[Masaki Yabe] How to Recreate the DISH// Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masaki Yabe, the guitarist of DISH//, stands out not only as a musician but also as an actor and talent. His playing style strikes a balance between straightforward rock tendencies and the catchy appeal typical of pop bands. Iconic songs like “Neko” and “Chinchouge” showcase how Yabe’s guitar work significantly shapes the overall color of the music.

Yabe’s sound revolves around the beauty of clean tones, yet he also exhibits a wide expressive range, delivering aggressive leads and riffs during live performances. His primary guitar is the Fender Stratocaster, as confirmed by live photos and interviews from Fender News. While information about his amplifiers and effects is somewhat limited, his Instagram hints at a meticulous approach to his gear.

His sound crafting is not merely about being loud; it encompasses delicate backing that supports the vocals and leads that enhance the rock essence. This versatility is one reason DISH//, with its dual identity as both an idol group and a band, is recognized as a genuine band during live performances.

In the following sections, we will thoroughly explore the amplifiers, guitars, and effects that Masaki Yabe actually uses, along with insights into his sound crafting techniques. This will serve as a valuable reference not only for fans but also for guitarists looking to recreate the DISH// sound.

▶ Search official YouTube videos of DISH//

List of Amplifiers and Features

Regarding the amplifiers used by Masaki Yabe, there is no clear model name specified in official media, so we must infer from live photos and visible gear. The most frequently observed amplifier is a combo amp with the Fender logo, likely a “Fender Twin Reverb” or one from the “Fender Hot Rod series,” based on its silver grille cloth appearance.

Both models are characterized by Fender’s signature clean tone, making it easy to preserve the Stratocaster’s sound. DISH//’s music balances the dynamism of a band with catchy pop melodies, which means Yabe’s guitar sound is adjusted to maintain this balance. The clean tone emphasizes clarity in backing and arpeggios without overshadowing the vocals, while distorted sections require a driving attack.

Considering the effects board that Yabe revealed on Instagram, it seems that the amplifier is set primarily for clean to crunch tones, with distortion and spatial effects handled by pedals. In practice, when using the Stratocaster for cutting, clarity stands out, and during leads, delay and reverb are added for thickness, enhancing the overall sound.

While there is no public information regarding studio recordings, a cover article in Fender News clearly states Yabe uses a Stratocaster, while his bandmate Takumi Kitamura uses an Acoustasonic Telecaster. However, there was no specific mention of the amplifier used. Therefore, live gear remains the main source of information.

Overall, it is safe to assert that Yabe’s amplifier is a “Fender combo amp with a silver grille,” with the Twin Reverb or Hot Rod Deluxe being likely candidates. This setup allows for flexible sound crafting suitable for both pop and rock music.

Types of Guitars Used and Features

At the core of Masaki Yabe’s sound crafting is the Fender Stratocaster. Official interviews from Fender News confirm that “Yabe = Stratocaster,” highlighting its frequent use in the band’s sound. His preferred model is the Fender American Professional II Stratocaster, which offers a thick yet clear tone, making it an attractive choice for professional use.

This model can handle a wide range, from sparkling clean tones for chord work to driven leads, fitting both DISH//’s pop-oriented songs and those with a stronger rock flavor. Live photos also show him using a red Stratocaster (model unknown), suggesting he switches guitars based on the song or performance needs. The red Strat is visually striking, playing an important role in DISH//’s stage presence.

Additionally, a Flying V type guitar (black, manufacturer unknown) has been spotted during streaming performances, indicating he selects this for harder sound requirements or specific songs. The Flying V is known for its aggressive mid-range presence, likely used in DISH//’s more rock-oriented tracks.

Regarding acoustic guitars, Yabe possesses a red cutaway model from Fender (model unknown), confirmed through visuals from Fender News. This guitar is likely used primarily for ballads and vocal accompaniment, and being an electro-acoustic model makes it easy to handle during live performances.

When analyzing his guitar usage over time, prior to 2019, the red Strat and Flying V were prominent, while from 2020 onward, the Fender American Professional II Stratocaster became the mainstay, supplemented by the acoustic guitar for ballads.

