[Kenshi Yonezu] How to Recreate the Kenshi Yonezu Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kenshi Yonezu, also known as Hachi, has established himself as a prominent singer-songwriter, showcasing a unique sound design as a guitarist. From his early days as a Vocaloid producer to his current works, the guitar has consistently been a foundational element in his music, shaping the overall sonic direction.

Yonezu’s playing style emphasizes the quality of chord work and riffs rather than technical speed or flashy phrases. Iconic songs like “Peace Sign” and “Lemon” highlight his distinctive tone, which sits comfortably between clean and crunchy sounds, enhancing both the band’s sound and his vocals. His guitar performances, especially in music videos and live shows, have become iconic representations of his musical identity.

One reason Yonezu’s sound garners attention is his flexible approach to sound design, transcending genres. While rooted in rock guitar tones, he incorporates elements from pop, electro, and hip-hop, crafting a unique soundscape through his choice of guitar effects and amp settings. This allows even simple chord progressions to resonate with a distinctly Yonezu character.

As he continues to evolve in his musical journey, many listeners and guitarists remain curious about how his guitar sound will develop in future songs and live performances. In the following section, we will delve into the amplifiers that Kenshi Yonezu has actually used.

▶ Search official YouTube videos of Kenshi Yonezu

List of Amplifiers and Features

One of the crucial elements supporting Kenshi Yonezu’s guitar sound in live performances and videos is his choice of amplifiers. His tone balances “brilliance and warmth,” with the character of the amp playing a significant role alongside his guitar and effects.

During his appearance at the 2015 festival “SWEET LOVE SHOWER,” he was confirmed to be using the Morgan Amplification AC20 Deluxe (head + 1×12 cabinet). This amp is designed based on a VOX-style sound, characterized by its smooth tones and quick response across clean to crunchy settings. It is ideal for Yonezu’s melodic phrases and clean arpeggios that provide a sense of expansiveness within his music, ensuring that his sound resonates clearly in live settings.

Additionally, rehearsal footage and some stage photos show an Orange amp in the background. However, this is not confirmed to be his personal gear; it is believed to be a studio fixture for rehearsals or for a supporting guitarist. There is no clear evidence that he actively uses Orange amps as his main choice.

The Roland JC-120, used by supporting guitarist Hiroshi Nakajima, is known for its clean tones but is not Yonezu’s personal equipment. However, it contributes significantly to the “spatial thickness” and “transparency” of the overall band sound.

In summary, Yonezu’s amp setup primarily revolves around the Morgan AC20 Deluxe, enabling a wide range of expressions from clean to crunchy during live performances and tours. While specific amp details for studio recordings are not confirmed, it is assumed that he may opt for Fender-style amps depending on the context.

Overall, Yonezu’s choice of amplifiers emphasizes “supportive tonal qualities” over “flashy distortion.” The presence of the Morgan AC20 Deluxe is a key piece that characterizes his guitar sound, providing a blend of clarity and warmth.

Types of Guitars Used and Features

The guitar sound that resonates alongside Kenshi Yonezu’s unique vocals leaves a strong impression in his musical expression. As a guitarist, he does not adhere strictly to specific gear but rather selects guitars that align with the song’s atmosphere and visuals. This results in a diverse array of guitars being confirmed through live performances, music videos, and photographic evidence.

One of his signature guitars is the Fender Custom Shop INORAN JAZZMASTER #1 LTD (Black). This guitar has been prominently used in the music video for “Peace Sign” and during the 2019 tour “When the Spine Becomes Opal,” known for its crisp crunch tone. The expansive sound characteristic of the Jazzmaster complements the dramatic developments in Yonezu’s songs exceptionally well.

Additionally, the Fender Custom Shop 1966 Jazzmaster Charcoal Frost Metallic (Time Machine 2021) has been confirmed through photographs as part of his collection. This model features a limited color and finish, suggesting that Yonezu chose it with visual aesthetics in mind.

In the emotional ballad “Fluorite,” the Gibson ES-335 (Wine Red) makes an appearance. The semi-hollow body provides warmth and a rich midrange that enhances the depth of the song. Furthermore, a Gretsch G6128TCG Duo Jet (Cadillac Green/Dynasonic) identified from his social media photos is also significant. The unique brilliance and distinctive attack typical of Gretsch guitars add a new dimension to Yonezu’s sound.

In the past, the Fender Vintera ’50s Telecaster (Fiesta Red) was used in the music video for “MAD HEAD LOVE,” while he was also seen with a Fender Telecaster (Black) during his early “Santa Maria” period. Additionally, his stand photos reveal the presence of a Fender MIJ Hybrid ’60s Stratocaster (Black/RW) and a Paul Reed Smith Custom 24.

