[Atsushi Osawa] How to Recreate the Uchikubigoketsu Monogatari Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

【Akagashira Ryuji】How to Recreate the Frederic Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.09.042025.09.08

[Kenichi Tahara] – How to Recreate the Mr.Children Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Shinji Wajima] – How to Recreate the Ningen Isu Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.08.29

Introduction (Overview of Tone)

Atsushi Osawa, the guitarist of Uchikubigoketsu Monogatari, is a central figure supporting the band’s robust, humorous, and intense sound. His guitar tone combines the heaviness derived from metal with the rawness of punk, all while maintaining a catchy pop sensibility.

In iconic tracks like “Nihon no Kome wa Sekai I” and “Futon no Naka kara Detakunai,” powerful riffs and thick backing explode forth. By combining the weighty tone of a Les Paul with the strong distortion of a Marshall amp, he creates a unique soundscape that supports the themes of the songs.

During live performances, he utilizes classic British amps like the Marshall JCM2000 DSL100, but in recent years, he has also incorporated smaller models like the Marshall SV20H, showcasing a new approach that balances clarity and power. This flexibility allows him to adapt his sound system for both small venues and large stages, which is noteworthy.

Additionally, he sometimes employs single-coil models like the Fender Stratocaster, adding brightness and clarity to the band’s music. Osawa’s guitar sound is not just heavy; it also features a flexible tonal control that complements the humorous lyrics and melodies.

In this way, Atsushi Osawa’s sound achieves a unique balance of “heaviness and catchiness,” making it a significant element of Uchikubigoketsu Monogatari’s musical identity.

▶ Search official YouTube videos of Uchikubigoketsu Monogatari

List of Amplifiers and Features

Atsushi Osawa’s choice of amplifiers plays a significant role in shaping the unique and powerful sound of Uchikubigoketsu Monogatari. As evidenced by live footage and photos, he flexibly uses equipment according to the scale of the stage and the atmosphere of the songs, all while maintaining a foundation of classic British sound.

One of his primary amplifiers is the Marshall JCM2000 DSL100. This 100W full-size tube amp head has been beloved by many rock guitarists since the 90s and into the 2000s. Osawa relies on this amp as his mainstay, switching between intense distortion and a smooth crunch sound to support heavy riffs and powerful power chords. It is especially effective in riff-centric songs like “Nihon no Kome wa Sekai I.”

In recent years, he has also integrated the Marshall SV20H Studio Vintage. Despite its compact 20W output, this amp boasts “power and clarity that belies its size,” and Osawa himself has stated in interviews that it is one of his favorites. It provides sufficient sound pressure for large venues through proper mic placement, making it a practical piece of equipment that combines portability with versatility. It is used in both live performances and recordings, adding a slightly vintage tone that enhances the nuances of the songs.

He often pairs these amps with the Marshall 1960 4×12 Cabinet. The four 12-inch speakers produce a sound pressure that supports the band’s sound, providing thick low-end and rich sound dispersion. This classic combination is essential to his robust sound.

Additionally, Fender combo amps have been spotted on stage, suggesting they may be used for specific songs or smaller venues. The clean tones and light distortion typical of Fender amps could fit well with the humorous and upbeat nature of Uchikubigoketsu Monogatari’s songs.

Overall, it seems that Osawa’s amplifier selection emphasizes both “power and flexibility.” While confirmed information centers around Marshall amps, it is assumed he adapts his choices based on the song and environment.

Types of Guitars Used and Features

The core of Atsushi Osawa’s sound is supported by the guitars he has cherished for years. As seen in stage photos and music videos, he primarily uses a classic Les Paul, but he also occasionally employs a Stratocaster to create a diverse range of sounds.

The most frequently confirmed main guitar is the Gibson Les Paul Deluxe (Goldtop). This model features mini-humbuckers, which provide a tighter and harder sound compared to standard humbuckers. This allows for a tone that maintains the band’s thick rhythm without getting buried, especially in riff-driven songs like “Furoneru” and “Nihon no Kome wa Sekai I,” where its hard-hitting sound is a hallmark of Osawa’s style.

Additionally, the Fender Stratocaster American Vintage Series has been confirmed in live performances and interviews. This guitar is lighter than the Les Paul and features a brighter, clearer tone, making it suitable for more upbeat and pop-oriented tracks. The humorous and catchy aspects of Uchikubigoketsu Monogatari’s music are likely complemented by the nuances provided by the Stratocaster.

