[Jun Beppu] How to Recreate the Rikon Densetsu Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Jun Beppu, the guitarist of Rikon Densetsu, has garnered attention for his tasteful guitar tones and unique presence. His guitar sound is a distinctive blend of funk, soul, and alternative rock, significantly enhancing the overall groove of the band.

In particular, his signature songs showcase a masterful switch between clean and distorted tones, along with the natural vibrato that comes from his Bigsby-equipped semi-hollow guitar, adding dynamics to the music. Beppu’s style emphasizes chord work, cutting, and melodic phrases that complement the songs rather than flashy speed playing, making his use of space in music particularly striking.

This results in simple yet memorable guitar arrangements that resonate with many listeners. In the sound of Rikon Densetsu, Jun Beppu’s role transcends mere accompaniment, becoming a crucial element that defines the band’s musicality.

His choice of gear and sound crafting will continue to serve as a reference for many guitarists. This article will thoroughly explore amplifiers, guitars, effects, and EQ techniques, providing readers with tips to achieve the “Jun Beppu sound” at home or in live settings.

▶ Search official YouTube videos of Rikon Densetsu

List of Amplifiers and Features

Jun Beppu’s amplifiers, as confirmed through live footage and photographs, prominently feature Orange Amplification. Known for its vibrant orange exterior and logo, Orange amps are characterized by a classic British sound with a strong mid-range presence. While the specific model has not been identified, it is believed that he uses either a combo type or a small head with a cabinet for practicality.

Orange amps are known for their fat and sticky mid-range, making them an excellent match for his semi-hollow Bruno Guitars. Especially in clean tones, they provide a thickness and presence suitable for funk and soul-inspired cutting, and when reverb and compression are added, the sound can be beautifully polished. A light overdrive can yield a solid distortion while retaining the chord’s essence, making it easy to blend into the ensemble heard in Rikon Densetsu’s songs.

Beppu’s choice of Orange amplifiers likely stems from their ability to capitalize on the soft resonance of semi-hollow guitars while ensuring the necessary sound pressure for a rock band. They offer stability in both studio and live environments and are trusted as a core element in his sound crafting due to their simple operation and unique character.

Specifically, the Orange Rockerverb series or Terror series small heads are likely candidates. Both models match the quality of distortion and EQ response suited for semi-hollow and funk/alternative sounds. While definitive information is lacking, the rich mid-range tones heard in Rikon Densetsu’s live performances suggest a high probability of using such models.

From these points, it can be inferred that Beppu’s amplifier choice is based on “a foundation of mid-range rich Orange amps that effectively utilize clean to crunch tones, aligning with his musicality.”

Types of Guitars Used and Features

Jun Beppu’s main guitar is a semi-hollow guitar from Bruno Guitars. Its distinctive mint green color with gold parts and the inclusion of a Bigsby vibrato indicate a model that combines uniqueness with a classic vibe. The headstock features the “Bruno” logo, making a strong impression in live photos and videos.

The semi-hollow structure balances the rich resonance of a hollow body with the playability of a solid guitar, allowing for thick cutting in funk and soul-oriented rhythm playing. Additionally, utilizing the Bigsby vibrato enables the creation of expressive chord work and nuanced arpeggios, imparting a unique floating feel and groove to Rikon Densetsu’s music.

The mint green color is visually striking on stage, contributing to the band’s visual differentiation. Sonically, the semi-hollow’s natural resonance, combined with the mid-range of the Orange amp, results in a core tone with rich overtones. Particularly in chord-based playing, it boasts a remarkable presence, while in solos, it showcases smooth and bluesy expressiveness.

This choice of guitar reflects a holistic consideration not only for tone but also for character and performance during live shows. Bruno Guitars is gradually gaining attention both domestically and internationally, and Beppu’s use of their instruments further elevates their profile.

