[Kazumasa Tanaka] How to Recreate the GRAPEVINE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kazumasa Tanaka is the frontman of GRAPEVINE, renowned not only for his captivating vocals but also for his unique sound design as a guitarist. His guitar work is characterized by a rich, layered tone that supports the overall atmosphere of the music rather than seeking flashiness.

Tanaka primarily utilizes semi-hollow and single-coil guitars, such as the Epiphone Casino and Jazzmaster, to create warm, dry clean tones, often interspersed with lightly overdriven sounds. Iconic tracks like “Slow” and “About Light” showcase his delicate and transparent picking and arpeggios, while more recent songs like “Wandering Freak” and “Here” feature a thicker sound with pronounced low frequencies.

His playing style emphasizes chordal textures and arpeggios over riffs, using effects sparingly and only when necessary. This meticulous selection of guitars, amplifiers, and effects for each song contributes to the diverse soundscapes of GRAPEVINE.

At the core of his sound is a simple yet rich midrange and an analog-like depth. Tanaka’s guitar tone embodies a refined approach to blues and alternative rock within the context of Japanese rock.

In notable live performances and music videos, the dry chord strumming of the Casino, the aggressive drive of the SG Special, and the warm resonance of the Blues Deluxe Reissue amp play significant roles. The reason fans and players often ask, “How does he achieve that sound?” lies in the careful selection of guitars and amps, combined with understated yet effective effects.

▶ Search official YouTube videos of GRAPEVINE

List of Amplifiers and Features

When discussing Kazumasa Tanaka’s sound, it’s essential to highlight the beauty of clean tones centered around Fender amps and the richness of the midrange when distorted. GRAPEVINE is a band that values melodic expression while maintaining an alternative texture, making Tanaka’s choice of amplifiers a crucial element of their musical identity.

In the early to mid-period of his career, the Fender Super Sonic 60 served as his main amplifier. Known for its bright clean channel and robust drive channel, it allowed for a wide range of tones when paired with the Casino and SG. This amp was particularly effective in supporting the thick riffs in live performances of songs like “Waiting for the Wind” and “Here.”

Currently, his main amplifier is the Fender Blues Deluxe Reissue (40W). This amp features classic Fender tones with a strong clean to crunch range and is known for its warm sound. During live performances, he utilizes the effects loop, blending spatial effects and other pedals to create a three-dimensional sound. For instance, the thick chord work heard in “The Alarm Never Stops” is largely attributed to the pleasant midrange of this amp.

Additionally, he uses the VOX MV50 as a secondary amp. Despite its compact size, it possesses a tube-like quality and is often used for rehearsals and smaller gigs. It adds a distinct clarity that contrasts with the Fender sound, suggesting an intention to accentuate certain songs.

Tanaka’s approach involves using Fender amps as a foundation while adapting to the needs of each song and situation. This results in a blend of analog warmth and urban coolness in GRAPEVINE’s music. The continued use of the Blues Deluxe Reissue in recent tours indicates that the core of his sound lies in the midrange and clean tones characteristic of Fender.

Types of Guitars Used and Features

In Kazumasa Tanaka’s sound design, the choice of guitars significantly influences the character of the sound, often more so than the amplifier. He employs a wide range of guitars, including semi-hollow, full hollow, and solid body types, selecting the most suitable texture for each song. Below are the main guitars confirmed to be used.

First and foremost is the Epiphone Casino, which he has used since his debut. The natural finish model has been confirmed in tracks like “Slow” and “About Light.” He has also used a 1966 Cherry Sunburst model for years, appearing in the music videos for “Going to Meet You” and “Wandering Freak.” Notably, he often removes the pickguard, resulting in a dry attack and resonance that harmonizes beautifully with his vocals. The Casino’s clean tone adds a unique airiness to the band’s sound.