Such guitar choices are not merely about enjoying different tones; they also aim to highlight the character of each song. By supporting the heavy parts with the Les Paul and adding clarity with the Stratocaster, Osawa enables a broad expressive range for the band.

Moreover, Osawa’s picking style is relatively aggressive, allowing him to control sound pressure not just through amp distortion but also through the nuances of his playing. This means that even with the mini-humbucker-equipped Les Paul Deluxe, the sound does not become overly harsh, maintaining a suitable thickness while blending with the songs.

In summary, Atsushi Osawa’s guitar selection embodies the theme of achieving both “robustness and clarity,” functioning as a key component of the band’s sound. While some assumptions are made based on observed usage, the distinction between the Les Paul and Stratocaster is a crucial point in his sound design.

Effects and Pedalboard Setup

Atsushi Osawa’s pedalboard has not been fully disclosed, so some assumptions are made. However, analyzing the sound tendencies heard in live performances and recordings reveals his sound design philosophy. Essentially, he focuses on “amp distortion as the main element,” with pedals playing a supplementary role. This directly connects to his style of emphasizing the strong gain of Marshall amps and the character of guitars like the Les Paul and Stratocaster.

In live photos and footage, overdrive pedals have been observed. Notable candidates include the BOSS SD-1 and BOSS OD-3. These are suitable for boosting the distortion of Marshall amps, likely used to enhance clarity during lead parts and emphasize the contours of riffs.

To add more intense distortion or fuzz, it is highly probable that he uses pedals like the Electro-Harmonix Big Muff or Pro Co RAT. Uchikubigoketsu Monogatari’s songs blend heavy riffs with humorous lyrics, and layering fuzz-like sounds on top of amp distortion may create the thick, wall-like sound they achieve.

For spatial effects, it is likely that he employs delay pedals such as the BOSS DD series or MXR Carbon Copy. While spatial effects may not be prominent in riff-centric songs, they are effectively utilized during solos or transitions to create depth.

Other basic setups, such as tuner pedals and power supplies, have also been confirmed in stage photos. Overall, his effect system is based on a simple philosophy of “keeping it minimal while maximizing the amp’s character.” This simplicity allows for direct expression of each song’s character through the combination of guitar and amp.

Thus, the ability to express the character of each song directly through the combination of guitar and amp contributes to the persuasive power of Atsushi Osawa’s sound. It is assumed that he does not rely heavily on pedals, but rather that the choice of amp and the nuances of his playing are at the center of his sound design.

Tone Settings, EQ, and Mixing Approaches

Atsushi Osawa’s sound design is characterized by a “straightforward approach that leverages the amp’s inherent distortion.” Centered around British amps like the Marshall DSL100 and SV20H, he aims to express the character of the guitar directly. This is essential for balancing the “heavy riffs” and “humorous lyrics” that define Uchikubigoketsu Monogatari’s musical style.

The basic EQ settings are likely to boost the low end slightly while firmly securing the midrange and slightly cutting the highs. For instance, on the DSL100, settings might be Bass 6-7, Middle 6-7, and Treble 4-5, with Presence adjusted based on the venue’s acoustics. This setup maintains low-end power while allowing the midrange to shine through, avoiding interference with vocals and bass.

Channel switching on the amp is likely tailored to each song. For rhythm-heavy tracks, he may use the Crunch channel for thick, tight riffs, while switching to the Lead channel for solos to achieve sustain. In upbeat songs like “Shimaguni DNA,” the Crunch channel’s sound pressure is emphasized, while in “Nihon no Kome wa Sekai I,” the Lead channel’s extended leads are evident.

While effects are primarily supplementary, it is assumed that overdrive is often used as a booster to elevate volume during solos. This creates moments where the guitar stands out without being buried in the overall band ensemble.

In terms of mixing, engineers balance Osawa’s guitar across songs. Uchikubigoketsu Monogatari’s tracks feature prominent bass lines, and the guitar tends to compete in the midrange to high-end frequencies. Therefore, it is likely that the guitar’s low end is not overly boosted during mixing, ensuring a clear separation from the bass and kick drum.

