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

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Introduction (Overview of Tone)

Sayuri is a singer-songwriter known for her captivating phrase “Oxygen-deprived Girl,” gaining significant attention with anime tie-in songs like “Mikazuki” and “Flare Girl.” Her music features a delicate and transparent blend of guitar sound and vocals, characterized by a sense of earnestness. Starting from street performances to studio recordings and large-scale live stages, she consistently focuses on creating a sound centered around the acoustic guitar.

The tone of her guitar does not merely serve as accompaniment; it plays a crucial role in conveying the emotions of her songs, acting as another voice. By layering the natural resonance of the acoustic guitar with spatial processing from the venue or PA system, she constructs a uniquely immersive sound.

For instance, in “Mikazuki,” the arpeggios express a sense of longing, while in “Flare Girl,” the strength of the strumming symbolizes an emotional explosion. Her striking presence on stage, holding a custom-painted yellow Yamaha LL36 ARE, has become a symbol of her music, deeply etched in the minds of her fans.

From these points, it can be concluded that Sayuri’s sound design prioritizes the “integration of song and guitar.” She is not just a singer-songwriter but an artist who vividly paints the entire soundscape with her instrument and voice, which is why she has garnered support from many listeners.

▶ Search official YouTube videos of Sayuri

List of Amplifiers and Features

Sayuri’s live sound is primarily constructed by connecting directly to the PA without using an amplifier. This approach is not uncommon for artists who focus on acoustic performances, as sending the guitar signal through a preamp/DI to the PA system (FOH) allows for stable sound delivery throughout the venue. Particularly in large venues like national tours and festivals, connecting directly to the PA is more acoustically manageable and reduces the risk of feedback compared to using stage amplifiers.

On the other hand, in street performances or smaller venues, it is likely that she also utilizes venue-provided acoustic amplifiers. Acoustic guitar amplifiers can enhance the brilliance of high frequencies and the richness of low frequencies, playing a vital role for singer-songwriters who value the audience’s close-range experience. While it is assumed that brands like Fishman or Roland may be used, clear evidence of specific models is scarce, so this information is treated as “assumed.”

Moreover, since her sound heavily relies on processing at the PA, it is believed that spatial effects like hall reverb and delay are applied by the sound engineer on-site. In essence, the key to Sayuri’s sound design is its strong dependence on the PA environment rather than amplifiers. This strategic choice allows her to dominate vast spaces with just her guitar and voice, further emphasizing her musicality.

Overall, Sayuri’s amplifier usage is assumed to revolve around a “DI direct connection + PA main” style, utilizing venue amplifiers as monitors when necessary.

Types of Guitars Used and Features

At the core of Sayuri’s sound design is the Yamaha flagship acoustic guitar, the LL36 ARE. As the top model of the L series, it features a solid Engelmann spruce top and solid rosewood sides and back. Thanks to Yamaha’s unique A.R.E. (Acoustic Resonance Enhancement) treatment, it achieves a matured resonance as if it has been played for years. This guitar balances natural, deep bass with clear, soaring treble, making it an ideal instrument for highlighting her vocals during performances.

Notably, her custom-painted yellow LL36 has become an iconic representation of her music, often referred to as “Sayuri Yellow” among fans. This guitar has been used since her street performance days in Shinjuku, and official photos and stage footage also confirm the use of a natural-colored LL36, indicating that she switches between them depending on the context and time. The bright yellow model enhances visual impact on stage, while the natural model conveys an organic impression typical of acoustic performances.

The Yamaha LL36 ARE produces a powerful sound pressure during chord strumming while maintaining delicacy in arpeggios. Sayuri’s songs, such as “Mikazuki” and “Parallel Lines,” rely heavily on dynamics that alternate between quiet and loud, and the expressive capabilities of this guitar strongly support that sound. Even top artists consistently using the same model demonstrate her immense trust in the guitar’s tone.

