[John Kanda] How to Recreate the PENGUIN RESEARCH Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

John Kanda, the guitarist of PENGUIN RESEARCH, is known for his technical yet emotionally nuanced playing style. The band’s music features arrangements that blend anime songs, rock, and progressive elements, where the guitar plays a crucial role in seamlessly switching between intensity and delicacy.

Kanda’s sound is characterized by a “sharp lead tone” and a “three-dimensional clean tone.” In iconic tracks like “Senya Soka” and “Button,” the fusion of a Jazzmaster-like clarity and the power of Marshall amps stands out. His ability to maintain melodic lines while delivering powerful riffs that drive the band forward has garnered acclaim, and his impactful sound during live performances overwhelms audiences.

Moreover, his choice of gear reflects a balance between “individuality” and “musicality.” By combining custom guitars, vintage amps, and unique pedal selections, he achieves a diverse range of sounds that traverse various music genres. Consequently, the nuances of the same song can differ from one live performance to another, making him an intriguing subject of study for aspiring guitarists.

These characteristics imply that guitarists aiming to replicate his sound must be conscious of both “gear combinations” and “touch control.” Particularly, the selection of guitar pickups, the amount of amp distortion, and the use of spatial effects are crucial elements.

In the following sections, we will delve into Kanda’s amplifiers, guitars, and effects, providing detailed insights into sound creation settings and reproduction methods. This information will be beneficial for those looking to recreate the sound of PENGUIN RESEARCH or for guitarists seeking a similar tone.

▶ Search official YouTube videos of PENGUIN RESEARCH

List of Amplifiers and Features

John Kanda’s amplifier choices for PENGUIN RESEARCH span a wide range, from classic British sounds to modern high-gain options. He particularly favors Marshall amps, whose tones not only support the band’s backbone but also deliver a commanding presence during guitar solos.

One of the standout models is the “Marshall 1959 Super Lead.” In live performances, Kanda uses a custom version with paint effects from Cigarette-burns, producing a raw yet vibrant tone. He also employs the “74′ Marshall JMP50 1987,” a representative of 70s Marshall sound, known for its tight mid-range and classic rock drive.

For modern sound requirements, he incorporates the “FRIEDMAN BE-100,” which provides a bright and tight distortion that suits riff-heavy songs and dense arrangements. Additionally, the “NAYLOR Super Drive Sixty with EL34” is used, maintaining the warmth characteristic of EL34 tubes while adding a contemporary clarity.

These amplifiers are not merely personal preferences; they play a vital role in expressing the character of each song. For instance, when appealing to a broad audience with anime tie-in songs, Kanda likely utilizes the modernity of the FRIEDMAN, while opting for the vintage sound of Marshall during dynamic live performances.

Furthermore, on stage, the signal is transmitted through the “SHURE ULXD4 wireless receiver,” ensuring high-quality sound stability. This setup allows for noise-free and consistent sound even during large-scale live events.

In summary, Kanda’s amplifier selection aims to achieve a balance between “classic and modern.” While definitive information may be limited, it is assumed that he primarily uses the aforementioned amplifiers, adjusting them according to the sound required for each performance.

Types of Guitars Used and Features

The core of Kanda’s sound lies in his unique custom guitars, which combine distinctive looks with high playability. He primarily uses custom models from G’Seven, focusing on Jazzmaster and Telecaster types. These guitars are tailored to suit his playing style, making a strong visual impact on stage.

A notable model is the “G’Seven Special Jazzmaster Type ‘Liberarhythm’.” It features a body made of ash, a flame maple neck, and a Brazilian rosewood fingerboard, showcasing high-quality materials with striking red and black finishes. Designed as a modern Jazzmaster, it balances clarity in clean tones with excellent articulation when distorted.

Another important guitar is the “G’Seven Special Telecaster Type 2.” This model transcends traditional Telecaster designs, providing a thicker, more sustained sound that is versatile for both rhythm and lead playing. The “g’7 20th Anniversary prototype ‘#1′” is a special commemorative model that he uses while exploring new sounds.

For metal and loud sound requirements, he utilizes models like the “COMBAT GUITARS DAZZLE VISION John model” and “AddicTone Custom Guitars Modern Dinky.” Many of these guitars are equipped with active pickups like EMG, delivering aggressive tones that maintain clarity even at high gain.

In the vintage category, the “Gibson Custom True Historic 1957 Les Paul Custom” has also been spotted on stage, used for classic rock tones. Additionally, in acoustic settings, he pairs the “Martin D-28 Modern Deluxe” with a Fishman Rare Earth PU, ensuring a stable acoustic sound during live performances.

