[A-chan] How to Recreate the Kinoko Teikoku Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist A-chan from the band Kinoko Teikoku is known for her transparent clean tones that support the band’s unique soundscape, as well as her occasionally sharp distortion sounds. In iconic songs like “Chronostasis” and “Cat and Allergy,” her playing style shines through, effortlessly transitioning from delicate arpeggios to thunderous sounds, showcasing influences from shoegaze and post-rock.

Her sound is shaped by the expansive clean tones of the Roland Jazz Chorus, the bright and edgy tones characteristic of the Fender Jaguar, and a thoughtfully arranged effects board that is simple yet effective. While she values the spaces in her sound, she also creates thick walls of sound when necessary, supporting the overall dynamics of the band.

A-chan’s playing style emphasizes emotional expression and the use of space, focusing more on enhancing the atmosphere of the songs rather than flashy speed or technical play. This approach contributes significantly to the ephemeral yet powerful sound image of Kinoko Teikoku.

▶ Search official YouTube videos of Kinoko Teikoku

List of Amplifiers and Features

A-chan is particularly famous for using the Roland JC-120 (Jazz Chorus). The Jazz Chorus is beloved by guitarists worldwide as a staple for clean tones, and it plays a crucial role in creating the transparent sound found in Kinoko Teikoku’s music. Instead of opting for a rough drive sound like that of a Marshall, A-chan’s choice of a clean-oriented amp highlights her commitment to sound separation and dimensionality.

The Roland JC-120 is characterized by its stereo output, providing expansive chorus effects and a clear tone that does not compromise the original sound. It is especially favored by shoegaze and post-rock guitarists, and it pairs excellently with effects pedals. By adding delay and reverb, A-chan can create a more three-dimensional soundscape, enhancing the ethereal quality of her music.

There are also reports of A-chan using Marshall amps in studio and live settings. However, this information lacks definitive evidence, and it is believed that the primary focus remains on the Roland JC-120. While Marshall sounds are suitable for low-gain distortion and powerful lead playing, they diverge from A-chan’s goal of maintaining a transparent sound, suggesting that any use of Marshall amps was likely experimental.

Additionally, some sources indicate that she has incorporated the Marshall JMP-1 as a preamp and the Marshall EL34 100/100 as a power amp. Utilizing these would allow for a more dimensional and thick sound, providing the flexibility needed for climactic moments in her songs.

In conclusion, A-chan’s basic amp setup is presumed to center around the Roland JC-120, supplemented by Marshall amps or rack-mounted power amps. This setup allows her to maintain the transparency of her clean tones while adding thickness as needed, showcasing her meticulous approach to sound creation.

Types of Guitars Used and Features

When it comes to A-chan’s guitars, the first model that comes to mind is the Fender Jaguar (Lake Placid Blue, made in Japan). Initially, she used a white Jaguar, but after it broke down, she borrowed a guitar from the guitarist of TEDDY BEAR & THE CANDIES, which led her to purchase this model. It has since become her main guitar. The Jaguar is known for its shorter scale, making it easy to play, and its bright, sharp sound, which is favored by many artists in the shoegaze and dream pop genres. This guitar pairs perfectly with Kinoko Teikoku’s transparent arpeggios and space-cutting chord work.

The unique low-end tightness and metallic high-end of the Jaguar resonate more dimensionally when paired with the Roland JC-120. Particularly in clean tones, its brilliance stands out, and it works well with effects, maintaining sound separation even when layered with delay and reverb. Furthermore, utilizing the Jaguar’s unique switching system allows for a wide variety of tones.

A-chan is also confirmed to own a Rickenbacker 330 as a secondary guitar. However, it is reported that this guitar is rarely used in live performances or recordings, suggesting it is more for collection purposes. The jangly high frequencies characteristic of the Rickenbacker could match Kinoko Teikoku’s sound, but compared to the Jaguar, there is less evidence of its actual use, so it can be viewed as an auxiliary instrument.

Additionally, she possesses an acoustic guitar, the HEADWAY SAKURA ’18, which is expected to be used in future activities. By introducing an acoustic guitar alongside her primarily electric sound, she aims to expand her expressive range.

