[Koyama Takuya] How to Recreate the Yabai T Shirts Yasan Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Koyama Takuya, the guitarist and vocalist of Yabai T Shirts Yasan, has captivated many listeners with a sound that is both simple and overwhelmingly powerful. The majority of their songs feature catchy and energetic melodies, but the guitar sound that underpins them is actually built on a very organized approach.

The most notable aspect of Koyama’s sound creation is his commitment to “directly connecting to the amp.” While many guitarists rely on elaborate pedalboards, he plugs directly into a Marshall amp, using only the essential footswitch to switch sounds. This approach ensures stability during live performances, allowing him to reproduce a powerful sound that is both simple and effective.

Iconic tracks like “Atsumare! Party People” and “Tank-top of the World” showcase a guitar sound characterized by a rich distortion balanced with clarity. The simplicity of his playing highlights the sharpness of the chord work and riffs, delivering a strong impact on the overall ensemble of the band.

In the early days of the band, he used an affordable Epiphone Les Paul, as mentioned in his lyrics, indicating his practical gear choices since his student band days. In recent performances, he has been noted for using a Gibson Les Paul Standard and the Marshall DSL series, building a stable sound that meets professional standards.

In summary, Koyama Takuya’s sound philosophy is one of “simplicity with depth,” which is an essential element of Yabai T’s music.

▶ Search official YouTube videos of Yabai T Shirts Yasan

List of Amplifiers and Features

When discussing Koyama Takuya’s sound, the Marshall amps are indispensable. He is often seen using the “JCM2000 DSL100” during live performances, with two units set up side by side on stage. This amp is a staple model found in many studios, known for its straightforward clean and distortion switching.

This amp suits Koyama’s playing style perfectly, providing a thick distortion sound that stands out without relying on unnecessary effects. The Marshall DSL series has a unique punch in the midrange, which helps push the overall band sound forward. This characteristic is particularly beneficial for a three-piece band like Yabai T.

When switching to clean tones, he utilizes the footswitch that comes with the amp, allowing for minimal operation during songs while achieving sound changes. This approach minimizes potential issues during live performances and symbolizes his commitment to straightforward sound creation.

Other potential amp candidates include the same brand’s “SV20H (Studio Vintage),” but it is confirmed that the DSL100 is the main amp used on stage. In studio rehearsals or smaller events, he might also use the 50W model or derivatives of the DSL series, but it is assumed that the 100W version supports his performances on larger stages.

In essence, Koyama Takuya’s choice of amp is “classic and reliability-focused.” He prioritizes delivering stable sound during live performances, focusing on a simple yet powerful distortion-based sound.

Types of Guitars Used and Features

The backbone of Koyama Takuya’s sound is his use of a Les Paul-type guitar. The main model he uses is the “Gibson Les Paul Standard,” which is seen in various colors such as black, sunburst, and gold top during live performances and music videos. The thick and sustaining sound characteristic of the Les Paul supports the explosive band sound of Yabai T.

This guitar is known for its rich midrange, allowing chords and single-note riffs to stand out without being buried in the mix. This is particularly advantageous for filling the gaps between the bass and drums in a three-piece setup, providing both thickness and presence.

It is also known that he used the “Epiphone Les Paul Standard (Honey Burst)” during the early days of the band. Priced around 40,000 yen, it was his first companion during his student days. His mentions in lyrics and interviews reflect the authenticity of this starting point. The Epiphone Les Paul is well-built for its price range, indicating that he has always chosen guitars that are practical for live use.

Additionally, noteworthy is the Telecaster that appears in the music video for “Atsumare! Party People.” The indie version features a black Telecaster, while the major version showcases a rare brown model. This is likely a rental for filming, selected to match the visual direction of the music video.

Overall, Koyama Takuya’s guitar choices balance “practicality and impact.” He maintains the classic Les Paul sound during live performances while emphasizing visual impact in video productions. This flexible approach is a significant element supporting the entertainment value of Yabai T.

Effects and Pedalboard Setup

Koyama Takuya’s most distinctive feature is his “minimal use of effects.” While most guitarists typically have a range of effects such as distortion, spatial, and modulation on their pedalboards, he plays primarily connected directly to the amp, often without even a tuner. In live footage and setup photos, it is common to see only the Marshall footswitch at his feet.

This footswitch is presumed to be the “Marshall PEDL (likely PEDL-10001),” which handles switching between clean and distorted tones. This setup allows for simple yet effective sound changes during songs, minimizing potential issues and ensuring stable performances. With fewer effects, he maximizes the natural sound of the guitar and amp.

However, there have been mentions in the past suggesting that he may have used a tuner or a simple booster, but these claims have not been confirmed through official sources or his social media. At this point, it is reasonable to consider “directly connecting to the amp” as the foundation of his style.

If he were to add gear in the future, it might include a tuner or a simple booster for live convenience, or perhaps an equalizer. Nevertheless, his current “clean and simple sound” has become part of his identity, so significant changes are not expected.

Overall, Koyama Takuya’s pedalboard is nearly “zero,” focusing on amplifying the character of the Marshall DSL amp directly. This style contributes to the energetic and straightforward nature of the Yabai T sound.

Tone Settings, EQ, and Mixing Approaches

Koyama Takuya’s sound creation centers on “contributing to an overwhelming band sound while maintaining simplicity.” Since he uses almost no effects, the amp settings and the characteristics of the guitar largely determine the sound. The Marshall DSL100 he uses has a rich distortion channel with a unique punch in the midrange, allowing for a sound that stands out in a band ensemble.

