[Fumihiko Tachiki] How to Recreate the Kinnikushoujo-tai Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Fumihiko Tachiki, the guitarist of Kinnikushoujo-tai, is renowned for his sharp riff work rooted in hard rock and metal, combined with a flamboyant and dramatic guitar sound. His tone is characterized by a blend of classical phrases and aggressive distortion, supporting the band’s dark yet humorous worldview.

Iconic songs like “Nihon Indoka Keikaku” and “Shaka” showcase his thick distortion sound and impressive lead tone. During live performances, he utilizes his unique polka-dotted signature model and Flying V against the backdrop of intense Marshall stack sounds, leaving a visually striking impact.

The reason his sound garners attention lies not only in his identity as a metal guitarist but also in his dramatic expressiveness and meticulous sound crafting tailored to the songs. Tachiki’s playing is a defining element in both riffs and solos, earning high praise from fans and guitarists alike.

The core of his sound is built around vintage Gibson Flying V, his signature Caparison model, and a Marshall amp cranked to full volume, along with a simple yet effective array of effects like wah and OD-1. Understanding these elements allows for the recreation of the Kinnikushoujo-tai sound in home or studio settings.

In the following sections, we will thoroughly explore Tachiki’s amplifiers, guitars, effects, as well as EQ settings and affordable alternatives to achieve a similar tone.

▶ Search official YouTube videos of Kinnikushoujo-tai

List of Amplifiers and Features

The backbone of Fumihiko Tachiki’s sound is undoubtedly the Marshall full-stack amp. Live reports and his own statements highlight his style of “miking a Marshall at full volume,” which symbolizes the overwhelming live sound of Kinnikushoujo-tai. While specific models are not explicitly mentioned, stage photos confirm the presence of multiple Marshall stacks, including the JCM series. Tachiki’s sound features deep distortion and piercing highs, while maintaining a pronounced midrange that ensures clarity within the band ensemble.

Additionally, during a period when he utilized a rack system, he reportedly combined the Marshall JMP-1 preamp with the Marshall EL34 100/100 stereo power amp. This setup provided stable sound quality for live performances and recordings, allowing for flexible tone switching across different scenes. The power and rich harmonics provided by the EL34 tubes are essential elements in Tachiki’s lead playing.

The choice of Marshall amps reflects a strong influence from the hard rock scene of the 70s and 80s. Guitarists like Randy Rhoads and Michael Schenker, who also favored the Flying V, similarly used Marshall amps, placing Tachiki within this lineage of players.

On the other hand, in studio work, a rack system combining preamps and power amps often took precedence, suggesting a need for stable tonal quality and operational ease. Kinnikushoujo-tai’s songs range from heavy and serious to pop and light, necessitating not just the raw power of Marshall but also a finely controllable sound crafting.

Thus, Fumihiko Tachiki maximizes his musicality by alternating between the powerful Marshall full-stack on stage and the JMP-1 + EL34 rack system in the studio. While confirmed information emphasizes the use of the Marshall full-stack, it is assumed that flexible operation including the rack system has been employed.

Types of Guitars Used and Features

The guitar that symbolizes Fumihiko Tachiki’s sound is undoubtedly the Gibson Flying V (1967 model). Recent live reports and music magazines confirm that it is still his main instrument. The midrange push and sharp attack characteristic of the Flying V perfectly match Kinnikushoujo-tai’s heavy and dramatic songs, making it a defining element of his stage presence. The rich harmonics and sustain unique to vintage models give his lead tone a distinctive presence.

Next in importance is the Caparison FKV (Fumihiko Tachiki Signature Model). This guitar emerged as a key player after the X.Y.Z.→A period and was famously released in a limited run of 50 units in 2001. Variations include a unique polka-dot paint model, which Tachiki has been confirmed to own and use through multiple blogs and distribution records. This guitar inherits the lineage of the Flying V while offering modern stability and powerful sound, making it suitable for intense stage performances.

In the early 90s, he also used the Jackson Randy V. This guitar embodies the sharp tone and look associated with Randy Rhoads, representing a more metallic sound of Kinnikushoujo-tai during that time. The combination of the Flying V and Randy V likely enhanced his stage presence.

Additionally, there is a unique usage of a 12-string guitar. According to Wikipedia, he has performed with it placed on a stand during live shows, utilizing it to enhance song arrangements and create sonic expansiveness. This guitar adds an acoustic-like resonance distinct from the electric sound.