Thus, Kenshi Yonezu primarily revolves around the Jazzmaster while also utilizing a wide range of guitars including semi-hollows, Telecasters, Strats, PRS, and Gretsch. This indicates his focus on selecting the optimal character for each song rather than sticking to the same model for an extended period.

Effects and Pedalboard Setup

Kenshi Yonezu’s guitar sound is characterized by a transparent quality that ranges from clean to crunchy, enhanced by effects that provide a unique depth and expansiveness. His pedalboard, confirmed through footage from his 2018 Budokan performance and various live photos, is relatively simple yet effectively combines the necessary effects for his sound.

A staple on his board is the BOSS BD-2 Blues Driver, which has been confirmed in use since his early days. This natural overdrive adds a pleasant distortion to clean amps. In upbeat rock songs like “Peace Sign,” the bright crunch tone from the BD-2 supports the driving force of the track. Additionally, the Bondi Effects Del Mar Overdrive has been introduced, providing a smoother and more compressed sound.

For modulation, the BOSS CE-2 / CE-2W (Chorus) is utilized. Its transparent chorus sound is essential in ballads and arpeggio-heavy sections, adding depth to the music. Early in his career, the Electro-Harmonix Small Clone was also confirmed, producing a more vintage chorus sound.

In terms of spatial effects, the Strymon blueSky (Reverb) is set up to create a three-dimensional echo in both studio recordings and live performances. Given Yonezu’s emphasis on spatial expression, the presence of reverb is significant. Additionally, the MXR M102 Dynacomp is used to add compression, confirmed in photos from the Hachi era, contributing to the clarity of arpeggios and the uniformity of clean phrases.

For tuning, the KORG DT-10 has been confirmed in rehearsal footage, supporting stable stage operations. Furthermore, the Musicom Lab EFX Lite 62M is integrated for managing effect switching, enabling smooth performance during live shows. This switching system serves as the backbone of the board, allowing for seamless combinations of multiple effects.

Yonezu’s pedalboard configuration is not flashy but consists of carefully selected pedals that achieve his “sound that supports the song.” As a result, he creates a simple yet rich sound that maximizes the expressive potential of each song.

Tone Settings, EQ, and Mixing Approaches

Kenshi Yonezu’s guitar sound is completed not only by the combination of gear but also through EQ (equalization), amp settings, and processing in PA and studio mixes. Therefore, simply gathering the same equipment will not fully replicate his sound; attention must be paid to “how the sound is placed” and “how space is utilized.”

Starting with the basic amp settings, the setup centered around the Morgan AC20 Deluxe tends to keep gain levels moderate, maintaining a clean to crunchy range. It is assumed that the Gain is set around 10 o’clock, Treble slightly below noon, Mid at noon, and Bass moderately adjusted. This creates a sound that brings out the chord quality without overshadowing the vocals.

Regarding the combination of effects, it is speculated that the BOSS BD-2 and Bondi Effects Del Mar Overdrive are set to add only light distortion and are often kept on continuously. Yonezu’s style involves controlling the amount of distortion through picking dynamics when highlighting riffs or solo parts, rather than excessively distorting through effects. This characteristic allows the nuances to shine while maintaining the amp’s clean quality.

For modulation, the BOSS CE-2W and Small Clone are typically set lightly, with shallow Depth settings to create a subtle “sway.” This approach enhances the unique three-dimensionality in arpeggios and ballads. In songs like “Fluorite,” the warm tone of the ES-335 is layered with a light chorus to create an ethereal soundscape.

When it comes to reverb, it is assumed that the Strymon blueSky is utilized with Plate or Room modes, set to a short to medium Decay and a Mix of around 20-30%. This balances the expansive spatial quality of Yonezu’s music while ensuring the vocals remain prominent. In studio mixes, additional reverb buses are likely added, with adjustments made by the engineer for each track.

In mixing, the midrange of the guitar is intentionally organized to highlight the vocal range (around 2kHz), with a tendency to avoid excessive low-end cutting while retaining warmth in the 100Hz-150Hz range. Frequencies above 3kHz are kept in check to avoid harshness. This approach ensures that the guitar occupies a harmonious position without clashing with the bass and kick drum.

Additionally, during live performances, the division of sound creation with supporting guitarists is crucial. Yonezu’s guitar prioritizes a “tone that supports the song,” while the supporting guitarist takes on clearer leads, creating a sense of dimensionality in the overall sound. This division of roles contributes to the unique sonic landscape of Yonezu’s live performances.