In recent years, this LL36 has been consistently used in streaming performances and acoustic-focused stages, making it her “one and only partner.” In conclusion, it is assumed that Sayuri utilizes “two types of Yamaha LL36 ARE, one custom-painted and one natural finish.”

Effects and Pedalboard Setup

In Sayuri’s live performances, the effects used differ from the flashy effects typical of rock bands, focusing instead on “sound quality stability” and “adjusting resonance suitable for acoustic performances.” While clear images of her entire pedalboard are not confirmed from official interviews or photos, the setup can be inferred based on common practices among acoustic artists, centering around a preamp/DI, tuner, and minimal spatial effects.

The essential component is the acoustic preamp/DI. Notable options include the L.R. Baggs “Para Acoustic DI” or “Venue DI,” and the Fishman “Aura Spectrum DI.” These devices feature notch filters to suppress feedback, which is unavoidable in live settings, while allowing for EQ adjustments to refine the guitar’s sound. In large halls or festivals, sending a manageable signal for the engineer is crucial, making these devices key to delivering Sayuri’s sound consistently.

Next, it is assumed that a tuner is always in use. Singer-songwriters require delicate pitch management to match the mood and key of each song, so stage setups likely include floor tuners (like the BOSS TU-3) or clip-on tuners for quick tuning. This is particularly advantageous during short transitions in festival performances, where precise and rapid tuning is essential.

Furthermore, while spatial processing (reverb and delay) is often applied at the PA, there may be instances where small spatial effect pedals are incorporated into the board. For example, the TC Electronic “Hall of Fame Reverb” or a compact delay could allow her to adjust the monitor sound she hears on stage.

Overall, Sayuri’s pedalboard can be described as “not for flashy sound processing, but a minimal setup aimed at stabilizing sound quality and maximizing the unity between her voice and guitar.” Therefore, the sound reaching the audience is extremely natural and clear, enhancing her vocal presence.

Tone Settings, EQ, and Mixing Approaches

Sayuri’s sound design focuses on the role of the guitar as “another voice” rather than merely amplifying it within a band context. Therefore, her settings and EQ adjustments differ significantly from those of typical rock guitarists, emphasizing how to separate and blend the frequencies of her voice and guitar.

Regarding EQ settings, when connected directly to the PA, initial adjustments are often made via the preamp or DI, with the final balance typically refined at the PA console. The low frequencies of the guitar are boldly cut below 80Hz to prevent muddiness, while around 200Hz, adjustments are made to avoid interference with the vocal range. The midrange (500Hz to 1kHz) provides body to the guitar but can overlap with the main vocal frequencies, so a slight dip is a common adjustment. High frequencies are boosted above 5kHz to enhance attack and ensure clarity in strumming.

Settings may vary by song. For quieter arpeggio-based songs like “Mikazuki” or “Parallel Lines,” it is effective to slightly reduce high frequencies to emphasize softness and create a tone that blends with her voice. Conversely, for intense strumming in songs like “Flare Girl” or “Roo-Ra-Roo-Ra-Roo-Ra,” a compression-like emphasis on the mid-high frequencies is required to bring the strong attack to the forefront.

Spatial processing is generally applied at the PA console. A light hall reverb is used to create a sound that allows the voice and guitar to merge while providing a sense of spaciousness throughout the venue. In some songs, a subtle delay may be mixed in to give depth to the sound, further enhancing the emotional impact of the lyrics. These effects are likely achieved through close collaboration with the sound engineer on-site.

From a mixing perspective, Sayuri’s guitar is processed to emphasize attack while cutting low-end frequencies, ensuring that it does not overshadow the vocal performance but rather supports it. For example, in large venues, light compression may be applied to the guitar channel to even out volume differences, delivering stable sound without losing the nuances of her acoustic performance.

Additionally, in recorded works, double tracking and light EQ adjustments are performed, resulting in a mix that emphasizes depth and spaciousness. By maximizing the natural sound of the acoustic guitar while reinforcing it with digital processing, the final output provides an immersive experience for listeners.