In terms of EQ settings, it is assumed that he emphasizes the midrange while keeping the low end tight. To avoid clashing with the bass’s frequency range in a three-piece band, he likely cuts the lows rather than boosting them, ensuring clarity in the ensemble. The high end is adjusted to avoid excessive brightness, allowing the backing chords and riffs to be clear.

For specific settings, using the DSL100’s “Lead 1” channel, he might set the gain around 5-6, the midrange at 6-7, treble around 5, and bass at 3-4 to achieve a sound that balances thickness and clarity. The presence is often adjusted based on the venue or PA environment, typically starting around 5 and varying slightly.

In terms of song-specific adjustments, tracks like “Atsumare! Party People” and “Tank-top of the World” feature a lead tone with pronounced distortion, while ballad-type songs may switch to the clean channel for a transparent sound. The clean tone has a characteristic hardness typical of Marshall amps, but when combined with the thick body of the Les Paul, it creates a warm tone.

Mixing-wise, Koyama Takuya’s guitar is often positioned “slightly off-center.” The bass and drums, played by Shimoryo and Shibata Aribobo (often mistaken for the vocalist), occupy the center, while the guitar spreads out to enhance the overall sound pressure of the band. Supporting the band’s thickness with just one guitar, the PA and engineer often prioritize midrange clarity in their processing.

Additionally, it is speculated that “double tracking” (recording the same phrase twice and panning them left and right) is frequently used in recordings. This technique allows for a thick sound in the recordings, even with just one guitar during live performances. In some songs, he minimizes overdubs to prioritize live reproducibility, contributing to the band’s authenticity.

Overall, Koyama Takuya’s sound creation can be summarized as “the thickness of the guitar body × the straightforwardness of direct amp connection × midrange emphasis through EQ.” Rather than relying on flashy effects, he constructs a sound that supports the overall band sound while pushing the energy to the forefront, directly linked to Yabai T’s music.

Affordable Alternatives to Recreate the Tone

Koyama Takuya’s sound is fundamentally based on a “guitar directly to the Marshall DSL amp” setup. Therefore, even without acquiring the exact gear, beginners and students can relatively easily recreate a similar sound. The key is to focus on “Les Paul-type guitars” and “Marshall-style distortion sounds.”

For guitars, while the Gibson Les Paul Standard is expensive, models like the Epiphone “Epiphone Les Paul Standard” or “Epiphone Les Paul Studio” can be purchased for around 50,000 yen. Koyama himself loved using Epiphones in the early days of the band, making them a highly replicable option considering their price range.

Regarding amps, smaller models of the Marshall DSL series, such as the “DSL20CR” or “DSL40CR,” are currently available and can accommodate a wide range of uses from home practice to live performances. The DSL20CR, in particular, is reasonably priced and has a manageable output for home use while getting close to Koyama’s “direct amp sound.”

Moreover, if high volume is an issue at home, using amp simulators or multi-effects units can also be effective. BOSS’s “GT-1,” the “KATANA series,” or Line 6’s “HX Stomp” feature Marshall-style modeling, allowing for an easy recreation of similar sounds.

Additionally, Koyama Takuya’s sound creation emphasizes EQ usage. By utilizing the built-in equalizer function of multi-effects units to bring the midrange forward while slightly reducing the low end, one can achieve a clear sound within a band ensemble.

In conclusion, the combination of “Epiphone Les Paul × Marshall-style amp (or simulator)” offers the best cost-performance ratio and is a recommended setup for beginners.

Summary and Conclusion

Reflecting on Koyama Takuya’s sound creation, its essence can be summarized as “simplicity” and “directness.” While many guitarists incorporate complex pedalboards and pursue diverse tones, he deliberately chooses a direct amp connection, establishing his style with the classic combination of a Marshall DSL amp and a Les Paul.

This approach may seem simple at first glance, but it is actually highly rational and strategic. In a three-piece band like Yabai T, supporting the sound pressure and thickness with just one guitar requires the rich midrange of the Les Paul and the punchy distortion of the Marshall. By eliminating unnecessary effects and emphasizing the natural thickness of the guitar, he creates a sound that is both simple and overwhelmingly present.

Moreover, his sound creation strongly reflects the perspective of “how to sound within the band as a whole.” Instead of competing for flashiness when heard solo, he fills the gaps between the bass and drums while supporting the overall song. This ensemble-focused approach makes the Yabai T sound more energetic and pop-oriented.

Additionally, Koyama’s history of using an Epiphone Les Paul during his student days and later stepping up to a Gibson is symbolic. His practical approach to choosing gear that works in real settings, regardless of price, provides valuable insights for aspiring guitarists looking to learn sound creation.

In summary, the key points necessary to recreate Koyama Takuya’s sound are as follows:

• Select a Les Paul-type guitar (for thickness and midrange presence)
• Use a Marshall-style amp for straightforward distortion
• Emphasize midrange in EQ settings while keeping lows subdued
• Eliminate unnecessary effects and prioritize clarity within the band

By keeping these four points in mind, one can approach the “simple yet powerful Yabai T sound” without relying on flashy effects. Koyama Takuya’s sound creation is a reflection of his philosophy as a guitarist. Its simplicity and depth are what attract many fans.