These guitars are skillfully selected to recreate the character of each song, using the Jazzmaster for brilliance, the Telecaster for solid backing, the Les Paul for strength, and the acoustic for softness. This flexibility in sound creation is a significant feature of his approach.

Overall, Kanda’s guitar selection merges the “individuality of custom models” with the “timelessness of traditional models.” While some aspects are confirmed, others remain assumptions, but it is clear that the guitars mentioned above shape his primary sound.

Effects and Pedalboard Setup

Kanda’s pedalboard is composed of a diverse array of effects, serving as a cornerstone for the “varied expressiveness” that supports his guitar and amp choices. To accommodate a wide musical spectrum from modern rock to anime songs, he integrates standard effects such as distortion, modulation, spatial effects, and boosters, along with custom-made and unique domestic handmade brands.

A standout effect is the “Digitech Whammy DT,” which adds a unique flair to PENGUIN RESEARCH’s aggressive songs through pitch-shifting phrases. Digital multi-effects like “LINE6 HX STOMP” and “LINE6 DL4 MkII” are set up for efficient switching between delay, reverb, and modulation, leveraging their stability and multifunctionality during live performances.

On the analog side, the “Roger Mayer VooDoo-Vibe” is notable for creating vibrato and tremolo effects, contributing to a psychedelic texture. Additionally, the “Area51 THE ALIENIST (booster)” is known to be one of his favorites, enhancing clarity during solos.

From domestic brands, he utilizes effects like “Chocolate Electronics Order made Chorus,” “Tokyo Effects BLACK SWAN,” and “320 design Brown Feather,” capitalizing on the unique sounds that handmade products offer. The “BLACK SWAN,” in particular, is believed to contribute to a rich clean tone with its distinctive harmonic presence. Other effects like “Ruza Effects (special project model)” and “BERKOS FX THIRD STONE” reflect his exploratory nature as a unique guitarist.

Classic distortions such as “MXR Distortion II” and “Jersey Girl Fulltender” are also part of his setup, allowing for a raw rock edge within songs. Moreover, the rare “ARION SPH-1 mod (phaser)” has been spotted, suggesting that he occasionally recreates 80s-style spatial modulation.

Kanda’s effects board is characterized by a blend of “originality and practicality.” While there may be variations in his setup depending on the live performance or song, it is assumed that he primarily combines the aforementioned gear to craft his sound.

Tone Settings, EQ, and Mixing Approaches

Kanda’s sound creation goes beyond merely selecting amplifiers and effects; it is enhanced through meticulous EQ adjustments and mixing techniques. PENGUIN RESEARCH’s music incorporates progressive elements, requiring guitar sounds that possess both “clarity” and a “presence that stands out in the ensemble.”

Starting with amp settings, when using Marshall models (like the 1959 Super Lead or JMP50), it is assumed that he boosts treble and presence slightly while keeping the low end tight. Specifically, settings around BASS 3-4, MIDDLE 5, TREBLE 6-7, and PRESENCE 6 are likely common. This setup ensures that rhythm guitars do not get buried, while lead tones remain sharp during solos.

When using modern amps like the FRIEDMAN BE-100, he adjusts the distortion quality by switching channels. The crunch channel is suited for melodic phrases, while the high-gain channel emphasizes attack, accommodating louder tracks. With the NAYLOR amp, he capitalizes on the thick midrange characteristic of EL34 tubes, further enhancing the sound’s attack with a booster.

Effectively using effects is also crucial. Before solos, he often boosts gain with the “Area51 THE ALIENIST,” pushing the guitar forward in the mix. For spatial effects, he utilizes “LINE6 DL4 MkII” and “HX STOMP,” setting delays synced to the song’s tempo to blend seamlessly with the band’s overall sound while maintaining presence. Particularly in fast-paced songs like “Button,” he tends to set shorter delay times to accentuate rhythm.

For clean tones, he opts for Jazzmaster or Telecaster guitars, setting the amp EQ to a flatter response. A light chorus (from Chocolate Electronics or BLACK SWAN) is applied to blend naturally with synths and pianos. On stage, he may introduce phasers or vibratos in parts to create dynamic clean tones.

During mixing, he pans guitars to create a wide stereo image, clearly separating lead and rhythm parts. Kanda’s lead guitar is often placed center, emphasizing EQ around 2kHz-4kHz to achieve a “piercing lead presence.” Conversely, for rhythm guitars, he slightly cuts lows while retaining thickness in the mids, ensuring they do not clash with bass and drums, thus supporting the overall groove of the band.

