[a2c] How to Recreate the MintJam (fripSide) Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

a2c, also known as Atsushi, is a prominent guitarist in the doujin rock instrumental band MintJam and a support guitarist for fripSide. His sound is characterized by a “transparent clean tone” and “thick high-gain leads,” which he skillfully balances to captivate listeners instantly.

In MintJam’s music, his melodic and singing lead guitar stands out, showcasing his ability to arrange anime songs and game music. This sound has been highly praised by fans as a fusion of “digital and rock.” Notably, his use of spatial effects and the clarity of his phrases create a three-dimensional quality that is uniquely a2c’s.

During fripSide’s performances, a2c employs advanced techniques for switching effects and managing amp channels to maintain a balance between synth and band sounds. His sound design emphasizes mid-range distortion to avoid being buried under the thick layers of synth, while reverb and delay add depth to his tone.

Additionally, to accommodate technical phrases like fast picking and tapping, his guitar setup is based on responsive pickups and high-gain amps. Conversely, in MintJam’s ballads, he showcases delicate clean tones, highlighting his versatility as a musician.

a2c’s sound design goes beyond mere equipment selection; it is deeply connected to his performance approach, which is where his true essence lies. Readers attempting to emulate his sound should focus not only on gear but also on the “atmosphere of each phrase.”

▶ Search official YouTube videos of MintJam

▶ Search official YouTube videos of fripSide

List of Amplifiers and Features

a2c has utilized several amplifiers throughout his time with MintJam and fripSide, showcasing distinct trends. Confirmed through live footage and gear showcases, he frequently uses high-gain amps like the Marshall JVM series and JCM2000 DSL. These amps are well-suited for creating thick rock distortion, allowing the guitar to maintain its presence even amidst the synth-heavy arrangements typical of fripSide’s music. The JVM, in particular, offers flexible channel switching, accommodating a wide range of playing styles from clean to high-gain.

Additionally, it is highly likely that he used the Roland JC-120 during studio sessions in the MintJam era. The JC-120 excels at producing transparent clean tones, making it a great match for synth sounds and capable of creating a three-dimensional clean tone with added reverb and chorus. Interviews and social media posts have revealed a preference for the JC series, suggesting it was likely used during recordings.

In recent years, it has been suggested that a2c may have transitioned to using digital amp simulators like the Kemper Profiler and Fractal Audio Axe-Fx. For a support guitarist who frequently tours, the high reproducibility and portability of these devices are significant advantages, likely playing a role in a2c’s sound design.

In summary, a2c’s amplifier choices can be categorized as follows: “Marshall JVM or JCM DSL for live performances,” “JC-120 for studio recordings,” and “Kemper/Axe-Fx in recent digital setups.” While there are still some uncertainties, the core of his sound revolves around achieving a balance of “thickness and transparency,” which is reflected in his choice of amps according to the context.

Types of Guitars Used and Features

The guitars a2c uses are essential for understanding his sound design. The most notable is the ESP Horizon series, which he has used extensively on stage and in recordings. The Horizon features a modern shape and high-gain pickups, providing stable sound for both lead and backing play. It serves as a cornerstone for a2c’s fluid fast picking and tapping.

Additionally, the Suhr Modern has been confirmed since the MintJam era. He utilizes models with HSH and SSH configurations, allowing for clear tones in solos and thick chord sounds in rhythms. The wide range and clarity of Suhr guitars effectively bring the guitar forward without being overshadowed by synth sounds.

Live photos also confirm the use of the Ibanez RG series. Models equipped with Floyd Rose tremolos are well-suited for techniques like whammy and vibrato, enhancing the flexibility for technical playing in anime songs and instrumental tracks.

In recent years, it is said that he has also been using Fender Stratocaster models. These guitars play a crucial role in expressing clean tones and crunch, likely chosen for ballads and arpeggio-focused songs. The Stratocaster’s mid-range presence blends beautifully with spatial effects.

Overall, a2c’s guitar selection can be summarized as “modern high-gain ESP and Suhr,” “technical playing with Ibanez,” and “expressive cleans with Fender.” This flexibility in switching guitars according to the context is a significant feature of his sound design. Such diverse guitar choices allow him to showcase a unique presence in both MintJam and fripSide.