The Epiphone Century (late 1960s vintage) is another distinctive choice. It has been spotted in the music video for “Here,” featuring unique modifications like a changed tailpiece and a faded “E” logo. Its simple structure and dry sound make it suitable for acoustic-like chord playing.

The Gibson SG Special delivers a rough overdriven sound. He owns two all-black models, one specifically tuned a half-step down for songs like “Want to Touch” and “Lamb.” The rear pickup has a Duncan, while the front features a PAF, supporting a low-end tone during live performances. Additionally, a red SG equipped with P-90s is used, contrasting with the Casino and Century by providing a sharp rock sound.

The Fender Jazzmaster (1964 model) has been a staple since 2001. It is modified to remove the preset switch, allowing for a wide range of single-coil sounds. It particularly shines in arpeggios and clean parts, supporting the modern vibe of GRAPEVINE.

Tanaka also uses several Fender Telecasters, with the most notable being the Lake Placid Blue FSR AV ’60s model, known as the “Blue Telecaster.” Introduced in 2007, it has become a staple for live performances, providing a narrow and gentle tone. Additionally, a Candy Apple Red model has been confirmed, reportedly used in “Reverb” when tuned a half-step down. This newer red Telecaster features strong highs and a youthful tone.

For acoustic performances, he favors the Gibson J-45 / J-50, which includes a built-in pickup for clear tones that stand out in the band mix. The Epiphone Texan ’66 also appears in “Ivory.” Without a pickup, it is primarily recorded with a microphone, but its dry resonance matches Tanaka’s vocals perfectly.

He also uses a twelve-string guitar in some songs, confirmed in tracks like “KINGDOM COME” and “Boy?” Although the model details are unclear, it adds depth to the arrangements.

Tanaka’s guitar selection is meticulously tailored to fit the themes and arrangements of each song. The combination of the Casino and SG provides rawness, while the Jazzmaster and Telecaster contribute transparency, and the J-45 and Texan offer organic resonance, forming the unique sound of GRAPEVINE.

Effects and Pedalboard Setup

Kazumasa Tanaka’s pedalboard plays a crucial role in adding subtle nuances to his simple guitar and amp combinations. His sound design does not rely on excessive distortion or flashy spatial effects; instead, he layers necessary nuances carefully for each song. As a result, he has a variety of overdrive options that he switches according to the song’s texture and the acoustics of the venue.

For distortion, he uses high-quality “transparent overdrive” pedals, including the Mad Professor Supreme FAC, CHELLEE Ponyboy, Xotic Soul Driven, Paul Cochrane Timmy, and Bondi Del Mar Overdrive. These pedals allow him to create a range of tones from light boosts to thick crunches and bluesy distortions. Particularly in songs like “Waiting for the Wind” and “FLY,” these pedals contribute significantly to the midrange-heavy phrases.

For fuzz, he employs the Skreddy BC109 Fuzz and Pigtronix Octava Micro. These add a rough texture and octave elements, emphasizing GRAPEVINE’s alternative side. Their presence is particularly notable in darker, louder tracks like “Lamb” and “Want to Touch.”

His compressor choices include the T.Sfactory TT-Comp and Empress Compressor MKII, with a Keeley 4Knob as a backup. These compressors maintain consistent volume levels during arpeggios and clean cuts while providing natural sustain that does not interfere with the vocals.

His spatial effects are particularly rich, utilizing the Strymon FLINT (Tremolo/Reverb), Providence CHRONO DELAY, and Catalinbread Belle Epoch (tape echo) among others. Tanaka uses reverb and delay not as constant effects but in a refined manner to color the spaces in the music. This results in a floating soundscape in tracks like “Reverb” and “Beyond.”

On the utility side, he incorporates the Providence PEC-4V (switcher) and GigRig Wet Box (blender). This setup allows him to switch between multiple overdrives according to the scene and adjust the blend of spatial effects, enhancing stability and reproducibility during live performances. For power supply, he uses the Strymon Ojai R30 and FREE THE TONE PT-3D to ensure noise-free and stable power delivery.

