[Akira Narita] How to Recreate the Otokogumi Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Akira Narita is renowned as the guitarist of the legendary rock band Otokogumi, originating from Johnny’s Entertainment. His style, which seamlessly transitions between powerful rhythm guitar and melodic lead play, has stood out in the Japanese rock scene. Even in recent performances with RSC (Akira Narita Solo Band) and during Otokogumi’s reunion tours, his unique tone remains unmistakable.

His playing style is characterized by simple yet robust chord work, especially evident in iconic songs like “DAYBREAK” and “TIME ZONE,” where the thick midrange typical of a Les Paul shines through. Following the reunion, he skillfully alternates between Fender and Gretsch guitars, blending vintage warmth with modern attack in his sound design.

The reason his sound design garners attention is his consistent pursuit of a “personal tone” while flexibly adapting his gear to fit the times. In his early career, he utilized Yamaha RGX guitars and rack systems, while in the later years of Otokogumi, he achieved a clear tone with a Music Man Silhouette. Recently, he has incorporated Friedman amps and boosters, adding a contemporary clarity to his sound.

Thus, Akira Narita’s sound can be described as a rare combination of “the intensity of rock” and “the delicacy of jazz.” In the following sections, we will delve into detailed gear explanations categorized by amplifiers, guitars, and effects, uncovering the secrets behind his sound design.

▶ Search official YouTube videos of Otokogumi

List of Amplifiers and Features

When discussing Akira Narita’s sound, the choice of amplifiers is crucial. Throughout his career, he has used a variety of amps, consistently prioritizing “clarity” and “thick midrange” in his sound.

In recent RSC tours and Otokogumi performances, the combination of Friedman Small Box 50W head and Friedman 212 cabinet has been prominently observed. This amp is designed to modernize the robust distortion typical of Marshall amps, offering a thick and well-defined distortion. It effectively highlights Narita’s attack during chord play while providing smooth sustain for leads, making it a cornerstone of his recent sound.

Additionally, past footage and TV performances frequently show the use of Marshall heads, particularly the JCM800 and JMP series, which were also utilized during his solo career to create the classic rock thickness when paired with a Les Paul. In live performances of Otokogumi’s signature song “DAYBREAK,” the solid sound produced by the combination of a Les Paul and Marshall is evident.

Moreover, it has been suggested that he uses Fender amps for certain songs, particularly Twin Reverb or Deluxe Reverb models, to achieve a transparent clean tone. Pairing these with ES-335 or Gretsch guitars creates a bluesy and spacious sound.

In his earlier solo activities, he incorporated rack systems, combining the Marshall JMP-1 preamp with an EL34 100/100 power amp for stable sound pressure and diverse tone switching. During this period, multi-effects like Roland GP-8 and YAMAHA SPX50D were also utilized, indicating that the amp’s output was part of the overall rack system.

From his amplifier choices, it is clear that Akira Narita consistently integrates “the optimal solution for each era.” His strength lies in his ability to adapt to a wide range of sounds, from classic rock to modern high-gain and clean-focused approaches. Currently, it is assumed that he primarily uses Friedman amps while selectively incorporating Marshall and Fender amps according to the song.

Types of Guitars Used and Features

The core of Akira Narita’s sound lies in the diverse range of guitars he has used throughout his career. From the heavy tones of Les Pauls to the cutting sounds of Fender guitars, and even the modern resonance of Yamaha RGX and Music Man models, he has a wide selection that allows him to adapt to Otokogumi’s robust rock sound and the bluesy, delicate expressions in his solo work and RSC.

During the reunion tours, the Gibson 1959 Les Paul Standard has been prominently featured as a main guitar in the latter half. Whether it is an original or a reissue remains unclear, but it is characterized by the thick midrange and sustain typical of Les Pauls. The Gibson Les Paul Goldtop has also been confirmed, likely a 57 original or reissue. These Les Pauls symbolize the Otokogumi sound.

In the earlier part of the tour, the Fender Telecaster Custom (1970s model) was primarily used, showcasing a sharp attack and cleaner tone, contrasting with the heavier Les Paul. Additionally, in recent downtuned songs like “Breaking News,” the Fender American Professional II Stratocaster (SSS configuration) has been utilized, fitting modern compositions with Fender’s characteristic high-end clarity.

Other guitars confirmed on stage include the Gibson SG Standard (1970s model) and Gibson ES-335, which is frequently used in RSC and is considered his “second main” guitar. The ES-335 is valued for its versatility, combining warmth with the power of rock.

