[Kojirō Sasaki] How to Recreate the Aimer Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Aimer’s live performances and recordings feature the guitar work of Kojirō Sasaki, whose sound evokes a sense of “warmth” and “depth” for many listeners. Rather than merely supporting the band as a guitarist, he envelops the singer’s voice, enhancing the overall atmosphere of the songs and creating a more three-dimensional experience.

His playing style is characterized by emotional and delicate arpeggios, dynamic chord work, and the ability to switch to aggressive drive sounds seamlessly. Iconic tracks like “Chōchō Musubi” and “Kataomoi” showcase his delicate clean tones, while songs like “STAND-ALONE” and “Zankyō Sanka” highlight his powerful drive sounds.

Moreover, Kojirō doesn’t limit himself to electric guitars; he also employs acoustic guitars and violins, contributing to the wide musicality of Aimer’s songs. Particularly in acoustic sections, he creates a rich sound that significantly enhances the band’s overall dynamics.

His gear selection is meticulous, incorporating high-end amplifiers from brands like Bogner and Mesa/Boogie, along with high-quality effects primarily from FREE THE TONE. This combination allows him to achieve a unique sound that embodies “transparency,” “three-dimensionality,” and “thickness” simultaneously.

As a result, audiences and listeners naturally remember his sound as “a narrative guitar that enhances Aimer’s vocals.” During live performances, he skillfully switches equipment according to the song’s context, while in studio work, he demonstrates a professional approach through delicate EQ adjustments and reverb effects.

This article will delve into Kojirō Sasaki’s sound design, focusing on the amplifiers, guitars, and effects he uses, along with detailed explanations of his setups and how to recreate similar sounds. We will also provide specific gear links and alternative options for readers who wish to achieve a comparable tone in their own environments.

First, check out the official music videos to experience his sound firsthand.

▶ Search official YouTube videos of Aimer

List of Amplifiers and Features

Kojirō Sasaki primarily uses high-end amplifiers from brands like Bogner and Mesa/Boogie for Aimer’s live performances and recordings. These amplifiers are favored by top guitarists both domestically and internationally, known for their “three-dimensional sound,” “wide range of distortion textures,” and “excellent note clarity.”

One of the standout amplifiers is the Bogner Ecstasy. This amp offers a wide range of sound creation, from clean to heavy drive, with particularly notable clean tones that exhibit transparency and depth. In Aimer’s songs, it contributes significantly to the soft tones that envelop the vocals and the presence in quiet arpeggios. Additionally, he pairs it with a compact Bogner cabinet, often referred to as a “mini cab,” which allows for easy transport and setup while ensuring sufficient sound pressure at live venues.

For more aggressive tracks and powerful band sounds, he utilizes the Mesa/Boogie Dual Rectifier. This amp produces thick and aggressive drive sounds, making it indispensable for intense songs like “Zankyō Sanka” and “STAND-ALONE.” The characteristic low-end distortion of Mesa amplifiers creates a sound that overwhelms audiences during live performances.

It has been confirmed that he also uses a Kerry Wright cabinet. This custom cabinet allows for delicate tonal expression and is likely used in conjunction with both Bogner and Mesa amps to achieve a broad range of tonal colors.

By selecting amplifiers according to the situation, Kojirō Sasaki balances the necessary thickness and transparency of sound for Aimer’s songs. Particularly in live settings, he aims to maintain the overall sound balance of the band while highlighting the vocals.

By combining these amplifiers, he achieves a wide range of expressions from transparent cleans to thunderous distortions.

Types of Guitars Used and Features

Kojirō Sasaki employs a wide range of guitars for Aimer’s live performances and recordings, from vintage to modern custom models, selected according to the atmosphere of each song. In addition to staples like the Jazzmaster and Stratocaster, he also uses acoustic guitars and violins, greatly expanding the sound range.

Particularly noteworthy is the Fender Jazzmaster (1963 model). Its vintage warmth and depth make it ideal for Aimer’s ballads and quieter songs, allowing for soft yet defined tones through its unique tone control and switching mechanisms.

On the other hand, the Fender Stratocaster MBS “Gene Baker” is a top-tier model from the Master Built series, versatile enough for a wide range of genres. It offers a bright clean tone and a soaring lead tone when distorted, making it particularly effective in powerful songs like “Zankyō Sanka.”

Additionally, the TONE BLUE Telecaster Custom combines the sharpness of single-coil pickups with a robust sound. It likely supports rhythm parts during live performances with its crisp chord playing.

In acoustic settings, he frequently uses a Huss & Dalton guitar, producing delicate and rich sounds for fingerpicking. Furthermore, the YAMAHA LL26 Custom boasts stability and clarity, making it a long-time favorite for live and studio recordings.

