[Ano-chan] How to Recreate the Ano Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Ano-chan, the talented artist behind the band Ano, has captivated audiences since her idol days, showcasing a unique character and musicality that continues to evolve. As a guitarist, her charm lies in her raw attack that conveys emotional expression directly, along with a seamless balance between pop and alternative sounds.

In live performances, she often features guitars in blue hues, producing a lively yet gritty tone. Her sound spans a wide range, from the delicate arpeggios of acoustic guitar to the loud electric guitar in a full band setup. Notable tracks like “Chuu, Tayousei.” and “YOU&Ai Heaven” highlight her presence as a guitar vocalist.

Her sound design is characterized by a straightforward yet aggressive distortion reminiscent of SG guitars, the resonant qualities typical of Gretsch guitars, and the intricate nuances of acoustic performances. Particularly in live settings, she relies on venue-standard amplifiers while crafting her unique tones through her playing style.

In solo performances, Ano-chan connects her acoustic guitar directly to the PA system via DI, achieving a natural resonance that complements the atmosphere of the stage. This intuitive approach to sound design is fundamental to her artistry, drawing audiences into her performances.

Now, let’s delve into the specific amplifiers, guitars, and effects that Ano-chan uses to uncover the secrets of her sound.

▶ Search official YouTube videos of Ano

List of Amplifiers and Features

As of 2025, there is no official information regarding the specific amplifiers that Ano-chan uses for her band “I’s” or her solo activities. However, considering the typical live environment for a guitarist, it is reasonable to assume she utilizes standard amplifiers commonly found in Japanese live houses and rehearsal studios. This is a common scenario for many indie and mid-level bands, and given the scale of I’s performances, it is likely that amplifiers from well-known brands like Marshall, Roland, and Fender are central to her setup.

The classic choice is the Marshall JCM Series. Particularly, the JCM900 and JCM2000 models are almost universally available in live venues across Japan. These amplifiers are known for their punchy distortion and strong midrange presence, which, when paired with guitars like the SG or Gretsch, can create a hard-hitting rock sound. The raw yet direct tone that Ano-chan achieves with her SG Standard aligns perfectly with the midrange-focused tone of Marshall amps.

Next, the Roland JC-120 is crucial. Renowned as the epitome of clean tones, it has become a staple in Japanese band culture, often referred to as “the go-to for clean.” When Ano-chan uses a semi-hollow guitar like the Gretsch G5622T-140, the JC-120 is likely to deliver expansive clean sounds. The bright and shimmering tones enhanced by chorus effects match the pop and dreamy vibe of Ano’s music.

Additionally, the Fender Twin Reverb cannot be overlooked. This amplifier has been beloved in American rock for years, characterized by its lush clean tones and deep reverb. It is particularly effective for expressing acoustic nuances through electric guitars or for arpeggio-heavy performances. When connecting an acoustic guitar like the Guild D-50NT directly, it often blends seamlessly without needing a preamp.

In acoustic sets, the use of the Fishman Aura Spectrum DI has been confirmed, designed for direct connection to the PA. This means that while electric guitars utilize the standard Marshall, JC-120, or Fender amps, the acoustic guitar is managed through direct output, reflecting a practical and straightforward approach.

Overall, Ano-chan’s amplifier choices reflect a style that adapts to the venue while crafting sound based on the guitar’s characteristics. Rather than relying heavily on specific brands, she demonstrates flexibility as a guitarist, resulting in slightly varied sound nuances across different live houses.

Types of Guitars Used and Features

At the core of Ano-chan’s sound design is her selection of guitars, which exude a unique presence. From her idol days to her current solo career and the band “I’s,” she has utilized a diverse range of guitars. Her choices are characterized by a preference for blue hues and a penchant for simple yet distinctive selections. Here, we will outline the confirmed models she has used, highlighting their features and contexts.

The most iconic is the Gibson SG Standard (Pelham Blue). Introduced as her main instrument in I’s, its blue finish has become an iconic representation of her image. The SG is known for its emphasized midrange sound and lightweight body, making it ideal for her energetic live performances. This guitar complements Ano-chan’s raw and energetic playing style, serving as a cornerstone of her live sound.

Another noteworthy guitar is the Gretsch G5622T-140 Electromatic. This limited edition model, released for the brand’s 140th anniversary, features a double-cutaway semi-hollow body equipped with a Bigsby tremolo. Ano-chan has expressed her desire to use it in live settings, and its bright, expansive sound makes it a perfect fit for the pop and dreamy nature of Ano’s music.

Additionally, the Epiphone SG Custom (Pelham Blue) has been a staple since her time with Yurumelu Mo! This model offers a slightly softer tone compared to the Gibson SG, making it suitable for the band’s sound. It holds a special place in her career as it has been a beloved instrument since her early days.

Earlier in her career, she was also seen using the Squier Affinity Stratocaster (Lake Placid Blue). Known for its bright clean tones and playability, this guitar was likely used for early songs and practice sessions.

Furthermore, an older guitar, the Gibson Melody Maker (Cherry), has been mentioned as a significant part of her history. This well-worn instrument represents her roots as a player.

