[Bōdō (Kankurō Kudō)] How to Recreate the Group Tamashii Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Bōdō, the guitarist of Group Tamashii, also known as Kankurō Kudō, is widely recognized not only as a scriptwriter and film director but also for his unique rock sound in music. His guitar playing is characterized more by a straightforward and punkish expression rather than technical prowess, infused with a sense of humor. In the theatrical world of the band, the guitar’s presence is not merely a backing instrument; it plays a crucial role in energizing the audience.

Bōdō’s sound is marked by a raw yet sticky distortion, with guitar riffs that come forward like a “scream.” Iconic songs such as “Kimi ni Juice o Katte Ageru♥” and “Rabu Rabu Manhattan” showcase powerful chord strumming and a texture of distortion that shapes the humorous yet aggressive sound typical of Group Tamashii.

An interesting aspect of his sound is the coexistence of a “devotion typical of instrument enthusiasts” and a “rough rock sensibility that does not disrupt the band’s atmosphere.” He uses a wide range of guitars, including offset models, classic Stratocasters, and SGs, adapting the character of his sound to fit each stage.

This article will thoroughly explain Bōdō’s sound creation through amplifiers, guitars, and effects, while also providing tips on settings and beginner-friendly methods to recreate his tone. By reading this, you should gain insights on how to approach the “Group Tamashii-style explosive sound” with your own gear.

▶ Search official YouTube videos of Group Tamashii

List of Amplifiers and Features

The most reliably confirmed amplifier used by Bōdō (Kankurō Kudō) for live performances and recordings is Marshall. He mentioned in his diary, “The Marshall amp I bought two years ago finally sounds like it should,” and live photos confirm the presence of a Marshall head on stage. While the specific model is unknown, it is highly likely that he uses a model from the Marshall JCM series or the 1959SLP series, known for their vintage-like distortion and modern high-gain capabilities.

Marshall amplifiers are characterized by a punchy midrange and a cohesive yet aggressive distortion. In a theatrical and comedic rock setting like Group Tamashii, Bōdō’s guitar plays a role that pulls the band’s energy forward rather than merely supporting the songs, making the aggressive sound of Marshall a perfect match.

Furthermore, his statement about finally achieving the desired sound suggests that he has developed a deep familiarity with the Marshall amp, allowing him to refine his tone over time. This experience is vital for a guitarist, as the trust and reliability gained from years of using equipment directly reflect in their sound.

Additionally, it cannot be ruled out that he may have used clean amplifiers like the Roland JC-120 during studio practices or TV recordings. Although Bōdō’s guitar primarily focuses on distortion, there is a need to blend clean tones according to the band’s ensemble, indicating that he may switch amplifiers depending on the situation. However, definitive evidence is lacking, and this remains speculative.

Overall, it can be concluded that Marshall serves as the backbone of Bōdō’s sound, creating a loud and rock ‘n’ roll-centric midrange sound. This contributes to the “pushing sound” that is fitting for the energetic and comedic performances of Group Tamashii.

Types of Guitars Used and Features

When it comes to Bōdō’s guitars, the standout model is the “Psychederhythm Psychomaster-3S (Platinum Silver Metallic).” This custom model, produced in a limited run of three, was directly involved in Kankurō Kudō’s production, confirming his ownership and use. The offset body shape matches live photos, boasting a unique look and sound. Its midrange has a sticky quality, making it versatile from clean to crunch, perfectly suited for Bōdō’s diverse stage performances.

Additionally, it has been confirmed that he previously used a white Fender Stratocaster, particularly seen in photos from around 1997. During this early phase of his career, the bright and cutting sound of the Stratocaster supported the band’s sound. The sharp attack characteristic of single-coils matched Bōdō’s punkish strumming style.

In 2021, he was reported to have used a Gibson SG on stage, which added thickness to the band’s explosive sound. The lightweight body and high-output humbuckers of the SG make it easy to handle during long performances while delivering a thick sound. Compared to the Stratocaster and offset models, it provides a more rock-oriented tone, likely playing a significant role in varying the sound for different songs.

