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

関連記事

[Masatoshi Mashima (Marcy)] – How to Recreate the THE BLUE HEARTS Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

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

2025.09.16

[K-A-Z] How to Recreate the SADS Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.122025.09.12

Introduction (Overview of Tone)

Kazuki Toyoda, the guitarist of SOPHIA, has been a prominent figure in the Japanese rock scene since the late 1990s and into the 2000s. His playing style is characterized by a thick, distorted Les Paul sound combined with sharp phrases and emotional backing. Iconic songs like “Machi” and “Kuroi Boots ~oh my friend~” showcase powerful chord work and lead lines that stand out, creating an overwhelming presence in live performances.

Notably, he utilizes two 1971 Gibson Les Paul Customs, each equipped with P-94 pickups (P-90s in a humbucker size). This unique combination allows him to achieve a sound that blends the thickness of humbuckers with the clarity of single coils. In live settings, he relies on a Marshall 1959 Super Lead (also from 1971) to recreate a robust yet clear rock sound.

Toyoda’s tone is not just about being a “distorted rock guitar”; it meticulously expresses the dynamics and nuances of each song. His pedalboard, centered around overdrive, includes essential spatial effects like chorus and reverb, constructing a solid yet three-dimensional sound. This simplicity, coupled with depth, has garnered attention from many fans and guitarists alike.

▶ Search official YouTube videos of SOPHIA

List of Amplifiers and Features

One of the most crucial pieces of gear supporting Kazuki Toyoda’s sound is the 1971 Marshall 1959 Super Lead. This amplifier is a staple for rock guitarists, known for its significant variations from year to year, with early 70s models often praised for their “exceptionally thick Marshall sound.” In interviews, Toyoda has expressed high regard for the thick and rich tones produced by this amp, which he has used as his main amplifier for many years.

The Marshall 1959 Super Lead is a 100W all-tube amplifier that delivers a powerful clean tone and a natural, robust distortion when pushed. When paired with a Les Paul Custom featuring P-94 pickups, it accentuates the midrange, ensuring that both lead and backing parts maintain their presence without getting lost in the mix.

Additionally, Toyoda incorporates rack equipment such as the KORG DTR-2000 (a rack tuner) to ensure stable tuning during live performances. He also uses the Ex-Pro Power Down Transformer DM-1, which is permanently set up on top of the amp to provide stable voltage regardless of the venue’s power environment. This setup allows him to maximize the potential of his tube amplifier.

At certain times, he has also been reported to use a combination of the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (power amp) as part of his rack system. This setup was likely used for flexibility in studio and tour settings, and there were instances where it was used alongside the Super Lead.

Overall, Toyoda’s amplifier system is fundamentally “Marshall-centric,” consistently focusing on the thick and powerful Marshall sound.

Types of Guitars Used and Features

Kazuki Toyoda’s guitar setup primarily revolves around two 1971 Gibson Les Paul Customs. Notably, he has a black and a wine-red model, both of which have been modified with P-94 pickups (humbucker-sized P-90s). This modification allows him to achieve a unique tone that combines the clarity of single coils with the midrange punch characteristic of P-90s, ensuring he stands out in a thick band mix.

The black Les Paul Custom serves as his main guitar for standard tuning and has been his signature instrument since 1997. The wine-red model is set up for drop tuning, introduced around the same time, allowing him to diversify his sound for different songs during live performances.

Since 2013, he has also incorporated a domestic brand guitar, the Vellmor Guitars VFV-Custom (Flying V type), which is equipped with Lindy Fralin P-90s. This serves as a backup guitar during live shows, providing a sharp attack and the thickness of P-90s, complementing his traditional Les Paul sound.

For acoustic performances, he uses a 2017 Gibson L-00 Vintage, which he describes as “great sounding and easy to play.” This guitar shines in ballads and acoustic sets, showcasing his versatility. All of his guitars receive regular maintenance at G-Club Tokyo in Ochanomizu, ensuring they remain in excellent condition for years of use.

Overall, Toyoda’s guitar selection reflects a consistent approach of “maintaining a simple setup while expressing individuality through pickup modifications.” His sound design is characterized by a classic Les Paul foundation with modern arrangements.

Effects and Pedalboard Setup

Kazuki Toyoda’s pedalboard is a simple yet highly practical setup. He primarily uses a serial connection, focusing on drive sounds while incorporating only essential spatial effects. This approach emphasizes maximizing the character of his guitar and amp without overly complicating the system.

For drive effects, he employs the Xotic BB Preamp and Friedman BE-OD. The BB Preamp serves as a natural overdrive, enhancing crunch and lead tones. The BE-OD replicates the aggressive distortion typical of Marshall amps, making it a perfect match for SOPHIA’s powerful rock tracks.

For spatial effects, he uses the strymon FLINT, which combines tremolo and reverb in one unit. This allows him to add depth and expression to his music without complicating his setup.

Additionally, he utilizes the Sobbat A/B Breaker SB-SW1 to create loops, with the Electro-Harmonix Small Clone (chorus) placed within the loop. This setup allows him to switch the chorus on and off as needed, adding depth to clean tones in specific songs.

He also employs the BOSS DD-3 delay to add depth to solos and arpeggios, while the BOSS TU-3 tuner ensures stable tuning during performances. The entire pedalboard is powered by the Craftsman Power Supply PS-008, enhancing reliability during live shows.

For acoustic performances, he uses the Fishman Platinum PRO EQ, which is essential for blending seamlessly into the band ensemble. This device has become indispensable for his acoustic sets during live performances.

In summary, Toyoda’s pedalboard is characterized by “overdrive-focused effects, essential spatial effects, and a power supply that ensures stability.” His setup prioritizes the natural sound of the guitar and the characteristics of the Marshall amp, confirming that he values simplicity and efficiency in his gear.