The diverse selection of guitars reflects Tachiki’s broad musicality and the varied song world of Kinnikushoujo-tai. While the Flying V and Caparison signature models are the mainstays, it is assumed that he has also employed the Jackson and 12-string guitar at different times to expand his musical expression. This results in a flexible guitarist capable of achieving the optimal tone for each stage and song.

Effects and Pedalboard Setup

Fumihiko Tachiki’s effects board is known for its simplicity while highlighting his unique playing style. Notably, live descriptions and past interviews confirm the use of a wah pedal. Descriptions in publications like YOUNG GUITAR state, “playing while stepping on the wah,” indicating its frequent use for dramatic tone changes during lead solos and as accents in riffs. While the specific model is not clearly identified, his past use of a vintage Jen Cry Baby suggests a high likelihood of a similar wah pedal.

Additionally, historical equipment information records the use of the BOSS OD-1 OverDrive. Blogs indicate that he constructed his sound with “only OD-1 and Jen Cry Baby,” suggesting that these two were foundational in his early sound. The OD-1 excels in providing a natural drive and midrange push, which, when combined with a Marshall amp, leads to Tachiki’s characteristic sharp distortion.

Further historical data confirms the use of the Jen Cry Baby, a classic wah pedal that, when paired with the OD-1, formed a very simple yet defining setup for Tachiki’s early sound. The filtering effect unique to wah pedals played a crucial role in emphasizing the individuality of Kinnikushoujo-tai’s music.

In later years, as he integrated a rack system, he utilized the Marshall JMP-1 preamp and EL34 100/100 power amp, suggesting a simplification of effects and a focus on amp-derived tone control. Tachiki is not the type to heavily rely on flashy multi-effects; instead, he expresses his individuality through the combination of amp, guitar, and a minimal set of pedals.

This choice of equipment reflects his emphasis on sound purity and responsiveness. Given that Kinnikushoujo-tai’s performances often shift rapidly in tempo and atmosphere, it is more suitable to use intuitive pedals like wah and overdrive rather than complex effect chains. As a result, Tachiki’s board remains simple yet continues to exude a strong personality and presence.

Tone Settings, EQ, and Mixing Approaches

One of the most crucial aspects of Fumihiko Tachiki’s sound crafting is the power of cranking Marshall amps to full volume and maximizing the character of the guitar through EQ settings. His statements confirm the philosophy of “cranking the Marshall and placing a mic,” embodying the essence of hard rock and metal sound crafting.

Considering specific EQ directions, it is assumed that the low end is kept tight around 5-6, the midrange is boosted to 7-8, and the high end is adjusted to around 6. Guitars with a V-shaped body like the Flying V or Caparison tend to have a slightly recessed midrange, so actively boosting the mids on the amp ensures a sound that stands out within the band ensemble.

The quality of distortion is effectively achieved by setting the amp’s gain high while using the BOSS OD-1 as a booster to push the midrange forward. The OD-1’s characteristic of cutting the low end while emphasizing the mids allows for the creation of Tachiki’s sharp distortion when combined with the Marshall drive. The past notation of “using only OD-1 and Jen Cry Baby” indicates that this simple boosting method was key to his early sound.

The wah pedal likely served not only as an effect but also as an EQ controller. For example, during solos, he might have fixed the wah in a half-step position to emphasize specific frequencies, creating a lead tone that cuts through the mix and expands his expressiveness.

During the rack system era, it is assumed that he combined the Marshall JMP-1 and EL34 100/100, switching between clean and drive channels for different songs. The JMP-1, being a programmable preamp, was highly effective for managing tones on stage, making it an ideal piece of equipment for Kinnikushoujo-tai’s diverse songs. In songs centered around heavy riffs, high-gain settings were likely used, while more melodic leads might have required a slightly lower gain with an emphasis on mids.

From a mixing perspective, Tachiki’s guitar consistently emphasizes “a presence that elevates the entire band.” By double-tracking the guitar in stereo, layering one side with the Flying V and the other with the Caparison to create thickness and depth, he achieves a fuller sound. Reverb and delay are applied sparingly, focusing on the raw quality of the amp to maintain a live feel in the sound.

