[Joplin Tokuno] How to Recreate the Kome Kome Club Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Joplin Tokuno, the guitarist of Kome Kome Club, is a versatile sound creator who supports the band’s entertaining musicality. His guitar playing transcends various genres, including rock, funk, and pop, playing a crucial role in enriching the band’s sound.

Notably, he showcases his presence through songs that utilize sitar-like tones and arrangements that incorporate acoustic sounds, taking on a role that goes beyond mere guitar accompaniment to what can be described as “sound design.” His approach features bold sound creation tailored to the staging during live performances, while he meticulously selects tones in the studio.

Examples of his signature sounds include the sitar-like tones made possible by the VOX Starstream Type 1’s modeling capabilities and the clean, sparkling tones that provide a pop-like accompaniment. His experimental sound design in home recording environments and the use of his own effects brand, “MJT.,” have also garnered attention.

Through these diverse approaches, Joplin Tokuno adds a unique color to Kome Kome Club’s varied repertoire, creating sounds that captivate audiences. His sound creation is not just about “playing the guitar,” but rather an essential element in orchestrating the entire musical experience.

In the following sections, we will organize the amplifiers, guitars, and effects used, while providing detailed explanations of the sound creation direction and settings needed to recreate his tones.

▶ Search official YouTube videos of Kome Kome Club

List of Amplifiers and Features

Joplin Tokuno’s choice of amplifiers is a critical element in supporting the vibrant and diverse sound of Kome Kome Club. While there is no official documentation or interviews clearly stating the specific gear used, it is assumed that he favors VOX amplifiers due to his love for the VOX Starstream Type 1. In particular, the VOX AC30 and AC15 are known for their transparent clean tones and unique compression, which provide rich resonance when combined with sitar-like modeling and acoustic sounds.

On the other hand, the Roland JC-120, a staple among domestic pop artists in studio settings, is also a contender. The JC-120 is characterized by its stereo chorus, which adds spaciousness, and its crisp clean outline, allowing it to stand out even in elaborate stage setups with large ensembles. Given that Kome Kome Club often features horn sections and choruses, the role of such a clear clean amp is significant.

Moreover, Tokuno is proactive in utilizing effects and preamp systems, and it is assumed that he employs rack systems like the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (stereo power amp). These setups likely enabled him to achieve powerful and stable tones suitable for large live venues. It is believed that he constructed a setting that allows for the differentiation between clean and drive tones, particularly when combined with VOX or Roland amplifiers.

Thus, Joplin Tokuno’s amplifier environment reflects a direction that balances “brilliant cleans” with “diverse sound creation,” and while definitive documentation is scarce, it is assumed that the equipment mentioned above forms the core of his setup.

Types of Guitars Used and Features

The guitars used by Joplin Tokuno in Kome Kome Club are highly varied to accommodate the band’s diverse musical compositions. Among them, the most notable is the VOX Starstream Type 1. This model, while an electric guitar, features the AREOS-D modeling function that can recreate sitar, acoustic, and various pickup sounds. It has been actively utilized in live performances where sitar-like sounds are required, as well as in home recording for sound design.

The Starstream’s unique futuristic design and lightweight build make it highly compatible with Kome Kome Club’s flamboyant performances. By using this guitar, Tokuno can fulfill “multiple roles with one instrument,” allowing for instant tone switching in accordance with the flow of the live show. This is considered a highly efficient and practical choice for performances with large ensembles.

Additionally, photographic evidence confirms the presence of a nylon-string electro-acoustic guitar (similar to a “elegat”). With a slot head, thin body, and cutaway design resembling Godin models, it is highly likely that he used it when acoustic tones were needed, as seen in photos from radio appearances. The classical sound and clear tone typical of nylon strings likely played a significant role in Kome Kome Club’s acoustic-oriented songs and soft ballads.

Thus, the primary roles of the VOX Starstream and the electro-acoustic guitar are established, with the Starstream serving as the mainstay in live performances and the electro-acoustic providing acoustic sound expansion. The modeling capabilities of the Starstream are indispensable for home recording and experimental sound design, embodying Tokuno’s “broad sound creation range.”

