[Keigo Oyamada] How to Recreate the Cornelius Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Keigo Oyamada, known as Cornelius, has established a unique sound art in the Japanese music scene since the 1990s. As a guitarist and sound creator, his meticulous sound design in solo works, often referred to as “soundscapes,” and his diverse guitar sounds in band formations like METAFIVE are particularly striking.

He is not merely a player who relies heavily on effects; rather, he possesses a sense of designing music itself “within the space.” Oyamada’s guitars, primarily based on Fender models such as the Jazzmaster and Mustang, are modified and set up uniquely to create distinctive tones. By combining practical pedals from brands like Line6 and BOSS, he adeptly manipulates sounds that convey both a sense of floating and tension.

In iconic tracks like “If You’re Here,” “Drop,” and “Point of View Point,” listeners can hear transparent clean tones, unexpected noise guitars, and a fusion with electronics. These tracks feature simple guitar riffs, yet they are characterized by settings that emphasize acoustic depth and texture.

Oyamada’s sound creation has influenced not only guitarists but also track makers and PA engineers, leading to a reevaluation of his work both domestically and internationally. This stems from his unique perspective that naturally connects “traditional guitar sounds” with “avant-garde electronics.”

In the following sections, we will detail the amplifiers, guitars, and effects he has used, organizing the points necessary to recreate the Cornelius sound.

▶ Search official YouTube videos of Cornelius

List of Amplifiers and Features

Keigo Oyamada (Cornelius) makes distinctive choices in guitar amplifiers. While he primarily loves Fender amps, he is known for combining multiple amplifiers during live performances and recordings to create a three-dimensional soundscape.

One of his notable amplifiers is the Fender Blues Deluxe Reissue. This tweed-style amp is characterized by its vintage midrange punch and smooth drive, fitting well with the clean tones and lightly distorted jangly sounds in Cornelius’s works. Oyamada’s transparent clean sound and unique cutting style gain a distinct spatial quality when processed through this amp.

Interestingly, he has also been seen using the Orange AD200B Tube Bass Amp Head. Originally a 200W tube amp for bass, using it for guitar emphasizes the low end, creating a thick sound. It likely served to provide a presence that straddles the line between guitar and synthesizer during live performances.

Additionally, he pairs it with the Orange PPC412 Guitar Speaker Cabinet, ensuring powerful sound pressure and clarity. This combination allows Cornelius’s live sound to stand out, making the guitar an integral part of the sound design rather than just accompaniment.

Moreover, he utilizes the Marshall JMP-1 as a preamp and the Marshall EL34 100/100 as a power amp. In studio sound creation and unique sound effects, this combination is likely used for fine EQ and gain adjustments. This approach indicates a focus not just on creating sound with the guitar alone but balancing it with the effects chain and rhythm machines.

Overall, Oyamada’s choice of amplifiers combines “the clear foundation of Fender” with “the thickness and individuality of Orange and Marshall.” Adjustments are made depending on the recording or touring period, and while some details remain unconfirmed, they are assumed to be selections made to create multi-layered soundscapes.

Types of Guitars Used and Features

In the sound of Cornelius crafted by Keigo Oyamada, the choice and modification of guitars are particularly distinctive. He has favored models like the Fender Mustang and Fender Jazzmaster, which possess unique scale lengths and tremolo systems.

Notably, the Fender Mustang (1964 Original) has been confirmed in live performances with METAFIVE, showcasing a unique string tension and sharp tone characteristic of short scales, symbolizing Oyamada’s sound. This tight yet flexible tone stands out amid airy arrangements.

In the early days of Cornelius and during his solo career, he used the Fender Jazzmaster. Its large body provides rich resonance, and its unique arm mechanism allows for expressive “wobbling” of sound. This directly contributes to the floating and psychedelic sounds Oyamada creates. Later, he transitioned to Stratocaster-type guitars to emphasize the arm operation.

Another distinctive model is a modified Fender MEX Richie Sambora Stratocaster. This guitar has been modified from an SSH configuration to SSS, featuring a BOSS BC-2 (analog overdrive pickup module) in the rear. It is speculated that one has a KAOSS PAD attached, while another features a kill switch, allowing for DJ-like operations and noise effects with just one guitar during live shows.

