[Koji Nakamura] How to Recreate the Supercar Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Koji Nakamura, the guitarist, vocalist, and keyboardist of Supercar, is a pivotal figure in shaping the band’s sound design. His approach to sound creation is characterized by a unique texture that blends the rawness of rock with the ethereal quality of electronic music. Rather than focusing solely on the guitar’s tone, he emphasizes a “total resonance” that includes synthesizers and samplers, setting Supercar apart from traditional band sounds.

In the iconic track “STROBOLIGHTS,” Nakamura layers simple chord strums with electronic textures to create a spacious sound. Meanwhile, “YUMEGIWA LAST BOY” features tight cutting based on a Telecaster, complemented by reverb-laden synth sounds, crafting a cool and futuristic sonic landscape.

Nakamura’s playing style is not about flashy solos; instead, he focuses on minimalistic phrases and chord progressions that enhance the song’s texture. He tends to adjust his sound between clean and crunchy tones, allowing his guitar to blend seamlessly with synthesizers and rhythm machines.

As a player who transitions between guitar and keyboard, he actively utilizes Roland’s MIDI keyboards and the E-MU Proteus 2000 sound module, creating tracks based on Apple Logic. This fusion of band sound and DAW was quite advanced for the J-ROCK scene at the time and has influenced the later electro-rock and city pop revival.

The reason Nakamura’s sound garners attention lies in his ability to create “simple yet impactful guitar tones” and a “natural fusion of technology and band sound.” Studying his playing offers insights into not just guitar performance but also the perspective of “designing the entire music.”

In the following sections, we will organize the amplifiers, guitars, and effects used by Koji Nakamura (Supercar) and thoroughly explain the key points of his sound creation.

▶ Search official YouTube videos of Supercar

List of Amplifiers and Features

In the sound creation of Supercar, the amplifiers used by Koji Nakamura are directly linked to the band’s sonic identity. Notably, he is confirmed to have used the unique Japanese brand amplifier, the JUGG BOX STUFF 060G, and the vintage-sounding Ampeg Locketverb. These choices reflect a distinctiveness that symbolizes Supercar’s sound, setting them apart from mainstream amplifiers of the time.

The JUGG BOX STUFF 060G is a handmade Japanese amplifier known for its transparent clean tone and moderate compression. Nakamura’s playing style favored soft clean to crunch tones that blend well with synthesizers and samplers rather than aggressive distortion. This amplifier’s character aligns perfectly with his needs, as evidenced by live footage and recordings that showcase a unique thickness in the mid-low frequencies while preserving the original guitar tone.

The Ampeg Locketverb is a reverb-equipped guitar amplifier from the renowned American bass amp manufacturer, Ampeg. It possesses a brightness similar to Fender amps but features a unique mid-range warmth, making it highly compatible with Supercar’s songs, which emphasize spatial resonance. Tracks like “WHITE SURF style 5.” and “Love Forever” likely relied heavily on the reverb sound produced by the Ampeg amp.

In the studio, production primarily revolved around DAW work using Apple Logic, suggesting that the amplifier’s presence was more pronounced during live performances. At the time, it was common to combine line recording with mixing processes rather than directly capturing the amp’s sound, so while the amp’s characteristics may not have been fully reflected in the recordings, it undoubtedly served as a foundation for sound creation during live shows.

Some fan sites and social media information suggest the possibility of using Fender-style amplifiers, but the confirmed models are the JUGG BOX STUFF 060G and Ampeg Locketverb, which are assumed to be the core of Nakamura’s guitar sound.

By utilizing these amplifiers, it is assumed that Nakamura crafted the “cool and futuristic resonance” essential to Supercar’s music.

Types of Guitars Used and Features

The most famous guitar used by Koji Nakamura is the Squier Telecaster Model. While many think of the classic Fender model when referring to a Telecaster, Nakamura favored the Squier brand and customized it to pursue his unique sound.

Specifically, he replaced both the front and rear pickups with humbuckers, an initiative inspired by a project in the magazine “GIGS.” This modification allowed him to achieve a thicker, mid-range sound rather than the sharp, single-coil tone typically associated with Telecasters. This choice ensures that his sound stands out when blended with electronic sounds from synthesizers and samplers.

In live performances, his playing often leans towards a clean, crunchy tone without excessive distortion, showcasing his cutting style. Thus, the modified Telecaster functions as a “hard yet cool guitar that harmonizes with electronic sounds.”

After the pickup modification, the characteristic sharp high frequencies of the Telecaster were somewhat subdued, resulting in a denser mid-range. This tonal quality is particularly prominent in tracks like “YUMEGIWA LAST BOY” and “FREE FALL,” where even minimal phrases contribute significant weight to the overall composition.

