting this perspective, you too can optimize your sound to fit your band and songs without being overwhelmed by equipment.

While completely copying JUN SASAKI’s sound is not easy, by referencing the equipment and approaches introduced here, it is possible to recreate similar nuances. Most importantly, the key lies in considering “how the guitar functions as part of the song” while progressing in sound-making. This is the core of nano.RIPE’s guitar sound and JUN SASAKI’s sound-making philosophy.