[Kazuho Sakai] How to Recreate the flumpool Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kazuho Sakai, the guitarist of flumpool, is known for crafting a sound that balances the essence of pop rock with delicate and expansive tones. The band’s music revolves around the soaring vocals of Ryuta Yamamura, and Sakai’s guitar work adds color and depth, enhancing the overall texture of their songs.

His playing style is characterized by skillful backing that navigates between clean and crunchy tones, as well as melodic phrases that resonate emotionally. In the iconic track “Hana ni Nare,” his expansive clean tone stands out, while songs like “Akashi” and “Over the Rain” showcase his ability to create soundscapes using emotional arpeggios and delay effects.

Notably, Sakai’s guitar work emphasizes the “beauty of clean tones” alongside a “subtle drive that avoids excessive distortion.” This balance is evident in his choice of guitars, amplifiers, and effects that maintain both clarity and dimensionality. For instance, he often relies on the MATCHLESS HC-30, which provides a bright and spacious clean foundation, while using overdrive and compression to adjust nuances and adapt the sound to each track.

In recent years, he has incorporated the UNIVERSAL AUDIO OX amp simulator, streamlining his sound creation process for live performances and recordings while preserving flumpool’s signature transparent and expansive guitar sound. This allows him to replicate the studio recording quality even during live shows.

This distinctive approach to sound design is a significant factor in establishing flumpool’s “emotional yet universal pop rock,” and Sakai’s guitar presence greatly influences the band’s music.

Below, we will delve into the details of the amplifiers, guitars, and effects he uses, supported by photos and interviews.

▶ Search official YouTube videos of flumpool

List of Amplifiers and Features

A crucial element supporting Kazuho Sakai’s sound is his choice of amplifiers. The music of flumpool demands “transparency,” “spatial expansion,” and a “three-dimensional quality” that envelops the entire band, making the quality of clean tones and harmonic content in guitar amplifiers essential.

The main amplifier confirmed in use is the MATCHLESS HC-30, a hallmark of British boutique amplifiers. This amp, while rooted in the lineage of the VOX AC30, offers a wider range and produces a bright yet robust sound. Live photos and gear explanation articles consistently identify it as Sakai’s primary amplifier, particularly for its ability to beautifully articulate clean tones and light crunch, making it indispensable to flumpool’s pop rock sound.

Additionally, the UNIVERSAL AUDIO OX | Amp Top Box is vital for modern sound design. This innovative device allows for speaker cabinet simulation and captures a mic’d recording quality using impulse responses (IR) when paired with real amplifiers. By utilizing this, Sakai achieves stable sound creation for both live performances and recordings. Particularly when performing in arena-sized venues, the OX helps unify the sound on stage and through the PA system, making it easier to balance the overall band sound.

Furthermore, past interviews and online information suggest that he has also used Fender amplifiers (such as the Twin Reverb) during earlier periods. This is evident in flumpool’s early tracks like “Hana ni Nare” and “Hoshi ni Negai wo,” which emphasize a cleaner sound. However, current live footage and images confirm that the MATCHLESS is now his mainstay.

Sakai’s amplifier selection appears to focus on achieving a balance between “brightness and dimensionality.” The MATCHLESS allows the guitar to stand out while the UNIVERSAL AUDIO OX enables fine-tuning to suit the PA or recording environment. This dual-system approach is why flumpool consistently delivers high-quality sound.

In summary, Kazuho Sakai’s amplifier setup is as follows:

Thus, Sakai’s amplifier choices emphasize “transparency,” “presence,” and “stability,” which are foundational to his sound. It is anticipated that the MATCHLESS and OX combination will remain central in future tours and new releases.

Types of Guitars Used and Features

When discussing Kazuho Sakai’s sound, his diverse guitar collection is indispensable. flumpool’s music ranges from acoustic-oriented transparent sounds to rock-heavy ensembles, necessitating a variety of guitars to suit different tracks. Each choice reflects an intention to achieve both “brightness” and “dimensionality.”

First and foremost is the Gibson Les Paul Pro Deluxe. This model, featuring a gold top and mini-humbuckers, produces a brighter and more defined sound compared to standard Les Pauls. In flumpool’s music, it provides a robust presence without overshadowing the vocals, making it a frequent choice in live performances.

Next is the Fender Custom Shop 1963 Telecaster. This Telecaster excels in cutting and arpeggios, making it essential for flumpool’s refreshing tracks. The custom shop model replicates vintage qualities, delivering a tone that balances thickness and sharpness. It contributes to the band’s overall sound with clean arpeggios and chord strumming.

Additionally, the Fender 1964 Jazzmaster has been confirmed in his arsenal. The unique wide range and overtones of the Jazzmaster are ideal for alternative expressions and spatial soundscapes combined with delay effects. It is often used in flumpool’s ballads and deeper tracks, supporting the atmosphere with rich overtones and fluctuations.

Recently, a standout in live performances has been the Fender Stratocaster (2017 LIMITED 1957 Heavy Relic Lake Placid Blue over Pink Paisley). This model features a unique blue and pink paisley finish while maintaining a vintage-like Strat sound, enhanced by its relic finish that adds character. This versatile guitar can handle everything from clean tones to crunch, making it suitable for Sakai’s wide-ranging repertoire.

