[Agata] How to Recreate the Melt-Banana Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Takashi Yamaguchi] – How to Recreate the Sambomaster Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Tomo Katsurada] How to Recreate the Kikagaku Moyo Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.17

[Chin Nakamura] How to Recreate the Ginkgo Boyz Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.212025.09.21

Introduction (Overview of Tone)

Melt-Banana’s guitarist Agata is a striking figure in the global noise and hardcore scene. His guitar sound is built on thoroughly processed noise, sharp slides, spontaneous phrases, and unpredictable sonic textures.

What sets Agata apart is his approach to “instrumentalizing sound itself” rather than relying on traditional riffs or solos. In the iconic track “Shield for Your Eyes, a Beast in the Well on Your Hand,” he unleashes bizarre noise riffs using effects, creating a wall of sound that envelops the entire band. During live performances, he wields a Gibson SG Standard while actively manipulating his effects pedalboard, showcasing a style reminiscent of a DJ or sound artist.

Therefore, studying Agata’s sound design leads to an understanding of his approach as “sound art,” which goes beyond the typical gear explanations for rock guitarists. In the following sections, we will delve into the amplifiers, guitars, and effects he has used, highlighting key points for recreating his unique sound.

▶ Search official YouTube videos of Melt-Banana

List of Amplifiers and Features

One of the crucial elements in Agata’s sound design is his unique combination of amplifiers. According to live footage and gear explanations, he primarily relies on the Roland JC-120 Jazz Chorus to maintain a clean core. This amp is renowned for its transparent clean tone with stereo output, which retains the original sound’s essence even amidst intense noise, serving as the foundation for Agata’s complex effects manipulation.

Additionally, records from the underground period indicate the use of the Sunn Beta Lead, known for its dry and sharp distortion typical of transistor amplifiers. This amp likely played a significant role in delivering tight and cutting riffs in Melt-Banana’s songs. When paired with a Marshall cabinet, it emphasizes the midrange punch, allowing the band’s explosive sound to stand out.

From the late 1990s to the 2000s, rack-mounted preamps and power amps were also introduced. Notably, the combination of Marshall JMP-1 (preamp) and Marshall EL34 100/100 (power amp) became central to providing stable distortion and high-gain sound. This setup functioned as a contrasting distortion source to the JC-120’s clean tone, enabling a stereo sound design.

Agata’s choice of amplifiers prioritizes practicality for “loud live performances” over “studio recordings,” balancing transparent cleans with aggressive distortion to create Melt-Banana’s unique “chaotic sound space.” These amplifiers are typically used in conjunction rather than individually, suggesting a foundational style of layering multiple amps. While the live setup may vary, it consistently maintains the dual pillars of “clean + distortion.”

Types of Guitars Used and Features

Central to Agata’s sound is his beloved Gibson SG Standard. As confirmed in live footage and interviews, he has used the SG as his main guitar for many years, making it the source of Melt-Banana’s distinctive noise guitar sound.

The SG Standard is lighter than a Les Paul and features a medium scale, making it easy to play. This is a significant advantage for Agata’s intense slide techniques and effects-heavy playing style, allowing for excellent maneuverability and high neck access. Additionally, its thin body shape does not hinder movement on stage, enabling him to play freely amidst the explosive live sound.

His Gibson SG is often speculated to have unique tunings or custom modifications. Given the nature of noise guitar, he tends to handle tuning less rigidly than typical rock guitarists, intentionally creating unusual overtones and noise through effects. This approach enhances the sonic personality when distortion or synth-like processing is applied.

Moreover, the SG’s humbuckers capture a balanced range from low to high frequencies, maintaining clarity when applying spatial effects like delay, reverb, and synth sounds. When combined with a guitar synthesizer like the Boss SY-300, the SG’s versatility allows for a rich capture of overtones while seamlessly transitioning into electronic textures.

While there are few records of secondary guitars, it is possible that Agata experimented with Epiphone SGs or other SG-type guitars during the 1990s underground period. However, the officially confirmed main guitar remains the Gibson SG Standard, which is undoubtedly at the heart of Agata’s sound. Overall, it is assumed that Agata prioritizes “lightweight and maneuverability” and “compatibility with noise” in his guitar selection.

Effects and Pedalboard Setup

Agata’s sound design is particularly noted for its diverse and experimental effects pedalboard. He goes beyond simple distortion and spatial effects, utilizing synthesizers and pitch shifters to expand the concept of the guitar. Notably, the use of delay and pitch shifters for generating unconventional riffs, along with guitar synthesizers for creating electronic textures, gives Melt-Banana’s music its unique identity.

A key effect is the Boss DD-6 Digital Delay. Agata employs the “hold” function to loop phrases like a sampler, creating spontaneous noise loops. This allows unpredictable sounds to unfold while synchronizing with the band’s rhythm.

Additionally, the DigiTech Whammy series (DT and Ricochet) symbolizes his playing style. By shifting pitch up and down, he treats the guitar like a synthesizer, generating a plethora of sound effects during live performances. Using two Ricochet units, he can instantaneously switch between different pitches, creating dramatic sonic leaps.

In terms of distortion, the Fulltone GT-500 Booster/Distortion and DigiTech CM-2 Tube Overdrive have been confirmed, providing basic drive tones while allowing for flexible settings that consider compatibility with spatial effects and synths. Notably, the GT-500, when used as a booster, emphasizes the attack of noise riffs.

