[Takeyuki Fujii] How to Recreate the Onso Line Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takeyuki Fujii, the guitarist of Onso Line, is known for his transparent melodies, resonant arpeggios, and emotional backing that support the band’s sound. His guitar playing combines the “power of rock” with the “delicacy of pop,” creating a natural resonance within the songs.

In iconic tracks like “Aitai” and “Swallow,” the clarity of his arpeggios stands out, showcasing a warm sound achieved through the use of an acoustic guitar. In faster-paced songs like “Speed,” the distorted tones primarily derived from a Gibson SG elevate the band’s energy. Fujii’s ability to flexibly switch between guitar choices and sound creation according to the song’s mood is a hallmark of his style.

His sound design is not flashy; instead, it focuses on crafting tones that enhance the vocals. This results in a sound that naturally resonates with listeners while delivering “memorable chord progressions” and “emotional phrases.” Live footage and photos confirm his use of semi-hollow Italia Guitars Mondial Classic and the classic Gibson SG, showcasing his balanced approach to sound.

This sense of balance is the essence of Fujii’s sound, contributing to the “bittersweetness” and “speed” present in Onso Line’s music.

▶ Search official YouTube videos of Onso Line

List of Amplifiers and Features

Regarding Fujii’s amplifiers, there is no official confirmation of specific models. However, based on Onso Line’s music, live footage, and common trends among Japanese rock bands, several representative amplifiers can be assumed. His sound possesses a combination of “clean clarity” and “edge during drive,” making brands like Marshall, Fender, and VOX likely candidates.

Particularly, the Marshall JCM series is a staple for supporting powerful distortion in live settings, aligning well with Fujii’s strong backing and energetic chord strumming. The midrange presence enhances the character of Gibson guitars, suggesting that such Marshall sounds are likely chosen for rock-oriented tracks.

Conversely, for ballads and arpeggio-based songs, amplifiers like the Fender Twin Reverb or Hot Rod Deluxe, known for their excellent clean tones, are presumed to be utilized. Many of Onso Line’s tracks feature a clean sound that envelops the vocals, making the bright tones of Fender amplifiers suitable for this role.

Additionally, the jangly chord characteristics and warm crunch sounds evoke the British tones of the VOX AC30, which is frequently used by domestic bands and likely contributes to Fujii’s sound.

Fujii is also known to use a multitrack recorder like the TASCAM DP-008 during the songwriting process, indicating a preference for recording acoustic guitars and vocals rather than direct amp connections. This suggests a dual approach: establishing a foundation with classic amplifiers for live performances while using simple recording equipment to realize sound ideas during production.

In conclusion, while specific amplifier models have not been confirmed, it can be assumed that Fujii’s sound can be recreated using a combination of classic amplifiers from Marshall, Fender, and VOX.

Types of Guitars Used and Features

Takeyuki Fujii’s guitar selection for Onso Line features a diverse lineup that accommodates a wide range of styles. Live photos and interviews reveal his use of the semi-hollow Italia Guitars Mondial Classic, the iconic Gibson SG, the straightforward Gibson Melody Maker, and even the Fender Stratocaster in the past. Each of these models plays a significant role in representing the band’s musicality and contributes to Fujii’s wide-ranging sound.

Notably, the Italia Guitars Mondial Classic features a semi-hollow structure, offering a unique look and an airy sound. It is well-suited for expressing arpeggios and clean tones, perfectly matching the bittersweet and transparent songs of Onso Line. By avoiding excessive effects and allowing the guitar to resonate naturally, its unique overtones are emphasized.

The Gibson SG serves as a primary guitar for rock-oriented tracks, with its midrange presence making it ideal for energetic numbers. Its lightweight and manageable design enhance performance during live shows, strongly supporting Fujii’s strumming style.

Additionally, the lightweight and simple single-pickup Gibson Melody Maker has been confirmed for use. This model, stripped of unnecessary embellishments, delivers a pure sound, making it suitable for straightforward rock expressions. It likely served as a backing guitar during live performances or for casual recordings in the studio.

Fujii has also been seen using a Fender Stratocaster in the past. The bright and cutting sound characteristic of the Stratocaster is believed to have been valuable for pop-oriented tracks that focus on clean tones. Photos of him playing a steel-string acoustic guitar at events indicate its use in the band’s acoustic arrangements and solo performances.