Additionally, during live PA setups, light compression is likely applied to control peaks while boosting the upper range during solos. This approach ensures that the dynamics of the performance remain intact while delivering a consistent sound to the audience.

In summary, Kanda’s sound creation is built upon “appropriate EQ adjustments for each scenario” and “precise use of effects.” Based on the foundational sounds obtained from amps like Marshall and Friedman, he skillfully combines boosters and spatial effects to maintain presence in the mix.

Affordable Alternatives to Recreate the Tone

Kanda’s gear includes high-end custom models, vintage amps, and rare effects, making it unrealistic for beginners or intermediate players to acquire everything directly. However, by selecting commercially available gear with similar characteristics, it is possible to approach the “PENGUIN RESEARCH sound” at a relatively affordable price. Here, we focus on products that can be acquired for around $100 to $1,000.

For amplifiers, the “Marshall CODE 50” digital amp is recommended. It simulates the tones of the Marshall 1959 Super Lead and JMP50, featuring user-friendly modeling functions that are ideal for beginners. The loudness of the original models is unnecessary, as this amp can replicate sufficient sound for home practice or small gigs.

For guitars, budget models of Fender Jazzmasters or Telecasters are suitable. The “Fender Player Jazzmaster” and “Squier Classic Vibe Telecaster” provide stable sounds for both clean and distorted tones while keeping costs down. These models effectively recreate the brilliance of Kanda’s Jazzmaster and the solid backing of his Telecaster.

In terms of effects, BOSS’s compact series offers reliable options. For instance, the “BOSS DS-1 Distortion” serves as a shortcut to replicate the ruggedness of the MXR Distortion II, while the “BOSS BD-2 Blues Driver” provides a warm distortion similar to the Jersey Girl Fulltender and 320 design Brown Feather. The “BOSS CE-2W Chorus” is a classic alternative to custom-made chorus effects, adding spaciousness to the sound.

For spatial effects, multi-effects units like “Zoom G1 Four” or “NUX MG-300” are recommended. While simpler than Kanda’s Line6 HX STOMP or DL4 MkII, they cover essential delay, reverb, and modulation effects, allowing for foundational sound creation that can be applied in live settings or home recordings.

Moreover, to recreate the clarity during solos, introducing affordable boosters like the “BOSS GE-7 Equalizer” or “TC Electronic Spark Booster” is effective. While capturing the nuances of the Area51 THE ALIENIST may be challenging, these devices can sufficiently emphasize specific frequency ranges to push the sound forward.

By combining these options, even beginners can replicate tones similar to Kanda’s. There is no need to acquire expensive gear; instead, focusing on characteristic “clean brilliance” and “distorted clarity” will guide the selection process.

Summary and Conclusion

As we’ve seen, John Kanda’s sound creation is built on “custom guitars that emphasize individuality,” “a range of amplifiers that seamlessly transition between classic and modern,” and “a diverse and experimental effects setup.” PENGUIN RESEARCH’s music embodies catchy anime-like qualities alongside the complexity of progressive and hard rock, necessitating a multifaceted guitar sound. To meet these demands, Kanda meticulously switches between instruments and effects, consistently crafting the optimal sound for each song.

Notably, his sound creation does not solely rely on the guitar itself. It appears he is always mindful of the amp’s characteristics and EQ adjustments, as well as the overall mix of the band. This means he prioritizes how the guitar blends with other instruments and how it cuts through the mix, rather than merely thickening the guitar’s sound. This approach reflects the accumulation of studio work and live experience.

Additionally, the blend of “standard and unique effects” in his pedalboard is a significant characteristic. By incorporating reliable products from brands like BOSS and Line6 alongside handmade and custom items, he achieves a sound character that is distinct from other guitarists. This reflects not just a gear-centric mindset but also a commitment to pursuing the optimal sound in a musical context.

If readers wish to replicate Kanda’s sound, it is not necessary to acquire all his gear. The key is to “understand the essence of sound creation.” This means focusing on achieving clarity in clean tones, articulation in distortion, and harmony with the band through spatial effects. By incorporating boosters and EQ adjustments as needed, one can capture the nuances of his sound even with more affordable gear.

Ultimately, the essence of Kanda’s sound creation lies in “flexibility and curiosity.” He respects the context of traditional rock guitar while unafraid to adopt modern approaches. As a result, the unique sound of PENGUIN RESEARCH is born. What guitarists should learn is not just the types of gear but the very attitude towards sound itself.

If readers aim to achieve a sound similar to John Kanda’s, it is highly recommended to thoroughly experiment with EQ and effect combinations using their existing gear. The discoveries made through this process will serve as the gateway to the “sound creation journey” that Kanda embodies.