She uses D’Addario NYXL 009-046 or SIT POWER WOUND S946 strings, which provide a supple tension and stable tuning. A-chan favors a Terry Gould 1.00mm pick, which emphasizes a hard attack, enhancing the clarity of her arpeggios and cutting.

In summary, A-chan’s core sound revolves around the Fender Jaguar (Lake Placid Blue), with other guitars serving as auxiliary or collectible instruments. The ephemeral yet powerful sound image in Kinoko Teikoku’s music is established through the uniqueness of this Jaguar and her playing style.

Effects and Pedalboard Setup

A-chan’s effects board is simple yet well-equipped with essential elements that play a crucial role in supporting the sound of Kinoko Teikoku. Notably, she combines delay and distortion minimally with the clean tone of the Roland JC-120. Instead of over-distorting, she focuses on creating spaciousness with effects, naturally producing a “wall of sound” characteristic of shoegaze.

The centerpiece of her pedalboard is the TC Electronic Alter Ego 2, which features vintage delay and looping capabilities. This allows her to emphasize depth and rhythm even in simple arpeggios, creating a dreamy soundscape. The looping function is likely utilized during rehearsals and song production.

For distortion, she uses the BOSS DS-1. This classic distortion pedal, when combined with the JC-120’s clean tone, surprisingly accommodates everything from bright cutting tones to rough leads. The somewhat dry texture of the DS-1 effectively highlights the fragility and sharpness present in Kinoko Teikoku’s music.

For tuning, she employs the KORG pitchblack PB-01, known for its high visibility and accuracy, making it a reliable choice for live settings. Additionally, her power supply is a One Control power supply (variable voltage type), ensuring stable power and noise reduction. This focus on a reliable power supply for stable operation during live and studio performances is a hallmark of professional setups.

Along with her other gear, such as the Rickenbacker 330 and HEADWAY SAKURA ’18, her setup allows for flexible use depending on the environment and songs. Moreover, she uses D’Addario NYXL or SIT POWER WOUND strings, balancing reliability and playability. The use of CUSTOM AUDIO JAPAN cables, along with some budget options, indicates A-chan’s practical and functional approach to gear selection.

Despite the simplicity of her board, the choice of effects is highly practical, effectively supporting the “transparency + depth + necessary distortion” required in Kinoko Teikoku’s music. While confirmed information about her setup is limited, based on live photos and interviews, the following setup is presumed to be her basic configuration.

Tone Settings, EQ, and Mixing Approaches

A-chan’s approach to sound creation is primarily based on “building thickness with spatial effects on a clean tone.” Many of Kinoko Teikoku’s songs utilize the spaces created by vocals, bass, and drums, with the guitar often expanding the soundscape, making amp and effect settings crucial to the overall atmosphere of the music.

Amp Settings (Roland JC-120): She typically uses the clean channel, slightly boosting the Treble, keeping the Middle flat or slightly cut, and setting Bass to a moderate level. This setup enhances the sharp high frequencies of the Jaguar while ensuring a clear tone that doesn’t muddy the overall mix. The built-in chorus and reverb on the amp are kept subtle, with spatial effects like delay being adjusted to create the desired expansiveness.

Effect Settings: For the BOSS DS-1, she keeps the gain low and sets the Level slightly above the clean amp level. The Tone is typically set between 12 o’clock and 1 o’clock, maintaining a bright attack. By adding just the necessary distortion to the clean sound, she ensures thickness during loud sections while supporting the band as a whole.

The delay on the TC Electronic Alter Ego 2 is often set to a mid-range delay time of around 300-450ms, with Feedback kept low (about 20-30%) and Mix adjusted subtly. This creates depth as arpeggio phrases overlap with reverb, forming a shoegaze-like “wall of sound.” The looper function is primarily used for practice and song arrangement.

EQ and Mixing Approaches: To capitalize on the brightness of the Jaguar’s high frequencies, compression is generally not overly applied during mixing, allowing transients to remain natural. To ensure the guitar plays a role in “expanding the soundscape,” it is often panned left and right in stereo, with delay and reverb processed in stereo as well. In songs like “Chronostasis,” different delay settings may be used on the left and right to emphasize dimensionality.

