[Kentaro Kobuchi] How to Recreate the Kobukuro Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kentaro Kobuchi of Kobukuro is a prominent figure in the Japanese acoustic guitar scene, known for his exceptional guitar work and songwriting. His sound is characterized by a wide range of tonal expressions, from delicate arpeggios to powerful strumming, playing a crucial role in supporting the duo’s harmonies. Iconic songs such as “Sakura,” “Tsubomi,” and “Koko ni Shika Sakanai Hana” showcase his deep acoustic sound and clear chord work, captivating many listeners.

The essence of Kobuchi’s sound lies in his diverse collection of acoustic guitars. He skillfully utilizes models ranging from the Martin D-42 to pre-war D-28 and signature models from Taylor, allowing him to express different textures for each song. Notably, he employs the FISHMAN Aura Spectrum DI in live settings, ensuring a stable line sound that enhances his performances.

While primarily focused on acoustic guitars, Kobuchi occasionally incorporates electric guitars from Fender and Gibson, adding a richer electric sound to his music and making it more dynamic. His sound embodies both “warmth” and “persuasiveness,” making his approach to sound design a significant reference for singer-songwriters and acoustic guitar enthusiasts alike.

In the following sections, we will delve into the specifics of his amplifiers, guitars, effects, EQ techniques, and even affordable gear that beginners can use to emulate his sound.

▶ Search official YouTube videos of Kobukuro

List of Amplifiers and Features

Kentaro Kobuchi primarily focuses on acoustic guitars, which influences his choice of amplifiers, differing significantly from electric guitarists. He often uses acoustic guitars equipped with pickups, outputting through the FISHMAN Aura Spectrum DI into dedicated acoustic amplifiers. The “WD Acoustic (lightweight type)” is specifically noted for its ability to deliver stable sound quality in concert halls and arenas.

The WD Acoustic is praised for its ability to reproduce the natural resonance of acoustic guitars without compromising their sound. Kobuchi’s songs often involve extensive strumming, and this amplifier allows for clear, articulate sound without muddiness. This capability is particularly advantageous in large concert venues, where conveying the subtle nuances of the guitar to the audience is crucial.

On the other hand, there is limited information regarding the amplifiers used for electric guitars. However, interviews suggest that he has experimented with Bogner and high-end Marshall amplifiers. Bogner, in particular, is known for its versatility, ranging from clean to high-gain sounds, making it suitable for the thick tones that occasionally appear in Kobukuro’s music. While it remains unconfirmed whether these amplifiers are used extensively on stage, they are likely chosen for studio recordings.

When using electric guitars, amplifiers like the Marshall DSL series and Fender models are also considered. This choice aligns with Kobuchi’s sound preference for “bright and rich cleans,” emphasizing compatibility with the acoustic guitar’s resonance. Ultimately, the confirmed information indicates that the WD Acoustic is his main amplifier, while the other electric guitar amplifiers remain “assumed.”

Kobuchi’s approach to amplifier selection prioritizes the natural resonance of the guitar while adding thickness and presence as needed. His amplifier settings do not overly distort the sound but rather focus on maintaining a natural tone that enhances the emotions and lyrics of the songs.

In summary, Kobuchi primarily utilizes the WD Acoustic for acoustic performances while potentially selecting Bogner, Marshall, or Fender amplifiers for electric guitar in studio settings.

Types of Guitars Used and Features

Kentaro Kobuchi is renowned for his extensive collection of acoustic guitars. The Martin D-42 is a signature model he frequently uses, featured in iconic songs like “Koko ni Shika Sakanai Hana” and “Tsubomi,” symbolizing his sound. It is characterized by a deep low end and bright highs, producing beautiful resonance in both strumming and arpeggios.

Additionally, he owns a Pre-War Martin D-28 (1938 and 1939 models), which plays a significant role in his recordings. This historically valuable guitar offers rich overtones and a unique aged sound that supports Kobuchi’s vocals. He also possesses several high-end models, including the D-41 and D-45, which he skillfully selects based on the song or context.

Kobuchi actively incorporates Taylor guitars as well. The Taylor GA8, made in 2006 and featuring a custom pickguard made by him, is a special instrument. He also has the KENTARO KOBUCHI SIGNATURE MODEL (K-52 SPECIAL EDITION GA8e, BLACK SPECIAL EDITION GS6e), which has become iconic among fans. These guitars are frequently used in live settings, equipped with stable pickup systems and vibrant sounds suitable for large venues.

Moreover, he owns custom-made guitars from builders like William Laskin and Luskin, bringing unique tones into his recordings. He also utilizes various brands such as MATON, McPherson, and Goodall, demonstrating his meticulous approach to selecting the optimal guitar for each situation.

In terms of electric guitars, he uses models like the Fender Stratocaster, Telecaster, and Gibson Les Paul Reissue series, including a distinctive All Cocobolo Telecaster Full Scratch (custom-ordered from Yamazaki Guitar Workshop) equipped with Bare Knuckle pickups. This guitar adds thickness and presence to his sound while complementing his acoustic tones.