Similarly, in live PA setups, midrange is emphasized while ensuring that highs do not become piercing, with low-end support provided by the PA. This creates a “wall of sound” regardless of venue size, while maintaining a delicate balance that does not detract from the comedic nature of the lyrics.

Additionally, Osawa’s ability to significantly alter the character of the sound through picking dynamics is crucial. His setups may be simple, but the “nuances of performance” allow for expressive dynamics. This means that even without extreme changes to EQ or gain, he can control sound pressure and distortion through his playing, enabling flexible sound creation during live performances.

Overall, Atsushi Osawa’s sound design can be summarized as “building on the classic distortion of Marshall amps, adding nuance through guitar and picking dynamics, and organizing it in the mix.” This is based on observations from live performances and recordings, and reflects his playing style and equipment choices.

Affordable Alternatives to Recreate the Tone

Atsushi Osawa’s sound is built around classic Marshall amps and Les Paul-style guitars. However, for beginners or hobbyists looking to replicate this sound, acquiring a full-size Marshall head or a genuine Gibson Les Paul Deluxe can be financially daunting. Therefore, here are some commercially available alternatives that can help achieve a similar tone at a more affordable price.

For guitars, the Epiphone Les Paul Standard or Les Paul-type models from Japanese brands like Greco and Edwards are excellent choices. While mini-humbucker models are rare, a standard humbucker Les Paul can still approximate Osawa’s “hard and thick tone” by adjusting the midrange on the amp. If you’re interested in trying a single-coil sound, the Squier Classic Vibe series Stratocaster is also recommended.

Regarding amplifiers, the full-size Marshall DSL100 is not practical for home practice, so options like the Marshall DSL20CR or Marshall MG series are more accessible. The DSL20CR, in particular, offers a tube design with low output, allowing players to experience “classic British rock distortion” at home or in small gigs.

For effects, the classic BOSS SD-1 is essential. It functions as a booster for Marshall’s distortion, effectively bringing out Osawa’s lead tone. Additionally, pairing it with a Pro Co RAT2 for thickness and a BOSS DD-7 for spatial effects can recreate the power and depth characteristic of his sound.

For beginners, multi-effects units like the BOSS GT-1 or Zoom G3Xn are also recommended. These devices encompass Marshall amp simulations and basic distortion and delay effects, providing excellent cost performance by allowing players to experience the essential elements of Osawa’s sound.

By incorporating these alternative pieces of gear, players can experience the “thick yet catchy” sound of Uchikubigoketsu Monogatari at a relatively low cost. The key is to focus on “leveraging the amp’s inherent distortion” and being mindful of dynamic control through picking. This way, even with budget gear, one can get closer to Osawa’s sound.

Summary and Conclusion

Atsushi Osawa’s sound can be succinctly described as “straightforward and robust, yet catchy.” Built on classic Marshall amps and leveraging the hard and thick tone of the Gibson Les Paul Deluxe, he combines this with dynamic playing to create a humorous and powerful sound characteristic of Uchikubigoketsu Monogatari.

The essence of his sound design lies not in a complex effects chain but in maximizing “the inherent distortion of the amp” and “the individuality of the guitar.” Effects like overdrive and delay are used only as supplements, with the main focus on the classic sounds of tube amps like the Marshall DSL100 and SV20H. By combining strong picking and rhythmically engaging riffs, he creates a unique presence.

Moreover, his approach to EQ balance and mixing emphasizes a “midrange-focused” strategy that respects the bass’s role. The rhythm section dominates the low end, while the guitar secures the midrange and highs. This clear division of roles allows for a thick band sound that never feels lacking in pressure, even as a three-piece band.

For beginners looking to replicate his sound, using a small Marshall amp and an Epiphone Les Paul, along with a BOSS SD-1 to boost leads, can effectively capture Osawa’s essence. The key lies not in the extravagance of gear but in how well one can utilize a simple setup. By thoroughly studying picking nuances and chord progressions, players can get closer to the core of his sound.

In summary, Atsushi Osawa’s sound design represents a “straightforward approach to sound creation.” His style, which does not rely on complex tonal changes or flashy effects, showcases a powerful individuality through the synergy of guitar, amp, and picking techniques. This can serve as a valuable reference for many guitarists. By aiming for his sound, players can also enhance their foundational skills and expressive capabilities.