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

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Introduction (Overview of Tone)

The guitarist Machiya from Wagakki Band plays a crucial role in merging traditional Japanese instruments with rock sounds, creating a unique musical world. His playing style is emotional yet delicate, supporting the band’s overall dynamic range.

In iconic songs like “Senbonzakura” and “Tengaku,” his fast-paced riffs and distorted guitar sounds intertwine with the resonance of traditional instruments, producing a distinct thickness and power. Additionally, in tracks featuring acoustic guitar, he showcases a transparent tone that highlights the timbre of the traditional instruments, skillfully controlling the sound according to the context.

Machiya’s sound is characterized by a remarkable flexibility that allows him to switch between clean and distorted tones. While utilizing effects, the foundational clean tone remains exceptionally pure, layering drive and delay to create spatial expansiveness. This style emphasizes his presence as a rock guitarist while being mindful of harmony with traditional instruments.

Moreover, Machiya often employs different gear setups for live performances and recordings, showcasing a flexible approach that can be likened to a “sound craftsman.” The broad musicality and sound tailored to each situation support the unique worldview of Wagakki Band.

Understanding Machiya’s sound creation is crucial for guitarists who wish to replicate the Wagakki Band’s sound. In the following sections, we will detail the amplifiers, guitars, and effects he uses, along with their characteristics and setup methods.

▶ Search official YouTube videos of Wagakki Band

List of Amplifiers and Features

Machiya primarily uses the Roland JC-120 Jazz Chorus, a staple in transistor amplifiers. This model is known for its extremely clean and fast-responding sound, making it an ideal choice for ensuring sound separation in ensemble performances with traditional instruments. By supplementing distortion through effects rather than the amp, he can maintain a clear foundation while creating a variety of tones.

The clean sound of the JC-120 is enhanced by its unique stereo chorus circuit, further accentuating the spatial resonance that Machiya produces. Particularly in ballads and acoustic-oriented tracks, its transparency elevates the overall sound of the band. When performing alongside powerful instruments like taiko drums and shamisen, the JC-120 maintains its presence without being overshadowed.

However, past interviews and live footage suggest that Machiya may also use Marshall amps in combination with Gibson guitars for certain rock-oriented tracks or festival settings. It’s possible that he has borrowed or used tube amps from the Marshall JCM or DSL series during these performances, although this remains unconfirmed.

In studio recordings, he likely combines the JC-120’s line recording with boutique amps or simulators. Many artists have recently adopted profiling amps like the Kemper Profiler or Fractal Axe-Fx, and it is assumed that Machiya employs these during the production phase for detailed tone adjustments.

In summary, Machiya’s basic amp setup revolves around the Roland JC-120, flexibly adapting to the song and venue size. This approach prioritizes stability in live performances and harmony with traditional instruments while incorporating the robust character of Marshall amps when delivering a powerful rock sound.

Types of Guitars Used and Features

Machiya’s guitar selection is extensive, allowing for a wide range of expressions in both live performances and recordings. He utilizes semi-hollow, full-hollow, Les Paul, and Telecaster types, emphasizing the resonance of hollow body and semi-hollow guitars for sound creation that harmonizes with traditional instruments.

One of his notable guitars is the Epiphone Casino, custom-ordered from Shimokura Gakki. This lightweight hollow body guitar has a rich resonance and has been used since the band’s early days. It shines in arpeggios and clean tone parts, blending seamlessly with the sounds of traditional instruments.

Machiya also employs vintage models of the Gibson ES-335TD from 1978 and 1974, known for their powerful and sustain-rich sounds due to their semi-hollow structure. These guitars are particularly used in rock numbers and thick riffs, allowing him to utilize subtle tonal differences between the vintage models for optimal sound in each song.

Additionally, the Fujigen NCTL-10M (Telecaster type) and NCLS-20R (Les Paul type) are high-quality domestic models that offer reliability and stable performance during live shows. Fujigen guitars are known for their ability to reproduce Strat and Les Paul sounds well, making them versatile for clean to crunchy tones.

For a more rock-oriented tone, he uses the Gibson Les Paul Goldtop and SG Standard. The Les Paul Goldtop provides thick low-end presence, excelling in riffs and leads, while the SG Standard ensures clarity and punch on stage.

Moreover, the Rickenbacker 330 offers a sound that combines jangle and hollowness, used in arpeggios and British rock-style songs. For acoustic performances, he utilizes K.Yairi custom acoustic guitars and Martin custom shop acoustics, enhancing expressiveness in soft-toned parts.

Machiya’s guitar selection allows for a wide range of tonal expressions from clean to distorted, tailored to the needs of each song. Each guitar plays a vital role in creating the unique soundscape of Wagakki Band.

Effects and Pedalboard Setup

Machiya’s effects board is designed to create a diverse range of guitar sounds, adaptable for both live and recording situations. Essentially, it builds on the clean sound of the Roland JC-120, layering overdrive, delay, and octave effects to produce the unique thickness and spatial expansiveness characteristic of Wagakki Band.

First, the BOSS BD-2 Blues Driver allows for a natural crunch to slightly distorted overdrive, enriching the expressiveness of riffs and leads. This pedal is essential for capturing the nuances of his guitar during live performances. The BOSS DD-20 Giga Delay is a high-function digital delay that adds depth and space to the music, particularly useful for arpeggios and solos.

The BOSS OC-3 Super Octave adds a note an octave lower, enhancing the low-end thickness, especially during climactic moments or powerful riffs. Additionally, the XOTIC BB Preamp serves as a wide-range overdrive/preamp, crucial for crafting thick drive sounds.