Overall, Fujii’s guitar choices reflect a conscious effort to maximize the emotional expression of the songs. By switching between sparkling arpeggios, powerful chord work, and straightforward rock sounds, he supports Onso Line’s unique emotional landscape.

Effects and Pedalboard Setup

Fujii’s effects board lacks official primary information, and specific model names or the overall board layout have not been disclosed. However, based on the soundscapes of Onso Line’s music and live performances, it is assumed that his setup is very simple and practical. His sound design philosophy centers on “enhancing the natural sound of the guitar while adding just the right amount of color where needed,” suggesting that effects play a supportive role.

For distortion, it is reasonable to assume the use of TS-style overdrives or classic distortion pedals like the BOSS DS-1/OD-3. The strength of his backing and the midrange push that supports melodies are likely crafted with drive pedals that do not overly distort but rather complement the amp’s natural overdrive. Particularly when paired with the Gibson SG, this setup enhances the midrange presence, pushing the overall band sound forward.

In terms of spatial effects, the use of delay and reverb is anticipated. In ballads like “Aitai” and “Swallow,” the elongated arpeggios benefit from delay, adding airiness and controlling the reverb. Adding chorus can also provide a gentle modulation to clean tones, creating a soft depth within the ensemble.

Other utilities likely include a necessary tuner and a booster for raising volume during solos. Fujii’s playing style leans towards a straightforward approach that highlights chord progressions and melodies rather than flashy effects, suggesting that his effects board is kept minimal.

Moreover, the bassist’s effects board for the same band has been made public, indicating a trend of “keeping equipment simple across Onso Line.” Therefore, it is assumed that Fujii’s guitar board is compact, consisting of essential distortion, spatial effects, and utility pedals.

Considering all this, it can be assumed that Fujii’s effects board is built around a simple yet practical structure, focusing on “overdrive/distortion,” “delay/reverb,” and “chorus” as the core components.

Tone Settings, EQ, and Mixing Approaches

Fujii’s sound design is characterized by balancing “transparency” and “thickness” through the guitar’s inherent character and clever amp settings and EQ adjustments. Onso Line’s music demands a wide range of sounds, from simple tones reminiscent of solo performances to the powerful ensemble typical of rock bands. This flexibility in EQ and mixing processing is evident in his approach.

When focusing on clean tones, for instance in tracks like “Aitai” and “Swallow,” it is likely that the guitar amp’s Treble is slightly emphasized while keeping Bass subdued to ensure clarity. The midrange (Mid) is kept flat or slightly boosted to achieve an acoustic-like resonance and presence. The guitar’s tone control is also set to retain open overtones without excessive damping.

For energetic tracks requiring a sense of speed and overall band pressure, using a Marshall-style amp with Gain set around 4-6 creates a natural crunch sound without excessive distortion, capturing Fujii’s unique nuances. Here, the key is not to heavily distort the distortion pedal but to lightly layer overdrive onto the amp’s natural distortion, adding “push” and “warmth.” This ensures that even with mixed chord strumming, clarity is maintained, forming an ideal backing tone that supports the vocals.

Utilizing spatial effects is also crucial. In ballads, setting the delay to a short time adds reverb without interfering with the rhythm, allowing phrases to linger. Reverb is likely kept minimal, either using the amp’s built-in effects or applying external pedals lightly to avoid excess. Adding a touch of chorus to arpeggio sections can also effectively enhance warmth and spaciousness.

During the mixing stage, the positioning of the guitar becomes a significant point. In Onso Line’s tracks, Fujii’s guitar is often spread slightly left and right from the center, avoiding interference with the vocals while creating an enveloping sound image. Creative mic placement during recording is also evident; for acoustic recordings, stereo miking is employed to ensure dimensionality, while dynamic mics like the SM57 are used to capture the texture of distortion in electric guitars.

Fujii also records demos using simple multitrack recorders like the TASCAM DP-008, focusing on the essence of the songs while minimizing effects during production. This straightforward recording flow ultimately contributes to the “natural and ear-friendly sound” characteristic of Onso Line.

In summary, Fujii’s sound design can be organized as follows:

• For clean tones, emphasize Treble, keep Bass subdued, and Mid flat or slightly boosted.
• For distortion, rely on the amp and lightly layer overdrive for a natural crunch.
• In ballads, use short delay and light reverb, adding chorus as needed.
• In mixing, prioritize positioning to support vocals and focus on dimensional mic placement.
• During production, utilize simple MTR recording to highlight the essence of the songs.