Currently, no other guitars have been confirmed in use, suggesting that this Bruno Guitars semi-hollow is the primary instrument on stage. There is no definitive information about any backup gear, so it is assumed that this single guitar plays a central role in his sound crafting.

Effects and Pedalboard Setup

Details about Jun Beppu’s pedalboard have not been publicly confirmed at this time. However, based on his guitar and amplifier setup, it is believed that he uses a minimal and practical selection of pedals capable of flexibly covering funk to rock. Specifically, it is assumed that he chooses pedals that enhance the clarity of sound and add spatial effects to complement the mid-range tone of his semi-hollow and Orange amp.

First, the classic Boss TU-3 tuner is essential for live performances and rehearsals. Placing it at the beginning of the signal chain creates a stable foundation. Next, the Xotic SP Compressor is likely used to refine the clarity of cutting tones. This compressor lightly applies compression to the warm tone of the semi-hollow, enhancing separation within the ensemble.

For distortion, using the Ibanez TS9 as a booster or light drive is practical, as it enhances the mid-range push of the Orange amp while retaining the nuances of chords, making it very effective for rhythm-driven songs. Additionally, in situations requiring a rougher drive or fuzz-like tone, the ProCo RAT 2 is likely a choice, ensuring a strong presence in intense songs or climactic moments.

In terms of spatial effects, the Strymon Flint combines tremolo and spring reverb in one unit, adding further depth to performances that utilize the Bigsby. Pairing it with the Boss DD-8 delay allows for a versatile setup that can handle everything from simple echoes to complex modes, proving useful in both live and studio settings.

From this, it can be concluded that Beppu’s pedalboard embodies the style of “maximizing expression with a minimal number of pedals.” While specific information is lacking, considering his actual sound and performance style, the following setup is likely.

Tone Settings, EQ, and Mixing Approaches

Jun Beppu’s sound crafting is characterized by optimizing each song through EQ and spatial processing while leveraging the inherent character of his gear. The combination of his semi-hollow (Bruno Guitars) and Orange amp produces a strong mid-range that balances “thickness” and “clarity” within the band’s ensemble. Therefore, it is presumed that his basic settings often involve slightly reducing treble and bass while emphasizing the mid-range.

For songs based on clean tones, a light application of the compressor (Xotic SP Compressor) helps to even out the clarity of chord cutting. In this case, the amp’s EQ is likely set with bass around 10-11 o’clock, mids around 1 o’clock, and treble near 12 o’clock, creating a sound image that retains the semi-hollow’s fullness while avoiding being buried in the overall rhythm. Additionally, applying a light reverb from the Strymon Flint adds depth and dimensionality.

Conversely, for rock-oriented songs or climactic moments, the Ibanez TS9 is used as a boost, lightly driving the Orange amp to achieve a crunch to mid-gain sound. The mid boost of the TS9, combined with the character of the Orange amp, creates a unique stickiness, ensuring a strong presence in solos and riffs. Furthermore, engaging the ProCo RAT 2 can introduce a rougher, more aggressive tone, suitable for alternative songs.

In terms of spatial processing, it is likely that the delay (Boss DD-8) is set to simple repeats, adjusting the time according to the song’s tempo. For clean arpeggios, a light short delay is applied, while in solos, increasing the repeats emphasizes the lingering effect. The tremolo is adjusted with the Flint for speed on a per-song basis, creating an organic and analog-like sway when combined with the Bigsby vibrato.

In recording and mixing, Beppu’s guitar is centered around the mid-range, with EQ likely cutting unnecessary lows and slightly boosting the highs. This ensures that it does not encroach on the bass and drums’ frequencies, allowing the vocals to shine through, resulting in a “band-optimized guitar sound.” This approach is also evident in live settings, where the guitar may feel subdued when heard alone but works perfectly in the overall mix.

Additionally, there are considerations regarding volume balance, with the combination of compression and overdrive helping to organize dynamics while adjusting to the song’s nuances. Rather than heavily distorting, the approach emphasizes “pushing out only what is necessary,” which contributes to the overall groove of Rikon Densetsu.

