[Masaaki Onose] How to Recreate the Crazy Ken Band Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist Masaaki Onose of Crazy Ken Band (CKB) is renowned for his diverse guitar work that transcends genres. He seamlessly navigates styles such as funk, soul, rock, and bossa nova, creating a unique sound that is distinctly his own.

His sound is characterized by a strong sense of groove and sharp, precise cutting. Iconic tracks like “Tiger & Dragon” and “Spark Da!” showcase his ability to balance crisp chord work with melodic leads, supporting the overall sound of the band. In recent works like “Kage” and “Ivory ep,” he has incorporated experimental approaches, such as intentionally using line recording during sessions.

During live performances, Onose utilizes distinctive guitars, including original models from COMBAT and the Gibson Firebird, providing varying tones for different contexts. His use of wah and multi-functional pedals allows him to perform a wide range of styles, from jazzy nuances to soulful leads, making him a highly appealing guitarist.

Understanding Masaaki Onose’s sound design is essential to grasping the essence of CKB’s music, making it a fascinating study for guitar enthusiasts and listeners alike.

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List of Amplifiers and Features

Masaaki Onose’s choice of amplifiers is unique and varies from project to project. While he has primarily relied on Fender combo amps over the years, he has also emphasized line recording during sessions, showcasing a flexible approach that differs from traditional rock guitarists.

One of his most frequently used amplifiers is the Fender Deluxe. He has borrowed a model from the early 1960s for recording, falling in love with its sound, which led him to purchase one after trying it during the production of “Ivory ep.” The Deluxe is known for its warm midrange and smooth distortion, making it ideal for his soulful cutting and mellow leads.

In contrast, during the production of “Kage,” he explicitly stated that he focused on line recording without using an amp. This choice was likely made to achieve a tighter sound that blends seamlessly with the band’s overall ensemble. Particularly in songs with strong funk and soul elements, he tends to prioritize a direct, clearly defined sound over the character of the amp.

Additionally, it has been confirmed that he has used a Marshall rack system (JMP-1 preamp and EL34 100/100 stereo power amp) in the past. This system is designed to deliver stable sound output in large venues, offering flexibility between clean and driven tones.

In summary, while Onose loves the Fender Deluxe, he also adapts his setup according to the project or live environment, utilizing line recording and the Marshall system as needed. His flexible choices based on the sound concept at the time contribute to the wide range of his guitar sound, which is confirmed in some aspects while varying in others, as is assumed.

Types of Guitars Used and Features

Masaaki Onose’s guitar collection consists of unique and versatile models tailored for various uses. His selections, including the “COMBAT Custom,” “RS Guitarworks,” and “Gibson Firebird,” embody his wide-ranging musicality.

One of his long-standing mainstays is the COMBAT TL type. Based on the traditional Telecaster shape, he utilizes multiple configurations, including models with tremolo, to support the cutting sound essential for CKB’s signature funk and soul numbers. Notably, this TL type was heavily featured in the album “Kage,” providing deep rhythm guitar tones.

During the 2019 tour, he showcased a striking blue flower-patterned COMBAT ST Warm. This model reflects the design philosophy of a Stratocaster, covering everything from soulful leads to bright cleans, capturing fans’ attention with its stage presence.

Additionally, the RS Guitarworks “OLD SOUL,” a Telecaster-type guitar, was introduced during the production of “Ivory ep” and “Kage.” Its vintage-like appearance and mellow tone make it a perfect match for soul and blues-oriented tracks, playing a crucial role in recent productions.

Another significant addition is the Gibson Firebird equipped with mini-humbuckers, which played a prominent role in the “Kage” album. Onose revealed on his blog that he primarily used the Firebird during the 2024 recording sessions, providing a mid-range clarity that supports the band’s sound, which is not achievable with standard single or humbucker pickups.

The Fender Stratocaster (active circuit model) was confirmed to be used during a live performance on June 1, 2025. The built-in booster provides a powerful tone that is thicker and more pronounced than a standard Strat, reflecting his exploration of new tonal possibilities.