These efforts combine to create a unique sound that embodies the “bittersweetness” and “strength” characteristic of Onso Line.

Affordable Alternatives to Recreate the Tone

Takeyuki Fujii’s sound is built on professional-grade guitars and amplifiers, but beginners and intermediate players can achieve a similar tone by combining reasonably priced gear available on the market. Here, we introduce entry-level models and classic effects that can be obtained for around $100 to $500 to recreate the Onso Line sound.

For guitars, opting for semi-hollow or Les Paul-style models is advisable. While Italia Guitars can be somewhat pricey, Epiphone’s semi-hollow models (like the Dot or Casino) can be found for around $500 and can produce a warm tone during clean arpeggios. If you want a sound close to Fujii’s main guitar, the Epiphone SG Standard can be selected to replicate the midrange push when distorted.

Regarding amplifiers, while full-size models from Marshall or Fender can be expensive, small beginner-friendly combo amps can effectively capture the essence. Specifically, the Marshall MG10 or Fender Champion 20, priced around $100 to $200, can create the clean tones and light distortion that form the foundation of Fujii’s sound. The VOX Pathfinder 10 is also recommended for achieving a jangly British rock tone.

For effects, focusing on recreating the basic structure that Fujii is assumed to use is key. Distortion pedals like the BOSS DS-1 or OD-3 are sufficient and can be acquired for around $100. For spatial effects, the BOSS DD-3T (delay) and CH-1 (chorus) are representative options that can recreate the spaciousness needed for arpeggios and ballads.

Additionally, beginner-friendly multi-effects units are a powerful option. The Zoom G1 Four or BOSS GT-1 can be purchased for $200 to $300 and cover a range of effects, including overdrive, delay, and chorus, essential for achieving Fujii’s sound. These devices allow for easy experimentation with presets, making them suitable for exploring a wide variety of sounds.

In summary, to get closer to Takeyuki Fujii’s sound, the key is to balance “clean, transparent arpeggios” with “midrange-rich rock crunch.” You don’t need to invest in expensive equipment; by combining an Epiphone guitar, an affordable combo amp, and classic BOSS effects, you can fully experience the essence of his sound.

Summary and Conclusion

Reflecting on Takeyuki Fujii’s sound design, its essence lies in “supporting the song’s world without breaking it, enhancing the vocals and emotions.” Rather than relying on flashy techniques or excessive effects, he meticulously selects the necessary tones for each moment, achieving a guitar sound that resonates with listeners. This approach is closely linked to Onso Line’s musicality, which occupies a space between pop and rock, and Fujii’s guitar is always constructed with the perspective of “how to enhance the vocals.”

His guitar choices center around unique and classic models like the Italia Guitars Mondial Classic and Gibson SG, which are used interchangeably according to the song. Whether emphasizing the rich resonance of the semi-hollow body to highlight bittersweetness or expressing speed with the powerful midrange of the SG, his selections are always tied to the song’s message. Furthermore, he has previously used a Fender Stratocaster, adding a more pop-oriented nuance when needed.

Regarding amplifiers and effects, it is presumed that he opts for a simple and practical structure. Classic amplifiers from Marshall, Fender, and VOX are assumed, with distortion applied lightly through overdrive or distortion pedals. Spatial effects are kept to a minimum, emphasizing a natural sound that does not overly expand. Fujii’s sound design prioritizes “harmony within the overall band sound.”

Additionally, his use of simple multitrack recorders like the TASCAM DP-008 for demo recordings is noteworthy. By not relying on elaborate equipment, he focuses on the song’s structure and melody, a style that is reflected in the final mix, shaping Onso Line’s characteristic “natural sound that lingers in the ear.”

In summary, to recreate Takeyuki Fujii’s sound, it is not about the expensive gear itself but rather the mindset of “how to utilize the sound.” By focusing on transparent cleans, powerful crunch, and enveloping chord progressions, you can achieve a sound close to Fujii’s with the equipment at hand.

Readers are encouraged to explore their own environments, balancing clean and crunch tones while aiming to create a “guitar that supports the song,” which is the shortest path to touching the core of Onso Line’s sound and understanding the essence of Takeyuki Fujii’s sound design.