[ACANE] How to Recreate the Zutto Mayonaka de Iinoni. Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

ACAne, the frontwoman and guitarist of the band Zutto Mayonaka de Iinoni, has garnered attention for her unique musicality and expressive playing style. The band’s songs intertwine electronic elements and cinematic arrangements, with guitar sounds playing a crucial role in supporting the core of their music.

ACAne’s approach to sound design is characterized by a blend of ethereal clean tones and a solid overdrive. Notably, tracks like “Byoushin wo Kamu” and “Kuraku Kuroku” showcase her use of deep reverb and modulation, creating a distinctive and dreamlike soundscape.

In live performances, she skillfully alternates between Gretsch and Fender Stratocaster guitars, producing tones that are both soft and sharp. Her sound design is delicate yet bold, adeptly combining amplifiers and effects to faithfully recreate the atmosphere of each song.

ACAne’s playing style transcends simple riffs and solos; she incorporates chord work and arpeggios layered with delay and modulation, effectively designing the overall space of the band’s sound. This approach allows listeners to experience a profound sense of immersion.

The reason her sound stands out is due to its balance of simplicity and complexity, embodying both “stillness and movement.” Particularly in her latest tour, the use of a Collings OM-1 and a 1960s Fender Stratocaster has expanded her sound range from acoustic to electric, drawing significant attention.

Thus, studying ACAne’s sound design is not merely about replicating the sound of Zutto Mayonaka de Iinoni but also learning how to create modern guitar ensembles.

In the following sections, we will delve into the specific amplifiers, guitars, effects, and settings used by ACAne to uncover the essence of her sound design.

▶ Search official YouTube videos of Zutto Mayonaka de Iinoni

List of Amplifiers and Features

ACAne’s choice of amplifiers often reflects a balance between clean and drive tones. Since incorporating Gretsch into her setup, the Matchless Chieftain (CH-212) has been confirmed as her main amplifier for both live performances and recordings through various interviews and gear showcases. This amp is known for its rich harmonics and warm clean tones, making it an excellent match for ACAne’s ethereal and expansive compositions.

The Matchless Chieftain shines particularly when paired with electric guitars for beautiful arpeggios or deep modulation effects. Its strong midrange presence, combined with Gretsch or Fender Stratocaster guitars, allows for a blend of softness and clarity. The amp’s reliable output makes it a cornerstone of ACAne’s live performances.

In some songs or smaller streaming events, other tube amplifiers or compact combo amps may be used. Especially in acoustic guitar scenes, direct line connections along with preamps or DI boxes are sometimes employed, indicating that her sound is not solely dependent on amplifiers. This flexibility in her setup contributes to the diversity of her sound.

Additionally, during rehearsals or studio sessions, Fender amps (such as the Twin Reverb) may serve as supplementary options. However, it is essential to note that the primary confirmed amplifier remains the Matchless, while other amps are assumed to be used as “supplementary options.”

ACAne’s amplifier selection reflects a consistent philosophy of “starting with clean tones and using pedals to shape the sound.” By centering her setup around an amp like the Matchless, which offers rich harmonics and natural overdrive, she maintains clarity even when applying overdrive or modulation effects.

Therefore, ACAne’s amplifier configuration can be summarized as “primarily using the Matchless Chieftain, supplemented by other amps or DI as needed.”

Types of Guitars Used and Features

ACAne owns and uses a wide variety of guitars, encompassing both electric and acoustic models. She tends to switch her main gear for each live performance or tour, making each period’s sound signature distinct.

In her latest tour, “Meikou wa Gunaru ga Gotoshi,” she showcased a 1960s Fender Stratocaster (Lake Placid Blue variant). This guitar features a small headstock and rosewood fingerboard, confirming her affection for it through Instagram posts. It plays a crucial role in highlighting her clean tones and bright treble, particularly in arpeggios and chord work.

Since 2021, the Gretsch G6118T-60 has become a staple in her setup, symbolizing her stage presence. The unique, rich tone of Gretsch harmonizes beautifully with the band’s ethereal sound, especially when reverb and modulation effects are applied. Midway through the 2024 tour, the fano guitars RB6 (in red) also made an appearance, supporting the diversification of her setlist with its modern and distinctive look and sound.

Additionally, ACAne has been confirmed to own a Rickenbacker 620, known for its unique midrange and sharp articulation. This guitar may be used for accentuating certain tracks or as supplementary elements in her music. Her acoustic guitar collection is also diverse, with the introduction of the Collings OM-1 in 2024, which offers a transparent midrange and natural reverb, playing a significant role in subsequent tours. Before that, she primarily used Taylor and YAMAHA LL16 ARE models, which excelled in streaming and solo performances.

Interestingly, she has also been mentioned to use a Jackson JS Series Dinky Minion JS1X, a short-scale model. This guitar is likely not used for standard performances but rather for special occasions or playful live performances.