Furthermore, the Boss SY-300 Guitar Synthesizer is one of the defining pieces of equipment in Agata’s sound art. It enables the generation of synth-like sounds that transcend typical guitar tones, merging seamlessly with Melt-Banana’s rapid rhythms. Footage from the 2010s tours also confirms the addition of the Zoom MS-50G Multistomp, indicating that he switches versatile digital effects for different scenes.

For reverb, the Boss RV-5 is frequently used to add depth and spaciousness. Other effects like the DigiTech HardWire SP-7 Stereo Phaser and TC Electronic Polytune Mini have also been confirmed. By combining these effects, Agata has established himself as more than just a guitarist, but as a “sound sculptor.” Overall, while the pedalboard configuration changes with different periods and tours, it is assumed to revolve around the four pillars of “delay + pitch shifter + synth + reverb.”

Tone Settings, EQ, and Mixing Approaches

Agata’s sound design is supported by unique EQ settings and mixing techniques. The foundation of his sound begins with the guitar and amp settings. The balance between clean and distorted tones is crucial, primarily based on the Roland JC-120’s clean sound, complemented by high gain from the Marshall JMP-1.

In EQ settings, cutting the low frequencies while emphasizing the mid-high frequencies ensures that the guitar maintains its presence even amidst noise. This approach prevents the guitar sound from being buried in the band’s overall loudness. Emphasizing the sharpness of the high frequencies is key to achieving the “cutting edge” in Agata’s sound.

In terms of effects usage, delay is employed with the hold function to repeat phrases, while pitch shifters are used to boldly change keys, forming unpredictable sonic textures. By chaining these effects and sometimes manipulating them in real-time, Agata incorporates spontaneity into his performances.

Mixing emphasizes utilizing stereo effects in live sound, enhancing the depth of spatial effects. Adding reverb gives the sound a three-dimensional quality, while phasers and guitar synthesizers create movement within the sound. This approach provides the audience with an overwhelming auditory experience akin to a flood of sound.

Affordable Alternatives to Recreate the Tone

Agata’s sound is highly experimental, utilizing a variety of unique effects, making it challenging to replicate entirely. However, it is possible for beginners to experience a similar direction within a relatively accessible price range (approximately $100-$500). Here, we introduce commercially available products from well-known brands like BOSS and ZOOM that can partially recreate Agata’s sonic elements.

First and foremost, a delay pedal is essential. While Agata frequently uses the Boss DD-6, which is available in the second-hand market, the Boss DD-8 Digital Delay is an excellent current option. It features a hold function and various delay modes, allowing for noise loops and sampler-like usage, making it easy to recreate Melt-Banana’s improvisational noise.

Next, a pitch shifter/whammy effect is crucial. Although the DigiTech Whammy DT and Ricochet are on the pricier side, a more affordable option would be the Mooer Pitch Box or compact pitch shifters with built-in multi-effects. This allows you to experience Agata’s signature pitch leaps.

Using a multi-effects pedal is also an efficient method. The ZOOM MS-50G Multistomp has been confirmed as a piece of gear Agata has used, and it is available at a beginner-friendly price. This single unit can combine delay, reverb, pitch shifting, phasing, and more, allowing for a compact recreation of Agata’s complex board essence.

Additionally, a standard overdrive pedal can help create noise and drive. Simple distortion pedals like the BOSS SD-1 or MXR Distortion+ are suitable for establishing the “core sound” before applying effects. Layering delay and pitch shifting on top of these will provide a basic yet effective entry point into Agata’s sound design.

Finally, for EQ and amp simulation, multi-effects units like the Line 6 POD Go or Mooer GE series, priced around $500, are practical for live performances or home recordings. They allow for testing various sounds while switching between clean channels and high gain, making them ideal for experimenting with sound as Agata does. Overall, by acquiring “delay + pitch shifter + distortion” at a reasonable cost, you can approach Agata’s sound.

Summary and Conclusion

Melt-Banana’s guitarist Agata has established a unique approach that transcends the boundaries of rock guitarists by treating the guitar as a material for sound manipulation. The core of his sound lies not in traditional rock riffs or solos but in the creation of “sound walls” and “alien sonic spaces” using delays and pitch shifters. The combination of the Gibson SG Standard’s maneuverability and the dual-amp setup of the Roland JC-120 and Marshall creates a noise art form that is unmatched.

Particularly impressive is his style of experimenting with different effects configurations for each live performance, “playing” noise in real-time. The hold function of the DD-6, the instantaneous pitch changes of the Whammy, and the synth-like expansions from the SY-300 push the boundaries into the realm of “real-time electronic music.” This fusion overwhelms the audience with an immersive auditory experience that aligns with Melt-Banana’s explosive rhythms.

For readers attempting to recreate Agata’s sound, it is essential to focus on “embodying the spirit” rather than achieving a perfect copy. This means having the courage to create unpredictable sounds and control them during performance. While his gear list may seem complex, the first step is to gather the four elements of “delay,” “pitch shifter,” “synth,” and “reverb.” Additionally, organizing the low frequencies and emphasizing the mid-highs through EQ will achieve the “cutting noise” that stands out in the band’s overall sound.

Moreover, it is possible to explore Agata’s sonic world with relatively affordable alternative gear. Versatile pedals like the BOSS DD-8 and ZOOM MS-50G can serve as accessible means for beginners to experience his approach. The key lies not in the gear itself but in the mindset of “how to break sound and reconstruct it.”

In summary, the essence of Agata’s sound design lies in “experimentation” and “sonic artistry.” By viewing the guitar not merely as an instrument but as an interface for sound manipulation, he continues to explore new noise in his daily performances. The greatest takeaway for readers learning from his style is not just to mimic the sound but to embrace the freedom of expression that the guitar can offer.