[Honoka Takahashi] How to Recreate the Regal Lily Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The sound of Honoka Takahashi, the frontwoman and guitarist of Regal Lily, has garnered attention for its “simple yet profound guitar sound,” much like her ethereal vocals. Her sound design encapsulates both raw, emotional elements and delicate, three-dimensional resonance, creating a unique presence.

In iconic songs like “Rickenbacker,” “Hanahikari,” and “bedtime story,” the sharpness of her Telecaster blends seamlessly with deep reverb, evoking an alternative shoegaze-like expansiveness. By utilizing Strats and Mustangs, she adds subtle character variations to each track, balancing a realistic sound close to direct amp connection with spatial processing through effects during live performances.

The reason her sound design stands out is less about the luxury of her gear and more about the “carefully selected combinations” and “unique sensibilities in usage.” Particularly, her approach to creating echoes with reverb and delay is a crucial element that supports the overall atmosphere of her songs. The nuances of her guitar picking and the resonance of her arpeggios significantly influence the entire sound design.

This article will thoroughly explore the amplifiers, guitars, and effects used by Regal Lily’s Honoka Takahashi, summarizing points that can serve as practical references for actual sound design. Whether you’re a beginner or an intermediate guitarist, you’ll find insights that allow you to experience “Honoka Takahashi’s sound.”

By the end of this article, you should discover tips that can be applied to your own guitar playing and sound design.

▶ Search official YouTube videos of Regal Lily

List of Amplifiers and Features

A significant element supporting Honoka Takahashi’s sound is her choice of amplifiers. She primarily uses Fender models for both live performances and recordings, characterized by a focus on natural clean tones and deep reverb effects.

Among her most frequently used amps are the “Fender Bassman” and “Fender Super-Sonic” combo amps, which provide a simple yet thick and warm clean sound. This allows her guitar sound to stand out without getting buried in the overall band mix.

The “Fender Vibro King” has also been confirmed in live settings, utilizing its strong reverb circuit to create spatial expansiveness. The transparent and deep tonal quality aligns perfectly with the ethereal atmosphere present in Regal Lily’s music.

Additionally, the ROLAND JC-120 is often used to achieve a clean sound with a three-dimensional chorus effect, likely chosen for parts that emphasize a shoegaze-like sound. In studio environments, she sometimes combines it with a Marshall 1960A cabinet, pairing it with Fender heads to achieve a wide-ranging sound.

Another notable point is the use of the FRYETTE PS-2 Power Station to adjust volume levels and leverage cabinet characteristics. This allows for the control of high-volume tube amps while maintaining nuance in expression.

These choices reflect a balance between “live power” and “studio delicacy,” suggesting that she switches amplifiers according to the specific context. By centering around Fender clean amps and occasionally incorporating Marshall cabinets or Roland’s JC, she achieves a diverse sound palette.

Types of Guitars Used and Features

One of the most crucial elements in Honoka Takahashi’s sound design is her selection of guitars. Her main instrument is a modified “Fender 1972 Telecaster.” This guitar has undergone numerous modifications, including paint stripping and changes to pickups and wiring, allowing her to achieve a unique sound. Its lightweight body makes it easy to handle during live performances, characterized by sharp cutting and expansive clean tones enhanced by reverb.

As a secondary option, she sometimes uses the “Fender American Performer Telecaster Hum.” Unlike standard single-coil pickups, this model features a humbucker, adding power and thickness. It is likely used in situations where a thicker sound is required over the sharpness typical of a Telecaster.

Another notable Fender model is the “Fender USA Mustang ’77,” which she owns in multiple colors, including red. The compact body and short scale provide a lively playability that suits fast-paced songs and strumming-heavy performances. The sweet sound characteristic of the Mustang blends well with Honoka’s vocal quality.

There was also a period when she used a “Fender Stratocaster Black,” likely chosen for its classic clean tones and presence during solo parts. Additionally, the “Gibson ES-335” was confirmed during the recording of the album “17,” contributing to a warm tonal palette.

Her first guitar was a “Rickenbacker copy,” indicating her early desire for the bright tone associated with Rickenbackers. The importance of “Rickenbacker-like resonance” in her current sound can be attributed to these early experiences.

In terms of acoustic guitars, she uses the “Fender PM-2” and the “American Acoustasonic Stratocaster” (the red Acoustasonic) for her solo performances and acoustic arrangements. She also owns a classical guitar, the “YAMAHA G-200,” allowing for diverse approaches depending on the song.

