[Imamichi Tomotaka] How to Recreate the BARBEE BOYS Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Imamichi Tomotaka, known as the guitarist for BARBEE BOYS, has maintained a unique sound design since the 1980s. His sound is characterized by a clean attack and sharp dynamics, skillfully interwoven with distinct modulation effects that strongly support the band’s identity.

Notably, his tone features a transparent sound with vibrato and delay layered over the clean sound of the Roland JC series. In iconic songs like “Me wo Tojite Oideyo” and “Makeru Monka,” the guitar leads the band with a hard yet spacious sound, leaving a lasting impression on fans as a hallmark of 80s Japanese rock.

His playing style incorporates simple riffs and chord work, infused with subtle nuances and effects, achieving a sense of ensemble where the guitar and vocals seem to converse. Recently, he has adopted an innovative style that merges his guitar with his voice using the BOSS VO-1 (vocoder), showcasing his continuous evolution as an artist.

Understanding the background of his sound involves delving into various custom guitars, rack effects, and board configurations, which are key to recreating the BARBEE BOYS sound.

This article will thoroughly explain Imamichi Tomotaka’s amplifier, guitar, effects, EQ, and mixing techniques, and will conclude with affordable alternatives that beginners can use to achieve a similar tone.

▶ Search official YouTube videos of BARBEE BOYS

List of Amplifiers and Features

The core of Imamichi Tomotaka’s sound has been supported by the Roland JC series of clean amplifiers. In recent years, he has primarily used the JC-40, often setting the volume around 2.5, treble at 3, mid at 8, and bass at 9, typically with reverb and chorus turned off. This setup is designed to allow for modulation and distortion to be added from the guitar or effects side, providing a clean yet thick foundation.

During the 80s to 90s, he mainly used the Seymour Duncan Combo 100W/60W x 2. The combination with the NEXT rack chorus created a stereo output that resulted in a rich and vibrant sound, which became a crucial element of BARBEE BOYS’ live sound. The use of rack delays (Roland SDE-1000/SDE-2500) also contributed to creating dotted eighth-note delays and layered soundscapes.

In studio work, there are accounts of him using the JC-120, suggesting he varied his equipment based on the band’s recording period and specific songs. The JC’s characteristic hard and fast-responding clean tone is well-suited for his rhythmic work and edgy arpeggios, serving as the driving force behind his colorful guitar tones.

Overall, the clean sound of the JC amp combined with vibrato and delay forms the fundamental axis of his sound design, with variations explored through different racks and combos over the years. Therefore, if you’re aiming for a “BARBEE BOYS sound,” starting with a JC series amp is likely the most straightforward approach.

Types of Guitars Used and Features

One of the most crucial elements in Imamichi Tomotaka’s sound design is his choice of guitars. Since the BARBEE BOYS era to the present, he has primarily used custom Fender Stratocasters, occasionally incorporating Gibson semi-hollows, Les Pauls, and Rickenbackers depending on the song and arrangement.

Recently, a standout in his live performances is the Fender Parallel Universe Vol. II Jazz Strat. This guitar features custom pots and pickups, combining the playability of a Strat with the thick tone of a Jazzmaster, covering a wide range from crisp cutting to thick crunch. It serves as a bridge between modern arrangements and the clean tones he has developed since the 80s.

For acoustic performances, he has been seen using a Gibson J-185 equipped with a ToneWoodAmp, allowing for expansive sound and spatial processing, enhancing his expressiveness during ballads and solo performances.

Another iconic guitar in his collection is the Seymour Duncan Original Strat. The white ash body model features Duncan vintage single coils in the front and center positions, with a hand-wound pickup in the rear, offering a diverse range of tones through a 5-way switch and synchronized tremolo. The yellow alder body model has two hand-wound single coils blended with a humbucker in the rear, achieving a unique sound with a simple 3-way switch. These two guitars have been synonymous with him since the BARBEE BOYS era.

His collection is extensive, including models like the Fender Strat ’65, Gibson SG Standard ’70, Les Paul Goldtop ’52, ES-335 ’75, Rickenbacker ’65 (both 6-string and 12-string), and an Ovation Adamas, all utilized to broaden his musical range. By selecting different guitars for various songs, he adds unique colors to his sound.