For acoustic performances, he has a simple sub-board featuring a KORG DT-10 tuner and Mad Professor Sweet Honey Overdrive, used for singer-songwriter tracks. This minimalist approach is a hallmark of his setup.

Overall, Tanaka’s board reflects a focus on quality and the idea of using effects only when musically necessary. His approach to effects design aligns with his playing style, ensuring that the tones blend seamlessly into the music without overpowering it.

Tone Settings, EQ, and Mixing Approaches

Kazumasa Tanaka’s sound design is characterized by its “simple yet highly intricate” nature. He rarely makes drastic changes to the basic settings of his guitar, amp, and effects, instead opting for subtle adjustments based on the PA system and song arrangements to create a “listenable sound.” Below are specific EQ and mixing techniques he employs.

Basic Amp Settings primarily revolve around the Fender Blues Deluxe Reissue, with the EQ for the clean channel generally set as follows:

• Treble: 4–5. He avoids excessive highs, focusing on a rounded tone that is not piercing.
• Middle: 6–7. This maintains the guitar’s presence while ensuring it does not interfere with the vocals.
• Bass: 4–5. This balances the amp’s characteristics with the overall low end of the band.
• Volume: Adjusted according to the song and venue size, mindful of the clean to crunch transition.

Controlling the midrange is particularly crucial; for single-coil sounds from the Casino or Jazzmaster, he boosts the mids, while for powerful guitars like the SG, he tends to lower the mids to ensure a balanced mix.

Distortion Control involves using overdrive not as a constant but rather at key moments in the song. For example, in “Waiting for the Wind,” he uses the Mad Professor Supreme FAC for sustain, while in “Lamb,” he adds roughness with the Skreddy BC109 Fuzz. EQ-wise, he builds thickness around the low mids without overly emphasizing the highs.

Reverb and Delay settings are typically kept short to avoid overwhelming the mix. He often uses the Strymon FLINT and Providence CHRONO DELAY, setting decay to around 2–3 seconds and delay time to approximately 300–450ms. The floating sensation heard in “Reverb” and “Fingertips” results from keeping the delay feedback low and integrating it rhythmically.

Tremolo and Vibrato are used in specific songs to add depth to simple chord progressions. He sets the tremolo on the FLINT to a shallow depth, synchronizing it with the rhythm, effectively contributing to mood changes in the music.

Acoustic Techniques involve using the J-45 and Texan either through microphone recording or pickups. Tanaka lightly applies compression to even out the attack and adds reverb for natural depth. In singer-songwriter tracks like “Ivory,” he emphasizes balance with the vocals by reducing low frequencies and highlighting overtones.

From a PA/Mixing Perspective, it is assumed that the engineer EQs Tanaka’s guitar to avoid interference with the vocals, slightly cutting the 2–3kHz range while preserving the thickness in the midrange (500Hz–1.2kHz). This allows his voice and guitar to coexist naturally, creating a three-dimensional sound for the band.

In studio recordings, he often pans double-tracked guitars (Casino and Telecaster) left and right, layering clean and driven tones. This technique is prevalent in recent tracks like “Here” and “Wandering Freak,” achieving a rich sound.

In summary, Kazumasa Tanaka’s EQ and sound design techniques focus on “placing the midrange at the core while making fine adjustments for each song.” His approach of minimalistic settings enhances the band’s sound, making GRAPEVINE’s music unique.

Affordable Alternatives to Recreate the Tone

Kazumasa Tanaka’s sound design primarily revolves around high-end gear like the vintage Epiphone Casino, Gibson SG, and Fender Blues Deluxe Reissue. However, beginners or players on a budget can still capture the “essence” of his tone. Here, we introduce relatively affordable gear that can help recreate Tanaka’s sound.

