[Ikuta Lila] How to Recreate the Rira Ikuta Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Ikuta Lila, known as the vocalist of YOASOBI, has established herself as a singer-songwriter with a unique fingerstyle approach. Her sound is characterized by a warm and transparent tone centered around the acoustic guitar, while she also showcases electric guitar performances during large-scale YOASOBI concerts, demonstrating a wide range of expressive capabilities.

Iconic examples of her sound include her acoustic performances of songs like “Answer,” “Circle,” and during “MTV Unplugged.” Her delicate touch and meticulous chord work create a balanced sound that resonates beautifully from low to high frequencies, instantly captivating her audience.

During the encore of YOASOBI’s dome concert, she used a custom Fender Stratocaster (L’s TRUST custom, illuminated version), showcasing a performance that fluidly navigated between pop and rock. This performance helped to overturn the image of “Ikuta Lila = Acoustic,” widely recognizing her as a player with diverse guitar expressions.

The reason Ikuta Lila’s sound creation garners attention lies not merely in the luxury of her gear but in her “thoughtful selection of guitars suited to the song” and her “sense of tone that blends with her voice.” Regardless of the guitar chosen, she manages to craft tones that enhance her vocal delivery.

To study her performances with YOASOBI or as a solo artist, checking out official videos is the best starting point. Experience the combination of her playing and guitar through these visuals.

▶ Search official YouTube videos of Ikuta Lila

List of Amplifiers and Features

Ikuta Lila’s amplifier setup is somewhat unique compared to other rock guitarists. Many of the guitars she uses in live performances and streams are more acoustic-oriented, particularly the Fender American Acoustasonic Telecaster, which is typically run directly into the PA system without an amp. This model features a blend circuit for both acoustic and electric tones, allowing for a direct connection to the mixer via DI on stage, eliminating the need for traditional amp distortion or character.

Similarly, her Martin 000-10E, which she often uses in solo performances, is assumed to be sent through an acoustic preamp/DI to the PA. Large venues, both domestically and internationally, commonly have Radial, L.R.Baggs, and Fishman DI boxes available, and it is likely she utilizes the venue’s equipment.

On the other hand, during the encore of YOASOBI’s dome concert, the Fender Stratocaster (L’s TRUST custom, illuminated version) likely used a standard clean amp backline (such as the Fender Twin Reverb or Deluxe Reverb) similar to traditional rock bands. However, the specific model name has not been disclosed at this time. It is also possible that modeling amps or amp simulators like Kemper or Helix were used to send the signal to the PA.

Overall, Ikuta Lila can be described as a guitarist who does not actively sculpt her amp sound but rather bases her tone on clean sounds from DI or direct lines, considering the PA and engineering. This choice is likely made to avoid interfering with her clear vocals and to maintain balance throughout the song.

Thus, rather than focusing on specific brands or individual amp characteristics, it is assumed that the core of her sound creation lies in “creating an environment that yields clean, wide-ranging sounds” and “engineering that enhances the natural resonance of the acoustic guitar.”

Types of Guitars Used and Features

One of the most notable aspects of Ikuta Lila’s sound creation is her choice of guitars. As a singer-songwriter, she primarily operates with acoustic guitars, creating tones that naturally blend with her transparent voice. The Fender American Acoustasonic Telecaster and Martin 000-10E are frequently confirmed as her go-to instruments in both her solo activities and with YOASOBI.

First, the Fender American Acoustasonic Telecaster (Crimson Red) has been consistently used in studio streams and during “MTV Unplugged.” Its unique structure, possessing both acoustic and electric characteristics, allows her to switch tones according to the song, supporting her diverse expressions. It has also been confirmed that she uses it with a Fender monogram strap, indicating its integration into her performance style.

Next, the Martin 000-10E is explicitly noted for ownership and use in her solo activities, symbolizing her fingerstyle approach. The compact 000 body size is easy to handle, making it suitable for delicate arpeggios and strumming, especially for female players. Its natural and warm sound beautifully overlaps with the harmonics of her voice, making it ideal for acoustic-centered songs.

During the 2024 YOASOBI dome concert encore, she surprised the audience with a Fender Stratocaster (White / L’s TRUST custom, illuminated pickups). This unique guitar, a custom gift from Ayase for her birthday, features illuminated pickups, making a strong impact as part of the live performance. It plays a role in adding a vibrant electric flair within the band ensemble, contrasting with her usual acoustic-centric style.

Additionally, accessories like the KYSER KG6NOA capo and Fender Monogrammed Strap have also been confirmed as part of her setup. These small items are crucial in complementing her playing style and contribute to her stage presence.

