[Kenichi Asai] How to Recreate the Blankey Jet City Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kenichi Asai, commonly known as Benji, is the guitarist and vocalist of the influential band Blankey Jet City, which led the alternative scene in the 1990s. His guitar playing is characterized by its simplicity yet overwhelming presence, creating a unique “Benji sound” that has inspired many guitarists. Iconic tracks such as “Akai Tambourine” and “D.I.J no Pistol” showcase explosive natural drive, achieved through the combination of a Gretsch Tennessean and a Marshall 1959 JMP.

Asai’s sound is marked by a raw picking style and distinctive chord work, creating a one-of-a-kind sonic landscape. In his solo work and during the Sherbets era, he also incorporated the Les Paul Special and acoustic guitars, broadening his musical range. While he uses minimal effects, he effectively employs pedals like the Pro Co RAT and BOSS DM-2 to enhance the rough-and-tumble atmosphere of rock and roll.

The reason his sound design garners attention is not just the choice of gear but how he approaches sound production. He opts for thicker strings (.011-.048) and cranks the amp to achieve the explosive Benji sound, reflecting not only his equipment but also his playing philosophy.

This article will thoroughly explore the amplifiers, guitars, and effects used by Kenichi Asai of Blankey Jet City, delving into the core of his sound creation.

▶ Search official YouTube videos of Blankey Jet City

List of Amplifiers and Features

When discussing Kenichi Asai’s sound, the Marshall 1959 JMP Super Lead 100 is indispensable. He uses a modified 1970s Plexi model, which features a cascade connection for the preamp tubes and an added master volume on the back. By setting the volume to 10, he achieves a natural overdrive that forms the core of Blankey Jet City’s explosive sound.

In later recordings and performances, the Matchless DC-30 has also been utilized. This amp excels in producing clean to crunchy tones, similar to the VOX AC30, and appeared during the later stages of Blankey Jet City and in his solo work, particularly in “Romeo no Shinzou.” It contrasts with the rough distortion of the Marshall, providing a more dimensional soundscape.

During the Monkey Strip era, Asai was seen using a Fender ’59 Bassman, which offered a thicker, blues-like tone. Additionally, he used a VOX AC30 as a secondary amp during the mid-period, demonstrating his flexibility in adapting to stage environments and desired tones beyond just Marshall.

While there is little concrete evidence regarding his speaker preferences, it is believed that he favored Celestion Greenback speakers, typically paired with Marshall cabinets. Records also indicate he experimented with high-quality amps like Bogner, showcasing a broad range of sound experimentation.

In summary, Asai’s amplifier setup revolves around a modified Marshall, supplemented by Matchless and Fender amps as needed, depending on the song or period. His sound design emphasizes the importance of cranking the amp to achieve the desired volume and tone, rather than merely the choice of equipment.

Types of Guitars Used and Features

When it comes to Kenichi Asai’s guitars, the Gretsch PX6119 Chet Atkins Tennessean (1964/65) is the first model that comes to mind. This guitar is synonymous with the Blankey era, featuring single-coil HiLo’Tron pickups and a uniquely glued wooden bridge. It is said that he owned multiple units after breaking the neck in an accident. This Tennessean is the iconic representation of the Benji sound.

In recent years, he has been using the officially released Gretsch G6119T-65KA Kenichi Asai Signature (Black Cat/Tennessee Rose). This model reflects his playing style and has become a coveted item for fans.

Additionally, he has owned other Gretsch models such as the G6120DC Nashville (double cutaway) and Duo Jet, using them interchangeably for recordings and live performances. He has also played various Gibson Les Paul models, including a 1957 Goldtop (with P-90s), a 1972 reissue custom, and a 1992 black custom. During the PONTIACS era, he favored the Les Paul Special TV Yellow (1960) as his main guitar.

Moreover, he has used a Flying V (from Gibson and Greco), a Fender Stratocaster (1963, heavily stickered), a Fender Telecaster (1978, used in the MV “Sweet Days”), and a Fender Jazzmaster (1962, recorded with Masami Tsuchiya’s guitar). His collection also includes historical pieces like the Greco SW-1200 White (1972, full hollow), which he used in his early days, and the Aria Pro II PE-600 “Great Falcon”, which was his first guitar. For acoustic performances, he has used a Gibson J-200jr, J-50, Taylor 815C, and K.Yairi Custom JY-185.