In summary, Imamichi Tomotaka’s guitar collection can be described as “a diverse selection that supplements the necessary sounds while maintaining a foundation in the Stratocaster.” These guitars have supported everything from BARBEE BOYS’ sharp clean riffs to acoustic-driven songs, symbolizing his playing style.

Effects and Pedalboard Setup

Imamichi Tomotaka’s pedalboard features a simple yet highly creative configuration. Recently, he has centered his setup around the BOSS VO-1 (vocoder), connecting overdrive, vibrato, and amp simulators in the SEND/RETURN loop to create a sound that integrates both guitar and vocals. This setup allows for a new expression where the guitar and vocal blend seamlessly.

The basic connection of his board is guitar → BOSS TU-3w → BOSS VO-1 (SEND→One Control Strawberry Red OverDrive→BOSS VB-2→Atomic Ampli-Firebox→RETURN) → VO-1 OUT → amp (JC-40). This logical arrangement adds modulation and distortion without compromising the clean sound.

He has consistently used the BOSS VB-2 (vibrato) since the 80s, which remains one of the key elements defining his clean tone. Additionally, high-quality delays like the Providence DLY-4 CHRONO DELAY and Strymon Brigadier/El Capistan have been integrated, allowing for BPM synchronization and nuanced spatial effects.

For distortion, he utilizes two vintage ProCo RAT pedals and adds the BOSS OD-2 TURBO to create a tight, edgy sound. These elements contribute to the driving tones that symbolize the BARBEE BOYS sound of the 80s. During the rack system era, he also employed NEXT chorus and Roland SDE series to create bold stereo soundscapes.

Other staple tools include the BOSS FV-60 (volume pedal), BOSS TU-12 (tuner), and the Crews Maniac Sound DC-Train for power supply. These reliable equipment choices support his stable live sound.

In summary, Imamichi Tomotaka’s effects system is focused on “building on a clean foundation while adding modulation and spatial effects.” Iconic gear like the BOSS VB-2, VO-1, and RAT form the core of his sound. To recreate his tone, it is essential to be mindful of this established and straightforward chain.

Tone Settings, EQ, and Mixing Approaches

Imamichi Tomotaka’s sound design is based on a consistent philosophy of “using clean tones as a foundation and embellishing them with spatial effects.” He shows a strong commitment to EQ balance and effects application, crafting a sound that neither gets buried in the band ensemble nor stands out excessively.

For example, when using the Roland JC-40, his typical EQ settings are “Treble 3 / Middle 8 / Bass 9.” This setup keeps the high frequencies in check while emphasizing the mid and low ranges, achieving a cutting tone that is rich without being harsh on the ears. The aim is to coexist with the rhythm guitar’s “presence” and “thickness” while avoiding excessive treble.

His approach to effects is also meticulous. The vibrato from the BOSS VB-2 is combined with delay to create a “crisp clean with modulation.” When using the Providence DLY-4 or Strymon delays, he often sets a dotted eighth-note delay synchronized to the BPM, adding depth to riffs and arpeggios. Occasionally, he aims for a flanging effect just before oscillation, enhancing the dynamics of his performance.

His use of distortion is also distinctive, often applying the ProCo RAT lightly. Rather than a raw distortion, it is blended thinly with the JC clean, emphasizing the attack while keeping the clean foundation intact. When necessary, he combines it with the BOSS OD-2 TURBO to express a tight and solid drive.

Moreover, the recently introduced BOSS VO-1 (vocoder) allows for the control of distortion, modulation, and amp simulation through SEND/RETURN, creating an innovative setup that integrates vocals and guitar. This enables a unique expression where the guitar resonates as part of the song rather than just an accompaniment.

On the mixing side, his sound is intentionally designed, utilizing rack effects to emphasize stereo width. During the 80s, he employed a NEXT chorus + SDE delay stereo output to spread the guitar across the left and right channels, placing the vocals centrally, achieving a typical mix structure that provides a sense of “three-dimensionality” to the ensemble.

In summary, Imamichi Tomotaka’s sound design can be organized around the following key points:

• Base clean sound from JC amps with thick EQ adjustments in the mid-low range
• Add modulation with VB-2 + delay, using dotted eighth-note delays for spatial effects
• Blend RAT and OD-2 lightly to enhance attack
• Innovative approach integrating vocals and guitar with VO-1
• During the rack era, ensure width with chorus + delay stereo configurations

Considering these techniques, to recreate the “BARBEE BOYS sound,” it is crucial to add modulation and spatial effects to a clean foundation while keeping distortion to a minimum as needed.

