[Kenji Okahira] How to Recreate the 19 Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kenji Okahira, the guitarist of the band 19, is known for bringing an acoustic sound that originated from the streets to a nationwide audience during the late 1990s and early 2000s. His playing style is characterized by a folk base, enriched with band-like thickness in his strumming and passionate yet simple chord work.

Iconic songs such as “Ano Kami Hikouki Kumori Zora Watte” and “Sotsugyou no Uta, Tomodachi no Uta” feature a rich acoustic sound that forms the core of his music. The clear attack produced by his Ovation guitar, which has a leaf-shaped soundhole, is a significant element of the Okahira sound. During his early street performances, he was often seen with a Yamaha FG series guitar adorned with numerous stickers, exuding a genuine youthful vibe.

His sound relies not on flashy effects but on delivering the inherent resonance of the guitar directly to the audience through the PA system. Whether performing live or on the street, he ensures that the sound of his voice and acoustic guitar resonates clearly, a simplicity that has captivated many fans.

In the following sections, we will delve into the guitars, amplifiers, and effects used by Kenji Okahira, explaining how to recreate his unique sound.

▶ Search official YouTube videos of 19

List of Amplifiers and Features

Kenji Okahira’s amplifier setup is not characterized by the use of large rock band amplifiers but rather focuses on a “DI direct” approach that delivers the acoustic guitar’s characteristics directly to the audience. Notably, his Ovation and Martin electro-acoustic guitars are equipped with high-performance preamps, allowing for a clean and natural sound by sending the output directly to the venue’s PA system.

In his early street performances and small stages, it is assumed that he used non-electro-acoustic guitars like the Yamaha FG series, mic’d for sound. However, after his major debut, he predominantly used Ovation Elite and Adamas models equipped with Ovation’s OP series preamps, sending the signal directly to the PA. This method effectively minimizes feedback while ensuring adequate volume.

While it is likely that he did not completely forgo amplifiers, he may have used acoustic-specific amplifiers as monitors depending on the stage size and acoustic environment. Common amplifiers used by Ovation players include the Roland AC-60 and Fishman Loudbox, as well as Marshall’s acoustic preamp (JMP-1) combined with a power amp (EL34 100/100). Although there is little concrete evidence regarding Okahira’s specific gear, it is reasonable to assume he employed a setup similar to that of contemporary acoustic guitarists.

Additionally, it appears that light reverb was added at the venue’s PA to compensate for the inherent dryness of the acoustic sound. This adjustment likely contributed to the refreshing expansiveness of “Kami Hikouki” and the warm resonance of “Sotsugyou no Uta.” Overall, Okahira’s sound creation can be characterized as a straightforward “PA direct connection with minimal spatial processing.”

Types of Guitars Used and Features

At the heart of Kenji Okahira’s sound creation are various electro-acoustic guitars, particularly Ovation models. The music of 19 is known for its raw acoustic guitar presence, and the choice of guitars directly influences the character of the sound.

The most famous model is the Ovation Elite 1868-7QA. This model features a leaf-shaped soundhole and a thin body design optimized for live performance, making it a perfect match for Okahira’s strumming style. It has been frequently observed in television appearances and tours during the 2000s, making it emblematic of the 19 sound.

Additionally, a limited production rare model, the Ovation Adamas III 1591-BCB, has also been used. With its unique blue carbon appearance and high durability, it supports the transparent sound in representative songs. Released in 1997, this model has become a topic of discussion among fans as the “Okahira model.”

There are also mentions of the Ovation N868-7QM, with similar models being discussed in the used market, suggesting that Okahira may have used multiple Ovation guitars during this period. While the credibility of this information is limited, it indicates that he likely utilized various models from the Ovation line.

In his early street days, Okahira used the Yamaha FG series. This guitar, adorned with numerous stickers, became a symbol of youth. It is assumed that this guitar was used for mic recording rather than through an amp or DI. Other guitars mentioned include vintage models from Epiphone and Martin electro-acoustics known as “Kouji No. 2” and “Kouji No. 3.” The Martin guitars were prominent in later tours, providing a softer and warmer tone compared to Ovation.