He also owns a range of classical guitars, including the Bernabe, YAMAHA APX-6NA, and Gibson Chet Atkins Studio CE, expanding his musical versatility as part of an acoustic unit. The breadth of his collection reflects his commitment to selecting the ideal resonance for each song.

Overall, Kobuchi’s guitar selection embodies a style centered around “warm acoustic sound, expressed through a diverse array of guitars.” His approach serves as an inspiration for guitar enthusiasts and a valuable reference for sound design.

Kobuchi’s focus on acoustic guitars, particularly from brands like Taylor, Martin, and Gibson, alongside custom models and reissues, allows him to construct a rich and varied sound.

Effects and Pedalboard Setup

Kentaro Kobuchi, being primarily an acoustic guitarist, utilizes very few distortion effects. Instead, his focus is on sound correction and texture adjustment when connecting to the line. The most notable piece of gear in his setup is the FISHMAN Aura Spectrum DI Preamp. This device serves as a preamp and DI specifically for acoustic guitars, dramatically improving the line sound in live environments. The Aura’s “imaging feature” allows for a natural resonance that mimics microphone recording, delivering a sound close to the original acoustic tone even in large venues.

Additionally, he employs the FISHMAN Prefix Pro Blend Pro-Man-P51 pickup system, which allows him to control the blending ratio between the piezo and microphone. This flexibility enables him to output a balanced sound, whether playing delicate arpeggios or powerful strumming. The reason why Kobuchi’s sound is often described as “stable and beautiful in any environment” is largely supported by this system.

When using electric guitars, it is assumed that he builds a simple pedalboard that enhances the amplifier’s character by combining it with guitars equipped with Bare Knuckle pickups, such as the Les Paul or Zemaitis. While specific information regarding typical overdrive or delay effects is not clear, he is known to use Ernie Ball’s Glow-in-Dark Flex Patch Cable, which emphasizes visibility and practicality on stage.

His style relies heavily on direct line connections, prioritizing DI and preamps over pedal-based effects. This results in a pedalboard configuration that specializes in “stabilizing acoustic sound.” The Aura Spectrum DI is often regarded by fans as essential for recreating the “Kobuchi sound,” leading to a simple yet highly effective setup.

In the recording process, he frequently uses the Neumann U67 microphone, a globally recognized condenser mic known for capturing delicate overtones without compromise. This approach emphasizes quality over quantity in his sound design, focusing on achieving the best possible tone through preamps, microphones, and line corrections.

In summary, Kobuchi’s pedalboard is distinct from typical distortion-heavy setups, focusing instead on DI and preamps to enhance the acoustic sound.

Tone Settings, EQ, and Mixing Approaches

Kentaro Kobuchi’s sound design emphasizes how to naturally resonate the acoustic guitar. Therefore, rather than relying on effects, he employs meticulous adjustments in EQ settings, microphone placement, and line balance. Particularly in live settings, using the FISHMAN Aura Spectrum DI helps eliminate the harshness of direct line connections, achieving a sound that resonates throughout the venue.

The basic EQ settings involve a slight cut in the low frequencies (below 80Hz) to avoid muddiness. The midrange (around 500Hz to 1kHz) is often kept thick but slightly subdued to maintain balance with the vocals. Conversely, boosting the high frequencies (around 5kHz) enhances the brightness of strumming and the sparkle of arpeggios. This approach results in a sound that combines the expansive quality of Kobuchi’s vocals with the resonance of the acoustic guitar, embodying both “grandeur” and “transparency.”

For example, in “Koko ni Shika Sakanai Hana,” the midrange is slightly reduced while the highs are boosted, focusing on spatial expansion. In contrast, ballads like “Tsubomi” retain some mid-low frequencies to add warmth, enhancing the emotional depth of the vocals. Such EQ adjustments reflect not just technical manipulation but also a sound design that embodies the song’s themes and lyrical world.

In PA and recording settings, he uses high-quality condenser microphones like the Neumann U67 to capture the natural sound of the acoustic guitar. The microphone is positioned not directly at the sound hole but closer to the bridge or around the 12th fret, preventing excessive low frequencies and achieving a clear, three-dimensional sound. By blending line and mic inputs, he recreates a natural and present sound image even in live settings.

When introducing electric guitars, it is assumed that he opts for clean amp settings. For instance, when using Bogner or Fender amps, he likely maintains low gain, with increased treble and presence to emphasize sharp cutting, while possibly employing compressor-like effects to balance volume differences. Even when using Les Paul or Zemaitis guitars, he tends to favor settings that lean towards “thick cleans” rather than strong distortion.

In mixing, considering Kobukuro’s arrangements, where multiple acoustic guitars overlap, he creates spatial depth through panning. By placing Kobuchi’s guitar part on the left side and Kuroda’s parts or harmonies on the right, he enhances the duo’s characteristic three-dimensionality. Additionally, reverb is often set to a deeper level, creating a sense of space without interfering with the vocals.