Ultimately, Beppu’s sound crafting philosophy is based on “centering around the mid-range while controlling compression, distortion, and spatial effects minimally, adapting to the band’s overall breathing.” While definitive information is scarce, being mindful of these EQ and settings can help recreate a sound close to his.

Affordable Alternatives to Recreate the Tone

To fully replicate Jun Beppu’s sound from Rikon Densetsu, one would typically need somewhat expensive gear like the Bruno Guitars semi-hollow and Orange amp. However, for beginners or intermediate players looking to capture the essence, it is possible to achieve a similar direction with more accessible gear priced between $100 to $500 (up to $1,000 max). Here, we introduce alternative gear that focuses on the core elements of “semi-hollow + mid-range rich amp + minimal distortion and spatial effects.”

For guitars, domestic brands like Epiphone Casino and Gretsch Electromatic series are viable options. Both feature semi-hollow structures, providing warmth and resonance akin to Beppu’s Bruno. Choosing a model with a Bigsby allows for expressive performances on stage.

Regarding amplifiers, while it may be challenging to acquire a full Orange head/cabinet setup, the Orange Crush 35RT combo amp is available at a more accessible price point. Despite its compact size, it delivers the characteristic mid-range push of Orange, suitable for home practice and small gigs. Alternatively, pairing a clean amp like the Roland JC-22 with an overdrive pedal can also yield a similar sound.

For effects, using alternatives like the BOSS SD-1 or DS-1 as substitutes for the TS9 and RAT is practical. Both are affordable and can achieve tones close to their counterparts. Additionally, for spatial effects, combining BOSS TR-2 (Tremolo), RV-6 (Reverb), and DD-3T (Delay) can effectively recreate the dimensionality characteristic of Beppu’s sound.

While it may be challenging to perfectly match every element, selecting alternative gear wisely allows players to experience the “groove of Rikon Densetsu” and the “resonance + mid-range rich sound.” For beginners, starting with the basic three effects (overdrive, reverb, delay) can significantly help in achieving a closer sound.

Summary and Conclusion

Jun Beppu’s sound crafting essence lies not in showcasing extravagant gear but in creating a simple yet impactful tone. His main instrument, the Bruno Guitars semi-hollow, provides visual impact alongside a sound that combines resonance and softness, which, when paired with the mid-range of the Orange amp, results in a memorable sound.

His gear setup is characterized by a minimal effects board centered around classic pedals. Using TS9 and RAT for distortion, Flint for spatial processing, and DD-8 for delay, he effectively expresses his individuality through his guitar and playing style. This approach teaches that “it’s not about special gear, but rather about the combinations and usage that can create unique sounds.”

Moreover, Beppu’s playing style emphasizes “using space” rather than filling it with notes, allowing the overall song to breathe. The clarity of his cutting tones, the sway from the Bigsby, and the balance of EQ contribute to deepening the song’s atmosphere. This reflects the “beauty of subtraction” that many guitarists often overlook, showcasing his role as a supporting guitarist for the entire band.

For beginners aspiring to emulate Beppu’s sound, selecting semi-hollow guitars from Epiphone or Gretsch and building a pedalboard with BOSS’s classic effects can provide a solid foundation. Utilizing affordable models like the Orange Crush for practice can help create a practical setup for home and small gigs. The key is to focus on “how to make the gear sound” rather than the gear itself.

In summary, Jun Beppu’s sound crafting revolves around three core elements: “the softness of the semi-hollow,” “the mid-range push of the Orange amp,” and “the expressive minimalism of effects.” By understanding these points and adjusting their own gear accordingly, readers should be able to experience a sound close to the world of Rikon Densetsu.

By considering gear selection and setting adjustments, aspiring guitarists can embody the “beauty of subtraction” that Beppu exemplifies, providing not just a means to replicate but also hints to refine their own guitar sound.