[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 the band 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 sounds, from acoustic to vintage-like tones.

In live performances, she primarily uses a Fender Jazzmaster, setting the pickup selector to the center for a punchy clean tone, which she can switch to a loud sound using distortion pedals. This playstyle stands out in iconic songs like “Revolver” and “Goodbye Prisoner,” where the attack of her cutting riffs and the depth of the reverb leave a lasting impression.

For high-gain tracks, she employs a Flying V, showcasing a hard-edged distortion that blends seamlessly with her emotional vocals, creating a unique presence. During acoustic sets, she uses a Gibson Southern Jumbo equipped with an L.R. Baggs pickup, delivering a sound that is both delicate and powerful.

The reason Arisa Ushimaru’s sound design garners attention is her ability to create the most fitting tone for each song using the “minimum necessary gear.” Her discerning choices and expressive capabilities make her sound truly one-of-a-kind.

▶ Search official YouTube videos of yonige

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 sound despite its low wattage. By pairing it with a Celestion G12M speaker, it achieves a warm midrange reminiscent of 60s classic rock while maintaining a modern contour.

In both live and studio settings, Arisa utilizes the characteristics of the amp’s EL84 tubes, adjusting the master volume and EQ for each guitar to create a diverse range of tones. For instance, when using the Jazzmaster, she slightly reduces the treble to suppress overtones, combining it with overdrive to recreate sharp chord strokes. When using a Les Paul or Flying V, she emphasizes the bass while raising the master volume to create a thick riff sound.

Additionally, there are testimonies of her using 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 resonance. However, it has been repeatedly confirmed through photos and interviews that the primary amp is indeed the Divided by 13, making it the core of her sound.

Overall, Arisa Ushimaru’s choice of amplifiers emphasizes “great sound even at low volumes” and “simple operability for expression.” This approach ultimately contributes to the common “emotionally direct” sound found in yonige’s music. While she may experiment with Fender or Marshall amps as supplementary options, it is assumed that the Divided by 13 remains her main choice for live performances and major recordings.

Types of Guitars Used and Features

When discussing Arisa Ushimaru’s sound design, the first guitar to mention is the Fender American Professional II Jazzmaster. This model is widely recognized as her main guitar, offering the clear tone characteristic of single-coil pickups and a unique balance achieved by fixing the pickup selector to the center. By removing the volume and tone knobs to maintain full output, she maximizes the pickup’s character for a direct sound. She uses Ernie Ball Hybrid Slinky (.009-.046) strings, allowing for both flexible bending and powerful strokes.

For situations requiring a thicker rock sound, she turns to Gibson Les Paul models. Notably, the Gibson Custom ’57 Reissue Les Paul Standard features a DiMarzio Super Distortion in the rear pickup, while the front is disconnected to achieve a powerful output solely from the rear. This setup produces a sharp sound ideal for riff-heavy songs. Additionally, the Gibson Les Paul Gold Top has been used for a long time, and after being stolen, she introduced a second model as a replacement. The pickup selector is taped to the rear position for stability during live performances, showcasing her attention to detail.

For 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,” which require a heavy and sharp distortion, broadening the band’s sound with a metal-like tone.

To achieve a softer texture, 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 supports live performances with line output. The combination of a resonant body capable of withstanding powerful chord strumming and a pickup that captures delicate nuances ensures she stands out even in a full band setting.

Overall, Arisa’s guitar selection emphasizes “simple operation to reliably produce the desired sound.” She thoroughly understands the character of each guitar, meticulously choosing the optimal instrument for each song. While some details remain unconfirmed, the models mentioned above are assumed to be her primary guitars.

Effects and Pedalboard Setup

In Arisa Ushimaru’s sound design, her pedalboard is constructed simply yet effectively. For electric guitar, she employs a loop system centered around the One Control Iguana Tail Loop MKIII, facilitating smooth transitions during songs. Several overdrive pedals are integrated into this setup, forming the core of her sound.

Her primary distortion pedals include the BOSS OD-3 OverDrive and the BOSS BD-2 Blues Driver. The OD-3 produces a thick, natural drive, adding substance to chord strokes. The BD-2 features a rougher, gritty tone, which is particularly useful for nuances in solos and arpeggios. Additionally, she incorporates a clean booster and overdrive from TEC to ensure a wide range of gain for each live performance.

For spatial effects, she uses the Zoom MS-70CDR. This multi-effect unit is primarily utilized for reverb, especially the HD Hall setting, which adds depth to ballads and creates spatial expansion even in dry tracks. The BOSS DD-3 is employed for delay, providing tight repeats and a prominent echo that works well for both backing and solos. To ensure stable operation of her pedals, she uses the Vital Audio VA-08 MkII as a power supply.

Interestingly, she occasionally uses the Ibanez Tube Screamer Mini, which is often utilized outside of her main board. Depending on the song, it serves to enhance traditional distortion sounds with a mid-range push. Furthermore, she has a separate board for acoustic performances, simply constructed around the TC Electronic PolyTune 3 and the L.R.Baggs Para Acoustic D.I. This D.I. significantly contributes to feedback prevention and sound quality correction, ensuring high reliability during live shows.

