[Arisa Ushimaru] How to Recreate the yonige Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Arisa Ushimaru, the frontwoman and guitarist of yonige, captivates listeners with her unique songwriting and emotionally direct guitar sound. Her tone is characterized by a strong rock foundation, yet she skillfully navigates a wide range of styles, from acoustic to vintage-like tones.

During live performances, she primarily uses a Fender Jazzmaster, maintaining the pickup selector in the center position to achieve a bright clean tone. This allows her to switch to a loud sound quickly using distortion pedals. Iconic tracks like “Revolver” and “Goodbye Prisoner” showcase her sharp attack and rich reverberation.

In high-gain songs, she employs a Flying V, which delivers a hard-hitting distortion that blends seamlessly with her emotional vocals, creating a unique presence. For acoustic sets, she utilizes a Gibson Southern Jumbo, equipped with an L.R. Baggs pickup, producing a delicate yet powerful sound.

The reason Arisa Ushimaru’s sound design stands out is her ability to create the most fitting tone for each song using the “minimum necessary gear.” This discerning choice and expressive capability make her sound truly one-of-a-kind.

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List of Amplifiers and Features

Arisa Ushimaru’s amplifier sound is primarily built around the Divided by 13 CCC 9/15. This amp, from the California boutique brand Divided by 13, is known for its surprisingly rich clean tones and smooth crunch despite its low wattage. When paired with a Celestion G12M speaker, it achieves a warmth reminiscent of classic ’60s rock while maintaining a modern contour.

In live and recording settings, Arisa takes advantage of the EL84 tubes in this amp, meticulously adjusting the master volume and EQ for each guitar to create a diverse range of sounds. For instance, when using the Jazzmaster, she slightly reduces the treble to tame overtones, combining it with overdrive for a sharp chord strumming sound. Conversely, when using a Les Paul or Flying V, she emphasizes the bass and increases the master volume to craft a thick riff sound.

Additionally, there are reports of her using a Fender Twin Reverb and Marshall JCM series amps in past studio sessions and support gigs. The Twin Reverb, known for its beautiful clean tones, may have been chosen for acoustic sets or situations requiring a natural sound. However, the Divided by 13 remains her main amplifier, as confirmed by various photos and interviews, making it the core of her sound.

Overall, Arisa’s choice of amplifiers emphasizes “great sound even at low volumes” and “simple operability for expression.” This approach is crucial in creating the “emotionally direct” sound common in yonige’s music. While she may experiment with Fender or Marshall amps, the Divided by 13 is assumed to be the primary choice for live performances and major recordings.

Types of Guitars Used and Features

When discussing Arisa Ushimaru’s sound design, the Fender American Professional II Jazzmaster must be highlighted. This model is widely recognized as her main guitar, featuring the clear tones characteristic of single-coil pickups and a unique balance achieved by fixing the pickup selector in the center position. By removing the volume and tone knobs, she maximizes the pickup’s character for a direct sound. She uses Ernie Ball Hybrid Slinky (.009-.046) strings, allowing for both smooth bending and powerful strumming.

For thicker rock sounds, she turns to Gibson Les Paul models. Notably, the Gibson Custom ’57 Reissue Les Paul Standard has its rear pickup replaced with a DiMarzio Super Distortion, while the front pickup is disconnected to achieve a powerful output from the rear. This setup produces a sharp sound ideal for riff-heavy songs. Additionally, the Gibson Les Paul Gold Top has been a long-time favorite, with a second model introduced after the first was stolen. Her practice of taping the pickup selector to the rear position showcases her commitment to stability during live performances.

In high-gain tracks, she employs the Gibson Dave Mustaine Flying V EXP “Rust In Peace.” This guitar is used in songs like “DRIVE” and “Exorcist,” where a heavy and sharp distortion is essential, adding strength to the band’s sound.

For softer tones, she opts for the Gibson Memphis 1963 ES-335TDC VOS Bigsby. The rich overtones in the center position make it suitable for ballads and delicate arpeggios, enhancing the overall atmosphere of the guitar ensemble. Although it features a Bigsby, she rarely uses it, prioritizing natural resonance.

In the acoustic realm, she favors the Gibson Southern Jumbo. Equipped with an L.R. Baggs Element VTC, it is well-suited for live performances with line output. The combination of its resonant body and sensitive pickup captures both powerful chord strumming and subtle nuances, ensuring it stands out even in a full band setting.

Overall, Arisa’s guitar selection emphasizes “simple operation to achieve the desired sound.” She thoroughly understands each guitar’s character, meticulously choosing the best fit for each song. While some aspects remain unconfirmed, the models mentioned above are assumed to be her primary guitars.

