[Kōnosuke Sakazaki] How to Recreate the THE ALFEE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kōnosuke Sakazaki, the guitarist of THE ALFEE, is renowned for his sound design centered around acoustic guitars. His wide-ranging expressiveness, from classical fingerpicking to rock strumming, is a hallmark of his style. The rich blend of acoustic and electric sounds showcased in iconic songs like “Hoshizora no Distance” and “Mary Ann” is a testament to Sakazaki’s unique approach to sound creation.

His sound is rooted in the depth and brilliance achieved through the use of multiple vintage guitars, including the Martin D-45. Additionally, he incorporates custom-made guitars from brands like ESP and T’sT during live performances, allowing him to switch sound characters from song to song. Sakazaki is not just a performer; he is an “artist who crafts tones.”

Moreover, Sakazaki enhances the overall ensemble’s expressiveness by playing various instruments, including the blues harp and mandolin. One reason THE ALFEE can produce a sound akin to a full band with just three members is Sakazaki’s choice of instruments and sound design.

This article will thoroughly explore the amplifiers, guitars, and effects used by Kōnosuke Sakazaki, along with insights into his settings and EQ techniques. It aims to provide valuable information for fans of THE ALFEE and acoustic guitar enthusiasts alike.

First, let’s experience Sakazaki’s sound directly through THE ALFEE’s official music videos.

▶ Search official YouTube videos of THE ALFEE

List of Amplifiers and Features

Kōnosuke Sakazaki primarily plays acoustic guitar, which means he rarely uses high-gain amplifiers like Marshall or Mesa Boogie, typical of rock guitarists. Instead, he focuses on acoustic-specific amplifiers and direct PA systems, ensuring a balanced output. Particularly in large venues and stadiums, he often employs a system that connects the pickup and preamp to a direct box, prioritizing the natural resonance of the guitar over the coloration of an amp head.

One confirmed amplifier he uses is the YAMAHA CWE series or APX series acoustic guitar amplifiers, which he likely integrated into his live monitoring due to his collaborative development with YAMAHA. Roland’s AC-60 and AC-90 models, known for their portable and transparent sound, have also been seen in studio rehearsals and as part of his setup.

When using vintage acoustics from brands like Martin or Gibson, Sakazaki often connects directly to the PA without going through an amp, utilizing external acoustic preamps from L.R. Baggs or Fishman. This approach emphasizes natural resonance, especially in recordings, where mic placement and blending are crucial. Given that THE ALFEE places a strong emphasis on harmony and arrangement, Sakazaki’s guitar sound is designed to be present without overpowering the ensemble.

In solo parts, the acoustic’s resonance is likely enhanced by slightly boosting the midrange in the EQ, allowing harmonics to bloom beautifully. Rather than cranking the amp to high volumes, his approach is to let the guitar resonate naturally within the overall mix of the PA system, aligning perfectly with THE ALFEE’s three-part harmonies.

Overall, Sakazaki’s choice of amplifiers serves more as a supplementary tool to deliver the guitar’s inherent sound to the audience rather than merely amplifying it. Thus, the combination of acoustic amps, preamps, and PA integration is central to his sound design.

Types of Guitars Used and Features

At the center of Kōnosuke Sakazaki’s sound design is undoubtedly the acoustic guitar. He owns multiple vintage models, primarily from Martin, with the D-45 series being particularly iconic. He utilizes various years of D-45, including 1941, 1968, 1981, and 2008 models, with the 1968 version frequently used in recordings. Additionally, the 1982 D-45 CUSTOM, a rare 7/8 size model passed down from Shigeta Sugai, is well-known among fans.

His signature model, the 00-21KS, is an officially crafted guitar by Martin, highly coveted by fans. He also possesses historically significant guitars like the MC-45 (a one-of-a-kind ornate model) and the D-45S KK (a model associated with Kazuhiko Kato). These guitars hold not only musical value but also serve as connections to the artist and historical moments.

Furthermore, the Martin D-18 (1961) was purchased with support from his grandmother before he turned professional, serving as a main guitar in early recordings. Its sound is simple yet well-balanced, making it a crucial element of Sakazaki’s early sound. He also owns Martin 000-28 models (from 1951 and 1954), known for their versatile resonance, which has made them staples in his recordings.