Affordable Alternatives to Recreate the Tone

Imamichi Tomotaka’s sound is highly distinctive, utilizing vintage ProCo RATs, Seymour Duncan original guitars, and the Roland JC-40, making it challenging for beginners and intermediates to replicate the same gear. Therefore, here are some relatively affordable alternatives to help you get closer to his sound.

For amplifiers, the Roland JC-22 is recommended. As a smaller sibling to the JC-40 and JC-120, it shares the clean attack and hard sound, suitable for home practice and small gigs. It is an excellent choice to experience the core of his sound design approach of “clean as a foundation with spatial effects.”

For distortion, while the original RAT has become expensive, the Mooer Black Secret, a mini pedal based on the RAT circuit, can serve as a sufficient substitute. Adding a BOSS OD-3 can help achieve a drive feel similar to the OD-2 TURBO. The key to replication is to keep the distortion light and blend it with the clean sound.

In terms of modulation, while the vintage BOSS VB-2 is iconic, it is also quite pricey. The current BOSS VB-2W (Waza Craft version) is recommended as it faithfully reproduces the original’s modulation characteristics while remaining relatively affordable.

For delay, while Providence and Strymon options are costly, the BOSS DD-8 multi-delay can cover all necessary aspects. Utilizing dotted eighth-note and tap tempo functions allows you to recreate the “three-dimensional arpeggios” characteristic of BARBEE BOYS.

If you want to keep your board configuration simple, compact multi-effects like the Zoom G3n or BOSS GT-1 are effective. These allow you to cover clean, distortion, vibrato, and delay in one pedal, offering excellent cost performance.

Lastly, details like picks and strings should not be overlooked. Imamichi uses Jim Dunlop Nylon (Soft) teardrop picks and SAVAREZ H50L/H50XL strings. These are relatively inexpensive, and switching to them can significantly enhance your attack and touch response.

In summary, acquiring a JC series amp, RAT-style distortion, VB-2-style vibrato, and dotted eighth-note delay will be the quickest route to achieving Imamichi Tomotaka’s sound. Below is a table summarizing recommended alternative gear.

Summary and Conclusion

Imamichi Tomotaka’s sound can be summed up as “a unique guitar sound that adds modulation and space to a hard clean tone.” The urban and cool texture of BARBEE BOYS’ songs has been greatly supported by his meticulous sound design.

Characteristic of his sound is the clear, fast-responding clean tone based on the Roland JC series. By layering organic vibrato from the VB-2 and depth from dotted eighth-note delays, he creates a unique soundscape. Distortion is merely a spice, blended lightly with ProCo RAT and BOSS OD series to emphasize the presence of riffs and cuts. He maintains a firm axis of “clean first,” while adding three-dimensional colors through effects.

Moreover, in recent years, he has introduced an innovative setup centered around the BOSS VO-1, integrating guitar and vocals. His approach of updating equipment from the 80s rack systems to the latest compact pedals while adhering to his sound philosophy is impressive.

Importantly, he is not just assembling gear; he is meticulously aware of the positioning of sound within the ensemble. By adjusting EQ towards the mid-low range, he ensures that his sound does not clash with vocals or rhythm sections, yet maintains a strong presence. As a result, he has crafted a guitar sound that supports the unique “urban coolness” of BARBEE BOYS.

For readers aiming to replicate Imamichi Tomotaka’s sound, it is crucial to remember to “prioritize clean tones.” From there, combining VB-2 and delay to create modulation and depth, and blending RAT-style distortion lightly will bring you closer to his sound. If possible, using a JC series amp will significantly enhance the attack and texture of your sound.

Imamichi Tomotaka’s sound design appears simple but is highly intricate, embodying the essence of “adding necessary elements accurately and minimally.” The value lies not in the quantity of gear but in how it is used and the thought behind it. Studying the sounds that colored BARBEE BOYS’ classic tracks will not only be a mere copy but also an excellent opportunity to learn the philosophy of sound design as a guitarist.