Effects and Pedalboard Setup

A crucial aspect of a2c’s sound design is his effects pedalboard. He combines a variety of effects to accommodate a wide range of styles, from MintJam’s instrumental tracks to fripSide’s symphonic songs. The three core components of his setup are “articulate distortion,” “spatial effects for depth,” and “multi-effects for precise control.”

For distortion, he uses overdrives like the BOSS OD-3 and Ibanez TS9 Tube Screamer to boost the amp’s gain and bring the lead tone forward. Additionally, the Xotic RC Booster has been confirmed for mid-boosting during solos, enhancing the clarity of his leads.

In terms of spatial effects, he employs delay units like the BOSS DD-500 Digital Delay and Eventide TimeFactor to create harmony with synth sounds. Furthermore, the TC Electronic Hall of Fame Reverb adds expansive spatial effects. In particular, during MintJam’s ballads, he meticulously adjusts delay settings to create a three-dimensional resonance.

For modulation, he utilizes the BOSS CE-5 Chorus Ensemble and MXR Phase 90, adding movement to arpeggios and clean tones. These effects are essential for emphasizing depth in fripSide’s ballads and bridge sections.

Moreover, it is speculated that he has recently incorporated multi-effects units like the Line 6 Helix and Fractal Audio Axe-Fx III. These devices allow for synchronized performances with synths and MIDI control, significantly enhancing live reproducibility and convenience. For a support guitarist like a2c, a reliable multi-effects setup is a considerable advantage during nationwide tours.

In summary, a2c’s effects configuration is built on the pillars of “distortion boosting + spatial effects + multi-effects control,” which he skillfully utilizes according to the situation. Some specific units he uses have been confirmed, while others may vary depending on the live environment.

Tone Settings, EQ, and Mixing Approaches

A2c’s sound design is characterized by a focus on “not achieving a complete sound solely from the guitar,” but rather on settings that allow for “coexistence with band ensembles and synths.” In MintJam’s music, where the guitar carries the main melody, he emphasizes mid-range frequencies to create a sound that stands out. Conversely, in fripSide’s music, he adjusts frequencies to avoid clashing with the thickness of the synth.

In terms of EQ, for clean tones, the basic adjustment involves slightly cutting the lows while keeping the highs smooth. This prevents the clean tone from blending with the synth’s low end, resulting in a transparent sound. For arpeggios and cutting, he employs a compressor to even out the attack, enhancing clarity. In ballads, reverb and delay are applied more deeply, blending the echoes with synths and strings.

For lead tones, amp settings are crucial. When using amps like the Marshall JVM, it is speculated that he sets GAIN to 6-7, MIDDLE to 5-6, TREBLE to around 5, and BASS to about 4, focusing on mid-range frequencies. By adding an overdrive (like the TS9) in front, the mid-range is pushed forward, allowing solos to stand out amidst synths and vocals. When adding a booster, he likely raises the LEVEL while keeping distortion levels lower to ensure volume and presence.

His use of delay is also distinctive. In MintJam, he utilizes stereo delay with different delay times on the left and right (for example, left at 1/4 and right at 1/8) to create spatial width. In fripSide’s songs, he often uses tempo-synced delays to ensure clarity, keeping FEEDBACK low and favoring shorter delays to avoid muddiness.

Additionally, a2c pays close attention to processing during mixing. From an engineer’s perspective, his guitar often features a light boost in the 2kHz-4kHz range to ensure clarity while cutting frequencies below 100Hz to maintain overall clarity. To widen the stereo image, he layers chorus and delay, enhancing the overall dimensionality of the song. This is particularly evident in fripSide’s live performances, where the synth, vocals, and guitar resonate in a balanced manner.

In live settings, a switching system is crucial for quickly transitioning between clean and lead tones. By utilizing presets on devices like the Helix or Axe-Fx, he can instantly recall the optimal tone for each song, ensuring a seamless guitar sound within the ensemble. Additionally, it is likely that he requests a slight boost from the PA during solo sections, indicating a collaborative effort between performance and engineering to shape the sound.

In conclusion, a2c’s sound design is built on “EQ centered around mid-range,” “delay and reverb focused on spatial awareness,” and “multi-effects control tailored to the situation.” While he does not publicly share detailed settings on social media or in interviews, the values and methods outlined here are speculative yet align with his sound tendencies.

