【Taki Yoshimitsu】How to Recreate the 9mm Parabellum Bullet Sound + Guitar Gear and Tone Settings Summary【Effects & Amps】

Introduction (Overview of Tone)

Taki Yoshimitsu, guitarist of 9mm Parabellum Bullet, possesses one of the most “aggressive and artistically rich guitar sounds” in the Japanese rock scene. His sound, which freely manipulates roaring noise and silence, angular riffs and cinematic textures, radiates a uniqueness that can be instantly recognized as “Taki’s sound.”

Taki’s playing style features a distinctive architectural beauty that combines low-centered riffs with high-speed tremolo picking and slide techniques. From the thunderous riff that opens “Black Market Blues” to the ambient arpeggios in “Cold Edge,” each piece carries a presence that dominates the band’s overall “tension” as sound itself.

His characteristics as a guitarist lie in the meticulous gear configuration and settings that control his explosive sound pressure. For instance, in the drive section, he layers fuzz and distortion pedals, while in the spatial realm, he skillfully combines reverbs and pitch shifters to create three-dimensional soundscapes. He achieves the depth of a movie soundtrack through rock guitar.

His dedication extends to guitar selection and modifications, including original ESP signature models, Les Pauls converted to single pickup configurations, and direct rear pickup wiring. He pursues “noiseless violence” achieved by stripping down to the bare essentials.

His tone creation reflects not just effect and amp settings, but his “philosophy as a player.” Even attempting to copy his approach will significantly deepen your understanding of guitar handling and effects.

The following sections will provide practical yet detailed explanations covering Taki Yoshimitsu’s amp, guitar, and effects configurations, actual tone settings, and even affordable alternative gear.

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List of Amplifiers and Features【9mm Parabellum Bullet・Taki Yoshimitsu】

Taki Yoshimitsu’s amp selection enables the “coexistence of rawness and precision” that defines his sound. His setup centers on powerful stack amps that generate explosive sound pressure, combined with clean channels designed for excellent effect response. This selection reflects his aesthetic of “treating the guitar like a weapon during performance.”

His primary amplifier is the Marshall JCM2000 series. Models like the “TSL100” and “DSL100” have been confirmed at live performances, delivering rough yet focused distortion that perfectly complements Taki’s riffs. The mid-focused character of these amps excels at separating from drums and bass in 9mm’s musical arrangements, supporting the overall heaviness of the band ensemble.

For Marshall cabinets, he combines 1960A/B models with Celestion-type speakers, creating punchy response. This configuration achieves both dimensional presence and forward projection in distorted sounds.

In studio and TV recording environments, the Roland JC-120 has also been confirmed for use, primarily in combination with spatial effects for ethereal arpeggios and textural sounds. Taki’s “clean + spatial effects” domain particularly benefits from the JC-120’s stereo imaging for reverb and pitch shifter expressions.

In recent years, depending on stage scale and production requirements, line recording and IR cabinet combinations have been observed, showing evolution toward flexible live sound design. However, the core remains the “authentic sound pressure” and “responsiveness” from tube amps, with head + cabinet combinations clearly forming the foundation of his tone creation.

Below is a list of amplifiers used by (or strongly associated with) Taki Yoshimitsu:

Gear Name	Brand	Amazon Search URL	Artist	Guitarist	Notes
JCM2000 TSL100	Marshall	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Live performance staple. Features intense distortion and thick midrange character.
JCM2000 DSL100	Marshall	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Slightly simpler configuration than TSL. Produces sound with pronounced riff definition.
1960A	Marshall	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Used with JCM heads. Punchy 4×12 cabinet.
JC-120 Jazz Chorus	Roland	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Used for spatial effect-focused settings. Employs stereo imaging for clean domain applications.

Types of Guitars Used and Features【9mm Parabellum Bullet・Taki Yoshimitsu】

Taki Yoshimitsu’s guitar selection operates on two axes: “sonic violence” and “visual impact.” From signature models with strong visual presence, black body finishes, to minimal control configurations, his guitar choices are backed by clear intentions to create “assertive sound imagery.”

Most famous is the ESP Viper Custom “Taki Yoshimitsu Model” signature released by ESP. This SG-like form with single humbucker configuration and stoic design that eliminates even tone knobs embodies Taki’s tone philosophy: “unnecessary elements are unwanted.” The rear pickup direct wiring delivers undegraded, direct signal to the amplifier.

Frequently appearing at live performances is the Gibson Les Paul Custom. Its thick, sticky midrange and heavy sustain support dense distorted sounds like those in “Black Market Blues.” The Les Paul’s characteristic low-end, combined with Marshall amplification, creates “wall-like sound pressure” that exemplifies Taki’s stance of “dominating venues through guitar.”

For floating arpeggios and effect-driven spatial playing in songs like “Candle no Tomoshibi wo” and “Heart ni Hi wo Tsukete,” Fender Stratocaster type single-coil guitars and custom Telecaster-style models are likely used. Particularly regarding Stratocasters, considering effect response, touch sensitivity, and picking nuance reproduction, they’re presumably utilized extensively in studio recordings and spatial presentation sections.