In terms of acoustic guitars, the Guild 1978 D-50NT has been confirmed through live footage. Known for its rich resonance and calm sound, it showcases a different charm compared to her electric setup. During performances at venues like Zepp Haneda, she has been seen using this Guild guitar directly connected to the PA, forming the foundation of her acoustic sound.

Overall, Ano-chan’s style can be summarized as “favoring blue-hued SGs while flexibly incorporating Gretsch and acoustic guitars based on stage size and song style.” Her sound design’s flexibility and individuality are strongly reflected in her choice of guitars.

Effects and Pedalboard Setup

As of 2025, specific details regarding Ano-chan’s pedalboard setup for electric effects have not been officially confirmed. However, based on live performances and photos, the Fishman Aura Spectrum DI Preamp for acoustic use has been identified. This DI was confirmed during a performance at Zepp Haneda, serving as the centerpiece for her acoustic sound design. Directly connecting the acoustic guitar to the PA can sometimes result in a thin sound, but using this DI allows for a natural and rich tone.

On the other hand, there are no officially confirmed models for electric effects. However, considering her role as a guitar vocalist and the scale of I’s, a “simple pedalboard setup” is likely. This means a minimal set consisting of a tuner, overdrive, and spatial effects (delay and reverb) is probable. This practical choice is common among many vocalists and guitarists, especially when sound design relies on the PA system.

For overdrive, the BOSS SD-1 or Ibanez Tube Screamer are standard choices, known for their compatibility with Marshall amps, making them effective for recreating the distorted sound of the SG. In clean tracks, combining with the Roland JC-120 and adding light reverb or delay can enhance the brightness of the Gretsch or Squier Stratocaster.

Moreover, the simplicity of using only the Fishman Aura Spectrum DI for the acoustic set is a significant feature. This DI allows the Guild D-50NT’s deep resonance to be transmitted directly to the PA. Considering the speed and stability required in live performances, this choice aligns well with her style.

As a side note, accessories like the Jim Dunlop Tortex Triangle 0.88mm pick have been confirmed for her use, and her tuning is generally standard (with a capo for “YOU&Ai Heaven”). These small elements directly impact her sound, especially the pick, which plays a crucial role in attack dynamics.

In summary, Ano-chan’s effects setup can be characterized as “simple for acoustic with Fishman DI, and a minimal board for electric consisting of a tuner, overdrive, and spatial effects.” This approach emphasizes the natural sound of the guitar and amp, highlighting her unique sound design.

Tone Settings, EQ, and Mixing Approaches

Ano-chan’s sound design emphasizes simplicity and intuitive operation, focusing on making the guitar and voice the main attractions rather than relying on elaborate gear chains. Therefore, her amplifier and effect settings are not overly complex, with EQ processing at the PA or recording stage playing a significant role. Here, we will outline basic setting examples and techniques for constructing her sound.

1. Electric Guitar (SG/Gretsch) Settings
When using the SG Standard (Pelham Blue), a common setup involves plugging directly into the distortion channel of a Marshall JCM series amplifier and lightly adding overdrive. As for EQ, a good starting point would be to keep the BASS slightly lower (3-4), raise the MIDDLE (6-7), and set TREBLE around the middle (5). This configuration allows the SG’s characteristic midrange to shine through while achieving a clear tone. The overdrive should not be excessively cranked, allowing the amp’s natural drive to contribute to Ano-chan’s raw and powerful sound.

For a semi-hollow guitar like the Gretsch G5622T-140, a clean tone-focused setup is ideal. Using amplifiers like the Roland JC-120 or Fender Twin Reverb, setting TREBLE to 5-6, MIDDLE to around 4, and BASS to 5 can create a balance between resonance and brightness. To express the tremolo effect from the Bigsby, adding a light delay can enhance spatial depth.

2. Acoustic Guitar (Guild D-50NT) Settings
The Guild 1978 D-50NT is often connected directly to the PA through the Fishman Aura Spectrum DI, making PA-side EQ adjustments crucial. When outputting directly, the acoustic guitar’s midrange can become muddy, so cutting around 200-300Hz and lightly boosting around 5kHz can enhance clarity. Blending the DI’s Aura function appropriately can recreate a natural ambiance similar to mic recording. For certain songs, applying deeper reverb can effectively create a spacious atmosphere in ballads.

3. Mixing/PA Techniques
Ano-chan’s songs focus on maintaining a balance between the guitar and vocals. In mixing, the guitar is often not overly prominent, ensuring the vocals remain front and center. This often involves applying low-cut EQ (removing frequencies below 80-100Hz) and light compression to the guitar. During live performances, prioritizing the overall loudness of the band may lead to positioning the guitar in a way that emphasizes midrange without overpowering the vocals.

For specific song examples, in a pop track like “Chuu, Tayousei.”, the use of Marshall distortion and light reverb emphasizes the driving rhythm. Conversely, in songs like “YOU&Ai Heaven,” where a capo is used, the higher pitch is accentuated with clean tones and added delay to create a sense of transparency. Such variations in sound design for different songs indicate her flexibility within a simple gear setup.