These guitar choices combine the characteristics of “Telecaster sharpness and reverb,” “Mustang liveliness,” “ES-335 warmth,” and “Acoustasonic versatility,” enabling her to manipulate tonal colors according to the song. It is assumed that she primarily uses the Telecaster during live performances while switching guitars based on the song’s atmosphere.

Effects and Pedalboard Setup

Honoka Takahashi’s sound is significantly supported by her unique yet simple pedalboard setup. She primarily utilizes the clean tone of her Telecaster while adding boosters and distortions to create textures suited to each song, further expanding the soundscape with reverb and delay.

The core of her board includes the “FREE THE TONE JB-41S” junction box and the “Vital Audio Encounter VAPS-4” switcher, ensuring stable signal flow and efficient switching. This indicates a focus on reliability during live performances.

For distortion, she employs the “Fulltone OCD,” “Leqtique 9/9,” and “ProCo RAT.” While the RAT has reportedly seen less use since 2024, it was previously a crucial element for creating noisy, roaring sounds. The OCD and 9/9 provide relatively organic distortion, enhancing the Telecaster’s bright tone.

In terms of spatial effects, she primarily uses the “strymon blueSky,” “ZCAT BIG reverb,” and “BOSS DD-5” to create ethereal echoes and deep reverberations. The blueSky is particularly favored for producing a shoegaze-like expansiveness. Additionally, the “BOSS DC-3” and “TC Electronic taiLSpiN” add modulation nuances, creating a unique floating sensation.

Moreover, she incorporates distinctive effects like the “Electro-Harmonix Russian Big Muff Army Black” fuzz and the “Electro-Harmonix Deluxe Electric Mistress” flanger. These are likely used for specific songs or recordings, contributing to experimental sound design.

For boosting purposes, she combines the “Xotic RC Booster” and “Fulltone Fat-Boost” to ensure sound pressure during solos or climactic moments in songs. Special equipment like handmade hold switches and blender pedals has also been observed, allowing for unique approaches during performances.

Lastly, her power supply setup includes the “Vital Audio VA-08Mk2,” which provides stable power and reduces noise. This ensures reliability on stage and in the studio.

Overall, her pedalboard is not about flashiness but rather emphasizes “drawing out necessary tones with minimal equipment.” As a result, she achieves flexible sound design that supports the diverse expressions of each song.

Tone Settings, EQ, and Mixing Approaches

Honoka Takahashi’s sound design is characterized by layering reverb and delay over a “clean, transparent sound” rather than extreme distortion. Consequently, her amp EQ and pedal settings are delicate, adjusted for nuance in each song.

For example, when using the “Fender Bassman” live, she likely sets the Bass to a moderate level (around 3-4), Middle to around 5, and Treble to 6-7. This configuration preserves the sharpness of the Telecaster while ensuring it doesn’t get lost in the overall band ensemble. When using the reverb-equipped “Vibro King,” she likely sets the amp’s reverb to a deeper level, focusing on creating an ethereal sound.

In terms of distortion, the OCD is typically set with Drive around 10-11 o’clock and Volume slightly elevated to push the amp. This maintains a crunchy texture while allowing picking nuances to shine through. The Leqtique 9/9 is used with a bit more distortion for choruses or moments requiring increased sound pressure. Conversely, when using the ProCo RAT, it is assumed that the Filter is slightly rolled off to create a gritty texture, emphasizing shoegaze-like roaring sections.

Her use of reverb is particularly distinctive. With the strymon blueSky, she likely selects Plate or Hall mode, setting Decay to a longer duration (around 2-3 o’clock) and Mix to around 50% to achieve a floating quality for arpeggios. The ZCAT BIG reverb is likely used for simpler reverb applications compared to the blueSky.

The BOSS DD-5 is set for clear echoes typical of digital delays, often used with rhythmic delays of eighth to quarter notes that do not interfere with the rhythm. Particularly in songs like “bedtime story” or “Rickenbacker,” the combination of delay and reverb forms an ethereal soundscape.

For modulation effects, instead of applying deep settings on the “DC-3 (chorus),” she likely keeps the Mix light to add dimensionality to arpeggios. The taiLSpiN (vibrato) is assumed to be used selectively for specific parts of songs.

From a mixing and PA processing perspective, it is common to cut frequencies below 200Hz from the guitar while slightly boosting the 2kHz-5kHz range to highlight the contours of arpeggios. This is essential, especially when applying deep reverb, as mid-low frequencies can easily become muddy. Additionally, panning reverb and delay in a stereo space to clearly delineate from the vocals is another characteristic of her approach.