Nakamura’s choice of guitar reflects a desire to break the stereotype of “guitar as the main instrument” in band sound, instead aiming for a sound that resonates equally with synthesizers and rhythm tracks. Consequently, opting for a Squier over a high-end guitar and customizing it embodies the band’s experimental spirit and forward-thinking approach.

While some fan sites and interviews suggest he may have also experimented with Fender Telecaster Customs or Jaguars, the confirmed model remains the modified Squier Telecaster. Although there may be a secondary guitar, the modified Telecaster is assumed to be his primary instrument.

Thus, Koji Nakamura’s guitar choice is not about “expensive gear” but rather “customization that fits his musical style,” reflecting the band’s experimental spirit and innovation in sound creation. His Squier Telecaster is truly an iconic instrument for Supercar.

Effects and Pedalboard Setup

Koji Nakamura of Supercar is believed to have emphasized “minimalism” in his choice of guitar effects. The essence of his sound lies not in the distortion or effects of the guitar alone, but in the fusion with synthesizer sounds and samplers. Therefore, rather than using a wide array of effects, his setup likely focused on basic spatial effects that complemented the amp’s characteristics.

It has been confirmed that he actively used reverb in combination with the Ampeg Locketverb, along with delay and modulation effects like chorus as supplementary elements. This setup allowed the guitar to play a role in creating a floating sensation, blending seamlessly with electronic beats and keyboards.

Live footage and interviews reveal a simple pedalboard centered around BOSS compact effects. The most likely candidates include the BOSS DD series (Delay) and BOSS CE series (Chorus), which were popular among many Japanese artists during the late 1990s and early 2000s, aligning with Supercar’s active period. It is assumed that compressor and overdrive effects were used sparingly and only as needed.

The choice of effects seems to prioritize “live reproducibility” and “sound clarity.” By avoiding deep distortion that could clash with synthesizers and drum machines, Nakamura favored transparent spatial effects. This approach is relatively unique among guitarists and plays a significant role in supporting Supercar’s modern and cool sonic aesthetic.

Additionally, given that Apple Logic was used as the primary DAW, it is likely that a simple pedalboard was utilized for live performances, while plugin-based spatial processing was employed during recording. Therefore, even if the physical number of pedals was limited, the completed sound in the recordings likely benefited significantly from the effects.

Below is a table summarizing the effects used or assumed to be used by Koji Nakamura.

In summary, Koji Nakamura’s pedalboard embodies the concept of “minimal yet effective,” avoiding excessive reliance on gear while selecting effects that align with the overall sound of the music.

Tone Settings, EQ, and Mixing Approaches

Koji Nakamura’s sound creation in Supercar’s music goes beyond merely pursuing guitar tones; it delves into total sound design. The guitar serves not as a lead instrument but as a texture that supports the overall composition, showcasing unique approaches in EQ and mixing.

When using the JUGG BOX STUFF 060G, the amp settings likely centered around clean to crunch tones, with low gain settings (around 1-3), treble adjusted towards the mid-range, and bass kept minimal. This setup ensured that the guitar did not clash with the bass or synthesizers, allowing it to stand out. Similarly, when using the Ampeg Locketverb, it is assumed that the reverb depth was adjusted per track to avoid excessive spaciousness.

In terms of EQ, it is believed that a strong low-cut was applied during mixing to eliminate frequencies below 100Hz, ensuring separation from the bass and kick. The mid-range (around 500Hz to 1.5kHz) was likely slightly boosted for natural ear reach, while high frequencies were not overly emphasized to avoid interference with synthesizers and vocals during mastering.

For instance, in “YUMEGIWA LAST BOY,” the guitar cutting blends into the overall rhythm, with a slight emphasis on the mid-range, creating a balance of coldness and warmth. In contrast, “STROBOLIGHTS” features thin delay and reverb, intentionally blurring the edges to integrate seamlessly with the synth sounds.

Regarding effects usage, reverb was likely kept on lightly at all times, with delay added depending on the track. The BOSS DD-3 digital delay, in particular, played a role in providing spatial depth, emphasizing the beat with tempo-synced delay times. Chorus was also used variably, allowing the guitar to blend in as part of the synthesizer.

On the mixing side, it is assumed that the guitar was not overly spread in stereo but rather positioned closer to the center, ensuring separation from the densely layered electronic tracks. While synthesizers and vocals provided spaciousness, the guitar was kept tight to maintain balance, resulting in Supercar’s unique sound balance that remains easy to listen to despite its complexity.

Furthermore, during track production using DAW (Apple Logic), it is likely that Nakamura employed a combination of line recording and plugin processing rather than relying solely on amp and pedal crafting. Compression and EQ adjustments were likely handled through plugins, indicating a distinct approach between live and studio settings.

