[Koji Tamaki] How to Recreate the Anzenchitai Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Koji Tamaki is a renowned singer-songwriter in the Japanese music scene, known for his overwhelming presence as the frontman of the band Anzenchitai. While his vocal image is strong, his sound-making as a guitarist is also highly regarded. His performances, especially those centered around acoustic guitar, create a warm and transparent resonance, characterized by a sound that is both simple and profound.

In iconic songs like “Wain Red no Kokoro” and “Koi no Yokan,” the guitar’s resonance supports the vocals, amplifying the emotional depth of the tracks and leaving a strong impression on listeners. Rather than relying heavily on electric guitar in a rock approach, Tamaki’s essence lies in a delicate yet powerful sound that is rooted in acoustic elements. In recent solo performances and shows, he has focused on the sounds of Martin and Gibson acoustic guitars, sometimes incorporating classical guitars and flamenco guitars to express a diverse range of tones.

The reason his sound-making garners attention is not merely due to the use of high-end guitars, but rather the emphasis on balancing his playing style and vocal delivery. By maximizing the natural resonance of the acoustic guitar while amplifying it through pickups and PA systems, he maintains a natural and expansive tone even in live settings. Therefore, recreating Koji Tamaki’s guitar sound requires careful consideration of not only gear selection but also playing techniques and EQ adjustments.

Below, we will delve into the actual amplifiers, guitars, and effects used by Koji Tamaki to explore his unique sound-making approach.

▶ Search official YouTube videos of Anzenchitai

List of Amplifiers and Features

In Koji Tamaki’s guitar sound, specific amplifier models are not often discussed in magazines or interviews, unlike electric rock guitarists. Due to his focus on acoustic and classical guitars, information is limited. In live footage and music programs, it is rare to see specific amplifiers prominently placed on stage; instead, a style that amplifies natural acoustic sound through PA systems or DI is more common.

One of the presumed amplifiers is the AER Compact 60, a staple among acoustic guitarists worldwide. This amp is battery-operated and features a warm and transparent tone. It is highly likely that a compact, high-quality acoustic amp is used in Tamaki’s live performances. Additionally, FISHMAN amplifiers are also candidates, especially considering their compatibility with the FISHMAN piezo pickup installed in the Martin D-45AJ, which may have been used for natural amplification in certain settings.

When using classical guitars or flamenco guitars (such as those from Jose Ramirez or BUSCARINO), it is more common to send the signal directly to the PA via DI or EQ rather than using an amplifier. Reverb and compression may be added as needed to shape the sound. The goal is to maximize the beauty of the acoustic sound, with little to no distortion or character typically associated with electric guitars. Thus, it can be said that Tamaki’s amplifier selection focuses more on faithfully delivering sound rather than creating it.

Moreover, during television recordings or acoustic concerts, the use of condenser microphones to capture the guitar’s natural sound is often employed, adding a natural luster to his sound. Therefore, it is more accurate to express Koji Tamaki as “an acoustic sound supported by a sound system” rather than associating him with a specific amplifier. For fans aiming to recreate his sound, it is advisable to choose straightforward acoustic amps like AER or FISHMAN without seeking excessive individuality.

In summary, while there is no official information on the specific amplifiers used by Koji Tamaki, it is assumed that acoustic amps such as the “AER Compact 60” or “FISHMAN Loudbox” were employed based on stage configurations and sound characteristics.

Types of Guitars Used and Features

The core of Koji Tamaki’s sound with Anzenchitai undoubtedly lies in the acoustic guitar. While his musical activities revolve around his vocals, there is a meticulous selection process behind his choice of guitars. He predominantly uses the Martin D-45 series, Gibson flat tops, and even Spanish classical guitars, all of which contribute to his diverse tonal palette.

The most famous among them is the 1993 Martin D-45AJ, which has been used as his main instrument in live performances. Equipped with the FISHMAN Natural 1 piezo pickup, it resonates beautifully, preserving the nuances of sound even in large venues. He also owns models like the Martin D-45S (1992) and D-45SS (Stephen Stills signature), both of which produce delicate and brilliant tones that harmonize perfectly with his vocals.

Additionally, the Martin D-28 (assumed Elvis Presley signature) has been confirmed to be used on stage with a leather case, making it visually striking. He also favors models like the Gibson J-200 and J-160E. The J-200 is known for its rich bass and stunning appearance, while the J-160E, famous from The Beatles, features an electro-acoustic design that adds a unique warmth to Tamaki’s songs. Furthermore, modified versions of the Gibson Country Western and Hummingbird have also been noted, with specific modifications made for stage use.

In terms of classical guitars, he uses models from MARCELO BARBERO, PAULINO BERNABÉ, and Jose Ramirez. Particularly in recent performances, the Jose Ramirez has frequently appeared as a main instrument, producing a soft and deep tone that integrates seamlessly with his vocals. The American-made BUSCARINO flamenco guitar is also employed, delivering an elegant and natural sound through the PA system. These classical guitars are used in conjunction with acoustic guitars to provide a colorful palette that is essential to the Tamaki sound.