In summary, his guitar choices can be categorized as follows: the Les Paul for thickness and presence, the Telecaster for cutting and arpeggios, the Jazzmaster for spaciousness and unique nuances, and the Stratocaster for versatility. This clear division of roles supports the diverse sound of flumpool.

In this way, Sakai’s guitar collection is carefully curated to maximize the expression of each song, ensuring that they “align with the world of the music” in every situation. It is expected that he will continue to subtly differentiate his choices in new songs and live performances.

Effects and Pedalboard Setup

A significant aspect that defines Kazuho Sakai’s guitar sound is the configuration of his effects pedalboard. flumpool’s music spans not only simple pop rock but also grand ballads and aggressive rock numbers, necessitating a clever combination of multiple distortion, spatial, and modulation effects to alter the texture of each song.

In the distortion category, the Fulltone Full-Drive 2 and BOSS BD-2 Blues Driver serve as the foundation. The Full-Drive 2 is an overdrive with a boost function, enhancing presence during solos and climactic moments. In contrast, the BD-2 is used to create a natural crunch, suitable for backing vocals. Additionally, the introduction of the MAXON ROD880, a tube overdrive, showcases his effort to achieve a warm, analog-like distortion.

For modulation effects, the MXR Phase 90 and BOSS TR-2 play crucial roles. The Phase 90, while simple, adds a subtle waviness to the sound, enhancing arpeggios and clean tones with depth. The TR-2 provides tremolo effects, contributing to a dreamy and floating expression. Sakai actively incorporates these effects not just as embellishments but as integral components of the overall atmosphere of the songs.

In terms of spatial effects, the BOSS DD-6 Digital Delay and the Line 6 Delay (speculated to be DL4) are utilized. The expansive soundscapes characteristic of flumpool’s music heavily rely on the use of delay, which significantly influences the impression of the tracks. Particularly in songs like “Akashi” and “Over the Rain,” delay is employed to create a grand sonic environment.

Moreover, he uses the Aphex Punch Factory compressor, which helps maintain consistency in the articulation of clean tones and arpeggios. This ensures that the guitar remains prominent within the band ensemble, contributing to a three-dimensional sound. A KORG DT-10 tuner is used, and the pedalboard is powered by a CAJ AC/DC Station Ver.2, ensuring stable power supply for the entire setup.

In summary, Kazuho Sakai’s effects board is built around the themes of “natural distortion + spatial expansion + delicate dynamics control,” supporting the overall band sound while adding the necessary color to each song.

Kazuho Sakai’s effects configuration is supported by three pillars: “natural distortion,” “clever use of spatial effects,” and “dynamic balancing compression.” This setup achieves the necessary “expansiveness” and “delicacy that doesn’t overshadow the vocals” in flumpool’s sound, and it is expected to evolve with fine-tuning during live performances and recordings.

Tone Settings, EQ, and Mixing Approaches

Kazuho Sakai’s sound design is characterized by “maintaining the beauty of clean tones while subtly adding drive when necessary.” Since flumpool’s music is centered around vocals in a pop rock context, the guitar often plays a supportive role, expanding the overall space of the song rather than dominating it. Therefore, amplifier and effect settings prioritize “nuance control” and “spatial processing” over flamboyance.

The EQ settings for the MATCHLESS HC-30 amplifier are often speculated to have slightly elevated mids while keeping treble subdued. This is to prevent harshness in the overall band mix while ensuring the guitar’s presence is maintained through the midrange. The bass is kept from being overly pronounced to avoid interference with the rhythm section.

For overdrive pedals, the BOSS BD-2 is frequently kept on as a base crunch. This provides a subtle distortion that aligns the articulation of chords and arpeggios, adding depth to the songs. During solos or climactic moments, the Fulltone Full-Drive 2 or MAXON ROD880 are added for boosting, naturally elevating the sound pressure.

In terms of spatial effects, the use of delay processing with the BOSS DD-6 and Line 6 Delay is crucial. Sakai tends to avoid overly deep mixes of delay, using it primarily for “expanding the airiness.” Particularly in tracks like “Akashi” and “Over the Rain,” he sets the delay time to match the song’s tempo, allowing arpeggios to resonate and create a dreamy expansion. Reverb is often left to the amp’s natural resonance or the PA’s processing, with delay serving as the primary spatial effect.

For modulation effects, the use of the MXR Phase 90 and BOSS TR-2 is noteworthy. The Phase 90 is often applied lightly to enhance the “dimensionality of sound” rather than creating pronounced “wobble,” while the TR-2 is set deeper for ballad arpeggios, emphasizing a floating sensation. This approach supports the emotional expression of the songs.

In mixing, Sakai’s guitar often undergoes panning treatments that utilize delay and phase effects to create a stereo spread. In studio recordings, he sometimes doubles the same phrase with different guitars, such as pairing a Telecaster on one side with a Les Paul on the other, adding thickness to the sound image. This results in a sound that retains pop-like transparency while not sacrificing the power of a rock band.