Among Gibson models, the Hummingbird (1964) and J-185 are notable. The Hummingbird is characterized by its spruce and mahogany construction, often used for vintage comparisons. The J-185 has been featured in albums like “War and Peace” and the ending theme of “Dandelion’s Poem,” producing a mellow tone.

Custom models from T’sT and ESP are also staples in his live performances. The T’sT No.8 (TS-100CS), made in 1991, has been his main live guitar for years, showcasing its reliability. The ESP “Hoshinosuke,” produced under Sakazaki’s supervision, features a star-shaped soundhole, balancing visual impact with unique sound. His collaboration in developing YAMAHA’s silent guitar and APX series is also well-known, with practical usage in live performances and recordings.

Kōnosuke Sakazaki’s guitar collection reflects a pursuit of “optimal expression for each song and era,” supporting THE ALFEE’s diverse musicality. Overall, his guitar selection converges on the direction of “grounding in the depth of acoustics while embellishing with various custom models.”

Effects and Pedalboard Setup

Kōnosuke Sakazaki does not employ flashy distortion or a wide array of spatial effects typical of electric guitarists. Instead, he utilizes a minimal yet practical set of effects designed to maximize the natural resonance of the acoustic guitar. His fundamental approach to sound design is to “bring out the guitar’s inherent tone while applying spatial processing as needed.”

A prime example is the Stafford×Maxon Koh Chorus 6348ST, an analog chorus model named after his family’s music store, KOH Gakki. Sakazaki was deeply involved in its sound design, and this effect subtly adds depth and width to acoustic arpeggios and strumming, making it a defining piece of his sound.

In live performances and recordings, he often combines the chorus with acoustic-specific reverb and delay. Light hall reverb enhances the stage’s spatial feel while maintaining a natural resonance. Additionally, preamps from Fishman or L.R. Baggs are integrated into his effects board, sending signals through a direct box to the PA system.

Furthermore, he may use compact reverb/delay units from YAMAHA or BOSS as secondary options. Sakazaki emphasizes that he relies on the guitar’s inherent qualities and performance nuances rather than equipment, resulting in a relatively simple pedalboard. This simplicity is a key to supporting THE ALFEE’s rich ensemble sound.

While Sakazaki’s effects board lacks flamboyance, it is designed to achieve “maximum effect with minimal necessity,” making it highly relevant for acoustic-oriented guitarists. In summary, it is assumed that his board consists of a simple setup centered around the signature chorus, complemented by preamps and spatial effects.

Tone Settings, EQ, and Mixing Approaches

The essence of Kōnosuke Sakazaki’s sound design lies in “respecting the acoustic guitar’s inherent tone and utilizing it within the entire space.” Unlike electric guitarists who distort their sound through amplifiers or dramatically alter it with pedals, Sakazaki pursues settings that highlight the unique characteristics of the guitar. Key components include blending pickups and mics, EQ adjustments, and spatial processing through reverb and delay.

Starting with basic EQ settings, Sakazaki’s beloved Martin D-45 and 000-28 tend to emphasize bright mid-high frequencies. Therefore, in live settings, he often balances the EQ by “slightly cutting low frequencies around 250Hz to eliminate muddiness,” “gently boosting the midrange (1kHz–2kHz) for clarity in chord sounds,” and “adding a touch of high frequencies (around 8kHz) for airiness.” This ensures that the acoustic guitar stands out without overwhelming the rich choral work of THE ALFEE.

In mixing, multiple mics are commonly used during recordings. A condenser mic placed about 20cm from the soundhole and a small diaphragm mic near the 12th fret are blended to capture both “core resonance” and “delicate overtones.” Additionally, lightly mixing in the line output (pickup) reinforces the attack, which is a staple of Sakazaki’s sound.

During live performances, effects are set up quite simply. The chorus is applied lightly to create a stereo effect, while reverb is kept subtle to blend naturally with the venue’s acoustics. In arenas or halls, a light hall reverb is added, while in smaller live houses, a thin delay is applied to create depth, showcasing flexible adjustments based on the environment.

Another characteristic is his tendency to change settings for each song. For example, in “Hoshizora no Distance,” where rhythmic strumming is key, he emphasizes high frequencies while reducing midrange to create a sharp cutting sound. Conversely, in melodic pieces like “Mary Ann,” he broadens the reverb and slightly boosts the midrange to achieve a warm resonance.