His pick choice is also distinctive, utilizing a custom triangular pick (hard type). The closest commercial equivalent is said to be the Jim Dunlop Ultex Triangle 1.00mm, which produces a sharp attack suitable for his acoustic playing style.

Overall, it is clear that Koji Tamaki’s guitar selection is more about choosing tones that enhance his vocals rather than simply using high-end equipment. The variety of guitars used in different live settings is crucial for constructing his sound, and each has been carefully selected over years of performance. In summary, Tamaki skillfully employs flagship models from Martin and Gibson, along with Spanish classical guitars, to create a unique tone that supports his singing.

Effects and Pedalboard Setup

In Koji Tamaki’s sound, the presence of effects is more subdued compared to electric guitarists, but they play an essential role in his acoustic guitar-centered live performances. His style primarily emphasizes “conveying the charm of the natural sound,” so flashy distortion or excessive use of spatial effects is avoided. Instead, tools for feedback prevention and sound quality correction take center stage.

One confirmed item is the Feedback Buster (FBR-2), which is attached to the sound hole to prevent feedback from acoustic guitars. This simple accessory is invaluable in large band setups or concert halls. On stage, Tamaki’s voice and guitar resonate at equal volumes, making feedback control extremely important, and this small item supports stable performances.

Additionally, with the FISHMAN Natural 1 piezo pickup installed in the D-45AJ, signal processing through a DI (direct box) is essential on stage. The DI stabilizes the acoustic guitar’s signal and suppresses noise while sending it to the PA at an appropriate level, making it one of the critical pieces of equipment supporting Tamaki’s sound. Furthermore, when using flamenco or classical guitars, it is assumed that light reverb or echo is added to create depth and spaciousness.

In live sound or television appearances, it is highly likely that basic processing such as equalization (EQ) and compression is applied, which can be positioned more as “sound enhancement” rather than “effects.” For example, BOSS or FISHMAN acoustic preamps/DI are favored by professional acoustic guitarists, and similar equipment is assumed to be used in Koji Tamaki’s performances. Specifically, the BOSS AD-10 or FISHMAN Aura series can soften the inherent harshness of piezo pickups and recreate a natural acoustic tone, making them practical choices for guitarists looking to replicate Tamaki’s sound.

Overall, Koji Tamaki’s effects board focuses on “supporting the beautiful resonance of the voice and guitar” rather than flashy effects. The Feedback Buster suppresses feedback, the FISHMAN pickup plus DI sends stable sound to the PA, and reverb or EQ is added as needed. This combination supports the simple yet polished sound that defines Tamaki’s music.

Tone Settings, EQ, and Mixing Approaches

When discussing Koji Tamaki’s guitar sound, it is essential to highlight the carefully adjusted settings and acoustic considerations. He firmly positions the guitar as a support for the vocals, aiming for a sound that does not overshadow the voice but rather harmonizes with it. Therefore, he does not heavily rely on amplifiers or effects but controls the quality of sound through PA systems, EQ processing, and playing touch.

Starting with EQ settings, amplifying the natural sound of an acoustic guitar often leads to feedback or muddiness in the midrange. Thus, in Koji Tamaki’s sound, it is standard practice to lightly cut frequencies around 200Hz to 400Hz. This creates space that does not interfere with the mid-low range of the vocals while reducing muddiness. Conversely, the high frequencies are slightly boosted in the 6kHz to 10kHz range to emphasize attack and transparency. This allows for clear articulation of arpeggios and strumming without hindering the vocals’ presence.

The low frequencies require adjustment based on the guitar model and song. For instance, when using a harmonically rich model like the Martin D-45AJ, it is common to apply a low-cut below 80Hz to prevent excessive low-end rumble. On the other hand, when using classical guitars like the Jose Ramirez, it is sometimes beneficial to retain low frequencies to enhance warmth and provide a fuller sound in ballads. This “song-specific EQ balance adjustment” is a key element of the Koji Tamaki sound.

The use of reverb is also crucial. His performances do not typically employ deep reverb; instead, a light natural reverb is added according to the stage and song. This choice preserves the acoustic resonance while maintaining a sense of unity with the vocals. Particularly in concert halls, the venue’s natural reverb influences the sound, so reverb settings are often kept minimal, with adjustments made through microphone and PA placement.

From a mixing perspective, the focus is on “making the voice and guitar resonate as one.” The PA operator optimizes the EQ for Tamaki’s vocals and positions the guitar to blend into that space. For example, if the vocal peaks around 2kHz, the guitar may be lightly cut in that area to prevent interference, while boosting around 5kHz to enhance its presence. This approach ensures that the voice and guitar do not assert themselves separately but rather create a naturally blended resonance.