Thus, Bōdō utilizes a wide range of guitars, from original models to classic Stratocasters and SGs, adapting the tonal character to fit the band’s comedic and aggressive aesthetic. All these guitars share a common trait of producing a sound that shines when strummed, reflecting his sensibility that prioritizes impact during live performances. As a result, Group Tamashii’s guitar sound is both raw and impactful, generating a driving force that engages the audience.

Effects and Pedalboard Setup

Regarding Bōdō’s effects, the most reliable information points to the “Psychederhythm Matcha Drive.” He has used it for many years and has even contributed comments on the manufacturer’s official site, confirming his affection for this pedal. This overdrive is characterized by a natural, thick midrange and a clear distortion, making it a central element supporting the rawness of Bōdō’s chord strumming and riffs.

The music of Group Tamashii is predicated on a comedic and energetic performance, so the guitar sound creation emphasizes simplicity and immediacy. Therefore, Bōdō’s pedalboard is likely a straightforward setup centered around overdrive rather than a complex multi-effects system. While the Matcha Drive is confirmed, it can be assumed that he adds minimal reverb and delay, avoiding excessive modulation or outlandish effects.

Moreover, in live environments and TV appearances, house effects processing (such as reverb and delay from the PA) are often added, suggesting that Bōdō likely completes his sound with a simple straight connection from the guitar to the amp. This approach aligns with the “impulsive and instinctive” style that characterizes Group Tamashii’s live performances.

However, the overall picture of his effects setup is not widely published, leaving uncertainty about what other gear he might be using. Nevertheless, based on the guitar sound, it is plausible that he uses a booster or a simple compressor as needed, switching them in and out as required.

In conclusion, Bōdō’s effects system is a simple setup centered around the “Psychederhythm Matcha Drive,” providing a rock-centric distortion while maintaining the flexibility to respond to the band’s sound. This results in a straightforward explosive sound that overwhelms the audience.

Tone Settings, EQ, and Mixing Approaches

Bōdō’s sound creation is a straightforward rock guitar sound, yet it is crafted to maximize the band’s “theatrical momentum.” His style emphasizes explosive power through riffs and chord strumming rather than technical solos. Thus, his settings prioritize simplicity and intuition in EQ and distortion levels, focusing on producing an immediate sound.

Starting with amp settings, it is speculated that Bōdō’s preferred Marshall amp has the gain set around 70%, aiming for a point where the sound does not get overly compressed when strumming chords. The treble is slightly high (6-7), the mids are thickened to around 8, and the bass is kept moderate at about 4-5. This setup ensures that the low end does not overpower while allowing the midrange to come forward, preserving the nuances of vocals and performance amidst the loudness.

Regarding effects, the central “Psychederhythm Matcha Drive” creates a distortion that emphasizes the midrange, blending with the amp’s distortion. As a result, a “cutting distortion” is formed that stands out against the overall band sound. It is also possible that he slightly boosts the gain for solos or riffs to create a volume difference.

In terms of mixing, Bōdō’s guitar is often panned to one side, with another instrument or chorus placed on the opposite side, enhancing the theatrical effect. Particularly in live albums or TV recordings, the guitar is likely treated with a stronger compression to minimize performance inconsistencies while maintaining the overall groove. Engineers may boost the 2-4kHz range to emphasize attack while cutting low frequencies below 100Hz to prevent muddiness.

Different songs also showcase varied approaches. For instance, in the upbeat track “Kimi ni Juice o Katte Ageru♥,” distortion is pushed harder to highlight a raw punk feel. In contrast, ballad-like songs or those with strong comedic elements may see a reduction in distortion to emphasize the resonance of chords, contributing to the overall atmosphere of the stage. This reflects a focus not just on the guitar’s sound but on the “sound as part of the performance.”