Additionally, he has used the Line6 James Tyler Variax, which utilizes modeling technology to reproduce a variety of guitar tones with one instrument. This model likely proved effective in the genre-crossing live performances of Cornelius due to its high flexibility in tone switching.

These guitar choices are made not just for playability but for the “design of the entire music.” Each model has a clear role and is assumed to be used differently depending on the setlist and song.

Effects and Pedalboard Setup

When discussing Keigo Oyamada’s (Cornelius) sound creation, the diverse array of effects is indispensable. His guitar playing goes beyond simple chord work and riffs; he operates effects as “an integral part of sound design.” In live performances, a floor full of pedals has been observed, incorporating noise, spatial effects, pitch shifting, and even vocoders to achieve sounds that transcend genres.

At the core of his basic sound is the Line6 M13 Stompbox Modeler. This multi-effects unit consolidates numerous distortions, modulations, and delays into one device, making it highly effective for a setlist like Cornelius’s, where tones change dramatically. Oyamada likely utilizes presets to switch tones boldly for each song.

Another notable effect is the DigiTech WH-1 Whammy. As a pitch shifter, it enables half-step raises and drops, as well as octave jumps, significantly contributing to the floating riffs in tracks like “Drop” and “Point of View Point.” This pitch modulation brings his music closer to “synth sounds” while still being rooted in guitar.

For spatial effects, he uses both the BOSS DD-3 Digital Delay and the Roland Space Echo RE-101. The DD-3 utilizes clear digital delay for tight repeats, while the RE-101 adds warmth and modulation from tape echo, enhancing the analog depth. By combining these, he controls the texture of both studio recordings and live performances.

Noise effects are also crucial in Cornelius’s live setup. By incorporating noise effects like the M.A.S.F. raptio, he transforms the guitar from a mere melodic instrument into a “noise-generating device.” This allows for improvisational elements to be woven into the sound, providing the audience with unpredictable experiences.

Furthermore, the BOSS VO-1 Vocoder is utilized as a vocoder. By combining guitar signals with voice, it enables the expression of unique melodic lines and sound effects. This blurs the boundary between instruments and vocals, expanding the music’s visual scope.

Additionally, he uses the CREWS G.O.D -Genius Over Drive- as an overdrive. This pedal enhances midrange, pushing the guitar forward in the mix. For volume control, he combines it with the standard ERNIE BALL Volume Pedal, allowing for dynamic range manipulation from silence to roaring sound.

These pedals are not merely an assortment of effects; they reflect Oyamada’s philosophy of “music = sound installation.”

Tone Settings, EQ, and Mixing Approaches

Keigo Oyamada’s sound creation encompasses not only the combination of guitars and effects but also a comprehensive “total sound design” that includes PA and mixing stages. He adopts different approaches in studio work and live performances, skillfully manipulating the sound image to build the unique Cornelius sound.

Regarding EQ settings for the guitar, it is speculated that for clean tones, he often emphasizes treble while keeping bass moderate. This is intended to avoid overlap with rhythm machines and synthesizers in the frequency range, allowing the guitar to stand out with clarity in the mid-high range. Conversely, during jangly riffs or distorted sections, he likely sets the mids higher to utilize the amp’s drive and ensure thickness in the sound.

The choice of amplifiers is also crucial. The Fender Blues Deluxe Reissue is primarily clean, with an EQ likely set to “Bass 3-4, Middle 6, Treble 6-7,” leaning towards a flat response. On the other hand, when using the Orange AD200B for guitar, the low end is emphasized, necessitating a setting of “lower bass, stronger mids and treble.” With the combination of Marshall JMP-1 and EL34 100/100, he likely switches channels via presets to flexibly change the distortion and clean qualities for each song.

When it comes to effects, the use of delay and reverb is key. The tight delay from the BOSS DD-3 is used in a way that synchronizes with clicks and rhythm machines, integrating into the rhythmic elements of the song. Additionally, the analog modulation from the Roland Space Echo RE-101 adds a unique depth found in studio works. This “digital x analog dual structure” is a significant factor in making the Cornelius sound three-dimensional.