Overall, Asai’s style revolves around the Gretsch Tennessean, complemented by P-90 equipped Les Pauls and classic rock staples like Strats and Telecasters, adapting to different situations. He particularly favors single-coil pickups, pursuing a raw tone in combination with loud amps.

Effects and Pedalboard Setup

Kenichi Asai’s effects board is fundamentally simple yet effectively captures the necessary sounds. The core of his setup is the Pro Co RAT2, which has been central to his distortion sound from the Blankey era to the present. This legendary pedal, favored by artists like Kurt Cobain and Jeff Beck, combines with Marshall amps to create a uniquely raw and aggressive tone.

Additionally, the BOSS DM-2 Analog Delay is a treasured effect that Asai refers to as his “family heirloom,” contributing to his spatial sound design with short delays. In later years, he has also used the Maxon AD-900 in conjunction, emphasizing the warmth characteristic of analog delays. There was also a period where he incorporated the rack-mounted Roland SDE-3000A.

For compression, he uses the BOSS CS-3, set to lower gain, which helps control sound pressure and adjust attack. Furthermore, the BOSS GE-7 Equalizer was famously used during the Sherbets era with the level set to MAX as a booster, showcasing a bold approach.

He also adds depth with the BOSS CE-3 Chorus, enhancing the thickness of his live sound. For wah effects, he has employed the VOX V847 and Electro-Harmonix Bassballs, creating unique filtering effects depending on the song.

In later years, Asai has introduced overdrives and distortions centered around the Human Gear VIVACE. During his solo work and the later Blankey era, he experimented with multiple Human Gear pedals such as Dunes, Bows, Passione, and Fine. He has also used custom effects like the modified September Sound SD-1 Spangle Mod and Full Range Booster.

Overall, Asai’s pedalboard revolves around the “RAT + DM-2 + CS-3” core, adding necessary pedals as needed. The essence of his sound lies primarily in the amp and guitar, with a simple yet effective pedal setup that constructs a unique tone even amidst high volumes.

Tone Settings, EQ, and Mixing Approaches

Kenichi Asai’s sound design is characterized not only by his gear but also by his approach to cranking the amp to full volume. He uses a modified Marshall 1959 JMP Super Lead, set to volume 10, with a cascade connection for the preamp tubes. This natural drive from high volume became his signature during Blankey Jet City performances.

The basic EQ settings involve setting the amp’s treble to 6-7, mids around 7, and bass at about 5, ensuring a clear sound even at high volumes. Asai does not overly distort; instead, he controls the sound through his picking and adjustments with the RAT and BOSS CS-3, maintaining a raw yet “just right” distortion for the songs.

In the iconic track “Akai Tambourine,” he applies a strong distortion from the RAT to add thickness to the backing. Conversely, in “D.I.J no Pistol,” he utilizes the natural drive of the Marshall while applying a light touch of the DM-2 for spatial depth. In “Chiisana Koi no Melody,” he opts for a cleaner setting to highlight the guitar’s chord progression.

As for the use of delay, he employs the natural decay of analog delays to create a sense of space without overwhelming the sound. The DM-2’s repeats are kept minimal, with a delay time estimated around 200ms, adding a subtle expansion. Later, he combined it with the Maxon AD-900 for a more natural spread.

The combination of effects typically involves keeping the CS-3 engaged for dynamic control, adding distortion with the RAT as needed. The GE-7 is used more as a booster to elevate levels during solos or intense phrases, ensuring the guitar stands out.

During recording sessions, he often uses SHURE SM58 or BETA58A mics, focusing on capturing attack and presence even in high-volume settings. Sometimes, he combines it with condenser mics (like the SM86) to add airiness. The engineer’s EQ adjustments are minimal, aiming to preserve the raw sound of the Marshall and Gretsch setup.