For amplifiers, alternatives to the Fender Blues Deluxe Reissue include the Fender Champion 40 and Fender Mustang LT25. Both can be found in the $300–400 range and offer warm Fender-like clean tones. The Champion 40, in particular, is user-friendly, making it suitable for practicing midrange-focused sound design like Tanaka’s.

For guitars, the Epiphone Casino Coupe is a practical choice for mimicking the Casino’s sound. Available in the used market for around $500, it provides the semi-hollow airiness. For Telecasters, the Squier Classic Vibe Telecaster is excellent, priced around $400–500, delivering a clean to crunch tone that closely resembles Tanaka’s transparent arpeggio sound.

For effects, the BOSS BD-2 Blues Driver is recommended as an alternative to the high-end overdrives Tanaka uses. Priced around $150, it can achieve a transparent and sticky tone when used with lower gain settings, closely resembling the Mad Professor Supreme FAC and Timmy’s characteristics. For spatial effects, the BOSS DD-8 Digital Delay is versatile, allowing for short delay settings that create a floating sensation akin to “Reverb” and “Fingertips.”

For reverb, the TC Electronic Hall of Fame 2 offers excellent cost-performance, creating warm echoes. While it may not fully replicate the elegance of the Strymon FLINT, thoughtful settings can yield a similar atmosphere.

For acoustic setups, a budget acoustic guitar with a pickup (like the YAMAHA FSX series) combined with a BOSS CS-3 Compressor and optionally the BOSS RV-6 Reverb can achieve a live-like balance.

In summary, it is possible to recreate the GRAPEVINE sound without investing in expensive vintage gear. The key lies in focusing on midrange-oriented EQ, subtle yet effective overdrives, and simple yet effective reverb and delay setups. Beginners can step into Tanaka’s sound world by starting with Fender-style amps and BOSS overdrive/delay pedals.

Summary and Conclusion

The essence of Kazumasa Tanaka’s sound design lies in “a melodic sound that values the midrange.” His choice of guitars, amplifiers, and effects is characterized by a focus on tones that support the overall atmosphere of the band rather than flashy solos or rapid-fire playing. The transparency and dry resonance of guitars like the Epiphone Casino, Jazzmaster, and Telecaster, combined with the warm cleans of the Blues Deluxe Reissue, shape the urban yet organic sound unique to GRAPEVINE.

Additionally, his use of overdrive is notably restrained, often engaged only at pivotal moments in the songs. Tanaka employs several high-quality transparent overdrives, such as the Mad Professor Supreme FAC and Timmy Overdrive, showcasing flexibility by subtly altering the texture between live and recorded versions of the same song. His settings avoid excessive distortion, allowing the midrange core to function as an accompaniment to the vocals.

Spatial effects are similarly effective when used sparingly. Reverb and delay do not overwhelm the soundscape but instead fill in the gaps and create lingering echoes. This contributes to the “urban solitude” and “floating sensation” present in GRAPEVINE’s sound. The short reverbs achieved with FLINT and CHRONO DELAY reflect Tanaka’s unique sensibility.

From a PA and mixing perspective, Tanaka’s guitar is designed to coexist with the vocals, with EQ adjustments made to slightly cut the 2–3kHz range while preserving the midrange thickness. This allows his voice and guitar to blend seamlessly, creating the distinctive three-dimensional quality of GRAPEVINE’s music.

If readers wish to replicate Tanaka’s sound, there is no need to invest in expensive vintage gear. The key elements are “midrange-focused EQ,” “subtle and refined distortion,” and “simple yet effective reverb and delay.” With accessible pedals like the BOSS BD-2 and DD-8, players can experience the nuances of Tanaka’s sound.

In conclusion, Kazumasa Tanaka’s sound is built on the “aesthetic of subtraction.” By stripping away the unnecessary and leaving behind sounds that harmonize with the vocals, this simple yet sincere approach is the cornerstone of GRAPEVINE’s sound and a valuable lesson for many players.