In summary, Sayuri’s EQ and settings focus on “thoroughly adjusting the relationship between voice and guitar.” Rather than merely enhancing the sound, her sound design aims to highlight the lyrics and melody, which is at the core of her music.

Affordable Alternatives to Recreate the Tone

Sayuri’s Yamaha LL36 ARE is a high-end model, priced over $5000, making it unrealistic for beginners or intermediate players to acquire the same model. However, by selecting key equipment, it is possible to approximate her sound at a more affordable price. Here, we introduce alternatives in four categories: “Acoustic Guitar,” “Preamp/DI,” “Tuner,” and “Reverb.”

For guitars, the lower models of the Yamaha L series, such as the “LL16 ARE” or “LL6 ARE,” are excellent choices. Both feature solid tops and A.R.E. treatment, providing a rich resonance similar to the LL36, available for around $1000. The tonal direction is consistent, making them suitable for live performances and practice.

Next, for preamps/DI, while high-end models from L.R. Baggs and Fishman can be expensive, options like the BOSS AD-2 Acoustic Preamp or Zoom AC-2 Acoustic Creator are available for around $100-$200, featuring acoustic-specific EQ and anti-feedback functions. The Zoom AC-2, in particular, combines a preamp and DI, making it versatile for home recording and live use, which is beginner-friendly.

For tuners, while the BOSS TU-3 is a professional standard, alternatives like KORG Pitchblack or clip-on models such as KORG Pitchclip and Peterson StroboClip offer high accuracy and can be acquired for $30-$100. These provide an easy solution for stable pitch management essential for singer-songwriters.

Regarding spatial effects, a compact reverb like the TC Electronic Hall of Fame 2 Mini Reverb is recommended. Priced around $100, it can sufficiently handle sound adjustments for live performances. If considering a multi-effects unit, models like the BOSS GT-1 Acoustic or NUX Optima Air, designed specifically for acoustic guitars, offer excellent cost performance.

In summary, by assembling these pieces of equipment, one can get quite close to a “Sayuri-style” acoustic sound with an investment of under $1000. The key is not to perfectly replicate high-end models but to focus on how to create a sound where “voice and guitar resonate together.” With this perspective, one can effectively experience her unique atmosphere.

Summary and Conclusion

The essence of Sayuri’s sound design lies not in “pushing forward the guitar sound” like typical rock guitarists but in “integrating voice and guitar to convey emotions.” This unique style emphasizes the “earnestness,” “loneliness,” and “transparency” inherent in her songs, with her equipment choices supporting this goal.

At the center is the Yamaha LL36 ARE, a flagship acoustic guitar. The custom-painted bright yellow model serves as a visual icon, while acoustically, it possesses a delicate and rich resonance. The natural, expansive sound produced by this guitar envelops Sayuri’s voice, creating a direct connection with the listener’s heart.

By keeping amplifiers and effects to a minimum and primarily operating with a PA direct connection and preamp/DI, she maintains a policy of “utilizing the inherent resonance of the guitar without unnecessary coloration.” This approach is consistent whether performing in large venues or on the street, explaining why her music sounds uniquely “hers” regardless of the setting.

Additionally, her EQ and mixing processes focus on “how to separate the frequencies of voice and guitar,” achieving a balance where the vocals take center stage while the guitar also conveys emotions. Thus, her sound design prioritizes “conveying emotions to the fullest” over mere technical prowess.

For those looking to recreate her sound, it is crucial to understand that it is not necessary to acquire expensive guitars or equipment. Instead, focusing on “how to resonate the voice and guitar” and “how to infuse emotions” is key. By incorporating preamps and DIs that maximize the natural resonance of the acoustic guitar and ensuring that voice and guitar complement each other, one can effectively experience the world of Sayuri.

In summary, Sayuri’s sound revolves around “how to delicately resonate honest and pure sounds.” This simplicity is what creates her unique presence and strong impression.