Thus, Okahira’s guitar selection revolves around two axes: “durability and sound projection on stage” and “maximizing the natural resonance of the acoustic guitar.” By alternating between Ovation and Martin guitars, he achieved a diverse range of sounds.

Effects and Pedalboard Setup

In Kenji Okahira’s sound creation, effects do not play a significant role. His style centers around “acoustic guitar plus vocals,” so he avoids flashy distortion or modulation effects, opting instead for a minimal setup to achieve his sound.

The basic signal flow is a simple one: Tuner → DI (Direct Box/Preamp) → Venue PA. A tuner is essential for live performances, and it is highly likely he used a reliable model from the BOSS TU series. This ensures stable pitch during performances.

For acoustic DI, a model like the L.R.Baggs Para Acoustic DI is assumed. This device, when paired with Ovation or other electro-acoustic guitars, allows for EQ adjustments and gain control tailored to the venue’s environment, making it essential for Okahira’s direct-to-PA style.

It is believed that reverb and light compression were added at the PA mixer during live performances. Okahira likely did not need to place a reverb pedal at his feet; rather, the PA engineer would adjust the optimal spatial processing for each song. For instance, “Ano Kami Hikouki Kumori Zora Watte” may have featured a more expansive reverb, while “Sotsugyou no Uta” would have had a tighter mix to emphasize the vocal message.

Moreover, rather than using effects, Okahira likely focused on “support equipment to refine the line signal.” This would include power supplies and buffers to ensure stable power and reduce noise. However, since there are no flashy pedalboard photos or statements from him, this is merely an assumption based on common practices among acoustic guitarists.

In summary, Kenji Okahira’s effects setup is characterized by a “tuner + DI + minimal support” approach, prioritizing the direct delivery of the guitar’s inherent sound.

Tone Settings, EQ, and Mixing Approaches

Kenji Okahira’s sound creation is based on maximizing the inherent resonance of the acoustic guitar while optimizing it through the venue’s PA system, rather than building sound with amplifiers and effects like a rock guitarist. From an engineering perspective, his setup can be described as a very simple “direct line + EQ adjustments + reverb corrections.”

Regarding EQ settings, Ovation Elite and Adamas electro-acoustic guitars tend to have pronounced low-end frequencies and strong mid to high-end attack. Therefore, the following adjustments are anticipated during PA settings:

• Low Frequencies (80Hz–120Hz): Lightly cut to prevent feedback and reduce unwanted “boomy” sounds.
• Mid Frequencies (500Hz–1.5kHz): Avoid overlapping with vocal frequencies and enhance the strumming feel of the guitar. Sometimes slightly cut.
• High Frequencies (4kHz–8kHz): Emphasize the attack of the pick to convey the energy of the strumming. Brightness enhances the freshness of the song.

Additionally, song-specific adjustments are crucial. For “Ano Kami Hikouki Kumori Zora Watte,” high frequencies are emphasized to create a refreshing and expansive sound, with deeper reverb settings. Conversely, for songs like “Sotsugyou no Uta” or “Sanpun Kan Nikki,” which carry strong messages, reverb is minimized to create a tighter mix, allowing the vocals and guitar to feel closer together.

Preamp and DI adjustments also play a significant role. Using equipment like the L.R.Baggs Para DI allows for control over the unique feedback frequencies of acoustic guitars in different venues, ensuring stable sound. Fine-tuning mid frequencies and phase switching adjustments were critical points for the success of acoustic live performances.

During the mixing phase, Okahira’s guitar served the role of “supporting rhythm and chord feel without overshadowing the vocals.” Since the band often performed as a duo, the guitar’s presence was significant, requiring careful mic and line adjustments to capture the nuances of strumming dynamics and right-hand techniques. The way EQ and compression were applied could dramatically alter the overall atmosphere of the song, necessitating careful attention from the PA engineer.

Furthermore, since he used multiple guitars during live performances (switching between Ovation and Martin), it is likely that EQ and gain adjustments were required each time. It can be inferred that he intentionally crafted a bright and sharp sound with Ovation and a softer, warmer sound with Martin.