Overall, Yabe’s guitar selection emphasizes “visual and acoustic differentiation according to the song,” directly impacting DISH//’s stage performances.

Effects and Pedalboard Setup

Masaki Yabe’s effects setup includes a pedalboard that he revealed on Instagram, stating, “This is what I’m using for this tour!” However, specific model names were not disclosed, leaving only the fact that a pedalboard exists. Given the characteristics of DISH//’s music and Yabe’s sound preferences, it is reasonable to assume a standard setup focusing on basic distortion and spatial effects.

For distortion, using Fender amps suggests a natural style of adding overdrive pedals to enhance the clean tone. Common choices like the BOSS SD-1 or Ibanez TS9, which emphasize mid-range frequencies, would complement Yabe’s transparent Stratocaster sound. This setup allows for a solid core in DISH//’s rock-oriented leads and riffs.

In terms of spatial effects, delay and reverb play crucial roles. For backing and arpeggios, as heard in “Neko,” a subtle delay and natural reverb create depth and dimension, filling the gaps in the vocals. The compact size of the pedals on his board suggests a typical arrangement of multiple effects, indicating that delay and reverb are essential components.

To maintain sound stability during live performances, it is likely that a tuner, noise reduction, and power supply are also integrated into the board. The aesthetic of the board shared on Instagram indicates a well-organized, professional pedalboard.

Given the recent trend of integrating click tracks and synchronized sounds in band performances, it is plausible that Yabe’s board includes switching systems or multi-effects units.

Overall, Yabe’s effects setup is assumed to revolve around “overdrive + delay + reverb,” with additional components like a compressor and tuner for a simple yet practical arrangement. While specific details remain unclear, the models mentioned represent a highly reproducible setup based on sound analysis.

Tone Settings, EQ, and Mixing Approaches

The essence of Masaki Yabe’s sound crafting lies in “anchoring clean beauty while adding appropriate distortion and spatial processing for dimensionality.” DISH//’s songs require a balance where the guitar does not overshadow Takumi Kitamura’s vocals, making EQ and effect adjustments extremely delicate.

Thus, the amplifier is set primarily for clean to crunch tones, with distortion added via pedals. The EQ likely features slightly reduced mids and emphasized highs to bring out the brightness characteristic of the Stratocaster.

In the iconic song “Neko,” subtle delay and natural reverb are utilized in the intro and arpeggios, resonating to fill the gaps in the vocals. During this time, cutting the lows and extending the mid-high frequencies achieves transparency that does not get buried in the overall band sound. Furthermore, in the chorus, a light overdrive is added to support the rhythm while ensuring the tone does not interfere with the vocals.

For rock-oriented tracks like “Katte ni MY SOUL,” settings emphasizing distortion are likely employed. The amplifier is set to crunch, pushing gain with an overdrive pedal. The EQ raises the mids slightly to ensure presence without getting lost in the band sound. This ability to switch between “vocal pop” and “rock band” for each song is largely due to Yabe’s gear selection and meticulous EQ adjustments.

Mixing techniques are also noteworthy. Listening to DISH//’s recorded tracks, Yabe’s guitar is often panned left and right, with backing processed to create a stereo feel for spaciousness. Delay is typically placed in mono, leaning towards the center, while lead parts feature deeper effects for added depth.

In live settings, combining direct amp sound with mic recordings ensures thickness, and line outputs may be mixed in for stability.

Specific EQ settings might include the following balance:

– Bass: Set around 3-4 to prevent excessive low-end buildup

– Middle: 4-5, kept low during clean tones, raised above 5 for rock songs

– Treble: 6-7 to highlight the brightness of the Stratocaster

– Presence: Around 5 to maintain a natural airiness

Additionally, pickup selection can be part of the sound crafting. For clean tones, using the bridge and center pickups emphasizes brightness, while the bridge pickup is chosen for distorted sounds to achieve a strong attack.