By slightly reducing the midrange, A-chan allows the vocals to stand out while maintaining separation from the rhythm of the bass and drums. Conversely, in certain songs, she may intentionally center the guitar and add distortion to create a wall-like presence. This meticulous adjustment of EQ and positioning for each song contributes to the depth of Kinoko Teikoku’s sound.

In summary, A-chan’s sound creation can be distilled into the approach of “expanding the world view with a clean foundation, minimal distortion, and spatial effects.” This method incorporates elements of shoegaze and post-rock while preserving the transparency and lyrical essence of Japanese rock, significantly influencing the band’s overall sound. While EQ and effects vary from song to song, the essence remains a “three-dimensional sound image built on a clear and ephemeral tone.”

Affordable Alternatives to Recreate the Tone

A-chan’s sound creation revolves around the Fender Jaguar and Roland JC-120, supported by a simple effects board. While fully replicating this setup can be costly, selecting relatively affordable gear that is beginner-friendly can help achieve the transparent clean tones and shoegaze-like depth characteristic of Kinoko Teikoku.

Starting with guitars, the Jaguar is quite expensive, so models from Fender Japan or Squier are ideal alternatives. Particularly, the Squier J Mascis Jazzmaster and Classic Vibe Jaguar can replicate the bright and sharp sound typical of the Jaguar, with price ranges around $500 to $700, making them accessible. Any guitar with single-coil sounds can help approximate the brilliance of arpeggios and chord work.

For amplifiers, the Roland JC-22 (a smaller Jazz Chorus) or the BOSS KATANA series are suitable alternatives to the JC-120. The JC-22 retains the clean sound of the Jazz Chorus in a compact size, making it suitable for home practice and small gigs. The BOSS KATANA series, while a modeling amp, excels in clean tones and includes multiple built-in effects, offering great cost performance.

Regarding effects, the BOSS DS-1 is very affordable and is the same model A-chan uses. This versatile pedal, based on a clean tone, allows for necessary distortion when needed, priced around $50, making it highly recommended for beginners. For delay, alternatives to the TC Electronic Alter Ego 2 include the Flashback series from the same brand or the BOSS DD-8, both providing high-quality spatial effects at a lower cost.

Furthermore, the KORG pitchblack series tuners are priced under $100 and boast high stability and accuracy, making them reliable for live use. For power supplies, budget versions from One Control or entry-level models from CAJ can be used, ensuring noise reduction and stability.

By focusing on Jaguar-type guitars, Roland-type clean amps, and standard BOSS pedals, it is possible to approximate the transparent sound of Kinoko Teikoku at a lower budget.

Summary and Conclusion

A-chan’s sound creation in Kinoko Teikoku is supported by a seemingly simple yet highly calculated setup. At its core is the philosophy of “expanding the world view with a clean foundation, minimal distortion, and spatial effects.” This approach strongly resonates with the contexts of shoegaze and post-rock while ensuring that the lyrical essence and transparency of Japanese rock are not compromised.

The combination of the Fender Jaguar and Roland JC-120 produces a pristine clean tone that shines in arpeggios and chord work. By adding light distortion from the BOSS DS-1, she ensures thickness and presence when necessary. Furthermore, the delay from the Alter Ego 2 adds depth and ethereality, further broadening the band’s sound image. Essentially, her sound creation supports the “emotional expression of the songs.”

Moreover, the nuances of EQ and mixing are significant. By slightly reducing the midrange and maintaining bright high frequencies, she achieves a sound that envelops the entire space while ensuring separation from the vocals and rhythm section. Techniques like stereo panning and varying delay settings between left and right create a significant element of the shoegaze-like “wall of sound.”

In summary, A-chan’s sound creation is characterized by “drawing out maximum expression with minimal equipment.” It is not about flashy effects chains but rather about complementing the song’s world view to create a fragile yet powerful sound. This approach emphasizes the importance of how the entire song resonates over individual technical prowess, serving as a valuable lesson for many players.

If readers wish to replicate the sound of Kinoko Teikoku, there is no need to gather extravagant gear. A clean amp that sounds beautiful, a Jaguar-type guitar, and a few spatial and distortion effects are sufficient. The key is to focus on “reducing the number of sounds played and considering how each note resonates.” This perspective is at the heart of A-chan’s sound creation.