Effects and Pedalboard Setup

Arisa Ushimaru’s pedalboard is constructed simply yet effectively. For electric guitar, she employs a loop system centered around the One Control Iguana Tail Loop MKIII, allowing for smooth transitions during songs. Multiple overdrive pedals are incorporated, forming the core of her sound.

Her primary distortion pedals include the BOSS OD-3 OverDrive and BOSS BD-2 Blues Driver. The OD-3 produces a thick, natural drive that adds substance to chord strumming. The BD-2, with its slightly rough and gritty tone, is utilized for nuances in solos and arpeggios. Additionally, a clean booster and overdrive from TEC are introduced to ensure a range of gain for each live performance.

For spatial effects, she uses the Zoom MS-70CDR. This multi-effects unit is primarily employed for reverb, particularly the HD Hall setting, creating depth in ballads and spatial expansion in drier tracks. The BOSS DD-3 is chosen for delay, providing tight repeats and a prominent echo suitable for both backing and solos. A TC Electronic PolyTune Mini is included as a tuner. To power all these pedals reliably, she uses the Vital Audio VA-08 MkII power supply.

Interestingly, she occasionally uses the Ibanez Tube Screamer Mini, which is often employed outside of the main board. Depending on the song, it enhances the mid-range with a traditional distortion sound. An acoustic pedalboard is constructed separately, centered around the TC Electronic PolyTune 3 and L.R. Baggs Para Acoustic D.I. This D.I. significantly contributes to feedback prevention and tonal correction for acoustic performances, providing high reliability in live settings.

Overall, Arisa Ushimaru’s effects board is designed to “maximize effect with minimal gear.” Rather than relying on flashy multi-effects units, she combines practical and reliable standard equipment, allowing for flexible sound adjustments tailored to each song. While the information is mostly confirmed, there may be additional distortion and spatial effects introduced, making future live performances an area to watch.

Tone Settings, EQ, and Mixing Approaches

Arisa Ushimaru’s sound design goes beyond mere gear combinations; it reflects meticulous EQ adjustments tailored to the mood of each song, as well as mixing techniques applied in both live and recording contexts. Her sound is often described as “simple yet profound,” which stems from her careful settings that maximize the potential of each guitar, amp, and effect.

With the Divided by 13 CCC 9/15 amp, she frequently adjusts settings based on the type of guitar used. For example, when using the Fender Jazzmaster, she tends to reduce the bass slightly and lower the treble to suppress clean overtones, ensuring that chord strumming does not become harsh within the band ensemble. Conversely, when using a Les Paul, she boosts the bass and volume to achieve a thick riff sound. This characteristic of optimizing the master volume and EQ for each song and guitar is notable.

Her pedalboard usage also features detailed adjustments. With the BOSS OD-3 and BD-2, she keeps the gain moderate, blending it with the amp’s drive to create a natural crunch. Rather than heavily distorting with the overdrive alone, she balances the “amp’s headroom” with “pedal correction.” The reverb from the Zoom MS-70CDR primarily uses the HD Hall setting, with a restrained mix to create depth. The delay (BOSS DD-3) focuses on short repeats, adding spatiality without compromising tight rhythms.

In the acoustic realm, the combination of the L.R. Baggs Element VTC in the Gibson Southern Jumbo and the Para Acoustic D.I. is designed to produce a natural acoustic tone while minimizing feedback. The mid-low EQ on the Para D.I. is finely adjusted according to the venue’s characteristics and PA environment, often applying a stronger low-cut to avoid clashing with vocals.

During the mixing phase, Arisa’s guitar often features “off-center positioning” and “careful mid-range processing.” In yonige’s tracks, the 2kHz to 5kHz range of the guitar is meticulously controlled to highlight the vocals while maintaining a thick backing sound without competing with the singing. For lead parts, compression is applied lightly to align the attack while preserving dynamics.

For specific EQ settings, when cutting with the Jazzmaster, she often sets the bass to 40-50%, mids to 50-60%, and treble around 40%, with distortion lightly boosting the mid-range for clarity. Conversely, in hard songs using the Flying V, she sets the bass to 60%, mids to 70%, and slightly reduces treble to create a thick yet clear riff.

Additionally, a notable technique from the perspective of PA and engineers is “varying the depth of reverb for each song.” In ballads, a deeper setting is used, while faster-paced songs feature shallower reverb for clearer sound contours. This simple yet effective approach is particularly evident in live settings, intuitively conveying the mood of each song.