Furthermore, from the perspective of PA and engineering, Tachiki’s sound prioritizes “not cutting the midrange.” While many guitarists tend to reduce mids in their EQ, Tachiki’s approach of pushing the mids forward allows his tone to shine within the band. During live performances, he typically places a 57-series mic on the Marshall cabinet, delivering the raw sound pressure directly to the audience without unnecessary processing at the PA desk.

Overall, Fumihiko Tachiki’s sound crafting is characterized by a “simple yet bold” approach, maximizing the characteristics of the guitar and amp while expanding expressiveness through EQ and wah usage. The key to his setup lies in “fully utilizing the Marshall” and “keeping the mids prominent,” which are at the core of the Tachiki sound.

Affordable Alternatives to Recreate the Tone

To fully replicate Fumihiko Tachiki’s sound, vintage Gibson Flying Vs, Caparison signature models, and Marshall full stacks are ideal but are all expensive and hard to obtain. Therefore, we will introduce approaches using relatively affordable gear that can help achieve a sound close to Tachiki’s. Here, we focus on equipment that is accessible for beginners, typically priced between $100 to $500, with an upper limit of $1,000.

Starting with guitars, the core of Tachiki’s sound lies in the Flying V shape. For beginners, the Epiphone Flying V is highly recommended. Priced around $500, it is more affordable than a Gibson, yet it retains the body shape and character of the sound. Its midrange-forward characteristics make it easier to recreate Tachiki’s powerful sound when paired with Marshall-style amps.

For amplifiers, considering home or small studio use, entry-level models like the Marshall MG series or Marshall DSL20 are ideal. The DSL series, in particular, is a relatively affordable tube amp, making it easy to achieve the midrange-driven drive sound that Tachiki seeks. Increasing the volume allows you to experience the “violent sound pressure typical of Marshall.”

For effects, the recently revived BOSS OD-1 or its successor, the BOSS SD-1, are recommended. The SD-1 can be purchased for around $100 and emphasizes Marshall’s distortion, helping to approximate Tachiki’s lead sound. The combination of “OD-1 + wah” is particularly effective for mimicking his early sound.

As for wah pedals, the current model Dunlop Cry Baby GCB95 is a staple. Priced in the low $100 range, it is a descendant of the Jen Cry Baby and can replicate the dramatic tone changes that Tachiki showcases. It can also be used creatively for emphasizing frequencies in a half-step fixed position.

By combining Epiphone or Marshall entry-level models with reliable pedals from BOSS and Dunlop, you can get remarkably close to Fumihiko Tachiki’s sound at a relatively low cost. The key is to have “Marshall-style amp + midrange-forward overdrive + wah” as the three essential components. Meeting these criteria allows you to enjoy a sound reminiscent of Tachiki’s sharp and dramatic tone at home.

Summary and Conclusion

The essence of Fumihiko Tachiki’s sound crafting lies not in a complex equipment system but in the simplicity of fully utilizing the guitar and amp. By cranking the Marshall full stack to full volume and grounding it in that violent sound pressure, he adds color with unique guitars like the Flying V and Caparison, while expanding expressiveness with minimal effects like wah and overdrive.

This simplicity accentuates Tachiki’s presence in Kinnikushoujo-tai’s songs. His sound pierces through with metallic riffs and sings melodically during solos, all made possible by the character of the guitar and the thick sound derived from Marshall.

Moreover, Tachiki’s distinctive approach of “not cutting the midrange in EQ balance” is noteworthy. While many guitarists tend to emphasize low or high frequencies, Tachiki’s strategy of pushing the mids forward allows his tone to stand out within the band sound. This is likely achievable due to his deep understanding of the characteristics of the Flying V and Caparison.

Additionally, his use of Jen Cry Baby and wah pedals to manipulate dramatic tone changes is a significant charm. These serve not merely as effects but as “expression tools” that amplify the developments and emotions of the songs, indicating that Tachiki possesses a perspective akin to a director rather than just a guitarist.

In summary, the essence of Fumihiko Tachiki’s sound crafting is to “maximize individuality with a simple setup based on the violent sound of Marshall while pushing the mids forward.” When aiming for replication, understanding this philosophy is more crucial than acquiring expensive gear. By leveraging the characteristics of the guitar, fully utilizing the amp, and adding accents with wah and overdrive, you can approach the essence of Tachiki’s sound.

In other words, Fumihiko Tachiki’s sound embodies “thorough individuality within simplicity.” Recognizing this is the first step toward pursuing his sound.