Mixing techniques are also noteworthy. The guitar is not always placed in the center but is often panned widely left/right to weave through the synths and programmed elements. Particularly in “Point of View Point,” the guitar delay spreads across the stereo field, intertwining with the rhythm to create a visual sense of depth. It is also assumed that the same phrase is recorded twice, with one slightly altered in EQ or delay to create a stereo effect.

Moreover, Oyamada’s music places great importance on the handling of “silence” and “space.” By utilizing the Volume Pedal, he can abruptly cut or swell sounds, giving the entire piece a cinematic quality. This allows the audience to experience not just listening to sound but immersing themselves in a space where sound dances.

When introducing noise effects or vocoders, bold processing is applied in the mix. The guitar is not positioned normally but can be pulled back like an SE or pushed forward alongside vocals, with its role constantly changing. Watching Cornelius’s live footage, it often appears as if the guitar is integrated with synthesizers and samplers, giving the impression that the PA engineer is manipulating part of the sound source.

In summary, Oyamada’s sound creation is centered around “organizing mid-high frequencies through EQ,” “combining digital and analog for spatial processing,” and “bold staging that includes positioning and silence.” He approaches sound not merely by lining up amplifiers and effects but with the mindset of a “builder” designing the sound that ultimately reaches the PA and the listener’s ears.

These strategies are based on his practical ingenuity, and reproducing them requires adjustments based on the environment and songs. However, it is assumed that the overarching philosophy of “designing sound” is consistently upheld.

Affordable Alternatives to Recreate the Tone

Reproducing the sound of Cornelius, or Keigo Oyamada, is not an easy task. With the use of vintage Fender guitars, high-output amplifiers, and various noise pedals, the unique gear can pose a high barrier for beginners or hobbyist players. However, by selecting alternative gear that captures key points, it is possible to achieve a “Cornelius-like sound” at a relatively low cost.

The essence of sound creation lies in three main points: “transparent clean,” “modulated delay/echo,” and “spontaneous noise/experimental sounds.” Below, we introduce accessible gear options that are budget-friendly and explain why they can approximate the tone.

By combining these pieces of gear, one can relatively affordably recreate Cornelius’s unique “transparent clean and experimental sound.” Particularly, layering delays and reverbs, along with introducing pitch shifters for sound modulation, will allow you to experience the depth found in his iconic tracks.

Moreover, by incorporating compact multi-effects from brands like ZOOM or Line6, you can cover noise and spatial effects comprehensively, making it easy for beginners to enjoy Cornelius-like sounds. Ultimately, “the attitude of boldly designing sound without fear of switching tones” is the essence of his sound creation, and even with affordable gear, this spirit can be reflected to achieve closeness to his sound.

Summary and Conclusion

Reflecting on Keigo Oyamada’s (Cornelius) sound creation, its essence lies in the attitude of “deconstructing the role of the guitar and reconstructing it as an acoustic material.” While he employs classic guitars like the Fender Mustang and Jazzmaster, he incorporates modifications and digital technology to create sounds that do not fit within the traditional rock guitar framework.

In amplifiers, he combines the transparency of Fender with the thickness of Orange and the flexible gain control of Marshall. In effects, he utilizes both multi-effects (Line6 M13) and individual pedals (Whammy, DD-3, Space Echo, VO-1, etc.). As a result, he has built a “highly variable system” capable of constructing entirely different soundscapes for each live performance.

Moreover, the Cornelius sound relies not merely on reproducing guitar riffs but significantly depends on the integration with rhythm machines and samplers, as well as the design of the mix, including the use of silence and space. By effectively utilizing these elements, he immerses listeners in an acoustic installation rather than merely presenting melodies.

When beginners attempt to recreate this sound, it is not necessary to gather expensive gear. Rather, what is important is the perspective of “how to arrange sound.” By creating depth with delays and reverbs, and adding playfulness with pitch shifters and noise effects, even affordable gear can provide a rich experience of Cornelius-like experimentation.

In conclusion, Keigo Oyamada’s sound creation can be summarized as “transparent clean,” “experimental modulation,” and “acoustic spatial design.” By combining gear with these elements in mind, one can connect with the spirit of his sound beyond merely copying tones. This is the greatest lesson and challenge for guitarists aiming for a Cornelius-like sound.