From an engineer’s perspective, Sakazaki’s guitar is lightly compressed to maintain dynamics while preserving the original nuances. Particularly when using 12-string or gut guitars, careful panning and EQ adjustments are crucial to prevent the sound from getting buried. The meticulous sound design behind THE ALFEE’s reputation as “three people creating an orchestra” is rooted in these techniques.

In summary, Kōnosuke Sakazaki’s settings are “simple yet precise.” By avoiding excessive processing, he draws out the guitar’s natural sound while making delicate adjustments tailored to each song. Therefore, when aiming to recreate his sound, understanding and setting the EQ should be the top priority over effects.

Affordable Alternatives to Recreate the Tone

Kōnosuke Sakazaki’s sound is built around high-end vintage guitars like those from Martin and Gibson. However, many may find it challenging to invest in a D-45 right away. Therefore, here are some relatively affordable and accessible gear options that can help you achieve a tone similar to Sakazaki’s.

For the guitar itself, domestic brands like YAMAHA and Morris offer excellent options. Particularly, the YAMAHA FG series and LL series provide stable construction and balanced sound at a lower price point, making them suitable alternatives to the Martin D-18 or 000-28. Given that Sakazaki has collaborated on the development of YAMAHA’s APX series and silent guitars, their acoustic offerings align closely with his sound.

In terms of effects, BOSS’s classic models are easy to integrate and highly recommended. While the Stafford×Maxon Koh Chorus supervised by Sakazaki may be hard to find, alternatives like the BOSS CH-1 Super Chorus or CE-5 Chorus Ensemble can recreate a natural modulation that suits acoustic guitars. For reverb, the BOSS RV-6 is a reliable choice with a wide range of adjustments for studio and home use.

Regarding preamps, while L.R. Baggs and Fishman can be pricey, multi-effects units from Zoom or BOSS include acoustic-specific preamp/DI functions, making them suitable for live and practice settings. The BOSS AD-2 Acoustic Preamp, in particular, is affordable and capable of producing a natural sound, making it ideal for beginners to intermediate players.

Additionally, incorporating a multi-effects unit is a practical solution. The BOSS GT-1 or Zoom A1 FOUR can consolidate essential spatial effects like reverb and chorus into one unit, offering excellent cost performance. To replicate Sakazaki’s “simple yet precise” settings, such multi-effects may even be more suitable.

In conclusion, by focusing on “preserving the acoustic guitar’s original sound while adding light spatial processing,” you can experience the essence of Sakazaki’s sound with reasonably priced gear.

Summary and Conclusion

Reflecting on Kōnosuke Sakazaki’s sound design, its essence lies in “maximizing the inherent tone of the guitar.” Utilizing vintage guitars like the Martin D-45 and custom models from ESP and T’sT, he consistently seeks a sound that is “natural yet blends seamlessly with the band.” This approach is crucial for maintaining the guitar’s foundational role within THE ALFEE’s unique three-member style while ensuring it does not overshadow the harmonies and ensemble.

Another notable aspect of Sakazaki’s style is his “minimalist approach to sound design.” While many guitarists layer distortion and spatial effects, Sakazaki keeps effects to a minimum. In practice, he primarily uses the Koh Chorus he supervised, along with reverb and delay, avoiding excessive embellishments. Instead, he focuses on EQ adjustments and picking nuances to faithfully reproduce the acoustic’s natural sound on stage.

Equally important is his “optimization for each song.” For songs requiring vigorous strumming, he emphasizes high frequencies for sharpness, while in pieces centered around arpeggios, he boosts the midrange for warmth. This flexibility reflects not just a player but a producer’s perspective, allowing him to oversee the ensemble’s overall sound.

For beginners aspiring to achieve Sakazaki’s sound, it is not necessary to invest in high-end guitars or vintage models. Instead, focusing on “understanding the guitar’s character and adjusting EQ, picking, and reverb accordingly” is the key to success. Affordable YAMAHA acoustics, BOSS spatial effect pedals, or Zoom’s acoustic multi-effects can effectively recreate the essence of Sakazaki’s sound.

In conclusion, Kōnosuke Sakazaki’s sound design is characterized by “adjustment techniques that draw out the instrument and performer’s individuality rather than relying on flashy effects.” This is where his true artistry lies. Sakazaki’s style, which has supported THE ALFEE’s grand sound, offers universal insights for all acoustic guitar enthusiasts. By incorporating the “beauty of minimalism” into your own guitar playing, you too can achieve a natural yet impactful sound akin to Sakazaki’s.