[Takahiko Kogure (Shake)] How to Recreate the Rebecca Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takahiko Kogure, known as “Shake,” is the iconic guitarist of the Japanese rock band Rebecca. His sound is characterized by a sharpness combined with a unique sense of ethereality, captivating many fans. Shake’s playing style is both simple and striking, intertwining seamlessly with NOKKO’s vocals to create a distinctive band sound.

During his time with RED WARRIORS, he prominently featured his signature “Shake Guitar” made by Bill Lawrence, utilizing powerful riffs and soaring leads. Fans often describe his playing as “linear and sharp cutting” and “tearful leads.”

In the song “Friends,” the delicate resonance of the clean tone stands out, with the use of amps and effects playing a crucial role in shaping the sound. Conversely, “RASPBERRY DREAM” showcases a hard-edged distortion that defines the song’s character with just one guitar.

Shake’s approach to sound creation does not rely on flashy effects; instead, he maximizes the potential of his guitar and amp, achieving diverse expressions through EQ and volume control. This methodology offers valuable insights for modern guitarists, serving as a guideline for pursuing a simple yet convincing tone.

His gear setup has evolved alongside the changing music scene, particularly recognized as a representative of the electric guitar sound in the Japanese rock scene of the 1980s.

In the following sections, we will explore the amplifiers, guitars, and effects used by Takahiko Kogure (Shake) in Rebecca and RED WARRIORS, delving into the secrets of his sound creation.

▶ Search official YouTube videos of Rebecca

List of Amplifiers and Features

Takahiko Kogure’s choice of amplifiers has been fundamental in shaping his sound during his time with Rebecca and RED WARRIORS. Notably, the YAMAHA F100-212, a classic transistor amp, stands out. While many rock guitarists prefer tube amps, Shake skillfully utilized this transistor amp to create a sharp and edgy tone.

The YAMAHA F100-212 features a built-in parametric EQ, which Shake himself described in his blog as “the key to sound creation.” Unlike the thick sound typical of hard rock, this amp excels in delivering a dry sound with a sense of speed, aligning perfectly with the robust riff work of Rebecca and RED WARRIORS. The combination with the BOSS DS-1 distortion pedal was a staple at the time, enhancing the distortion while maintaining the sharpness characteristic of transistor amps.

In more recent activities, a VOX combo amp with a blue grill has also been spotted in photos on his blog. This is likely an AC30 model, which provides a richer and warmer tone compared to the YAMAHA transistor amp. It is believed that this amp is chosen for studio work or smaller live performances.

Additionally, a feature in the magazine “Player” on RED WARRIORS included an exclusive gear interview that mentioned his amp setup. Some community discussions suggest he may have also used Marshall amps, although there is no definitive evidence from primary sources, indicating it was likely a choice based on specific performances.

Overall, Kogure’s approach to amp selection revolves around “maximizing the guitar’s characteristics and fine-tuning with EQ.” Whether using a transistor or tube amp, he prioritized fitting the gear to his playing style and desired sound.

To recreate his sound, it is effective to choose an amp like the YAMAHA F100-212, which allows for precise midrange adjustments, or a VOX AC30-type amp that offers natural crunch and harmonics.

Types of Guitars Used and Features

When discussing Takahiko Kogure’s sound, one cannot overlook his signature Bill Lawrence BC0R-55B, known as the “Shake Guitar.” This simple Strat-style guitar features a single pickup and a single volume control, with a Black Label S3 pickup mounted in a non-slanted position. This configuration contributes to the linear and sharp riffs and soulful leads that define his sound. It is an iconic instrument, especially during the RED WARRIORS era, often referred to by fans as “the guitar that defines Shake.”

Additionally, a custom guitar by Bill Lawrence (2 humbuckers, silver glitter finish) has also been confirmed on stage. This model comes in various shapes, including a D-type, Flying V, and Firebird, all equipped with two L-500 pickups and a common control layout of 1 Volume and 1 Tone. Despite its flashy appearance, it produces a hard and powerful sound, excelling in heavy riffs and sustained solos, particularly visible in live footage from the RED WARRIORS era.

In recent years, Kogure has also been seen using vintage models of the Fender Stratocaster. Official photos and blog posts confirm this, showcasing his ability to express classic songs in a simpler and more delicate manner, leveraging the Strat’s wide range and beautiful clean tones. Compared to the aggressive sound of the 1980s, his current style leans towards a more subdued, bluesy tone.