Moreover, for bossa nova and Latin tracks, he has utilized a classical guitar from José Antonio Guitars during recordings. An electric sitar has also appeared in recordings as specified, significantly broadening his tonal palette as needed.

In summary, Masaaki Onose selects the most suitable guitar for each song and context, demonstrating his flexibility in sound construction. His ability to master a wide range of guitars, from vintage to modern and electric to classical, symbolizes the diverse sound of CKB, as is assumed.

Effects and Pedalboard Setup

Masaaki Onose’s pedalboard is designed with flexibility and practicality in mind, catering to a wide range of genres including funk, soul, and rock. A notable feature is the abundance of wah pedals, which play a significant role in accentuating his playing style.

One standout is the HOTONE Soul Press, a compact model that functions as a wah, volume, and expression pedal. Onose has mentioned that this pedal was frequently used during the recording of “Kage,” allowing for smooth transitions from cutting play to melodic leads.

He owns multiple wah pedals, using them according to the venue’s acoustics and specific needs. Confirmed models include the Real McCoy Custom RMC6 Wheels of Fire Wah, Chocolate Electronics Chocolate WAH, Jim Dunlop 535Q 20th Anniversary Chrome Wah, and AMT Electronics WH-1, each possessing slightly different filter characteristics. This enables him to select the optimal “cry” or “quirk” to match the song.

Furthermore, he visited the VEMURAM factory in 2014 and revealed that he integrated one of their pedals into his board. While the specific model is unknown, VEMURAM pedals are recognized for their boutique overdrive qualities, likely utilized to boost clean tones while maintaining a natural sound across drive ranges.

Additionally, COMBAT has been responsible for modifying his board and adjusting his guitars, ensuring that his effects system is always optimized for stable sound during live performances. By combining this with rack equipment like the Marshall JMP-1 and EL34 100/100, he achieves consistent quality both on stage and in the studio.

The variety and practicality of his choices are key to supporting Masaaki Onose’s sound, as is assumed.

Tone Settings, EQ, and Mixing Approaches

Masaaki Onose’s sound design is characterized not only by his choice of gear but also by his unique EQ and mixing techniques. In a large band like Crazy Ken Band, it is essential to avoid frequency clashes with other instruments while ensuring the guitar stands out when necessary. Therefore, Onose is always mindful of “how to fill the gaps in sound” and “how to make it prominent.”

A key aspect is his handling of midrange frequencies. When using equipment like the Fender Deluxe and Firebird, he tends not to cut the lows too much and tends to set the mids thicker. This approach allows the guitar to provide a “core” to the overall band sound while the bass and keyboards support the lower frequencies. Particularly in cutting play, emphasizing highs too much can become harsh, so he likely prefers to cut around 2-3kHz while slightly boosting above 5kHz.

For lead guitar, he utilizes the mini-humbucker in the Gibson Firebird to create a tone with a peak in the midrange that stands out. The amp EQ settings are likely around bass 5, mids 6-7, and treble 6, with a booster or VEMURAM overdrive pushing the sound forward. This setup allows for clear leads without overshadowing the presence of the horn section or vocals.

In recording, as seen in “Kage,” he has experimented with line recording without using an amp. In this case, processing with compressors and EQ plugins becomes crucial, cutting unnecessary lows (below 80Hz) while adjusting 200-400Hz to control “thickness.” Adding a light spatial reverb helps to soften the unique hardness of line recordings, creating a natural sense of space.

The use of wah pedals is also a significant element of Onose’s sound. Pedals like the Real McCoy Custom and Jim Dunlop 535Q are ideal for emphasizing dynamics in leads, particularly during solos where he often sets the wah halfway to accentuate the midrange, creating an organ-like sustain effect. This allows the guitar to function not merely as an accompaniment but as an expressive “voice.”

In overall mixing, he avoids placing the guitar entirely to one side in stereo positioning, instead lightly spreading it across the left and right channels to add thickness. Even when layering multiple takes, he intentionally leaves slight volume imbalances to maintain a “live performance feel.” This creates a natural resonance that aligns with CKB’s groove.