Additionally, some photos and interviews show SG-type guitars with P-90 pickup swaps and Jaguar/Jazzmaster-style guitars, indicating flexible guitar selection matching each song’s atmosphere as another characteristic of Taki’s approach.

Below is a list of guitars actually used by or strongly associated with Taki Yoshimitsu:

Gear Name	Brand	Amazon Search URL	Artist	Guitarist	Guitar Type	Notes
Viper Custom “Taki Yoshimitsu Model”	ESP	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	SG-type (Signature)	Single rear pickup, direct wiring, no tone configuration. Essential for thunderous riffs.
Les Paul Custom	Gibson	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Les Paul	Features midrange projection and extended sustain. Ideal for power riffs.
Stratocaster	Fender	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Stratocaster	Used for floating arpeggios and spatial effects. Multiple pickup configurations available.
SG Standard (P-90 Mod)	Gibson	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	SG	P-90 swapped unit used for specific songs. Balances sharpness with warmth.

Effects and Pedalboard Setup【9mm Parabellum Bullet・Taki Yoshimitsu】

Taki Yoshimitsu’s effects pedalboard features a “multifunctional yet architectural” design to realize his creative and destructive sound. It’s a system enabling one guitarist to deliver the diverse sounds required by 9mm Parabellum Bullet’s music: thunderous riffs, spatial arpeggios, and noisy glitch expressions.

Most notable is his extensive use of EarthQuaker Devices pedals. Particularly pedals like “Afterneath” and “Dispatch Master,” which enable fantastical yet unstable spatial expressions, are indispensable for Taki’s sound that “tears through space with sound.”

For distortion, he combines classics like Pro Co RAT, Fulltone OCD, and BOSS DS-1. He stacks different character distortions, changing expression for each song section. RAT’s strong midrange particularly suits noisy playing and slide techniques, serving as the backbone supporting his aggressive style.

For spatial effects, he uses Line 6 DL4 (or successor HX Stomp) for delay and looping, creating complex layers in songs like “Cold Edge” and “Candle no Tomoshibi wo.” BOSS PS series (PS-6, etc.) pitch shifter effects are frequently employed for wild sounds, accelerating live performance chaos and thunderous amplification.

Recent pedalboards incorporate footswitch-enabled loopers (BOSS RC-5, Electro-Harmonix 720, etc.), expanding performance capabilities through real-time riff overdubbing and instant preset phrase recall.

Below is a list of effects used or presumed to be used by Taki Yoshimitsu:

Gear Name	Brand	Amazon Search URL	Artist	Guitarist	Effect Type	Notes
Afterneath	EarthQuaker Devices	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	リバーブ	Fantastical, otherworldly reverb. Essential for spatial presentation.
Dispatch Master	EarthQuaker Devices	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	ディレイ	Combined reverb and delay. Ideal for ethereal arpeggios.
RAT2	Pro Co	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	ディストーション	Representative of noise-style distortion. Characterized by sonic violence.
OCD	Fulltone	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	オーバードライブ	Adds thickness when combined with RAT.
DS-1	BOSS	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	ディストーション	Sharp, agile distortion. Excels in riff-centered numbers.
DL4 MkII	Line 6	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	ディレイ	Core of layered delays and loop presentation. Live staple.
PS-6 Harmonist	BOSS	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	ピッチシフター	Utilizes octave shifting and detune effects.
RC-5	BOSS	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	ルーパー	Enables real-time guitar multi-layer construction through looping.

Taki’s tone creation isn’t simply about producing “heavy sound,” but constructing “heavy, expansive, continuously evolving sound.” His effects placement can be considered a unique pedalboard that balances functionality with artistry, it’s presumed.

Tone Settings, EQ, and Mixing Approaches【9mm Parabellum Bullet・Taki Yoshimitsu】

Taki Yoshimitsu’s tone creation is permeated by sophisticated design philosophy themed around the coexistence of “violent sound pressure” and “delicate sonic manipulation.” Rather than simply producing thunderous sounds, it’s meticulously constructed with mixing perspectives like “which frequency band to fill with which effects and how” and “which instruments to separate where.”

For amp settings, based on Marshall JCM2000 and similar models, the foundation is midrange-focused, avoiding scooped sound. Bass at 12-1 o’clock, Middle at 2-3 o’clock, Treble at 11-12 o’clock, controlled so distortion doesn’t lose definition.

Distortion pedals combine RAT, OCD, DS-1 and other effects with different midrange characteristics. For example, using RAT for intro and lead sections for roughness, while employing OCD for main riffs to supplement sound density. This switching is configured for instant changes via Providence PEC-2 or One Control switchers, ensuring sound pressure never wavers during live performance.

Spatial effect EQ settings also feature Taki’s unique approach, with delays and reverbs positioned in the “back” of the sound. For ethereal effects like Afterneath and Dispatch Master, Mix is controlled at 40-50%, with slightly deeper Feedback and Decay settings. This creates exquisite space where sound “doesn’t push too forward but spreads backward,” achieving sound expansion unimaginable for a trio band.

