[Yuri] How to Recreate the Togenashi Togeari Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist Yuri from Togenashi Togeari has garnered attention for her sound design that blends delicacy with power. The guitar sounds she creates accurately support the themes and emotions of the lyrics, ranging from sharp cutting tones to beautiful arpeggios, making them a crucial element in reinforcing the musical world she creates.

A key feature of Yuri’s sound design is her flexibility in controlling both clean and distorted tones. For example, in the song “Zatō, Bokura no Machi,” her use of a wah pedal in the solo is particularly striking, heightening the song’s tension. Conversely, in tracks like “Itsuwari no Ri” and “Kizutsuki Kizutsuke Itakute Tsurai,” she employs a Telecaster tuned a half-step down, delivering a crisp sound that lingers in the listener’s mind.

During live performances, she utilizes a system centered around the BOSS MS-3, allowing for smooth switching between complex effects to achieve sounds that match the atmosphere of each song. This approach indicates that Yuri not only focuses on technique and gear selection but also understands the overall structure of the songs when crafting her sound.

This article will delve into the amplifiers, guitars, and effects used by Yuri, as well as highlight key points in her sound design and more affordable gear options to help you recreate a similar tone. If you’re interested in emulating the sound of Togenashi Togeari or learning more about Yuri’s playing style, this guide is for you.

▶ Search official YouTube videos of Togenashi Togeari

List of Amplifiers and Features

Yuri’s sound heavily relies on the classic Marshall JCM900 series amplifiers, particularly the Model 4100, which is frequently rented for live performances. Her style is characterized by a clean channel setup, as most of the distortion is created through effects pedals rather than the amp itself, allowing the amp to serve as a solid foundation for her sound.

The clean tone of the JCM900 is bright yet has a solid core, making it highly compatible with effects like the BOSS MS-3 and various distortion pedals. This compatibility allows for flexible sound design tailored to each song. The “thick sound with clarity” that Yuri aims for is supported by this amp setup.

Additionally, she uses the Marshall 1960A cabinet, a traditional 4×12 configuration that delivers a powerful presence on stage, ensuring that her guitar stands out within the band’s ensemble. This balance is crucial for maintaining clarity in her sound amidst the mix.

In studio and recording environments, there are indications that she also uses the Marshall JMP-1 (preamp) in combination with the EL34 100/100 (power amp). This setup is a staple for professional use, allowing for finer control over tonal nuances compared to the JCM900, thus supporting Yuri’s expressive guitar playing.

From this, we can infer that Yuri’s amplifier choices operate on two axes: “live with JCM900 + 1960A as a foundation, utilizing clean tones while supplementing distortion with effects” and “in the studio with JMP-1 + EL34 100/100 for detailed sound construction.”

Types of Guitars Used and Features

The core of Yuri’s guitar sound is the Momose Modern Virtuoso MC1-MV/R BLK-MH. This SSH-configured Strat-style guitar is known for its separation and thickness of sound. It is primarily used for live performances and recording, set up for standard tuning. The story of her “immediate purchase” reflects her strong trust in this instrument, which offers a diverse range of tones suitable for everything from cutting to lead playing.

As a secondary guitar, she uses a Fender American Standard Telecaster (Olympic White), which is tuned a half-step down and appears in songs like “Itsuwari no Ri” and “Kizutsuki Kizutsuke Itakute Tsurai.” This particular guitar was acquired second-hand during her high school years, chosen for its appearance. The sharp and clear sound characteristic of the Telecaster enhances the emotional expression of the songs, aligning perfectly with the band’s dark and emotional aesthetic.

Previously, she favored a Bacchus Telecaster type, which was her main instrument before switching to Momose. This Japanese brand is known for its cost-performance and durability, supporting her evolving playing style during her formative years. Additionally, her first guitar was a beginner-friendly ST type (Strat-style), which likely influenced her current preference for Strat-style guitars.

Thus, Yuri skillfully utilizes both “Strat-style and Telecaster-type” guitars, switching between them according to the song’s emotional landscape. Her main Momose handles diverse sound creation, while the Telecaster expresses emotional tones, symbolizing her musical identity. This suggests that Yuri’s guitar selection balances practicality and emotional depth.