His choice of guitars emphasizes the linear output characteristics of the pickups, allowing for precise adjustments through the amp and EQ. While he utilizes various shapes and colors, the sound he aims for remains consistent, focusing on “supporting the vocals while transforming the song’s expression with just one guitar.”

The magazine “Player” featured an article on RED WARRIORS, where Kogure discussed his guitar collection, making it an important resource for fans and researchers. The “Shake Guitar” is particularly highlighted in interviews, clarifying its specifications and unique qualities.

Thus, it can be assumed that Kogure’s guitar collection is based on the philosophy of “using simple, linear-output instruments and crafting nuances through EQ and touch.”

Effects and Pedalboard Setup

Takahiko Kogure’s sound creation is characterized by a minimalist approach to effects, skillfully utilizing only the essential gear. During his time with Rebecca and RED WARRIORS, his pedalboard was straightforward, focusing on maximizing the amp’s characteristics and the guitar’s traits.

One confirmed effect is the VOX Wah. Photos and blog posts reveal the VOX logo, indicating that he used this classic wah sound in live performances. The filter effects used in song intros and certain solos likely stem from this wah pedal. While the specific model is unknown, VOX wahs are known for emphasizing midrange frequencies, adding character to Shake’s linear guitar tone.

Next, a yellow-cased overdrive/booster has been noted in studio photos, though the markings are unclear, making it difficult to identify. Possibilities include the BOSS SD-1 or OD-1, which are believed to have been used to push the amp. Particularly in combination with the YAMAHA F100-212, this pedal added warmth and drive to the hard tone, supporting the lead sounds during the RED WARRIORS era.

Community discussions (such as on Mixi) have also confirmed the use of the BOSS DS-1. Known for its sharp and dry distortion, this orange-cased pedal is one of the most popular distortions in the Japanese rock scene, making its use highly credible. While not definitively confirmed, its widespread use during that time lends it significant reliability.

Overall, Shake’s approach to effects emphasizes “not drastically altering the tone” but rather “correcting and reinforcing the natural sound of the guitar and amp.” His setup is simple and practical, adding expression with the wah and enhancing presence with overdrive/distortion.

Consequently, his board is not complex, and it is believed that he combined minimal gear according to the stage or song. Recent equipment photos do not confirm the presence of multi-effects units, suggesting that he has continued to focus on individual pedals.

In summary, Kogure’s effects setup consistently adheres to the philosophy of “preserving the linear sound of the guitar and amp while adding character when necessary.”

Tone Settings, EQ, and Mixing Approaches

The most significant aspect of Takahiko Kogure’s sound creation is his emphasis on the EQ and playing style of the amp over the guitar and effects. Particularly, the parametric EQ of the YAMAHA F100-212 is a crucial element that symbolizes his sound.

This amp features a function that allows for detailed control of the midrange, in addition to the standard three-band EQ. Kogure skillfully utilized this to create a frequency range that “does not interfere with the vocals while cutting through.” Specifically, he would slightly boost the midrange and lightly cut the low end, allowing him to stand out without being buried in the overall band sound. He pursued a delicate balance that harnessed the inherent hardness of the transistor sound without being overly harsh.

In the representative song “Friends,” it is likely that he adjusted the settings to keep Treble slightly lower, raise Mid significantly, and tighten Bass to enhance the clarity of the clean tone. By allowing the nuances of his picking to resonate, he emphasized the transparency and poignancy of the song. Conversely, in “RASPBERRY DREAM” and other RED WARRIORS tracks, the typical setting involved adding distortion with the DS-1 or OD pedal while sharply cutting through the midrange.

Additionally, during live performances, he was known to adjust the volume knob for each song to control the sound and distortion levels. This style of switching between clean and drive without drastically altering amp or pedal settings reflects Kogure’s artisan-like approach.

In terms of PA and mixing, Kogure’s guitar is often positioned “slightly off-center,” maintaining a balance that highlights the vocals while ensuring his presence is not lost. In EQ processing, he would lightly boost around 2-3kHz and tidy up below 200Hz, achieving a tight and clear guitar sound. This level of frequency control is essential, especially in a band like Rebecca, where synth sounds are thick.

His approach to effects is also straightforward, using reverb and delay sparingly. He preferred a dry sound close to direct amp connection, adding hall-like qualities only when necessary. This ensured that his guitar did not get buried in the overall sound pressure of the band, maintaining its role as a driving force in the rhythm.