Overall, Yabe’s sound crafting is characterized by “not overshadowing the vocals, maintaining presence within the band, and flexibility to switch according to the scene.” EQ and mixing processes are optimized to enhance the overall quality of the band. While some aspects are based on assumptions, analyzing the actual sound suggests these techniques are employed.

Affordable Alternatives to Recreate the Tone

For those looking to replicate Masaki Yabe’s sound, acquiring all professional-grade gear may be financially challenging. Therefore, we will introduce relatively affordable alternatives that can help achieve a similar tone. The price range is set around $100 to $500 (up to $1,000), focusing on products that are beginner to intermediate-friendly.

The key points are “clean tones from Stratocaster-type guitars” and a “simple combination of overdrive + delay + reverb.” By focusing on these elements, you can get quite close to Yabe’s sound.

For guitars, the Fender Player Stratocaster (made in Mexico) is the most realistic option. It is more affordable than the Fender USA models while retaining the basic sound character of a Stratocaster, producing the bright and transparent tones Yabe frequently uses. If you’re looking to save even more, the Squier Classic Vibe series is also recommended. Available for around $500, it offers a vintage-oriented sound that fits well with pop music’s clean tones.

For amplifiers, the BOSS Katana series is ideal. Specifically, the BOSS Katana-50 MkII covers a wide range from Fender-like clean tones to crunch, making it suitable for practice and small gigs. Additionally, it features multi-effects capabilities, allowing you to recreate the basic set of “overdrive + delay + reverb” all in one unit.

If you prefer to acquire individual pedals, the BOSS SD-1 (overdrive), BOSS DD-3T (delay), and BOSS RV-6 (reverb) form a solid combination. Each is widely used by professional artists, ensuring stable sound quality. To recreate Yabe’s backing, lightly applying the SD-1 with subtle delay and reverb will easily produce a transparent tone that supports the vocals.

For a simplified spatial processing approach, using a single multi-effects unit can be effective. Devices like the Zoom G1 Four or LINE6 POD Go are beginner-friendly and come with a variety of sound presets. By incorporating such gear, you can easily switch sounds for different songs, just like Yabe.

In summary, having a “Stratocaster-type guitar,” “BOSS overdrive + delay + reverb,” or “modeling amps like the Katana” will allow you to get relatively close to Masaki Yabe’s sound without breaking the bank. When selecting gear, focusing on the beauty of clean tones and the flexibility of sound crafting will help you achieve a tone reminiscent of his style.

Summary and Conclusion

Reflecting on Masaki Yabe’s sound crafting, its essence can be summarized as “the balance of clean and distortion,” “flexibility to adapt to each song,” and “guitar choices that stand out on stage.” Centered around the Fender American Professional II Stratocaster, he utilizes Fender amps to enhance clean tones while adding overdrive and delay as needed. This simple yet high-quality setup is crucial to supporting DISH//’s musical identity.

In essence, Yabe’s appeal lies not in assembling flashy gear but in considering the vocals as the centerpiece and adding only the necessary sounds. His gear choices also take stage presence into account, using visually striking guitars like the red Stratocaster and black Flying V to enhance the band’s entertainment value. This commitment goes beyond mere sound crafting, extending to the overall live performance.

On the other hand, his gear selections are grounded in reliable choices, predominantly from brands like Fender and BOSS. This demonstrates a practical approach to building a stable sound using universal gear, making it accessible for beginners and intermediates aiming to replicate Yabe’s sound.

When attempting to copy Masaki Yabe’s sound, it’s essential to focus not only on the gear specifications but also on the “placement of sound.” DISH//’s music often places the vocals at the forefront, with the guitar serving to color the surrounding space. In backing, arpeggios and clean strumming expand the atmosphere, while leads and solos utilize appropriate distortion and spatial effects to assert presence. This adept switching is at the heart of his sound crafting.

In conclusion, Masaki Yabe’s sound crafting is built on “transparent clean tones from Fender,” “simple overdrive,” and “subtle spatial processing.” By keeping these elements in mind, even if you can’t replicate the exact gear, you can achieve a balance of pop and rock characteristic of DISH//. Learning from Yabe’s sound crafting offers insights into the universal challenge of how to support a band’s sound.