Practical adjustments are also made for different songs. In the representative song “Wain Red no Kokoro,” the high frequencies are treated softly to emphasize a warm tone, creating a romantic atmosphere. In contrast, “Kanashimi ni Sayonara” prioritizes the clarity of strumming, slightly boosting treble to highlight the rhythm. In ballads, more low frequencies are retained, while upbeat songs see an emphasis on mid-high frequencies, showcasing meticulous adjustments throughout.

Moreover, Tamaki’s playing style itself contributes to sound-making. By using a hard custom pick, he achieves a clear attack while emphasizing a nuanced approach to plucking the strings rather than relying on strong strumming. This enhances the dynamics of loud and soft passages, allowing the songs to express themselves without depending solely on EQ or effects.

In conclusion, Koji Tamaki’s sound-making is constructed around achieving a “natural acoustic tone that envelops the vocals,” focusing on low-frequency cuts and high-frequency boosts in EQ, minimal reverb, and adjustments to the frequency bands of the vocals. While the equipment is simple, optimizing both performance and sound engineering results in a unique sound.

Affordable Alternatives to Recreate the Tone

Koji Tamaki’s sound is built around high-end guitars like the Martin D-45 and Gibson J-200, making it challenging for the average guitarist or singer-songwriter to assemble equivalent equipment. Therefore, we will introduce gear that allows general guitarists and enthusiasts to approach the “Tamaki sound” at a relatively affordable price. The key points here are “rich natural resonance,” “natural EQ processing,” “feedback prevention,” and “subtle reverb.”

For guitars, alternatives to the Martin D-45 include the “Martin D-28 Standard,” “Morris S Series,” and “Yamaha L Series.” In particular, the Yamaha LL16 offers excellent cost performance, with rich overtones and resonance during strumming that closely resembles the Tamaki sound. If seeking a similar tone to the Gibson J-200, the “Epiphone EJ-200SCE” is a realistic option. Priced under $1,000, it possesses the brightness and presence characteristic of the J-200, making it practical for stage use.

In terms of effects/preamp, acoustic-specific preamps like the BOSS AD-2 or Zoom AC-3 are effective. These can soften the inherent harshness of piezo pickups and provide spatial depth, aiding in recreating the “natural and rich acoustic tone” sought in Tamaki’s sound. If reverb is desired, combining a compact reverb unit like the BOSS RV-6 can create a balanced resonance suitable for both stage and home recording.

Additionally, the Feedback Buster is an essential item. Priced at just a few thousand yen, it significantly reduces feedback during solo performances or band setups, ensuring stable performances. This device functions similarly to what Koji Tamaki uses on stage, allowing for a nearly professional environment with its implementation.

For amplifiers, alternatives to the AER Compact 60 include the “Roland AC-33” and “Yamaha THR30IIA.” The Roland AC-33 is lightweight and portable, providing a natural tone and battery operation, making it ideal for street performances or small gigs. The Yamaha THR30IIA is also strong for home recording, delivering a rich acoustic sound with stereo depth.

In summary, to recreate Koji Tamaki’s sound affordably, a combination of “Epiphone EJ-200SCE + BOSS AD-2 + Feedback Buster + Roland AC-33” is highly effective. This setup allows for experiencing his characteristic “rich resonance,” “stable sound free from feedback,” and “natural tone that harmonizes with the voice.”

Summary and Conclusion

Koji Tamaki’s guitar sound does not rely on flashy effects or complex equipment setups; instead, it is centered around a “natural resonance” that integrates seamlessly with his vocals. The guitars he uses, such as the Martin D-45AJ, Gibson J-200, and classical guitars like the Jose Ramirez, are all models rich in overtones and capable of nuanced expression. By skillfully selecting and utilizing these instruments, he creates tones optimized for the emotional landscapes of his songs, from ballads to upbeat tracks.

In live performances, the use of the Feedback Buster for feedback prevention, the FISHMAN piezo pickup for sound processing, and subtle reverb are fundamental. Rather than crafting sound through effects, his philosophy is to “deliver the natural resonance as is.” As a result, audiences experience Tamaki’s singing and guitar as a unified musical experience rather than as separate elements.

What we can learn from his sound-making is the importance of “selecting necessary sounds with an understanding of the song and vocals,” beyond simply possessing good guitars. EQ settings and reverb serve merely as support, while the most crucial factors are the choice of pick, touch, and harmony with the PA system. In essence, the core of Koji Tamaki’s sound lies not in “technical complexity” but in “simplicity and sincerity.”

For those aiming to replicate his sound, there is no need to acquire high-end models. Affordable guitars like the Epiphone EJ-200SCE or Yamaha LL16, when paired with careful EQ adjustments and the Feedback Buster for stable sound, allow for a rich experience of the Tamaki sound. Additionally, being mindful of pick hardness and attack can significantly alter the expression of sound, which is a practical point to consider.

Overall, Koji Tamaki’s sound-making is characterized by the stance of “the guitar supporting the song.” Therefore, his gear explanations serve not merely as a list for equipment enthusiasts but as a document that reflects a musical philosophy. Understanding the style of resonating the voice and guitar as two wheels is the first step in recreating the Koji Tamaki sound.