In summary, Joplin Tokuno’s guitar selection revolves around the themes of “balancing stage and home recording” and “responsiveness to diverse musical genres,” supporting the band’s musical diversity.

Effects and Pedalboard Setup

Joplin Tokuno has constructed a unique effects system to support his sound in Kome Kome Club’s live performances and recordings. Notably, he has his own brand, “MJT.,” which produces products like boosters and the Over Drive Sp2, which he incorporates into his performances. Using effects developed by the guitarist himself allows him to achieve a high degree of fidelity to the sound he desires.

Particularly, boosters and overdrives are well-suited for adding warmth and presence to the modeling sounds of the Starstream Type 1, helping to create a sound that steps beyond clean tones. The Over Drive Sp2, which provides rich harmonics and natural distortion, is believed to have tightened the overall sound of Kome Kome Club’s pop and funky tracks.

Furthermore, the AREOS-D function built into the VOX Starstream Type 1 is an important element. This internal modeling function encompasses sitar-like and acoustic sounds, built-in overdrive, and reverb, allowing for a wide range of sounds when combined with external effects. In both home recording and live settings, Tokuno likely made active use of this internal function, smoothly adapting to complex tone changes.

Additionally, it is assumed that he employs rack systems like the Marshall JMP-1 preamp and Marshall EL34 100/100 power amp, combining these with his effects to achieve a balance of powerful sound and delicate tone creation. In live settings, the use of boosters for volume lift and spatial effects for creating depth would have resulted in a practical and diverse pedalboard setup.

Thus, Joplin Tokuno’s effects environment is built on two pillars: “commitment through his own brand” and “utilization of built-in modeling in the guitar,” supporting the wide-ranging musicality of Kome Kome Club.

Tone Settings, EQ, and Mixing Approaches

Joplin Tokuno’s sound creation is strongly focused on ensuring that he stands out within the large ensemble of Kome Kome Club while also adding the necessary colors to each song. Therefore, his approach likely involves not only amplifier and effects settings but also collaboration with the PA and recording engineers to shape the sound image.

Starting with amplifier EQ settings, when using Class A amps like the VOX AC30/AC15, it is effective to slightly boost the midrange while not overly suppressing the treble. When utilizing sitar-like modeling tones, boosting the treble while lightly pulling back the bass allows for a unique resonance to emerge within the band. Conversely, when using the Roland JC-120, setting the bass around 50-60% and treble at about 70% while adding a light reverb creates a spatial expansion.

In using effects, lightly engaging the MJT. brand booster could create a push between clean and drive, generating dynamics within the song. The Over Drive Sp2 provides a natural drive that fits Kome Kome Club’s funky and groovy tracks, helping the guitar blend into the overall groove of the band.

Moreover, the AREOS-D modeling in the VOX Starstream Type 1 was likely invaluable for quickly switching between sitar and acoustic sounds during live performances. From an engineer’s perspective, such modeling tones often require correction on the PA side. For instance, with sitar tones, unnecessary low frequencies might be cut with a high-pass filter, while boosting the midrange could enhance clarity.

Specific EQ settings that could be considered include:

• Sitar modeling tone: Bass 30%, Mid 70%, Treble 80%. PA side high-pass (cutting below 100Hz).
• Acoustic modeling: Bass 40%, Mid 60%, Treble 70%. Light compression for sound uniformity.
• Clean tone (JC-120 type): Bass 50%, Mid 50%, Treble 65%. Light stereo chorus for spatial expansion.
• When using overdrive: Bass 45%, Mid 65%, Treble 55%. Boosting midrange for presence in the band ensemble.

In terms of mixing, given the multilayered nature of Kome Kome Club’s music, the guitar’s positioning was likely adjusted to be more center-focused or emphasized on one side of the stereo field, depending on the song. Particularly, to differentiate from horn sections and synth sounds, the guitar would have been set to stand out in the midrange frequencies (around 1kHz to 3kHz).