Notably, Kojirō is also seen playing the Violin “Paolo Vettori”. In Aimer’s ethereal songs, the inclusion of the violin adds a classical texture, further broadening the band’s sound.

By using these guitars appropriately for different scenes, Kojirō Sasaki serves as a “multi-player” capable of creating a diverse sound world, which is essential to Aimer’s musical identity.

In this way, Kojirō Sasaki’s diverse guitar choices support Aimer’s ethereal sound world.

Effects and Pedalboard Setup

Kojirō Sasaki’s pedalboard is composed of high-end and reliable equipment, primarily from FREE THE TONE. This setup provides stability for live and recording sessions, along with the flexibility to switch between different textures for each song.

The core of his board is the FREE THE TONE ARC-3 (Switching System). This allows for one-touch switching between complex effect combinations, significantly enhancing usability during live performances. He also uses FREE THE TONE’s compressor “SILKY COMP,” chorus “TRI AVATAR,” and delay “FLIGHT TIME,” which contribute to a transparent sound and three-dimensional spatial quality.

For distortion effects, he employs the Xotic AC Booster, Suhr Riot, and the legendary Ibanez TS808HW. These provide a wide range from clean boost to heavy distortion, allowing for sound shaping according to the dynamics of the songs. Particularly in powerful tracks like “Zankyō Sanka,” he likely utilizes the Riot and TS808HW, while the AC Booster is favored for warm, smooth overdrive in sections requiring it.

Additionally, he uses the Empress ParaEq for precise equalization and the Demeter Tremulator to add modulation, allowing for nuanced control depending on the song. The Shin’s Music Perfect Volume pedal enables smooth volume control, adjusting the balance with vocals delicately.

For power supply, he uses the FREE THE TONE PT-1D, which provides stable voltage to all effects. The FREE THE TONE JUNCTION BOX (JB-82S modified version) optimizes the signal path and minimizes noise, showcasing his professional attention to detail.

By skillfully combining these effects, Kojirō Sasaki covers everything from “delicate arpeggios to powerful band sounds,” supporting the world of Aimer’s music. Overall, his board is designed with an emphasis on “transparency,” “usability,” and “reliability.”

In this way, Kojirō Sasaki’s pedalboard features a balanced arrangement of “spatial effects,” “distortion effects,” and “control systems,” allowing for instant switching to achieve the optimal sound for each song.

Tone Settings, EQ, and Mixing Approaches

Kojirō Sasaki’s sound design focuses not just on the guitar’s sound but on how to envelop Aimer’s voice and support the song’s world. Therefore, his settings for amplifiers and effects, as well as EQ balance and spatial processing, are crafted with meticulous attention to detail.

Regarding amplifier settings, when using the Bogner Ecstasy, he likely opts for a clean channel with “slightly reduced treble and boosted midrange.” This approach creates a soft sound image that does not interfere with Aimer’s vocals. Conversely, with the Mesa/Boogie Dual Rectifier, he emphasizes “mid-low frequencies while slightly raising the presence,” crafting a powerful and prominent drive tone that supports the song’s dynamics.

In EQ processing, he utilizes the Empress ParaEq to finely control the guitar’s frequency range. For example, in arpeggio-driven songs, he might boost around 2kHz to highlight attack, while in sections where he wants to add thickness to the ensemble, he could slightly elevate the 200Hz to 400Hz range to enhance the bottom end.

Spatial processing is also crucial, with the FREE THE TONE FLIGHT TIME delay typically set to “stereo delay around 400ms,” which adds depth to Aimer’s voice. Additionally, mixing in a subtle chorus from the TRI AVATAR creates a three-dimensional soundscape, contributing to a fantastical atmosphere. Reverb is often a combination of amp and PA reverb, aiming for a setting that is neither too deep nor too shallow, targeting a balance between hall and room.

Live and studio approaches differ; during live performances, he emphasizes midrange to create a sound that cuts through the mix. In contrast, for studio recordings, he opts for broader frequency ranges and settings that expand the stereo field, maximizing the song’s atmosphere. Particularly in tracks like “Kataomoi” and “Chōchō Musubi,” delicate EQ and spatial processing are prioritized, while for “Zankyō Sanka” and “STAND-ALONE,” the thickness of the drive sound is critical, necessitating switching amp channels and combining distortion effects.

Moreover, the use of the volume pedal (Shin’s Music Perfect Volume) is a key point, allowing for smooth volume control during performances, enhancing the song’s dynamics in harmony with the vocals. This indicates that the guitar functions as an accompaniment to support the song rather than asserting itself independently.