In summary, Arisa Ushimaru’s sound design can be distilled into three main points: “optimal amp settings for each guitar,” “moderate distortion with restrained spatial effects,” and “mid-range organization to highlight vocals.” These foundations support her flexible switching style, adapting to different scenes.

Affordable Alternatives to Recreate the Tone

To fully replicate Arisa Ushimaru’s sound, high-end gear like the Fender Jazzmaster and Divided by 13 is often required, which may not be realistic for beginners or budget-conscious players. Therefore, here are some relatively affordable alternatives that can help achieve a similar sound.

For guitars, the Fender Japan or Squier Jazzmaster models are recommended. Particularly, the Squier Classic Vibe series Jazzmaster, priced around $400-$600, allows players to experience the clear tones and balance of the single-coil pickups. The modification of removing the volume and tone knobs to maintain full output, as Arisa does, can be replicated after purchase.

Regarding amplifiers, since the Divided by 13 is quite expensive and hard to obtain, alternatives like the Fender Blues Junior or Yamaha THR series are practical choices. The Blues Junior is a tube amp that delivers rich overtones even at low volumes, making it an excellent match for both Jazzmaster and Les Paul guitars. The Yamaha THR is perfect for home practice, offering a wide range from clean to crunch while incorporating built-in spatial effects, allowing players to easily capture Arisa’s vibe.

For distortion pedals, the BOSS OD-3 and BD-2, which Arisa uses, can be purchased for around $100-$150, making them affordable options to closely replicate her sound. By combining these pedals, players can freely adjust the balance between clean and distorted tones. The Ibanez Tube Screamer Mini is also available for a similar price, providing an easy way to incorporate traditional mid-range-enhanced distortion.

For spatial effects, the Zoom MS-70CDR offers excellent cost performance, available for around $150, covering reverb, chorus, and delay. Since this is a model Arisa uses, having it can significantly bring players closer to her sound. Additionally, alternatives to the BOSS DD-3 include the BOSS DD-8 or TC Electronic Flashback, both of which are affordable and practical.

For acoustic setups, since the L.R. Baggs Para Acoustic D.I. is quite expensive, alternatives like the Fishman Aura series or BOSS AD-2 Acoustic Preamp are viable options. Both can be obtained for around $200 and excel in tonal correction and feedback prevention for line output, ensuring reliability during live performances.

In summary, for beginners looking to recreate Arisa Ushimaru’s sound affordably, a combination of “Squier Jazzmaster + Fender Blues Junior + BOSS OD-3/BD-2 + Zoom MS-70CDR” offers the best cost-performance ratio. By gathering these pieces, players can closely replicate the simple yet powerful rock sound characteristic of yonige’s music.

Summary and Conclusion

Reflecting on Arisa Ushimaru’s sound design, its essence can be summarized as “drawing out maximum expression with minimal gear.” She does not rely on complex effect chains or a wide array of equipment; instead, she skillfully utilizes a guitar, an amp, and a few standard effects to create a sound that is simple yet emotionally resonant.

Her gear revolves around the Fender Jazzmaster, complemented by guitars like the Les Paul and Flying V, each chosen for their distinct character depending on the song. This is driven through the high-resolution Divided by 13 CCC9/15 amp. Additionally, she adjusts nuances with standard overdrive pedals like the BOSS OD-3 and BD-2, while incorporating spatial effects like the Zoom MS-70CDR to achieve sounds tailored to each song’s atmosphere.

This approach to sound design is closely tied to the musicality of the band yonige. Her guitar sound, much like her vocals, is direct and stirs the listener’s emotions. By not relying on complex gear, the dynamics and nuances of her playing are directly reflected in the sound, making the message of the songs clearer.

In acoustic sets, she uses the Gibson Southern Jumbo with the L.R. Baggs system to deliver a simple yet delicate resonance. This too is part of her aesthetic of “delivering the necessary sound precisely when needed.”

For readers looking to replicate Arisa Ushimaru’s sound, the most crucial aspect is not to acquire all the high-end gear but to focus on “maintaining a simple setup while choosing sounds that connect directly to personal expression.” In reality, her gear configuration can be closely approached with standard pedals and affordable alternatives. By combining gear like the Jazzmaster, Blues Junior, OD-3, and MS-70CDR, even beginners can experience a sound that resonates with her musicality.

In conclusion, Arisa Ushimaru’s sound design is born from “prioritizing the song and stripping away unnecessary elements.” She values “sound that communicates effectively” over flashiness, embodying this with simple gear and solid playing. This mindset is what makes her guitar sound unique and supports the core of yonige’s authentic and powerful music.