Additionally, during live performances, the PA engineer likely added reverb and delay appropriately to ensure that the sound of the Starstream functioned not merely as a “guitar” but as part of the “instrument section.” In home recording, the approach would likely involve determining tones using internal modeling combined with his MJT. effects, followed by EQ and light compression during the mixing stage.

Overall, Joplin Tokuno’s sound creation emphasizes “supporting the entire band while expressing individuality,” with the integration of amplifiers, EQ, effects, and PA processing forming a cohesive whole. While definitive numerical values are not documented, the trends outlined here are assumed to provide hints for recreating his sound.

Affordable Alternatives to Recreate the Tone

Joplin Tokuno’s sound is supported by unique and hard-to-obtain equipment, such as the VOX Starstream Type 1 and the effects from his brand “MJT.” However, even beginner guitarists or those on a budget can approximate the “vibrant and diverse sound of Kome Kome Club” using relatively affordable products. Here, we will introduce products priced around $100 to $500 and explain why they can achieve similar tones.

As an effective alternative to the VOX Starstream, multi-effects units like the “BOSS GP-200” or “ZOOM G5n” are recommended. These units include acoustic simulations and sitar-like effects, allowing for instant switching of models. They can serve a similar role as the Starstream in live and home recording settings.

For achieving acoustic-like tones, the “YAMAHA NTX1 (elegat type)” is a viable option. With a thin body design similar to Godin, it is easy to handle during live performances and is priced within reach. It can reproduce the soft tones characteristic of nylon strings, making it suitable for Kome Kome Club’s ballads and acoustic tracks.

In terms of effects, even if the MJT. overdrive is not available, options like the “BOSS BD-2 Blues Driver” or “Ibanez TS9 Tube Screamer” are strong contenders. These pedals offer natural drive and rich harmonics, blending well into the band sound. Additionally, for achieving sitar-like special effects, adding the “Electro-Harmonix Ravish Sitar” can help get even closer.

Regarding amplifiers, while actual VOX AC30/AC15 or JC-120 models can be somewhat expensive, lower-priced amps like the “VOX Pathfinder 10” or “Roland CUBE series” can still deliver clean and brilliant sounds. The VOX Pathfinder, in particular, has a strong midrange presence that aligns well with Tokuno’s sound creation direction.

Thus, by combining beginner-friendly commercial products, it is possible to recreate “Joplin Tokuno’s sound” effectively, making it practical for home recording or small live settings. Challenge yourself to explore diverse and expressive sounds while keeping your budget in check.

Summary and Conclusion

Joplin Tokuno’s sound creation is characterized by his ability to “stand out without being overshadowed” in the large ensemble of Kome Kome Club, while also “adding necessary colors to each song.” He has contributed significantly to the overall performance of the band by seamlessly weaving in sitar-like and acoustic tones.

Among the equipment used, the multifunctionality of the VOX Starstream Type 1 is particularly emblematic, showcasing his approach of fulfilling multiple roles with one instrument through its modeling capabilities. Additionally, incorporating his effects brand “MJT.” with boosters and overdrives allows him to achieve unique nuances. His flexibility in using a nylon-string electro-acoustic guitar for acoustic-oriented songs demonstrates his adaptability to the band’s diverse genres.

Regarding amplifiers, it is assumed that clean-focused amps like the VOX AC30/AC15 and Roland JC-120 are used, ensuring brilliance and clarity. Furthermore, the combination with Marshall’s rack systems likely enabled stable sound pressure in large venues.

Overall, Joplin Tokuno’s sound creation emphasizes not just the “individuality of the equipment” but also the importance of “how to use tones” and “how to blend into the overall band sound.” Whether in home recording, live settings, or experimental sound design, his approach consistently aims to “create the overall landscape of music.”

For readers looking to get closer to Joplin Tokuno’s sound, it is not necessary to acquire expensive gear. Rather, what is crucial is the “flexibility to switch tones while being aware of the role in each song.” By utilizing multi-effects and sitar-like effects, one can recreate a style that embodies diverse tones, just like him. In essence, the core of Joplin Tokuno’s sound creation lies in possessing a perspective akin to that of a sound designer while being a guitarist.