Symbolic of Narita’s long career are the YAMAHA RGX1220G and Music Man Silhouette. The Yamaha was a mainstay during his early years and has been mentioned in interviews from that time. In the later years of Otokogumi, the Silhouette (white) became a primary guitar, providing a clean, modern sound.

Furthermore, during his solo period, he expressed interest in using a Fender Esquire, indicating his willingness to expand his sound design. After the reunion, the Gretsch 6120 has been frequently used on stage, incorporating elements of country and rockabilly. This diverse selection of guitars allows him to achieve the optimal tone for each era and song.

Effects and Pedalboard Setup

In Akira Narita’s sound design, effects play an indispensable role alongside the combination of guitars and amps. His pedalboard setup is simple yet effective, incorporating boosts and wahs to add dynamics to his performances. Particularly during the recent RSC tours, a modern setup has been observed, creating a contemporary separation and dimensionality in addition to the traditional “classic rock sound.”

The main effect confirmed is the Suhr Koko Boost, used as a booster to elevate the midrange during solos and riffs, enhancing clarity. It pairs well with Friedman amps, delivering a powerful sound when combined with Les Pauls and ES-335s. Additionally, the BOSS TU-3W Chromatic Tuner is a staple in his setup, ensuring accurate tuning on stage.

Furthermore, it is believed that he uses a wah pedal from either VOX or MXR, with VOX being favored during tours. The wah emphasizes tonal changes during lead parts in songs like “DAYBREAK” and “ROCKIN’ MY SOUL,” playing a crucial role in enhancing expressiveness. To maintain a stable power supply, the VITAL AUDIO POWER CARRIER VA-05 ADJ is integrated, ensuring a noise-free environment, showcasing a professional setup.

When using acoustic guitars, he has been confirmed to use the L.R.Baggs Venue D.I. in performances like “Narito-ma,” allowing natural correction of sound quality when amplified, ensuring clarity in live venues. His tour board also includes an unknown switcher, presumed to control the on/off of effects.

In the past, during the rack system era, he utilized multi-effects like Roland GP-8 and YAMAHA SPX50D, switching with the Roland FC-100. This era was characterized by stable sound reproduction in conjunction with the JMP-1 preamp, contrasting with the simpler board setups of today, which focused on diverse tonal changes.

From this setup, it is evident that Akira Narita values “maximizing expressiveness with a simple configuration.” He effectively uses a minimal number of essential effects, allowing the natural resonance of the amp and guitar to shine through in his playing style. The transition from a rack-dominated era to a simpler board reflects a shift in philosophy. Ultimately, it is assumed that he achieves his signature sound by summarizing “necessary effects to a minimum.”

Tone Settings, EQ, and Mixing Approaches

To recreate Akira Narita’s sound, it is essential to consider not only the gear like guitars and amps but also the EQ settings and mixing techniques. Throughout his career, he has adhered to the philosophy of “enhancing necessary parts while preserving the natural sound of the guitar,” achieving a simple yet powerful and dimensional sound.

Starting with amp settings, when using the Friedman Small Box 50W, it is assumed that he sets the gain slightly lower (around noon) and boosts the midrange to ensure clarity. The treble is set around 11 o’clock to noon, while the bass is around 1 o’clock, maintaining a balance that does not compromise the chord feel. The same approach is taken with Marshall amps, focusing on a distortion that is not too deep and can accommodate cutting tones.

When using a Les Paul, he maximizes the thickness of the midrange, utilizing the bridge pickup for powerful riffs and solos, while the neck pickup provides a warm tone for ballads and medium-tempo songs. In particular, songs like “DAYBREAK” and “TIME ZONE” feature a lead tone that stands out with the bridge pickup and a light boost. Conversely, when using the ES-335 or Gretsch 6120, he often rolls back the tone control for a sweet, jazzy sound, showcasing his flexible adjustments according to the song’s expression.

In terms of effects, the use of the Suhr Koko Boost to push the midrange ensures that the guitar does not get buried in the overall band mix. The wah pedal is used dynamically during lead plays, not constantly, but highlighted in key moments. For acoustic guitars, the L.R.Baggs Venue D.I. is used to manage low-end frequencies, considering ease of handling in the PA system.

Regarding PA and mixing, it is noted that Narita tends not to over-compress, preserving the natural dynamics from the amp. The guitar is often panned towards the center in stage mixes, emphasizing its role as a rhythmic backbone. In the band ensemble, the guitar serves as a “wall,” while solos and phrases are structured to emerge through EQ and boosts.