Overall, Yonezu’s sound design is based on a “balance-focused setup” that prioritizes the song and vocals over flashy sound processing. The guitar serves as a supportive element for the overall atmosphere, and through the use of EQ, reverb, and compression, he crafts a “sound with space.”

Affordable Alternatives to Recreate the Tone

Reproducing Kenshi Yonezu’s guitar sound completely would require high-end gear such as custom shop Jazzmasters and the Morgan AC20 Deluxe, which may not be realistic for beginners or average players. Therefore, this section introduces more affordable alternatives (within $100–500) that can help approximate Yonezu’s sound.

For guitars, Jazzmaster models are the most accessible for capturing the essence of his tone. Fender Japan or Squier series Jazzmasters can be found for around $500, which can replicate the characteristic single-coil sound and unique chord quality. Particularly in songs like “Peace Sign,” even budget models can effectively convey Yonezu’s style.

Regarding amplifiers, since the Morgan AC20 Deluxe is expensive, alternatives like the VOX AC15C1 or Fender Blues Junior are suitable. These amps excel in clean to crunchy expressions and can achieve the natural distortion and clean tones that Yonezu favors. The VOX, in particular, is a closer alternative to the Morgan.

For effects, the BOSS BD-2 is one of the most accessible pedals. Priced just over $100 new, it can often be found for under $100 on the used market, making it an essential piece for achieving Yonezu’s “light crunch sound.” While high-end pedals like the Del Mar Overdrive may be out of reach, the BD-2 combined with an amp can still produce a satisfying tone.

For chorus effects, the BOSS CE-2W, which Yonezu has used, is relatively affordable at around $200. For even cheaper options, the BOSS CH-1 or used CE-5 could be considered. These can add the necessary “sway” to arpeggios, helping to create the transparent quality typical of Yonezu’s sound.

For reverb, alternatives that approximate the Strymon blueSky include the BOSS RV-6 or Electro-Harmonix Holy Grail Nano, both of which offer excellent cost-performance. They can recreate sufficient spatial qualities for live or home recording environments, providing plate or hall sounds that enhance the atmosphere.

Lastly, for compression, the MXR Dynacomp’s budget version or the BOSS CS-3 is recommended for beginners. By aligning the clarity of notes, these compressors make it easier to achieve the nuances found in Yonezu’s arpeggios.

In summary, the key to aiming for Kenshi Yonezu’s sound is to focus on “natural clean tones, light distortion, and appropriate spatial effects.” By keeping these elements in mind, it is possible to enjoy a sound that closely resembles his style without needing to invest in high-end gear.

Summary and Conclusion

In exploring Kenshi Yonezu’s guitar sound, its essence lies in “transparency and dimensionality that supports the overall song rather than flashiness.” His sound design is not merely about assembling gear but prioritizing the song’s atmosphere and determining how the guitar should resonate within it. As a result, he creates a sound that enhances the presence of the vocals without overshadowing them.

On the gear side, Yonezu centers around the Fender Jazzmaster series, using the Morgan AC20 Deluxe for its natural and expansive tones, while adding light distortion with the BOSS BD-2 and Bondi Del Mar Overdrive. Additionally, he expresses depth with BOSS CE-2W and Strymon blueSky, confirming that his settings are optimized for each song. A consistent theme from his early “Hachi” days to the present is the aesthetic of “manipulating space” with simplicity.

Notably, he deliberately reduces moments where the guitar takes center stage, focusing instead on supporting the song and the overall atmosphere. For instance, in “Peace Sign,” he creates a sense of speed with light crunch, while in “Fluorite,” he achieves a dreamy resonance with the depth of a semi-hollow guitar and reverb. This flexible approach tailored to the song’s expression is at the core of Yonezu’s sound design.

Mixing techniques are also crucial. By organizing the midrange to highlight the vocals and allowing the guitar to maintain “space,” listeners experience a “sound with depth” even with fewer elements. This approach is highly relevant for home recording guitarists and beginners.

If readers wish to get closer to Yonezu’s sound, there is no need to invest in expensive gear. The key is to focus on “natural clean tones, light distortion, and appropriate spatial effects,” determining how the guitar should resonate for each song. With this perspective, affordable Jazzmasters, VOX AC15s, and BOSS’s staple pedals can effectively recreate a sound reminiscent of Yonezu’s style.

Overall, Yonezu’s sound design can be described as an “aesthetic of subtraction.” By leaving space rather than adding sounds, he enriches the music and maximizes the impact of the vocals. This sense of balance is what forms his unique sound, and it is a vital lesson for guitarists to learn.