In conclusion, Kenji Okahira’s sound creation is based on a simple yet sophisticated approach of “maximizing the inherent sound of the guitar and making minimal corrections through the PA,” which is a significant factor supporting the transparency and straightforward messaging of his songs.

Affordable Alternatives to Recreate the Tone

Kenji Okahira’s sound is characterized by a straightforward setup that connects electro-acoustic guitars directly to the PA through a DI. Therefore, there is no need for flashy high-gain amplifiers or a variety of effects, making it possible to recreate his sound with relatively affordable gear. Here, we recommend equipment for beginners to intermediate players to get closer to the Okahira sound.

The most crucial piece of gear is an electro-acoustic guitar. While the Ovation Elite and Adamas he used can be expensive in the used market, a more accessible alternative is the Ovation Celebrity series. Although there are differences in top materials and decorations, it features a leaf-shaped soundhole and a thin body, making it practical for live use.

If you want to capture the essence of Okahira’s early sound, the Yamaha FG series is also recommended. This series, widely used during his street days, offers good volume and stability at a low price, making it a versatile model for beginners. You can also recreate the vibe of that era by personalizing it with stickers.

Next, an acoustic DI/preamp is essential for connecting to the PA or amplifier. The L.R.Baggs Para Acoustic DI is a well-known choice, but for a more budget-friendly option, the BOSS AD-2 Acoustic Preamp or Zoom AC-2 are excellent alternatives. These can be found for around $100–300 and come equipped with features necessary for achieving the Okahira sound, such as feedback prevention, EQ adjustments, and reverb.

For a tuner, simply acquiring the BOSS TU-3 will suffice. It is durable and highly visible on stage, making it a favorite among professional acoustic guitarists.

Finally, for reverb, if you want to control it at your feet, the TC Electronic Hall of Fame 2 is a compact reverb pedal worth considering. While reverb is often processed at the PA mixer during live performances, using a reverb pedal at home or in small gigs can help recreate the expansive sound of songs like “Kami Hikouki.”

Overall, the key to getting closer to Kenji Okahira’s sound lies in assembling a minimal set of “electro-acoustic guitar + DI + reverb.” These pieces of equipment are beginner-friendly, and you can experience the core aspects of the Okahira sound for under $500.

Summary and Conclusion

Kenji Okahira’s sound creation is centered around the principle of “how to convey the acoustic guitar’s natural sound directly,” rather than relying on flashy amplifiers or complex effects. The essence of his sound lies in maximizing the individuality of electro-acoustic guitars like Ovation and Martin, delivering it straight to the audience through the PA and DI.

During his early street days, he performed with a Yamaha FG series guitar covered in stickers, and after debuting, he utilized high-end models like the Ovation Elite and Adamas. He also alternated between Martin electro-acoustics known as “Kouji No. 2” and “Kouji No. 3,” selecting the optimal resonance for each song. This shows that the guitar itself served as his “sound expression tool,” emphasizing a single, well-chosen instrument over a multitude of gear.

Moreover, his commitment to a simple DI direct connection style without relying on effects is notable. The sound achieved through just a tuner, DI, and the venue’s reverb processing is straightforward, allowing the musician’s skill and expressiveness to shine through. This is why Okahira’s powerful strumming and heartfelt chord work resonate directly with the audience.

To recreate his sound, it’s essential to have Ovation or Yamaha FG acoustic guitars and perform minimal corrections with a preamp/DI. Additionally, focusing on EQ and reverb with a “subtracting sound creation” mindset is crucial. Rather than heavily processing, maximizing the guitar’s inherent resonance brings you closer to Okahira’s style.

In conclusion, the core of Kenji Okahira’s sound creation lies in “simplicity” and “directness.” He maximizes the harmony between acoustic guitar and voice without overshadowing the song’s message. This philosophy is what makes the sound of 19 unique. Readers aiming to replicate his sound should prioritize the perspective of “subtracting rather than adding” and “trusting the resonance rather than over-engineering.”