Specific EQ settings can be summarized as follows:

• Low End (below 80Hz): Slightly cut to give space to bass and kick drum
• Midrange (500Hz to 1.2kHz): Boosted to bring the guitar’s presence forward
• Highs (3kHz to 5kHz): Boosted just enough to emphasize picking attack
• Presence: Adjusted per song, more subdued for ballads, slightly stronger for rock numbers

These processing techniques contribute to the distinctive “forward yet not piercing” sound characteristic of Akira Narita.

In recent live performances, it seems that stereo spatial processing is applied on the PA side, adding depth to the heavy sounds of the Les Paul and ES-335. This represents an evolution from past mono sound designs, adapting to modern mixing environments.

Overall, Akira Narita’s sound design is based on “dominating the midrange of rock guitar” while effectively utilizing minimal EQ and effects according to the era and song, achieving a compelling guitar tone.

Affordable Alternatives to Recreate the Tone

Acquiring vintage Les Pauls or Friedman amps like Akira Narita’s setup can be quite expensive. However, there are ways for beginners and intermediate players to approximate the “direction of sound” without breaking the bank. Here, we introduce relatively affordable gear (around $100–500) and explain their features and similarities to Narita’s sound.

For guitars, the Epiphone Les Paul Standard is a great choice to replicate the thick sound of Les Pauls. It offers rich midrange and sustain, making it easier to recreate the thick riff sounds of Otokogumi’s “DAYBREAK” and “TIME ZONE.” If aiming for a Fender sound, the Fender Player Telecaster or Stratocaster would be optimal. Considering that Narita has actually used a Telecaster Custom and American Professional II Strat, these models can achieve a similar character.

Regarding amplifiers, since Friedman and Marshall are high-end, the BOSS Katana series serves as an excellent alternative. The Katana-50 MkII offers a variety of distortion and clean tones, with settings that boost midrange akin to Marshall amps. This allows for a combination of “thickness and clarity” when paired with Les Paul-style guitars. For Fender-like clean tones, the Fender Champion 50XL is suitable.

For effects, replacing the Suhr Koko Boost with the BOSS SD-1 Super OverDrive or MXR Micro Amp allows for effective boosting. Additionally, the VOX V847-A Wah Pedal is a classic choice that can replicate the nuances of the wah Narita uses live. For acoustic guitar DI, since L.R.Baggs can be pricey, the BEHRINGER ADI21 is a viable alternative.

In summary, to recreate Akira Narita’s sound, focus on “guitars that enhance the midrange,” “Marshall-like amps,” and “minimal essential effects.” Even without expensive vintage gear, beginners can express the essence of Otokogumi’s thick and prominent guitar tone.

Summary and Conclusion

Reflecting on Akira Narita’s sound design, its essence lies in “maximizing expressiveness with a simple gear setup.” Throughout his career, he has consistently pursued the core of his guitar tone—”thickness and presence in the midrange”—while adapting his gear to fit the times.

In the early days of Otokogumi, he employed Yamaha RGX series guitars, showcasing a variety of tones through rack systems. In later years, he focused on Music Man Silhouette and Les Paul models, emphasizing a robust and linear rock sound. After the reunion, he introduced modern gear like Friedman amps and Suhr Koko Boost, creating a more separated sound. Across all eras, he respects the characteristics of the guitar and amp while keeping effects to a minimum.

In terms of playing, his strength lies in the robust chord work in backing and the expressive phrases in leads. Wahs and boosters are effectively used as accents, supporting the overall band sound while allowing solos to emerge prominently. This dynamic is what characterizes Narita’s sound.

Moreover, key to recreating his sound is the “EQ control of the midrange” and the “utilization of each guitar’s unique character.” He boosts the midrange for Les Pauls while emphasizing sweetness and depth for ES-335s and Gretsch guitars, allowing each instrument to shine in different songs.

For readers aspiring to achieve Akira Narita’s sound, it is essential to focus on the basic compatibility of guitars and amps, using “minimal essential effects” like boosters and wahs effectively. Even without high-end vintage gear, alternatives from Epiphone and BOSS can adequately express the essence of his sound.

In conclusion, the essence of Akira Narita’s sound design is “the unwavering presence of midrange that transcends eras” and “a simple yet convincing tone design.” His sound, characterized by strength rather than flashiness, will continue to influence many guitarists in the future.