Overall, Arisa Ushimaru’s effects board is designed to “maximize effect with minimal components.” Rather than relying on flashy multi-effects, she focuses on practical and reliable staple equipment, allowing her to flexibly switch the necessary sounds for each song. While the information is primarily confirmed, it is assumed that she may also incorporate other distortion and spatial effects in future performances.

Tone Settings, EQ, and Mixing Approaches

Arisa Ushimaru’s sound design goes beyond merely combining gear; it reflects meticulous EQ adjustments tailored to the mood of each song, along with thoughtful mixing techniques for both live and studio settings. Her sound is often described as “simple yet profound,” which stems from the 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 lower the bass slightly and keep the treble down to suppress clean overtones, ensuring that chord strokes do not become harsh within the band ensemble. Conversely, when using a Les Paul, she raises the bass and volume to aim for a thicker riff sound. This characteristic of optimizing the amp’s master volume and EQ “to match the song and guitar” is notable.

Her pedalboard usage also shows fine-tuned adjustments. With the BOSS OD-3 and BD-2, she keeps the gain at moderate levels, 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 corrections.” The reverb from the Zoom MS-70CDR primarily uses the HD Hall setting, keeping the mix low to create depth. The delay (BOSS DD-3) focuses on short repeats, adding spatiality without compromising tight rhythms.

In acoustic settings, the combination of the L.R.Baggs Element VTC on 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, sometimes applying a stronger low-cut to avoid interfering with vocals.

During the mixing phase, it is speculated that her guitar tracks often feature “off-center positioning” and “careful treatment of the midrange.” In yonige’s songs, she meticulously controls the 2kHz to 5kHz range to highlight the vocals while maintaining the thickness of the backing without competing with the singing. For lead parts, she tends to apply light compression, aligning the attack while preserving dynamics.

For specific EQ settings, when cutting with the Jazzmaster, she often keeps the bass at 40-50%, mids at 50-60%, and treble around 40%, lightly boosting the midrange for clarity. Conversely, in hard tracks using the Flying V, she raises the bass to 60%, mids to 70%, and slightly lowers the treble to create a thick yet clear riff.

Additionally, a notable mixing technique from the perspective of the PA and engineer is “varying the depth of reverb for each song.” For ballads, she sets a deeper reverb, while for faster-paced songs, she keeps it shallow to clarify the sound’s 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 key points: “optimal amp settings for each guitar,” “moderate distortion with subtle spatial effects,” and “midrange organization to prioritize vocals.” These foundational elements, combined with her flexible switching style according to the scene, support her unique sound.

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 necessary, which may not be realistic for beginners or budget-conscious players. Thus, 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 can be purchased for around $400-$600, allowing players to experience the clear sound and balance characteristic of single-coil pickups. The modification of removing the volume and tone knobs for full output, as Arisa does, can be replicated after purchase.

Regarding amplifiers, since the Divided by 13 is quite expensive and difficult to obtain, realistic alternatives include the Fender Blues Junior or the Yamaha THR series. The Blues Junior is a tube amp that offers rich overtones even at low volumes and pairs excellently with both the Jazzmaster and Les Paul. The Yamaha THR is ideal for home practice, accommodating a wide range from clean to crunch while also 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 found for just over $100, making them excellent options for closely approximating her sound. Combining these allows for flexible adjustments between clean and distorted tones. The Ibanez Tube Screamer Mini is also available for around $100, easily integrating traditional mid-range sounds.

In terms of spatial effects, the Zoom MS-70CDR offers excellent cost-performance, covering reverb, chorus, and delay for around $150. Since this is a model she actually uses, incorporating 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, while the L.R.Baggs Para Acoustic D.I. is pricey, alternatives like the Fishman Aura series or the BOSS AD-2 Acoustic Preamp are viable options. Both can be obtained for around $200 and excel in sound quality correction and feedback prevention, making them reliable for live use.

In summary, for beginners looking to recreate Arisa Ushimaru’s sound affordably, the combination of “Squier Jazzmaster + Fender Blues Junior + BOSS OD-3/BD-2 + Zoom MS-70CDR” offers the best cost-performance. With these components, 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 maximum expression from the minimum necessary gear.” She does not rely on complex effect chains or a wide array of equipment; instead, she skillfully utilizes guitars, amplifiers, and a few staple effects to create a sound that is simple yet emotionally resonant.

Her gear setup revolves around the Fender Jazzmaster, complemented by guitars like the Les Paul and Flying V, chosen for their distinct characters based on the song. This is paired with the high-resolution Divided by 13 CCC 9/15 amp. She fine-tunes her sound using staple overdrive pedals like the BOSS OD-3 and BD-2, and adds spatial effects with the Zoom MS-70CDR to achieve a sound that matches the mood of each song.

This approach to sound design closely aligns with the musicality of the band yonige. Her guitar sound is straightforward, much like her vocals, directly stirring the emotions of the listener. By not relying on complex gear, the nuances and dynamics of her playing are reflected in the sound, enhancing the message of the songs.

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

For readers looking to recreate Arisa Ushimaru’s sound, the most crucial aspect is not to acquire all high-end gear but to focus on “maintaining a simple setup while choosing sounds that directly connect to their expression.” Her gear configuration can indeed be approximated with staple pedals and affordable alternatives.

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