In summary, Kobuchi’s sound design can be distilled into the following points:

• Lightly cut lows, organize mids, and boost highs for brightness.
• Blend line and mic inputs for a natural and present sound.
• Maintain clean tones even when introducing electric guitars, focusing on thickness.
• Ensure spatial depth in PA and mixing through panning and reverb.

These techniques contribute to Kobukuro’s music, which, while simple, possesses an overwhelming sense of scale, evoking deep emotions in the audience.

Affordable Alternatives to Recreate the Tone

Kentaro Kobuchi’s gear primarily consists of high-end acoustic guitars from brands like Martin and Taylor, along with professional equipment such as the FISHMAN Aura Spectrum DI and Neumann U67. However, for fans and beginner guitarists, these high prices can be prohibitive. Here, we will introduce commercially available gear that can help recreate the “Kobuchi sound” at a more affordable price (around $100 to $500, with a maximum of $1,000).

To replicate his sound on an acoustic guitar, the key elements are bright highs and a stable pickup system. While the Martin D-42 and D-28 are aspirational, alternatives like the YAMAHA FG Series and Seagull Entourage Rustic are excellent choices. Priced around $500, these guitars deliver clear sound that stands out even in strumming. Notably, Seagull is a brand Kobuchi has experience with, making it a recommended option for achieving professional-quality resonance at an accessible price.

Next, a preamp/DI is crucial. While Kobuchi uses the FISHMAN Aura Spectrum DI, which is quite expensive, alternatives like the FISHMAN Platinum Stage EQ/DI and BOSS AD-2 Acoustic Preamp are recommended. Both can be purchased for around $300 to $400, stabilizing the acoustic sound in live settings and providing a natural resonance similar to the Aura.

Additionally, adding light reverb or delay effects can create the spacious sound characteristic of Kobuchi’s style. Recommended options include the BOSS RV-6 (Reverb) and BOSS DD-8 (Delay), both compact and user-friendly, available for $100 to $200. When combined with the Aura, these can simulate the spaciousness of a concert hall.

For those interested in electric guitars, since brands like Gibson and Zemaitis may be out of reach, alternatives such as the Epiphone Les Paul Standard and Squier Classic Vibe Telecaster are viable options. These can be acquired for around $500 to $600, providing a thick clean sound, albeit not as powerful as Bare Knuckle pickups.

For beginners, utilizing a “multi-effects pedal” is a highly effective method. In particular, the BOSS GT-1 and Zoom AC-3 can be found for $200 to $300 and come equipped with presets for acoustic guitars, allowing users to easily approach the sound of high-end amplifiers and effects. With these tools, one can enjoy a Kobukuro-like sound in various settings, from home practice to live performances.

By combining Seagull or YAMAHA acoustic guitars with BOSS preamps and reverb, one can create a sound reminiscent of Kobuchi’s style for under $1,000. The key is to “respect the original sound while making natural adjustments.” By focusing on this principle, even budget-friendly gear can effectively replicate the Kobukuro sound.

Summary and Conclusion

Reflecting on Kentaro Kobuchi’s sound design, its essence lies in his “extensive guitar collection” and “dedication to pursuing natural sound.” His numerous acoustic guitars, including models from Martin and Taylor, are selected based on the atmosphere of each song, enabling a wide range of expressions from powerful strumming to delicate arpeggios. The Martin D-42 and Pre-War D-28, in particular, are iconic instruments that symbolize his sound.

In live settings, he relies on the FISHMAN Aura Spectrum DI to eliminate the harshness of direct lines while ensuring stable resonance. By combining this with recording equipment like the Neumann U67, he creates a unique texture that listeners can identify as the “Kobuchi sound,” regardless of the environment. His use of electric guitars, such as Zemaitis and Les Paul Reissues, effectively adds thickness to his music.

To recreate Kobuchi’s sound, it is essential to adopt an approach that does not rely on specific effects. While many guitarists express their individuality through distortion and spatial effects, Kobuchi maximizes the original sound using EQ, DI, and pickup systems. This approach reflects his understanding that the guitar serves as “another voice” in Kobukuro’s songs, complementing the vocals.

Moreover, his mixing and PA techniques are noteworthy. By utilizing panning to create spatial depth and setting reverb to enhance the sense of space without overwhelming the vocals, he meticulously crafts a pleasant soundscape for listeners. His subtle adjustments to midrange and high frequencies for each song create a comfortable listening experience. This attention to detail showcases not only his skills as a player but also his engineering-like ear.

In summary, Kentaro Kobuchi’s sound design encapsulates the idea of “expressing the world of the song through the guitar.” Those aspiring to achieve his sound do not need to invest in expensive gear; instead, they should focus on respecting the original sound and making adjustments with EQ and DI. This simple yet profound approach to sound design serves as a significant learning opportunity for singer-songwriters and acoustic guitar players, embodying a musical philosophy that resonates with listeners.

“The guitar is not just an accompaniment; it is another voice.” This philosophy that permeates Kobuchi’s sound design is what gives Kobukuro’s music its unique and compelling power.