In recording environments, microphones like the standard “SHURE SM58” or “BETA 57A” are placed in front of the cabinet, and sometimes a condenser mic, “MXL V67G,” is added for ambient capture. This balances close sound and airiness, supporting the overall floating quality of the work. Furthermore, using a pop filter (ELECOM HS-PG15BK) during vocal recording contributes to a consistent artistic vision across the songs.

Thus, Honoka Takahashi’s sound design hinges on “EQ organization,” “spatial balance,” and “distortion control that preserves performance nuances.” More than the gear itself, the focus is on how to set it up and what to cut or retain during the mixing stage.

Affordable Alternatives to Recreate the Tone

To fully replicate Honoka Takahashi’s sound, one would typically need vintage Fender Telecasters or expensive strymon reverbs. However, even with a limited budget, choosing “cost-effective gear that can achieve similar nuances” can bring you quite close to her sound world.

For guitars, the Fender Japan or Squier Telecasters are solid options. In particular, the Squier Classic Vibe series can be purchased for around 40,000 to 50,000 yen, allowing you to experience the sharpness characteristic of single-coils. With modifications (like pickup swaps), you can achieve an even closer tone.

Since acquiring high-end Vibro Kings or Bassmans can be challenging, smaller, more affordable amps like the “Roland JC-22” or “Fender Champion 50XL” are recommended. The JC-22 provides classic three-dimensional cleans with ease, while the Champion offers diverse amp modeling features to simulate Fender sounds.

For effects, reverb and delay are crucial to Honoka Takahashi’s sound. While the strymon blueSky is expensive, the BOSS RV-6 or Electro-Harmonix Holy Grail Nano can create sufficiently similar spatial effects for around 10,000 to 20,000 yen. For delay, the BOSS DD-8 or NUX Time Core Deluxe are also recommended for their simple operation and clear echoes.

For distortion, alternatives like the “Joyo Ultimate Drive” or “BOSS SD-1” can provide similar textures while keeping costs down. The Nano series of Big Muff fuzz pedals can be purchased for around 10,000 yen, effectively recreating roaring sounds. For modulation, the BOSS CE-5 (chorus) and Behringer’s clone pedal series are also suitable for beginners.

Additionally, for stabilizing power, budget-friendly power supplies like the “One Control Distro” or “Mooer Micro Power” can be helpful. This allows for noise reduction and stable sound, creating a sufficient environment for beginners during live performances or rehearsals.

By combining Telecaster-style guitars with Fender or Roland amps and reverb & delay effects, you can achieve Regal Lily’s unique floating soundscape while keeping costs manageable. The essence of gear selection lies not in “expensiveness” but in “which points to focus on,” and by valuing spatial effects and clean tones, you can get closer to her artistic vision.

Summary and Conclusion

Reflecting on Honoka Takahashi’s sound design in Regal Lily, its essence lies in “layering transparent cleans with spatial expansiveness.” While primarily using a Telecaster, she occasionally employs unique guitars like the Mustang and ES-335 to create a rich sonic palette for each song.

Her amplifiers focus on Fender models, emphasizing natural cleans and reverb resonance. Furthermore, her pedalboard utilizes reverb and delay to create an ethereal echo that envelops the entire song. Distortion remains auxiliary, with choices like the OCD and Leqtique 9/9 providing organic textures that preserve the guitar’s inherent tone.

Additionally, her approach to EQ and mixing involves organizing mid-low frequencies while highlighting the high frequencies of arpeggios. This ensures that Honoka’s vocals and guitar coexist without clashing, enriching the overall soundscape of the band.

For beginners looking to approximate her sound, it is not necessary to invest in expensive vintage gear. A combination of Telecaster-style guitars and reverb/delay effects can effectively capture the essence of her sound. Careful handling of spatial effects and valuing sonic space are the first steps to recreating her artistic vision.

Ultimately, the allure of Honoka Takahashi’s sound design lies more in “the choices of sound” and “the sensitivity to expression” than in the gear itself. Sharp yet delicate, raw yet deeply beautiful—this duality makes her sound truly unique.

If you aim to replicate her sound, keep in mind to “base it on clean tones layered with reverb and delay” and “utilize sonic space.” By doing so, you will be able to approach the ephemeral and fantastical world of Regal Lily’s music.