Effects and Pedalboard Setup

Yuri’s pedalboard is characterized by an efficient and versatile setup that allows for diverse sound creation. The centerpiece is the BOSS MS-3, which functions as both a multi-effects unit and a switching system. During live performances, the need to switch tones quickly for each song is crucial, and the MS-3 maximizes this efficiency. Additionally, by utilizing the MS-3’s loop function, she incorporates external distortion and wah pedals, allowing for flexible sound design tailored to each scene.

At the heart of her distortion is the JYUGEHM STOMPS Par Amour. Recommended by her mentor, this distortion pedal is used to achieve a more intense distortion during solo sections, providing a powerful and present sound. The Jim Dunlop Cry Baby GCB-95 shines in the solo of “Zatō, Bokura no Machi,” adding a unique expression to Yuri’s playing. By leveraging the wah’s expressiveness, she enhances the overall tension and excitement of the band.

Furthermore, she combines the BOSS EV-30 (expression pedal) and BOSS FS-6 (footswitch) to maximize the functionality of the MS-3. This allows for smooth real-time volume changes and effect toggling, supporting her performance. Additionally, the RevoL effects Signal Select Box EAB-BOX is used to switch guitars, streamlining instrument changes during live shows.

In this way, Yuri’s pedalboard combines a multi-effects unit with standalone pedals like wah and distortion, resulting in a simple yet highly effective and expressive setup. The balance between “rationalizing complex operations into one” and “allowing individual pedals to shine only when necessary” is exquisite. From this configuration, it can be inferred that Yuri achieves both responsiveness and a wide range of sound creation during live performances.

Tone Settings, EQ, and Mixing Approaches

Yuri’s sound design is fundamentally based on “clean amp tones combined with distortion effects.” In live settings, she sets the Marshall JCM900 Model 4100 to a clean configuration and adds distortion through the BOSS MS-3 and various pedals. This setup allows for a quick attack and ensures her sound remains prominent within the ensemble.

The basic EQ settings involve not overly cutting the lows when clean, slightly boosting the mids, and maintaining adequate highs. This approach allows the SSH configuration of the Momose Modern Virtuoso to shine while also switching to the sharpness of the Telecaster as needed for different songs. Particularly in tracks like “Itsuwari no Ri” and “Kizutsuki Kizutsuke Itakute Tsurai,” which are tuned a half-step down, maintaining a solid low end is crucial for blending with the band’s heavier sound while keeping the guitar present.

For distortion, the JYUGEHM STOMPS Par Amour is used to achieve not just any distortion but a “high-gain with separation.” Controlled finely through the BOSS MS-3, during solos, she sets the gain higher, while for rhythm parts, she combines compression and equalization to organize the frequency range.

In the solo of “Zatō, Bokura no Machi,” the Jim Dunlop Cry Baby GCB-95 is integrated into the MS-3’s loop, allowing for immediate wah effects when needed. The wah enhances expressiveness through mid-range emphasis and provides an EQ-like filtering effect, adding movement to the guitar sound. This prevents distortion solos from becoming monotonous.

In terms of mixing, it is likely that the guitar is not overly panned to one side, maintaining a stereo feel while being positioned closer to the center. This adjustment is crucial for supporting the vocals within the overall sound image of the band without overly spreading the sound, yet keeping it tight. Given the wide range of the Momose main guitar, it is presumed that unnecessary lows are cut with a high-pass filter in the PA to ensure clarity.

On the other hand, in studio recordings, the combination of the Marshall JMP-1 and EL34 100/100 is utilized for more intricate sound design. In this case, presets are created for clean to crunch tones, and external effects are typically used to add character. During post-recording mixing, subtle delays and reverbs are added to maintain a sense of space while preserving the song’s momentum.

Overall, Yuri’s setup is structured around “clean amp tones,” “using effects for distortion and space,” “emphasizing mids in EQ for clarity,” and “organizing lows in the PA to support the overall band balance.” While fine adjustments may vary by song, this foundational approach supports her sound.