To recreate Kogure’s sound with modern gear, utilizing amp simulators or multi-effects units with a focus on midrange-heavy settings is effective. For example, setting Bass to 4-5, Mid to 7-8, and Treble to 5-6, while using a booster as needed, can yield a similar nuance.

Ultimately, the essence of his sound creation lies in “not relying too heavily on gear, but deriving the optimal solution for each song through touch and EQ.” This reflects both an engineering mindset and a player’s sensitivity. The simple yet convincing tone centered around the guitar is what makes Takahiko Kogure’s sound truly unique.

Affordable Alternatives to Recreate the Tone

To fully replicate Takahiko Kogure’s sound, original gear like the “Shake Guitar” or the YAMAHA F100-212 is necessary, which can be difficult to obtain today. However, there are ways for beginners and amateurs to create similar nuances at a relatively low cost. Here, we introduce commercially available gear priced between $100 and $500 that can effectively recreate his sound.

For guitars, Fender Japan or Squier Stratocasters are viable options. While Shake’s guitar features a single pickup, using the rear pickup of a Strat can achieve a similar nuance. The sharpness and clarity of single-coil pickups resonate with his cutting and lead tones.

Regarding amps, since the original YAMAHA F100-212 is rare in the used market, modern alternatives like the VOX Pathfinder 10 or Roland JC-22 serve as suitable substitutes. These transistor amps provide a hard clean tone, making it easier to approach the linear tone Kogure favored through EQ adjustments.

For distortion effects, the BOSS DS-1 and SD-1 are standard choices. The DS-1, in particular, is based on testimonies from the RED WARRIORS era, capable of producing sharp distortion. The SD-1 enhances midrange frequencies, adding warmth to the linear tone of the YAMAHA amp, making it a practical alternative to the yellow-cased overdrive.

For wah pedals, selecting a VOX wah (such as the V847) will suffice. This model is from the same brand as the VOX Wah Kogure used, capable of reproducing the classic midrange emphasis. Adding accents to solos and intros can help recreate the live feel of the Rebecca era.

For beginners, the BOSS GT-1 multi-effects unit is highly recommended. This single unit covers amp modeling and effects, allowing for simulations of the YAMAHA F100-style transistor sound and VOX AC-type tones. It is also ideal for studio and home practice.

By combining these pieces of gear, one can relatively affordably recreate the elements of Takahiko Kogure’s sound, including “sharp cutting,” “tearful leads,” and the “transparency of clean tones.”

Summary and Conclusion

Reflecting on Takahiko Kogure’s sound creation, the essence lies in “drawing maximum expression from a simple gear setup.” He does not rely on flashy effects or complex equipment but instead builds his sound through the guitar, amp, and meticulous EQ and picking techniques.

His adept use of transistor amps, particularly the YAMAHA F100-212, stands out. While tube amps are generally preferred, he embraced the hard and direct resonance of transistors, refining his sound with a parametric EQ to establish his unique identity. This choice has significantly contributed to the distinctiveness of the Shake sound.

In terms of guitars, he utilized unique models like the Bill Lawrence “Shake Guitar,” custom models with silver glitter, and Fender Stratocasters, all while pursuing a common goal of “linear and clear tone.” This indicates that functionality to achieve his desired sound took precedence over visual flashiness or rarity.

His approach to effects was consistently practical. By combining simple gear like the VOX Wah and BOSS distortion pedals, he kept the focus on reinforcing the sound of the guitar and amp. This attitude reflects his philosophy of “eliminating unnecessary embellishments and honing the essence.”

In summary, Kogure’s sound creation is about “achieving maximum expression through a minimal setup.” He constantly considers how the guitar should resonate within the band, ensuring it does not clash with vocals or synths while maintaining a powerful presence. The choices and innovations he made throughout his career reflect this philosophy.

For modern guitarists seeking to replicate his sound, it is crucial to prioritize “EQ and picking nuances” over mere gear copying. With the right EQ adjustments and playing techniques, even affordable gear can approach the sharpness and transparency of Shake’s tone.

The sound of Kogure in Rebecca and RED WARRIORS symbolizes the Japanese rock scene of that era. The reason many guitarists still admire his sound today is that it possesses a “timeless strength that transcends trends.”

In essence, Takahiko Kogure’s sound creation embodies the “persuasiveness found in simplicity,” a culmination of a solid aesthetic and technical mastery.