In summary, Ikuta Lila’s guitar selection prioritizes “the song and her voice,” focusing on harmony over flashy individuality. Her balance of acoustic and electric elements, along with stage presentation, supports her sound creation philosophy.

Effects and Pedalboard Setup

In Ikuta Lila’s sound creation, the presence of effects is relatively simple, as she does not tend to layer excessive effects. Her playing style focuses on “enhancing her voice,” with the guitar serving as an accompaniment that complements the atmosphere of the song. Consequently, her effects board is not elaborate, primarily consisting of essential tuning and auxiliary processing.

Confirmed effects include the KORG AW-4G-BK and TC Electronic PolyTune Clip clip tuners. These have been verified as part of her live and streaming setups, allowing for stable pitch management on stage. Especially during solo performances, the pitch of the guitar directly influences the overall impression of the song, making tuner accuracy crucial.

For acoustic guitars, it is almost mandatory to go through a DI/preamp for live use. While her specific model is unconfirmed, it is common to use venue-standard equipment such as Radial JDI, L.R.Baggs Para Acoustic DI, or Fishman Aura. These are standard tools used to soften the “hardness” often associated with direct line connections, correcting the natural resonance. The stable acoustic sound she produces on stage is likely due to the benefits of such auxiliary equipment.

During YOASOBI’s live performances with the electric guitar (Fender Stratocaster / L’s TRUST custom), it is assumed that she does not heavily rely on spatial or distortion effects, as the amp and venue PA likely handle sufficient processing. Given that YOASOBI’s song arrangements primarily feature synths and tracks, the guitar probably seeks “simple and transparent clean” tones.

As a result, Ikuta Lila’s effects board configuration is minimal, consisting of “essential tuner + stage DI + possibly spatial effects (reverb or delay) supported by the PA.” This approach distinctly separates her style from those who build their sound heavily with effects. It embodies her sound policy of “guitar sounds that do not interfere with the voice and song.”

Overall, Ikuta Lila’s effects environment is characterized by “necessary minimalism and efficiency,” with “stage sound completed through collaboration with sound engineers” at its core, opting for a simple yet practical setup over an extravagant pedalboard.

Tone Settings, EQ, and Mixing Approaches

Ikuta Lila’s sound creation is centered around “song design focused on the voice,” where the guitar functions primarily as an accompaniment to enhance her vocals. Therefore, rather than using amps and effects to create flashy sounds, meticulous adjustments during EQ and mixing play a significant role. Here, we will delve into those characteristics in detail.

1. EQ Processing for Acoustic Guitars
When using the Fender American Acoustasonic Telecaster or Martin 000-10E, the typical setup involves sending the signal directly to the PA. A key concern is avoiding the “line harshness” that can result in a hard, piercing sound. To prevent this, the following EQ adjustments are generally made:

• Low End (around 80-120Hz): High-pass filter to cut unnecessary low frequencies, reducing muddiness.
• Midrange (around 300-500Hz): Lightly reduce any bloated frequencies to maintain separation from the vocals.
• Presence (around 3kHz-5kHz): Slightly emphasize the attack to clarify picking nuances.
• High End (above 8kHz): Add a touch of airiness without becoming harsh.

These adjustments create a natural and transparent acoustic tone that envelops her voice.

2. EQ Processing for Electric Guitars
The Fender Stratocaster (L’s TRUST custom) used during YOASOBI’s dome concert is a striking model with illuminated pickups. However, the sound itself is likely centered around clean tones with minimal distortion or light compression. The EQ balance is expected to be set as follows:

• Low (below 100Hz): Cut as much as possible; low frequencies are left to the bass or synth.
• Midrange (600Hz-1kHz): Keep midrange subtle to avoid interfering with vocals.
• High Mid (2kHz-3kHz): Lightly boost to enhance the presence of chords.
• High (above 5kHz): Slightly boost for added spaciousness.

Ultimately, this results in a “transparent clean guitar that supports the vocals,” blending seamlessly into YOASOBI’s pop soundscape.

3. Mixing Techniques
In studio recordings and streaming videos, the guitar sound is ultimately adjusted by the PA and sound engineer. In Ikuta Lila’s songs, excessive reverb or delay on the guitar is rare; instead, a minimal approach to spatial processing is taken to create “space for the vocals.” Reverb is applied lightly with plate or room types, and delay is almost never used, maintaining a natural resonance.

4. Live PA Perspective
During live performances, the guitar volume is often set lower than the vocals. Especially in solo performances, the guitar is typically lowered by 2-3dB to allow the voice to stand out, with EQ adjustments made to enhance the high frequencies. In YOASOBI’s band arrangement, synths and strings cover a wide range, so the guitar is often placed in a “subtle position that fills the gaps in the sound space.”