Moreover, the recently introduced UNIVERSAL AUDIO OX allows for cabinet simulation during recording, enabling realistic mic’d sounds even when recording directly. This capability allows the quality of studio recordings to be replicated in live settings, providing audiences with a sound experience that closely resembles the recorded material.

Overall, Kazuho Sakai’s sound design emphasizes “the accumulation of nuances” and “the expansion of space” rather than flashy effects or extreme settings. This is the most critical element for flumpool’s music, and the core of Sakai’s sound design lies in “supporting the vocals while expanding emotional expression.” It is anticipated that he will continue to maintain this fundamental approach while integrating new gear.

Affordable Alternatives to Recreate the Tone

Kazuho Sakai’s sound design is built around high-end gear such as the MATCHLESS HC-30 and premium Gibson/Fender guitars. However, beginner and budget-conscious guitarists can achieve a similar sound by focusing on “transparent clean tones” and “natural drive.” Here, we introduce commercially available gear that can be acquired for around $100 to $500.

For amplifiers, the VOX AC15C1 serves as an excellent alternative to the MATCHLESS HC-30. Since the HC-30 is based on the VOX AC30 design, using the AC15C1, which shares a similar VOX sound, allows for bright and expansive clean tones. It is particularly suitable for home practice or small gigs, offering great cost performance.

For guitars, ideally, one should have both Les Paul and Stratocaster types, but starting with the Epiphone Les Paul Standard 50s is recommended. Compared to the Gibson Les Paul Pro Deluxe, this model is significantly more affordable while still providing a thick and rich sound that matches Sakai’s backing style. For a Stratocaster, the Squier Classic Vibe 60s Stratocaster is a great choice, offering a vintage-like tone that is very suitable for the clean and arpeggio-focused sound of flumpool.

Regarding effects, while replicating Sakai’s exact gear can be expensive, selecting accessible models from BOSS or MXR can ensure a high degree of sound reproduction. For example, the BOSS BD-2 Blues Driver is sufficient for overdrive. Since Sakai himself uses this pedal, it can be confidently incorporated into your setup. Additionally, the BOSS DD-8 is a versatile and user-friendly delay pedal that can recreate a variety of sounds similar to the Line 6 DL4.

For modulation effects, the MXR Phase 90 (which Sakai also uses) or an affordable tremolo pedal like the BOSS TR-2 can directly contribute to sound reproduction. For compression, alternatives like the Electro-Harmonix Soul Preacher can serve as a suitable substitute for the Aphex Punch Factory. By gathering these pieces, you can effectively recreate the core elements of Sakai’s sound, including “transparent clean tones” and “moderate drive.”

The following table summarizes affordable alternative gear to recreate Kazuho Sakai’s sound:

In this way, while Kazuho Sakai’s gear is often high-end, it is possible to effectively recreate the direction of his sound within a more affordable price range. The key points are “transparent clean tones,” “light overdrive,” and “spatial delay.” By focusing on these three elements, you can get closer to flumpool’s emotional and grand sound.

Summary and Conclusion

Reflecting on Kazuho Sakai’s sound design, its core lies in “supporting the vocals and coloring the overall spatial guitar sound.” While flumpool is a pop rock band centered around vocals, they have created expansive soundscapes that envelop audiences even in arena-sized venues. The foundation of this is Sakai’s delicate and intricate guitar sound.

His gear choices clearly reflect his style. He has a wide array of guitars, including Les Pauls, Telecasters, Jazzmasters, and Stratocasters, demonstrating flexibility in adapting to the mood of each song. The MATCHLESS HC-30 serves as his main amplifier, providing a bright and expansive clean tone as the basis for his sound. Coupled with the UNIVERSAL AUDIO OX for simulation, he ensures consistent quality in both live and recording settings.

In terms of effects, he skillfully differentiates between distortion pedals like the BOSS BD-2, Fulltone Full-Drive 2, and MAXON ROD880, while adding depth with modulation effects like the MXR Phase 90 and BOSS TR-2. By effectively utilizing delay, he creates the unique “expansive sound” characteristic of flumpool. These efforts enable seamless transitions from clean to crunch and even into ethereal spatial effects, showcasing the strength of Sakai’s sound.

The essence of his sound design is not about “flashiness” but rather about “harmony and spatiality within the band.” Rather than demanding attention as a standalone guitar, he ensures his presence is felt while remaining an integral part of the overall music. This ability to function as both a lead guitarist and a backing player is Sakai’s greatest asset as a guitarist.

For beginners and intermediate players looking to approach his sound, it is not necessary to acquire all of his gear. By establishing a foundation of transparent clean tones, light overdrive, and depth through delay, one can capture the essence of Sakai’s sound. Furthermore, using EQ to “enhance the midrange while suppressing the highs” can yield a more authentic nuance.

Ultimately, Kazuho Sakai’s sound design can be summarized as “maximizing presence as part of the band without overshadowing the music.” This approach encourages guitarists to reconsider “the role of guitar within a band.” By listening to flumpool and applying these concepts to your own playing, you can significantly broaden your sound-making capabilities.