In terms of mixing, the guitar is typically placed center-stage, supporting the thickness of the bass and drums while maintaining a loud, engaging quality. There are anecdotes of him requesting to keep the volume high during live performances, emphasizing that his sound relies on overwhelming volume to resonate.

Overall, Asai’s sound design can be summarized as “loud amps + simple pedals + thick strings + raw picking.” He emphasizes delivering the live sound as it is, rather than over-engineering it through EQ or mixing.

Affordable Alternatives to Recreate the Tone

Reproducing Kenichi Asai’s sound perfectly requires vintage gear like the Gretsch Tennessean and modified Marshall, which can be prohibitively expensive. However, by combining accessible commercial gear, beginners and intermediate players can get quite close to achieving the Benji sound.

Starting with the core distortion, the Pro Co RAT2 is readily available and can be purchased for around $100. Pairing it with Marshall-style amps or simulators can yield a raw, present distortion that captures the essence of Benji’s explosive sound.

For amplifiers, the current Marshall DSL20CR and Marshall Origin 20C are recommended. Priced under $1,000, they can replicate classic Marshall clean to crunch tones, making them a great match with the RAT and CS-3. For home practice, a modeling amp like the BOSS Katana-50 MkII can also provide an enjoyable experience.

For delay, the BOSS DM-2W Waza Craft is ideal. While the original DM-2 commands a premium, this reissue can be found for around $200. It offers warm analog repeats that can help recreate Blankey’s spatial sound design.

For compression, the BOSS CS-3 is a staple. It is affordable and helps control attack, allowing for a cohesive sound even at high volumes. If additional volume is needed, using the BOSS GE-7 as a booster can bring you closer to Asai’s settings.

As for guitars, since the Gretsch Tennessean is costly, alternatives like the Gretsch Electromatic G5420T or G2622 Streamliner are recommended, priced around $500-$800. They capture the Gretsch character in both appearance and sound, making them suitable for pairing with Marshall and RAT.

In terms of accessories, choosing Ernie Ball Power Slinky 011-048 thicker gauge strings and using Jim Dunlop Nylon 0.88 picks can facilitate strong picking and withstand the demands of loud amps. This alone can evoke a sense of Benji’s nuance.

In summary, a combination of “Gretsch-style semi-hollow + RAT2 + Marshall-like amp + DM-2W” can get you sufficiently close to Benji’s sound. Even if achieving high volume is challenging, utilizing modeling amps or multi-effects can allow you to enjoy that unique atmosphere at home.

Summary and Conclusion

In summary, Kenichi Asai’s sound design emphasizes the importance of how one plays rather than just the gear used. While he indeed has a collection of iconic instruments like the Gretsch Tennessean, modified Marshall JMP, RAT2, and DM-2, simply lining them up won’t replicate his sound. His choice of thicker strings (.011-.048) and a raw, powerful picking style are crucial in achieving the “Benji sound.”

Asai’s playing is straightforward. He rarely relies on flashy techniques or complex effect chains, opting instead for a rock and roll style that focuses on the synergy between guitar, amp, and player. During live performances, he often sets the Marshall volume to 10, trusting the amp to handle both volume and distortion. This boldness is a key reason his sound stands apart from other guitarists.

Furthermore, effects like the RAT and CS-3 serve not as tools for crafting sound but as aids to enhance the guitar and amp’s capabilities. Delays and choruses are used minimally, adding just enough spatial depth without overshadowing the song’s essence. Thus, his pedalboard is simple yet sufficient, which is why it resonates with many rock guitarists.

For readers attempting to recreate his sound, it’s essential to focus not on acquiring expensive vintage gear but on having the courage to play loudly and trust in a simple setup. Current models like the RAT2 and DM-2W can capture much of Benji’s nuance, and using amp simulators or modeling amps can allow for similar sound creation at home.

Ultimately, the greatest allure of the Benji sound lies in its “beauty of imperfection.” It is not a perfectly polished sound but rather the fluctuations and rawness born from high volume that resonate with listeners. In this sense, his sound design embodies the very philosophy of rock music.

If you aspire to emulate Benji’s sound, start with a simple guitar and amp, and play at full volume. In that moment, you will surely feel, “This is the essence of Benji.”