5. Differentiation by Song
In solo songs (e.g., “Circle”), the acoustic guitar is prominently featured, giving it an equal presence to the vocals. Conversely, in band songs or YOASOBI tracks (e.g., “Gunjou”), the guitar’s frequency range is narrowed, allowing the “voice + track” to take center stage while the guitar maintains a supportive role for chords and rhythm.

In summary, Ikuta Lila’s sound creation is characterized by “natural settings based on EQ and PA processing,” where she minimally operates her effects, leaving the final touches to engineering. This reflects a clear philosophy of “placing the song at the center rather than the instrument,” resulting in a simple yet effective sound that enhances her appeal.

Affordable Alternatives to Recreate the Tone

Ikuta Lila’s sound creation is simple and natural, based on acoustic guitars and clean tones. Therefore, it is possible to recreate a similar atmosphere without investing in expensive custom models. Here are some gear options that are accessible for beginners and hobbyists.

1. Alternatives for Acoustic Guitars
While the Martin 000-10E she uses is a high-end model, brands like YAMAHA, Morris, and S.Yairi offer models in the 30,000-50,000 yen range that can produce sufficiently soft and transparent sounds. In particular, the YAMAHA FG/FS series is widely loved by beginners to intermediate players, ensuring stable sound quality for mic recording or direct line connections.

2. Alternatives for Electro-Acoustic Guitars
The Fender Acoustasonic Telecaster is expensive due to its unique structure, but for a hybrid sound, models like the Ibanez AEG series or YAMAHA APX series around 50,000 yen are strong candidates. These guitars have thin bodies, making them easy to handle and suitable for direct line use, ideal for live performances and streaming.

3. Alternatives for Electric Guitars
To replicate the custom Fender Stratocaster used in YOASOBI’s live performances, the Squier by Fender Stratocaster (priced around 40,000-60,000 yen) is the best option. It is more affordable than the original Fender but closely resembles its basic structure and sound tendencies, making it suitable for clean tone-focused playing.

4. Tuners
Clip tuners from KORG or TC Electronic are already available at practical prices (around 3,000 yen), making them easy to adopt. Like Ikuta Lila, maintaining stable pitch with a clip tuner is crucial for recreating her transparent sound.

5. DI / Preamp
When connecting an acoustic guitar directly, a DI that naturally corrects the sound is essential. While Radial and L.R.Baggs are expensive, the BEHRINGER ADI21, priced around 5,000 yen, can sufficiently add warmth. This helps reduce “line harshness,” allowing you to experience a natural sound similar to Ikuta Lila’s.

In conclusion, pursuing Ikuta Lila’s sound is more about “creating an environment focused on natural and unobtrusive tones” rather than “perfectly assembling high-end gear.” Even beginners can get closer to her clear sound by choosing the affordable alternatives mentioned here.

Summary and Conclusion

At the core of Ikuta Lila’s sound creation is not flashy effects or extensive gear but rather “a simple and transparent guitar sound that enhances the voice and song.” While she primarily operates with acoustic guitars as a singer-songwriter, she also utilizes custom electrics on the YOASOBI stage, making optimal choices for each scenario. This flexibility and musical sensibility highlight her individuality as a guitarist.

On the acoustic front, guitars like the Martin 000-10E and Fender Acoustasonic Telecaster are central, polished through DI and PA processing for a natural sound. The EQ organizes unnecessary low frequencies, adjusts midrange to avoid overlapping with vocal harmonics, and adds appropriate high frequencies for airiness. This thorough “voice-first” design gives her music a powerful directness.

Meanwhile, the custom illuminated Stratocaster showcased during YOASOBI’s dome concert carries significance beyond mere performance. It symbolizes her breaking the preconceived notion of being an acoustic-centric artist, freely navigating between pop and rock. This attitude suggests potential for even more diverse sound expressions in her future activities.

Furthermore, the completeness of Ikuta Lila’s sound, even without relying heavily on effects or amps, is significantly influenced by mixing and PA techniques. In essence, her sound creation is supported not just by the individuality of her gear but by the collective strength of her voice, songs, venue, and PA team. Understanding this perspective is crucial for anyone looking to recreate her sound.

For readers aspiring to replicate Ikuta Lila’s sound, there is no need to acquire expensive custom guitars. Instead, focusing on “natural tones that do not interfere with the voice,” “mixing that utilizes space,” and “minimum effects” will lead to success. Additionally, being mindful of how one’s voice and expression harmonize with the guitar can bring you closer to Ikuta Lila’s sound creation philosophy.

Ultimately, Ikuta Lila’s sound creation can be described as an “aesthetic of subtraction.” By stripping away the unnecessary, she maximizes the enhancement of her voice and songs. This simplicity is what supports the transparency and persuasiveness of her music.