4. Specific EQ/Spatial Processing Examples

• Electric Distortion Tracks (SG + Marshall): BASS 3, MIDDLE 7, TREBLE 5, keep GAIN moderate
• Electric Clean Tracks (Gretsch + JC-120): BASS 5, MIDDLE 4, TREBLE 6, add light delay
• Acoustic Tracks (Guild + Fishman DI): lightly cut 200Hz, boost 5kHz by +2-3dB, apply deep reverb

In conclusion, Ano-chan’s sound design revolves around “utilizing the natural sound of the guitar and environment while making fine adjustments at the PA or mixing stage.” Rather than relying on flashy effects or complex settings, her approach emphasizes intuitive play and delivering the raw sound to the audience, which is likely a key reason for her appeal.

Affordable Alternatives to Recreate the Tone

While achieving Ano-chan’s sound ideally requires high-end models like the Gibson SG Standard or Gretsch Electromatic, this may not be practical for beginners or those on a budget. Therefore, we will introduce “relatively affordable gear that can approximate her sound,” available in the range of $100-$500. These options are beginner-friendly and capture the essential elements of Ano-chan’s sound design.

1. Electric Guitar (for SG-like sound)
The Epiphone SG Standard or Epiphone SG Special VE are budget-friendly alternatives to the Gibson SG, offering strong midrange sounds and a lightweight body characteristic of SG guitars. While the Pelham Blue finish may be limited, these models provide a similar look and feel, allowing players to experience Ano-chan’s stage presence.

2. Electric Guitar (for Semi-Hollow sound)
Among the Gretsch Electromatic series, the G2622 Streamliner is relatively affordable and provides the resonant qualities of a semi-hollow body. While it may not have the luxurious features of the 140th-anniversary model, its sound profile is close enough to recreate the pop and dreamy tones associated with Ano-chan’s music.

3. Acoustic Guitar
While the Guild D-50NT can be expensive on the used market, models like the Yamaha FG830 or entry-level Yairi guitars can be found for around $500. Particularly, the Yamaha FG series pairs well with preamps like the Fishman Aura Spectrum DI, offering a natural and rich acoustic sound. This makes it an ideal choice for beginners looking to replicate Ano-chan’s acoustic setup.

4. Effects Pedals
For distortion, the BOSS SD-1 or Ibanez Tube Screamer Mini are affordable options that can easily recreate the aggressive sound associated with the SG. For spatial effects, the BOSS DD-3T (delay) or NUX Atlantic (reverb + delay) offer excellent cost-performance. While acoustic DIs can be pricey, budget-friendly preamps like the Behringer ADI21 are also available.

5. Multi-Effects
Multi-effects units like the BOSS GT-1 or Zoom G3n, priced around $100-$200, are powerful options that can replicate Ano-chan’s simple setup in one device. Beginners are encouraged to start with a multi-effect unit to explore different sounds before transitioning to individual pedals as needed.

By combining entry-level models of SGs or semi-hollows, Yamaha acoustics, BOSS or Ibanez distortion pedals, and affordable multi-effects, players can achieve a sound quite similar to Ano-chan’s. Emphasizing a “simple and intuitive approach” allows for a faithful recreation of her vibe without breaking the bank.

Summary and Conclusion

Reflecting on Ano-chan’s guitar sound, its essence lies not in the extravagance of her gear but in her intuitive and straightforward approach, along with her stage presence. Centered around the Gibson SG Standard and Epiphone SG Custom, she incorporates the expansive clean tones of Gretsch and the simplicity of the Guild D-50NT through DI. This adaptability to song styles and settings keeps her voice and performance at the forefront.

Moreover, rather than fixating on specific models, she maximizes the use of standard equipment found in live houses and rehearsal studios, such as Marshall, Roland JC-120, and Fender Twin Reverb. This showcases her professional yet adaptable player mentality, serving as a valuable reference for amateur guitarists in similar environments.

Regarding effects, she likely maintains a minimal setup consisting of overdrive, tuner, and spatial effects. For acoustic use, the Fishman Aura Spectrum DI is employed to deliver natural resonance to the PA. Particularly for a guitar vocalist, a straightforward yet reliable gear setup enhances the overall quality of the performance.

In summary, Ano-chan’s sound design is characterized by “flexibility to adapt to the song and atmosphere” and “individuality within simplicity.” Her approach of intuitively playing the guitar and delivering its natural sound to the audience is likely a key reason for her widespread appeal.

For players looking to replicate her sound, starting with a simple SG-style guitar, standard amplifier, and minimal pedals is recommended. The focus should be on “how to use the gear” and “the emotional intent behind the sound,” which are central to Ano’s sound design.

To summarize:
• Create iconic sounds centered around SGs and blue-hued guitars
• Flexibly utilize standard venue amplifiers (Marshall/JV-120/Fender)
• Maintain minimal effects, prioritizing the balance between voice and guitar
• Deliver acoustic sounds simply through direct connection to the PA
These elements combine to create Ano-chan’s unique sound.

The allure of Ano-chan as a guitarist lies not in the quantity of gear but in her “sense of selection” and “strength of emotional expression.” This attitude serves as a significant hint for all players aspiring to create their unique sound, even in simple environments.