For controlling volume and expression, the HOTONE SOUL PRESS is employed, functioning as a volume and expression pedal that adjusts dynamics during performance. The ZOOM MS-50G MultiStomp acts as a versatile multi-effects unit, adding special sounds and auxiliary effects in live and studio settings.

For tuning management, the BOSS TU-3 Chromatic Tuner is indispensable for stable performances. Machiya’s effects board is characterized by a balance of spatial effects based on a clean foundation and distortion effects, with each effect chosen to maximize the nuances and expressions of the songs.

Tone Settings, EQ, and Mixing Approaches

Machiya’s sound creation fundamentally maximizes the character of the guitar while finely adjusting the amp, effects, and PA mix at each stage. On stage, he bases his sound on the clean channel of the Roland JC-120, adding necessary warmth and distortion with the BD-2 and XOTIC BB Preamp. The crunch range is set lightly to reflect the nuances of the guitar and the dynamics of picking.

The EQ settings generally emphasize the midrange slightly, with low frequencies supported by the JC-120’s characteristics to avoid overlapping with traditional instruments. High frequencies are lightly boosted to define the contours of arpeggios and leads, particularly balancing with the high frequencies of shamisen and koto. Depending on the song, he adjusts midrange cuts with the BD-2 or enhances highs with the XOTIC BB Preamp to vary the density of the sound.

Switching amp channels for each song is also crucial. In ballads dominated by clean tones, he relies solely on the JC-120 with ample spatial effects to construct a transparent sound for the entire band. Conversely, for rock-oriented tracks, he utilizes the XOTIC BB Preamp and BD-2 to layer thick distortion for a powerful effect. Additionally, he may add an octave below with the OC-3 to increase low-end thickness and impact.

During recording, he combines direct amp recording and miking with special effects from the ZOOM MS-50G and HOTONE SOUL PRESS to create more complex and three-dimensional tones. By subtly layering spatial effects, the sound remains distinct in ensemble with traditional instruments, creating a three-dimensional soundscape for the band.

In the mixing stage, the guitar is positioned in the midrange while being panned left and right as needed, considering the overall balance of the song. The application of delay and chorus is finely adjusted for each track to ensure presence while avoiding interference with traditional instruments and vocals. Machiya collaborates with the PA engineer to maintain a consistent sound image in both live and recording settings.

Overall, Machiya’s sound creation essence lies in “leveraging the guitar’s individuality while making spatial and frequency adjustments with effects and amps to accommodate the unique overlaps of Wagakki Band’s sound,” with meticulous adjustments for each song significantly contributing to the overall sound.

Affordable Alternatives to Recreate the Tone

If you want to replicate Machiya’s sound but find high-priced vintage guitars or custom orders out of reach, it’s possible to achieve a similar tone using relatively affordable gear. The key is to base your sound on a clean foundation similar to the JC-120 while recreating distortion and spatial effects with BOSS overdrives and multi-effects.

For guitars, consider cost-effective models from brands like Epiphone or Squier to achieve a sound close to the high-quality Fujigen NCTL-10M or NCLS-20R. Notably, the Epiphone ES-335 and Casino can easily replicate the resonance of hollow bodies. Even budget models of Strat or Les Paul types can approximate the sound with adjustments to pickups and strings.

For amps, the Roland JC-40 or JC-22 are affordable transistor amps that closely resemble the clean sound of the JC-120. Aim for the clear and transparent clean characteristics of the JC-120, supplementing with overdrive or preamp to add thickness. They provide sufficient reproduction for small live shows or home practice.

Effects can be substituted with entry-level models like the BOSS BD-2 Blues Driver or BOSS DD-8/20 Giga Delay. The BD-2 offers natural crunch at a low price, while spatial effects like delay and reverb can also be recreated with affordable models. Multi-effects units like the ZOOM G1 Four or MS-50G can manage multiple effects, easily incorporating octave and preamp effects.

For volume and wah expression, the budget version of the HOTONE Soul Press or BOSS FV-500H can be used. This allows for dynamic adjustments and expression control during performance, enabling you to approximate Machiya’s sound even in a budget-friendly setup. Overall, it is assumed that with gear ranging from $100 to $500, you can effectively recreate the sound of Machiya through a thoughtful combination of amp, guitar, and effects.

Summary and Conclusion

The essence of Machiya’s guitar sound lies in its “clean foundation while flexibly reflecting the song’s expression and dynamics.” Centered around the Roland JC-120, he supplements thickness with overdrives like the BD-2 and XOTIC BB Preamp, adding spatial expansiveness and low-end power with the DD-20 and OC-3, achieving the unique musical fusion of Wagakki Band.

His guitar selection, including the hollow-bodied Epiphone Casino, semi-hollow Gibson ES-335, and Fujigen Telecaster and Les Paul types, allows for a wide range of tones from arpeggios to leads. The inclusion of acoustic guitars further amplifies expressiveness in live and singing performances.

The combination of effects and board setup emphasizes flexibility in live performances while maximizing the nuances of each song. Utilizing volume, wah, and expression pedals enables control over dynamics and expression during performances. Additionally, EQ, channel switching on amps, and mixing techniques ensure sound stability in both recording and live settings.

To replicate Machiya’s sound, three perspectives are essential: “leveraging the individuality of the guitar,” “adding thickness and expansiveness with spatial effects and overdrives,” and “adjusting nuances and dynamics for each song.” Even without expensive vintage or custom guitars, combining affordable models with entry-level amps and effects can bring you remarkably close to that sound.

Ultimately, the allure of Machiya’s sound lies in its “broad expressive range and the unique sound image created through the fusion with traditional instruments,” and with thoughtful gear selection and setup, anyone can experience that essence.