ACAne’s guitar selection balances “musical diversity” with “stage performance versatility.” By incorporating classic Fender and Gretsch guitars to capture traditional tones while exploring modern textures with fano and Rickenbacker, she broadens her sound palette. This approach illustrates that guitars are treated as “canvases for expanding the world of the music,” rather than mere instruments.

Thus, ACAne’s guitar choices can be summarized as “changing her main instruments according to the period while focusing on balancing sound and performance.”

Effects and Pedalboard Setup

The core of ACAne’s sound design lies in her pedalboard, which combines a variety of effects. She adheres to a style of “starting with clean tones and layering spatial and distortion effects to color each song,” resulting in a highly organized yet functional live board.

For distortion, the VEMURAM Jan Ray is a staple, confirmed by multiple sources. This natural, compressed overdrive creates a solid crunch when layered over the Matchless amp’s clean tones. Additionally, the MXR CSP027 Timmy Overdrive is used for boosting, enhancing volume and gain without compromising nuance.

In terms of modulation, she utilizes both the Strymon Mobius and the Universal Audio UAFX Astra. The Mobius focuses on chorus and phaser effects, providing a deep undulation, while the Astra allows for delicate coloring with vibrato and classic modulation. This versatility enables her to create entirely different atmospheres from the same chord progressions.

Furthermore, the Beyond tube preamp 2s adds a preamp-like quality, while the Shin’s Music volume pedal aids in dynamic control. ACAne emphasizes the importance of dynamics in her performances, making the volume pedal a tool for creating a sense of breathing in the sound rather than just a volume adjustment.

The foundation of her board consists of Free The Tone’s system components (JB-41C junction box, ARC-4 switcher, PT-5D power supply). These devices minimize signal loss and facilitate smooth effect switching, making them essential for stability and operability during live performances.

ACAne’s choice of effects clearly reflects two axes: “sound diversity” and “operational reliability.” While modulation and reverb expand the world of her songs, distortion remains supplementary, ensuring that the vocals and overall ensemble are not overshadowed. This balance allows her to faithfully recreate the band’s ethereal atmosphere in live settings.

Thus, ACAne’s pedalboard configuration can be summarized as “a multi-layered and stability-oriented system supporting sound design centered around clean tones and modulation.”

Tone Settings, EQ, and Mixing Approaches

ACAne’s sound design centers around a combination of “delicate cleans that provide spatial expansiveness” and “powerful drive sounds when necessary.” As seen in her choice of guitars, amplifiers, and effects, her settings emphasize detail and nuance rather than mere distortion or flashiness.

The basic settings for her amplifier, primarily the Matchless Chieftain, are centered around the clean channel. The Bass is typically kept around noon, the Middle is pushed to about 12-2 o’clock, and the Treble is adjusted to around 11 o’clock to avoid harshness while ensuring presence. This setup allows the bright highs of the Stratocaster and Gretsch to shine without being piercing.

For adding distortion, the VEMURAM Jan Ray serves as the foundation, with the MXR Timmy used as a boost when necessary. The Jan Ray is set to a modest gain of around 9-10 o’clock, with the volume raised above noon to create a “natural and thick crunch.” Meanwhile, the Timmy is used to enhance gain and volume during solos or to add thickness to the overall band sound.

Her approach to modulation is particularly distinctive. The Strymon Mobius applies chorus and phaser effects lightly, adding a “sway” to chord work and arpeggios. The settings likely involve a shallow Depth (around 20-30%) and a slower Rate to recreate a “wave-like undulation.” Conversely, the UAFX Astra is utilized for deeper vibrato settings in specific songs, enhancing the overall dreamlike quality of the music.

Spatial effects, including reverb and delay settings, are crucial elements in her mixing approach. ACAne’s live sound features deep reverb settings, with Decay set to 3-4 seconds and Mix around 30-40%, creating a “hall-like ambiance.” Delay settings vary by song, ranging from tempo-synced slapback (100-120ms) to ambient long delays (500-600ms). Particularly in songs like “Byoushin wo Kamu,” the combination of reverb and delay creates a layered space that envelops the vocals.

In terms of mixing, a key consideration is ensuring that the guitar’s EQ does not interfere with the vocals. The 2kHz-4kHz range is where vocals are most prominent, so the guitar is kept slightly subdued in this area while tightening the low end around 150Hz-300Hz to enhance cohesion with the rhythm section. Additionally, boosting frequencies above 8kHz emphasizes “sparkling and clear cleans.”

Moreover, the PA setup for live performances takes advantage of stereo space. Modulation effects are spread across the left and right channels, while the wet component of reverb is centered, ensuring that the guitar serves not just as accompaniment but as a key element in the overall spatial design of the music.

ACAne’s approach to song differentiation is clear. For instance, in quieter arpeggio-driven songs, she focuses on acoustic tones with a nearly clean finish, while dynamic tracks feature the combination of Gretsch and Jan Ray for added thickness. This flexible setup contributes to the unique atmosphere of each live performance.