Pitch effects (BOSS PS-6, etc.) are often used to add weight by adding upper or lower octaves, particularly effective in “Terminus” and “Black Market Blues.” However, Mix balance is conservatively set at 20-30%, used supplementarily to add layers.

In recording and PA mixing processing, guitars likely receive EQ midrange reinforcement and low-end cutting (below 80Hz). Multi-miking (SM57 + ribbon mic, etc.) achieves both thickness and airiness, with album versions exquisitely balancing “focused low-mids” and “open highs.”

Song-by-song differentiation is also excellent: “Cold Edge” centers on spatial effects + clean amps, using chorus and shimmer textures for transparency. Conversely, “Black Market Blues” generates “punching sound pressure” with boosted fuzz tones and trebly EQ.

The key to copying Taki’s tone creation is constantly considering “which frequency bands to assert in and where to pull back.” Midrange is guitar’s lifeline, but becomes easily saturated with increased distortion, making balance with other parts difficult. Therefore, “presence adjustment” using EQ and Mix knobs represents one of the most critical points in recreating his sound.

When seeking sound pressure, constrict low-end with EQ to create space. Understanding this paradoxical aesthetic brings your guitar sound one step closer to “Taki Yoshimitsu’s sound,” it’s presumed.

Affordable Alternatives to Recreate the Tone【9mm Parabellum Bullet・Taki Yoshimitsu】

While Taki Yoshimitsu’s sound features high-level design utilizing multiple distortions, spatial effects, and complex layer processing, extracting its essence makes it entirely possible to approximate with more affordable gear. Here we introduce alternative gear available in the $100-500 range with high reproducibility, organized by usage category.

Type	Gear Name	Brand	Amazon Search URL	Artist	Guitarist	Notes
Distortion	Pro Co RAT2	Pro Co	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Strong midrange, optimal for noise-style riffs. Recreates his signature distortion.
Overdrive	Joyo Ultimate Drive	Joyo	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	OCD-style copy. Suitable for stacking with RAT.
Reverb	TC Electronic Skysurfer	TC Electronic	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Simplified Afterneath-style ethereal effects. Cost-effective choice.
Delay	NUX Duotime	NUX	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Ideal DL4 alternative. Stereo-compatible for layered reverb effects.
Pitch Shifter	Mooer Pitch Box	Mooer	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Enables PS-6 style octave processing at accessible price point.
Multi-Effects	Zoom G3n	Zoom	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Covers basic distortion and spatial effects set. Optimal for budget-conscious players.
Guitar	Squier Contemporary Stratocaster HH	Squier	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Rear humbucker configuration handles aggressive distortion. Suitable for riff-focused playing.
Amplifier	Marshall MG30GFX	Marshall	Search on Amazon	9mm Parabellum Bullet	Taki Yoshimitsu	Modeling inspired by JCM-series sound pressure. Effective for home recording.

While these pieces are individually attractive, selecting them after understanding the structure and intentions of Taki’s actual gear yields extremely high reproduction accuracy.

Particularly important is consciousness of “the relationship between distortion and spatial effects,” “usage of pitch/loop effects,” and “the role of EQ and Mix knobs.” With such perspective, configurations under $500 can adequately reach the entrance to “Taki sound.”

Rather than aiming for complete copying from the start, start with a minimal pedalboard suited to your environment while considering “what can be omitted / what is absolutely essential.”

Summary and Conclusion【9mm Parabellum Bullet・Taki Yoshimitsu】

Taki Yoshimitsu’s guitar sound serves as the “core” of 9mm Parabellum Bullet’s musicality, where each phrase functions as riff, melody, and sometimes spatial presentation device—a rare existence. His tone creation is art backed by philosophy and structure, unreproducible through mere gear lineups or effect combinations.

His sound carries clear intention. “Want to cut through only in this moment,” “Here I want to blend with the whole,” “This riff should carry murderous intent.” Such precise sound imagery design creates flexibility allowing guitar to become protagonist or supporting character within complex band arrangements.

Each element—EQ, effects, amp settings—never represents “this will do for now” compromise, but is selected through the question “Is this necessary for this phrase to resonate in this form at this moment?” Such musical stoicism brings unique tension to 9mm’s music.

The effects lined up on Taki’s pedalboard aren’t exclusively expensive high-end gear, with frequent use of standard models like Pro Co RAT and BOSS. However, his “approach to playing” remains consistently unique, never using them in ways that produce identical sounds for everyone. This reveals his craftsmanship as a guitarist.

“Sound pressure without saturation,” “reverb without interference”— This seemingly contradictory tone creation represents crystallization of “subtractive aesthetics.” This technique of presenting space through how to preserve space rather than adding sound exemplifies beautiful fusion of engineering perspective and artistic sensibility.

Through understanding Taki Yoshimitsu’s tone creation structure via this article, beyond mere timbre imitation, I hope you’ve encountered the “sound philosophy” of “why this sound emerges” and “why he uses this gear.”

Please dialogue with your gear while treasuring “sound gaps” like Taki, exploring your own expression. Beyond that surely awaits your own “original thunderous sound.”