Tone Settings, EQ, and Mixing Approaches

Kazuki Toyoda’s sound design is characterized by a straightforward combination of guitar, amp, and effects, with a strong emphasis on achieving a balanced tone. His sound is marked by a “thick midrange” that is neither overly distorted nor too clean, largely due to the combination of the Marshall 1959 Super Lead and the Les Paul equipped with P-94 pickups.

For EQ settings, it is often assumed that he sets the low frequencies around 4-5, mid frequencies at 7-8, and high frequencies at 5-6. By emphasizing the midrange, he creates a tone that cuts through the band sound without clashing with the vocals. This adjustment is crucial for balancing the thickness of the Les Paul with the edge provided by the P-94 pickups.

The presence is likely set around 5 to avoid excessive brightness, ensuring a smooth tone during solos that is both expansive and comfortable to the ears.

When using overdrive pedals (Xotic BB Preamp and Friedman BE-OD), it is common to boost the amp’s gain while keeping it relatively low. The BB Preamp is likely used for clean boosting, adding punch during chord strumming and arpeggios. The BE-OD is typically engaged for added thickness during riffs and solos.

This method of “lightly seasoning the amp’s inherent distortion with pedals” is a classic approach for rock guitarists.

The delay (BOSS DD-3) is set for a shorter delay time, enhancing depth during lead sections. The repeats are kept to 1-2, with a subtle mix to prevent muddiness in the phrases. The reverb (strymon FLINT) is likely chosen for its spring or plate-like quality, adding an airy feel without overwhelming the performance.

For the acoustic guitar, EQ adjustments using the Fishman Platinum PRO EQ are essential. By slightly cutting the low end and boosting the mid to high frequencies, he achieves a clear acoustic sound that stands out in a band context. This device plays a crucial role, especially when sending the signal directly to the PA during live performances.

In terms of mixing, Toyoda’s guitar is often positioned to one side, but double-tracking is sometimes employed to add thickness. During lead guitar sections, his parts are typically centered, with minimal effects processing. It is generally assumed that engineers avoid heavy compression to preserve the raw attack of Toyoda’s guitar sound.

This approach contributes to the “solid yet simple, yet impactful guitar” that defines SOPHIA’s music.

In summary, Kazuki Toyoda’s sound design revolves around a “simple setup based on Marshall amps, with an emphasis on midrange EQ, pedal seasoning, and minimal spatial processing.” He consistently pursues simplicity in both live and studio settings, resulting in a guitar sound optimized for the music.

Affordable Alternatives to Recreate the Tone

To fully replicate Kazuki Toyoda’s sound, one would typically need vintage gear like the 1971 Les Paul Custom and the Marshall 1959 Super Lead, which can be prohibitively expensive for beginners.

Therefore, this section focuses on gear available for around 10,000 to 50,000 yen, explaining how similar sounds can be achieved with more accessible alternatives. The core of Toyoda’s sound design lies in “the midrange-emphasizing tone of P-90 pickups, the thick sound of Marshall-style amps, and overdrive-centric pedal work.” By focusing on these three aspects, it is possible to recreate a similar nuance at a relatively low cost.

For guitars, the Epiphone Les Paul model equipped with P-90s is one of the best options for achieving a close sound. For amplifiers, small combo amps featuring Marshall modeling are also strong contenders. In terms of effects, standard models from BOSS or MXR can serve as adequate substitutes. These options are beginner-friendly and suitable for home recording or small live performances.

By combining the Epiphone P-90 Les Paul with a small Marshall-style amp, and using BOSS SD-1 or Joyo pedals for distortion, you can closely approximate Kazuki Toyoda’s “thick yet clear” sound. This setup is sufficient for home recording or studio practice, providing a satisfying tone.

In essence, understanding the concept of “a simple setup that emphasizes midrange” allows you to experience the essence of SOPHIA’s Kazuki Toyoda without needing to invest in expensive vintage gear.

Summary and Conclusion

Kazuki Toyoda’s sound design may appear simple at first glance, but the philosophy behind it is quite clear. His use of a 1971 Gibson Les Paul Custom with P-94 pickups, centered around the Marshall 1959 Super Lead, embodies “classic rock” while incorporating the clarity of single coils, creating a unique presence.

His emphasis on midrange EQ and the way he crafts distortion reflect a commitment to producing a sound that stands out within the band, defining not just his role as a guitarist but the overall sound of SOPHIA.

The pedalboard is also minimalistic, focusing on essential overdrive effects rather than an elaborate rack system filled with numerous pedals. This approach reveals a philosophy of “letting your hands and phrases speak for themselves.” The simplicity of his setup means that mistakes cannot be hidden, yet this stoicism contributes to the power of his live performances.

Moreover, the inclusion of acoustic guitars and practical gear like the Fishman Platinum PRO EQ demonstrates his flexibility in providing optimal tones for each song. His ability to shine not only in rock numbers but also in ballads and acoustic arrangements symbolizes the breadth of his sound design.

In conclusion, the essence of Kazuki Toyoda’s sound lies in “a thick tone with an emphasis on midrange,” “a simple yet efficient gear setup,” and “a configuration that enhances the player’s expressiveness.” While expensive vintage gear is undoubtedly important, the true lesson lies in the “simplicity and thorough balance” he achieves.

For those aspiring to emulate his sound, starting with simple gear and honing the ability to control midrange is the most effective path forward.

Thus, replicating Kazuki Toyoda’s sound is not merely about acquiring the same guitars or amps; it is about learning to “master a simple setup and complete the sound through the player’s expressiveness.”