Overall, Nakamura’s setup can be described as “stripped-down sound creation.” By eliminating unnecessary distortion and emphasis, he achieves a cohesive sound with minimal processing. This is why Supercar’s music continues to sound modern and fresh even today. This stance presents a new image of a guitarist who does not assert themselves solely through their instrument but instead supports the texture of the entire music.

Affordable Alternatives to Recreate the Tone

The sound created by Koji Nakamura in Supercar is unique and futuristic, yet it does not necessarily require expensive gear. Here, we introduce alternative equipment that is relatively accessible for beginners and intermediate players (priced around $100 to $500) to help recreate Nakamura’s sound.

Guitar Section
To replicate his main Squier Telecaster (humbucker-modified version), a good starting point is to acquire an entry-level Squier Telecaster. The standard model features single-coil pickups, but replacing them with humbuckers later can help achieve a thicker mid-range tone similar to his. This is a practical choice for those aiming for the Supercar sound, as it is customizable and budget-friendly.

Amplifier Section
While the original JUGG BOX and Ampeg Locketverb are hard to come by, suitable alternatives for clean to crunch tones include the “Fender Champion 50XL” and “Roland JC-22.” The Roland JC series, in particular, offers transparent clean tones that blend well with spatial effects, making it ideal for creating sounds that mix with synthesizers and rhythm machines.

Effects Section
The reverb, delay, and chorus that supported Nakamura’s sound can be replicated with BOSS compact effects. The BOSS DD-8 (delay) is highly versatile and features tempo sync functionality, making it easy to match the track’s rhythm. For reverb, the BOSS RV-6 and for chorus, the CE-5 are stable current models that can effectively mimic his spatial guitar sound. Their user-friendly nature is also appealing for beginners.

Multi-Effects Section
For those seeking a more streamlined solution, entry-level multi-effects units like the BOSS GT-1 or ZOOM G3n can be effective. These units can cover reverb, delay, and chorus in one device, allowing for a simple setup to create Supercar-like sounds. They are particularly advantageous for home practice or recording environments, functioning similarly to plugins.

By utilizing such equipment, it is possible to recreate Koji Nakamura’s “non-intrusive guitar sound that blends into the space” at a relatively affordable cost. The key is not merely to acquire the same gear but to focus on “sound creation that utilizes space.” Understanding this will enable you to achieve a Supercar-like resonance even with budget-friendly equipment.

By effectively combining accessible equipment, it is possible to recreate Koji Nakamura’s “stripped-down futuristic sound.”

Summary and Conclusion

Reflecting on Koji Nakamura’s sound creation in Supercar, the essence lies in “not allowing the guitar to assert itself as a standalone instrument but rather functioning as part of the overall texture of the music.” Rather than the typical “distorted lead guitar” found in rock bands, he presented a “futuristic feel” that emerges from blending with synthesizers, samplers, and programmed elements from an early stage.

The modified Squier Telecaster used as his main guitar is not an expensive instrument. However, by replacing its pickups with humbuckers, he emphasized the mid-range, establishing a unique presence. He also opted for distinctive models like the JUGG BOX and Ampeg instead of standard Fender options. By combining reverb and delay spatial effects, he achieved Supercar’s unique sound that coexists with both coldness and warmth.

Crucially, his sound creation was always based on the principle of “stripping down.” He avoided unnecessarily increasing the number of effects, applying only the minimum necessary processing. By utilizing DAW (Apple Logic) and sound modules (E-MU Proteus 2000) to balance the overall sound, the guitar existed as “one element” while playing a significant role in shaping the entire impression of the track.

If you aim to approach Koji Nakamura’s sound, it is more important to adopt a perspective of “not asserting the sound too much” and “leaving space” rather than simply acquiring expensive gear. The guitar’s sound is just one piece of the overall composition, and effects and EQ should be added “only as needed.” This minimalism is what keeps Supercar’s sound fresh and timeless.

In summary, Koji Nakamura’s sound creation can be encapsulated in three points:

• 1. Sound creation that functions within the overall resonance rather than as a standalone guitar.
• 2. Pursuit of an “original sound” through modifications and unique equipment choices.
• 3. An approach that utilizes minimal processing with EQ and reverb to capitalize on space.

Understanding this philosophy and applying it to your own equipment environment will allow you to recreate the “Supercar essence” without being constrained by price or brand. In essence, the key point of Koji Nakamura’s sound creation lies in “thought rather than equipment.”

When you strive for a futuristic sound like Koji Nakamura’s on guitar, the most important aspects are “the courage to reduce sound” and “the perspective of designing the whole.”