Affordable Alternatives to Recreate the Tone

A2c’s sound is supported by high-end gear like ESP, Suhr, and Fractal, but it is possible for beginners or budget-conscious players to achieve a similar nuance with relatively affordable equipment. Here, we introduce alternative gear that can help capture the essence of his sound, with a price range of approximately $100 to $500.

For distortion, alternatives to a2c’s beloved TS-style overdrives include the BOSS SD-1 Super OverDrive and Ibanez TS Mini. These pedals emphasize mid-range frequencies and push the sound forward, making them suitable for recreating lead tones when combined with Marshall-style amps or simulators.

Regarding amps, the BOSS Katana series is an excellent choice for home practice or small gigs. It can handle a wide range from clean to high-gain and comes with built-in effects, allowing users to combine delay and reverb to recreate a2c’s expansive sound. Additionally, it is portable and offers great cost performance.

For spatial effects, consider using the NUX Atlantic or BOSS DD-8 for delay, and the TC Electronic Hall of Fame Mini for reverb. These options provide natural reverb and adjustable delay times, making it easy to recreate the spatial sound that blends well with synths.

As for multi-effects, the Zoom G5n and Line 6 POD Go are recommended. While it may be challenging to fully replicate the sounds of the Helix or Axe-Fx that a2c uses live, these devices can create a similar environment by switching between clean and lead tones and combining delay and reverb. They are particularly user-friendly for beginners and suitable for practicing sound design.

In terms of guitars, alternatives to the ESP Horizon or Suhr Modern include the YAMAHA Pacifica 612 and Ibanez RG450DX. These guitars feature Floyd Rose tremolos and SSH configurations, making them suitable for technical playing and a wide range of genres, allowing players to learn a2c’s expressive style. They are available for around $500 and are popular among beginners and intermediate players.

Thus, while it may be difficult to completely copy a2c’s sound, focusing on tonal balance, spatial processing, and TS-style boosts can help players achieve a similar atmosphere. For those looking to cover MintJam or fripSide’s songs, the cost-effective gear introduced here will be a strong ally.

Summary and Conclusion

When examining a2c’s sound design holistically, its essence lies in the balance between “modern high-gain sound” and “transparent clean tones.” In MintJam, where the guitar takes center stage, he emphasizes mid-range frequencies while utilizing articulate distortion to create a presence that can compete with synths and rhythm sections. Conversely, in fripSide, he focuses on coexistence with thick synth layers, ensuring clarity and depth through EQ adjustments and spatial effects.

In his guitar selection, he pivots around modern super strats like the ESP Horizon and Suhr Modern, while also incorporating Ibanez and Fender Stratocaster models according to the context of the song. This flexibility enables a wide range of expressions, from fast picking and technical phrases to delicate arpeggios in ballads, symbolizing the “breadth of expression as a guitarist.”

Moreover, his pedalboard is optimized according to the times and situations, ranging from simple distortion boosters to high-end multi-effects. Built on the pillars of distortion, spatial effects, and multi-effects, he employs switching and MIDI control during live performances to ensure reproducibility and responsiveness. This capability allows him to deliver consistently high-quality sound during nationwide tours.

Attempting to replicate a2c’s sound requires more than just gathering the same gear. The crucial aspect is “how to make the guitar sound within the overall ensemble.” By cutting unnecessary low frequencies in clean tones and pushing mid-range frequencies in leads, along with utilizing spatial effects for depth, these detailed considerations support his sound design.

For beginners, this may seem like a high hurdle, but it is entirely feasible to recreate a “a2c-like atmosphere” using affordable gear and multi-effects. Boosting leads with TS-style overdrives and creating a wide range of tones with amps or multi-effects like the BOSS Katana or POD Go can allow players to experience his sonic world.

In conclusion, the essence of a2c’s sound design can be summarized as “technical yet soulful guitar,” “frequency and spatial processing for harmony with synths and ensembles,” and “flexible gear selection according to the context.” Aspiring players should focus not just on replicating gear but also on developing an ear that encompasses the entire musical landscape while experimenting with sound design. For fans of MintJam and fripSide, a2c’s sound design remains an ideal benchmark.