Affordable Alternatives to Recreate the Tone

To fully replicate Yuri’s sound, professional-grade guitars like Momose and Fender, along with Marshall amplifiers and unique pedals like the JYUGEHM STOMPS, are necessary. However, for beginners or intermediate players looking to get closer to her sound, selecting more affordable and accessible gear is a practical approach. Here, we will introduce alternative equipment priced between $100 to $500 that captures the essence of her sound design.

For guitars, the key lies in “SSH-configured Strats” and “Telecaster types.” Since high-end options like Momose are challenging to obtain, we recommend the Yamaha Pacifica 612V and Squier Classic Vibe Telecaster. The Pacifica features an SSH configuration, combining the power of humbuckers with the clarity of single-coils, making it easier to replicate Yuri’s diverse tones. The Squier Telecaster is robust enough to perform well in half-step down tuning.

Regarding amplifiers, directly acquiring a Marshall JCM900 may not be feasible, so the BOSS Katana series is a strong alternative. In particular, the BOSS Katana-50 MkII can handle a wide range from clean to high-gain tones, and its built-in effects can replicate spatial and boost effects, making it excellent for home practice and small gigs.

For effects, multi-effects units like the BOSS GT-1 or Zoom G3Xn can be beneficial. While they may not offer the same flexibility for switching tones and incorporating external pedals as the MS-3, they consolidate practical distortion and spatial effects into one unit, which is very convenient for beginners. If you want to experience wah nuances, the Cry Baby Mini (a compact version) is easy to integrate into your pedalboard.

For distortion, classic models like the BOSS DS-1 or ProCo RAT2 can serve as alternatives to Yuri’s Par Amour. The DS-1, despite its low price, delivers classic distortion, and by emphasizing mids, you can create a similar texture. The RAT2 excels at producing a rough and thick distortion, making it great for solos.

By combining “SSH-configured Strat or Telecaster,” “BOSS Katana amp,” and “multi-effects plus wah and classic distortion,” you can get relatively close to Yuri’s sound design without breaking the bank. The key is to understand the concept of building around clean tones while controlling distortion and spatial effects.

Summary and Conclusion

Yuri’s sound design essence lies in her simple yet flexible approach of “building on clean tones and coloring them with effects.” By setting the Marshall JCM900 to a clean configuration and controlling distortion and spatial effects through the BOSS MS-3 and external pedals, she achieves a high level of reproducibility in live settings, creating optimized tones for each song.

In terms of guitars, she combines the versatility of the Momose Modern Virtuoso’s SSH configuration with the sharpness of the Fender Telecaster, allowing her to explore sounds that match the emotional landscape of her songs. This enables seamless expression from delicate arpeggios to emotional leads, leaving a strong impression on listeners. Furthermore, her past use of Bacchus and beginner ST types reflects a consistent balance of “practicality” and “sensitivity” in her gear choices.

Her pedalboard is optimized around the BOSS MS-3, yet incorporates standalone pedals like wah and distortion to emphasize individuality. This structure, which balances responsiveness and expressiveness, is a hallmark of professional-level ingenuity. Notably, the use of the Cry Baby in “Zatō, Bokura no Machi” epitomizes Yuri’s expressive capabilities.

Key features of her sound design include emphasizing mids in EQ for clarity and organizing unnecessary lows during the PA and mixing stages. This ensures that her guitar sound stands out without being overshadowed by the overall band sound while supporting the vocals. Additionally, in studio settings, the combination of JMP-1 and EL34 100/100 allows for more intricate sound design.

For beginners looking to approximate her sound, it is not necessary to invest in high-end gear like Momose or Marshall. By combining the BOSS Katana amp, Squier Telecaster, and a multi-effects unit, they can achieve a satisfactory sound. The important takeaway is to understand the principles of building around clean tones and rationally utilizing effects.

Ultimately, Yuri’s sound design is not merely a collection of gear but a carefully crafted design aimed at maximizing emotional expression for each song. By grasping this essence, guitarists can shift from merely mimicking her sound to considering how to incorporate it into their own bands and songs. Yuri’s gear philosophy, which supports the sound of Togenashi Togeari, will undoubtedly serve as a reference for many players in the future.