During live performances, he demonstrates flexibility by boldly adjusting EQ settings according to the venue’s acoustics. In venues where bass and horn sounds are prominent, he boosts treble for clarity, while in halls with strong high-frequency reflections, he pushes the midrange to enhance presence, showcasing his ability to adapt to the environment.

Overall, Masaaki Onose’s sound design revolves around “flexible choices tailored to the song” and “presence emphasized through midrange.” His approach maximizes the performance of his gear while optimizing EQ and mixing processes for the environment, supporting the unique CKB sound, as is assumed.

Affordable Alternatives to Recreate the Tone

To fully replicate Masaaki Onose’s sound, handmade guitars from COMBAT or RS Guitarworks, as well as vintage Fender Deluxe and Firebird models, are essential. However, these can be expensive and challenging to obtain. Here, we introduce commercially available gear that is relatively accessible for beginners to intermediate players, focusing on options priced between $100 and $500, with a maximum of $1,000.

For guitars, the Fender Japan and Squier series Telecasters and Stratocasters are excellent choices. They can easily replicate the sound of Onose’s main COMBAT TL type or Strat-style tones. The Squier Classic Vibe series, in particular, offers great cost-performance, matching the cutting clarity and quality of clean tones that align with CKB’s sound.

For amplifiers, small Fender combos like the Mustang LT25 or Champion 40 are recommended. They provide sweet cleans and light crunch reminiscent of the Deluxe, making them suitable for home practice and small gigs. The Mustang series, with its rich modeling features, also allows for easy experimentation with line recording setups.

In terms of effects, BOSS products are powerful allies. The wah sounds that Onose emphasizes can be recreated with the BOSS PW-3 or Cry Baby Mini. Additionally, for a substitute for VEMURAM, the BOSS BD-2 Blues Driver is a fitting choice, capable of handling everything from clean to light overdrive, covering a wide range of CKB’s rhythm and lead guitar needs.

Moreover, introducing spatial effects like the BOSS DD-8 (delay) and RV-6 (reverb) can soften the hardness of line recordings and add studio-like depth. Both are highly versatile and useful across various genres beyond just CKB.

By combining Squier or Fender Japan guitars, small Fender combo amps, and BOSS’s staple effects, it is possible to get significantly closer to Masaaki Onose’s sound. This approach is recommended as a first step before investing in more expensive gear.

Summary and Conclusion

Masaaki Onose’s sound is not merely “the sound of a guitar” but a crucial element that shapes the overall groove of Crazy Ken Band. In a band that traverses diverse genres like funk, soul, rock, and Latin, his guitar tightens the rhythm while adding vibrant colors to the songs. Thus, the essence of his sound design lies more in “flexible choices optimized for each situation” and “presence emphasized through midrange” than in “unique gear.”

On the gear front, he skillfully utilizes a variety of guitars, including the COMBAT TL type, and achieves warm cleans through the Fender Deluxe, sometimes adapting to large-scale live settings with the Marshall rack system. His willingness to explore new sonic possibilities is evident, as seen in his line recording experiments during the production of “Kage.”

His meticulous selection of multiple wah pedals, tailored to different songs and venues, is impressive. By integrating boutique pedals like VEMURAM with practical models from BOSS and HOTONE, he achieves a stable tone and expressive range, reflecting his quest for a unique sound.

The key to his sound design is organizing frequency ranges and securing a place within the ensemble. Even with the bass and horns making their presence felt, he maintains a balance that allows the guitar to cut through when necessary, showcasing the core of Onose’s sound. His EQ processing and mixing techniques reveal a consistent awareness of the “overall sound of the band.”

For those aspiring to achieve a sound reminiscent of Masaaki Onose, it is not necessary to invest in expensive gear. The critical factor is considering “what sound to produce in which context.” Affordable Telecasters, small Fender amps, and BOSS pedals can provide a solid starting point, allowing for personal nuances to be added, marking the first step toward replication.

In summary, Masaaki Onose’s sound design is the result of the fusion of “sound selection” and “performance groove.” His flexibility to adapt to musicality rather than being confined to specific gear or settings is his true strength. By learning from this approach and applying it in one’s environment, anyone can get closer to the rich sound of Crazy Ken Band.