Thus, ACAne’s sound design is constructed through “delicate EQ and modulation choices based on clean tones,” “spatially aware reverb and delay,” and “mixing strategies that consider the balance of the entire band.”

Affordable Alternatives to Recreate the Tone

While ACAne’s sound design is supported by high-end gear, beginners and intermediate players can approach the “Zutomayo sound” using relatively affordable equipment. The key is to focus on three points: “starting with clean tones and coloring with spatial effects,” “achieving natural overdrive,” and “maintaining simple operability.” Below are some gear recommendations that can help achieve a similar tone.

For amplifiers, the Fender “Blues Junior IV” serves as a suitable alternative to the Matchless Chieftain. This tube amp is available for under $1,000, providing warm cleans and light crunch that share similarities with ACAne’s sound. Its compact size makes it versatile for home practice and live performances.

In the distortion category, the BOSS BD-2 Blues Driver is highly recommended as a substitute for the VEMURAM Jan Ray. It can produce a natural and warm crunch similar to the Jan Ray, with a price point in the $100 range. By keeping the gain low and raising the volume, players can recreate a clean tone akin to ACAne’s.

Additionally, the BOSS SD-1 Super OverDrive is a strong candidate as an alternative to the MXR Timmy Overdrive. It offers natural midrange emphasis and light gain boost, contributing to solos and overall band thickness. This pedal is also available for around $100, making it a cost-effective option.

For modulation, while the Strymon Mobius and UAFX Astra are on the pricier side, the BOSS CE-5 Chorus Ensemble and MXR Phase 90 can easily replicate the “sway” effect. The CE-5 allows for adjustable chorus depth, making it ideal for creating ethereal chord work. The Phase 90, with its simple one-knob design, can provide spatial undulation similar to the Mobius’s phaser functions.

In terms of reverb, the BOSS RV-6 is an excellent choice. It features a range of reverb types, including hall and modulation reverb, capable of recreating the “expansive echoes” characteristic of Zutomayo’s music. Priced around $200, it remains accessible.

For pedalboard accessories, while acquiring high-end Free The Tone products may be challenging, using One Control switchers or power supplies can maintain stability while keeping costs down. A simple setup can be assembled for under $500, effectively mimicking ACAne’s sound.

When it comes to acoustic guitars, alternatives to the Collings OM-1 include the YAMAHA FG820 or FGX800C, which can be found for $300-$500. These guitars offer clear and balanced tones, making them suitable for both stage and streaming use.

In summary, by focusing on reliable brands like BOSS and YAMAHA, players can approach the “ACAne sound” at a relatively low cost. The key is to emphasize “transparent cleans,” “moderate crunch,” and “deep reverb and chorus,” which will help recreate the desired atmosphere.

Summary and Conclusion

Looking at ACAne’s sound design, it becomes clear that she values “the beauty of the sound itself” and “the dimensionality that supports the world of the music.” Rather than having the guitar stand out on its own, her playing intertwines with the vocals, synths, and rhythm section to create a cohesive ensemble.

Specifically, her clean and harmonically rich amplifier settings centered around the Matchless Chieftain, natural overdrive from VEMURAM Jan Ray and Timmy, diverse modulation from Strymon Mobius and UAFX Astra, and deeply applied reverb and delay all contribute to ACAne’s unique “ethereal and dreamlike sound.” These are not merely combinations of effects but a system designed to seamlessly switch between “stillness and movement” and “delicacy and power.”

Moreover, her choice of guitars strongly reflects her musicality. By grounding her sound in classic Fender Stratocasters and Gretsch guitars while incorporating unique brands like fano and Rickenbacker, she adds textures that are distinct from other artists. Additionally, using acoustic guitars like the Collings OM-1 and YAMAHA LL16 enables a wide range of expression, from solo performances to full band settings.

In summary, ACAne’s sound design can be encapsulated as “sound design centered around transparency and depth.” The guitar functions as part of the whole, creating a three-dimensional experience that immerses listeners, which is why many describe Zutto Mayonaka de Iinoni’s sound as unique.

For those looking to recreate her sound, it is essential to focus on “layering sounds based on clean tones,” “awareness of spatial effects and EQ balance,” rather than simply acquiring expensive gear. By carefully fine-tuning amp and effect settings, players can come close to achieving an “ACAne-like sound.”

Finally, it is crucial to emphasize that ACAne’s sound is not merely a result of her gear but is underpinned by a philosophy of “how to convey the world of the music.” Therefore, when attempting to replicate her sound, considering “what kind of atmosphere you want to create” and “how you want listeners to feel” will be the key to success.

We hope that guitarists inspired by the music of Zutto Mayonaka de Iinoni will use this summary as a reference in their pursuit of their own sound.