The nuances in EQ and settings are directly linked to how the sound is produced. Bōdō leverages his rough playing style and powerful strumming as his strengths, leading to a sound creation that prioritizes these elements. Therefore, when guitarists aim to replicate his sound, it is crucial to focus not only on mimicking settings but also on “playing strongly to reach the audience on stage.”
Overall, Bōdō’s sound creation is built on the midrange-focused characteristics of Marshall, the thickness provided by Psychederhythm’s overdrive, and the cut-and-boost approach in mixing, resulting in an “immediate explosive sound.”

Affordable Alternatives to Recreate the Tone

To fully replicate Bōdō’s sound, one would typically need the limited-edition Psychomaster or the Marshall amp he favors, which can be challenging for beginners and intermediate players due to availability and cost. Therefore, here are some relatively affordable gear options to help achieve a “Group Tamashii-style sound.”

For amp simulators, the BOSS KATANA series is highly effective. The KATANA can recreate Marshall-like distortion, characterized by a forward midrange tone, allowing players to experience the “pushing sound” central to Bōdō’s tone at a lower price point. Additionally, it offers a wide range of output levels suitable for both home practice and live settings.

As for effects, the BOSS SD-1 Super OverDrive serves as an excellent alternative to the Matcha Drive that Bōdō uses. The SD-1 produces a thick, midrange-forward distortion ideal for creating a rough rock sound during chord strumming. This makes it possible to approach the sound achieved with the Psychomaster and Marshall combination more easily.

For reverb and delay, standard pedals like BOSS RV-6 (Reverb) and DD-8 (Delay) are more than sufficient. While PA processing often handles these effects in live venues or studios, adding a bit of reverb or delay during home practice or small gigs can help get closer to Bōdō’s sound.

Furthermore, since the original Psychomaster is hard to find, offset models like the Fender Japan or Squier Jazzmaster or Jaguar serve as viable alternatives. These guitars have a responsive nature suitable for strumming, ensuring they can support a performance style akin to Bōdō’s.

In summary, combining a Marshall-like amp (or simulator), midrange-focused overdrive, simple reverb/delay, and offset guitars can allow players to recreate the “Group Tamashii-style sound” affordably. BOSS products, in particular, offer excellent cost-performance, making them suitable for beginners and intermediate players alike.

Summary and Conclusion

Bōdō’s guitar sound is not merely about “playing” but is a strong expression linked to the band’s theatrical and comedic elements. The essence of his sound creation lies in “momentum” and “presence,” focusing more on the power to move the entire stage atmosphere than on technique or complex gear. As a result, an explosive live feel that engages the audience is established.

Reflecting on the gear used, he switches between the custom Psychomaster-3S, classic Stratocasters, and rock-oriented Gibson SGs, showcasing a range of personalities depending on the period. This approach emphasizes flexibility in adapting to the performance’s context and the song’s atmosphere rather than seeking a “consistent sound.” Consequently, Bōdō’s sound remains fresh and directly connected to the energy of the stage.

Regarding amplifiers, the focus is on a midrange-heavy sound centered around Marshall. His statement about finally achieving the desired sound indicates a commitment to developing a “cultivated tone” through long-term use of the amp. Additionally, EQ processing by PA and recording engineers refines the final product, resulting in a raw yet coherent sound characteristic of Group Tamashii.

The effects setup is surprisingly simple, with the only confirmed use being the “Psychederhythm Matcha Drive.” His approach of not relying on flashy spatial or modulation effects but instead creating a loud sound with minimal gear reflects his philosophy that “rock is enough with momentum.” The sound that reaches the audience is not a complex combination of gear but rather the intense energy of the performer.

For beginners looking to replicate this sound, entry-level gear like the BOSS SD-1 or KATANA amp can produce a similar vibe. However, what is crucial is not just the settings but the playing style and stage presence. Strong strumming, grand gestures, and engaging expressions are the true elements of Bōdō’s sound, achieving a fusion of theater and music.

In summary, there is no need to be fixated on limited models or expensive amps to recreate Bōdō’s sound. What is essential is the awareness of creating sound for the enjoyment of the audience. Strumming the guitar, exploding sound, and creating a strong sense of unity between the band and the audience—this is the essence of the Group Tamashii and Bōdō sound.