Ultimately, during the PA and engineering stages, it is crucial to adjust the guitar’s frequency range to avoid clashing with vocals, piano, and strings. For instance, processing the high frequencies above 3kHz moderately ensures Aimer’s voice stands out while allowing the guitar to maintain presence in the lower ranges. This “subtracting sound design” approach leads to a harmonious ensemble overall.

In summary, Kojirō Sasaki’s sound design is built on “EQ that supports the voice,” “amp switching for different scenes,” “meticulous spatial processing,” and “differentiation between live and studio.” It is not just about the performance of the equipment but the artistry of the settings that culminate in the unique Aimer sound.

Affordable Alternatives to Recreate the Tone

The gear that Kojirō Sasaki uses primarily consists of high-end models from Bogner and Mesa/Boogie, as well as premium effects from FREE THE TONE. Therefore, it can be quite costly for beginners or intermediate players to assemble the same setup. Here, we will introduce alternative gear that can achieve a “similar sound” at a relatively reasonable price (around $100 to $500, with a maximum of $1,000).

For amplifiers, acquiring expensive tube amps like Bogner or Mesa/Boogie can be challenging. However, the BOSS Katana series can cover a wide range from clean to high gain, successfully replicating the transparency and thickness needed for Aimer’s songs. The Katana Artist MkII, in particular, is equipped with versatile EQ and effects, making it a versatile amp for both live and practice settings.

For distortion pedals, while the Xotic AC Booster, Suhr Riot, and Ibanez TS808HW that Kojirō uses are quite expensive, alternatives like the BOSS SD-1 Super OverDrive and JHS Angry Charlie can reproduce similar characteristics at a more affordable price. The SD-1, especially, has a mid-range boost characteristic typical of TS models, allowing for a warm distortion that does not interfere with vocals, closely resembling the sound heard in Aimer’s music.

In terms of spatial effects, while the FREE THE TONE FLIGHT TIME and TRI AVATAR are ideal, alternatives like the TC Electronic Flashback 2 Delay and MXR M234 Analog Chorus are worth considering. These offer professional-quality performance at lower prices, providing transparent delay and expansive chorus effects.

For compressors, selecting the BOSS CS-3 Compression Sustainer as an alternative to the FREE THE TONE SILKY COMP allows for stable clean tones and balanced arpeggios. Choosing the classic Ernie Ball VP Jr. as a volume pedal provides a similar operation to the Shin’s Music Perfect Volume.

In summary, it is essential to focus on “grasping the essence of sound design with affordable alternative gear” rather than merely replicating high-end equipment. By emphasizing the clarity of clean tones, the mid-range balance of distortion, and the three-dimensionality of spatial effects, it is possible to achieve a tone similar to Kojirō Sasaki’s.

By utilizing these alternative pieces of gear, even beginners can relatively affordably recreate sounds similar to Aimer’s music. The key is to focus on “which frequency ranges to emphasize and what spatial processing to add” to approach Kojirō’s tone without relying solely on professional equipment.

Summary and Conclusion

Reflecting on Kojirō Sasaki’s sound design, its essence lies in “the diverse control of tones to support the vocals.” Rather than stepping forward as just a guitarist, he adapts his sound flexibly to maximize the impact of Aimer’s voice. This approach is the hallmark of his sound.

His gear ranges from high-end amplifiers like Bogner and Mesa/Boogie to premium effects from FREE THE TONE, as well as vintage Jazzmasters, high-quality acoustics, and even violins. This extensive selection of equipment serves as the foundation for achieving “transparent cleans,” “thick drives,” and “fantastical spatial effects.”

Moreover, his meticulous EQ adjustments and use of delay/chorus effects demonstrate careful consideration, always centering his sound design around Aimer’s vocals. For instance, he emphasizes midrange in live settings to ensure clarity in the mix, while in studio recordings, he prioritizes a wide frequency range and depth to enhance the song’s atmosphere.

Importantly, his sound is not merely a “combination of gear” but a means of expression that supports the narrative of the songs. The delicate arpeggios heard in Aimer’s ballads, the heavy riffs in intense rock tracks, and even the classical tones from the violin all merge as part of his playing style and sound design.

When beginners seek to replicate this sound, they do not need to copy the gear exactly. Instead, they should focus on the philosophy of “sound design that enhances the vocals,” paying attention to EQ and spatial effects to achieve harmony between voice and guitar. By using affordable alternative gear with this mindset, they can successfully recreate a similar atmosphere.

In conclusion, Kojirō Sasaki’s sound is built on three pillars: “professional gear selection,” “meticulous settings,” and “a philosophy that supports the vocals.” Understanding this allows guitarists to adopt a perspective of “designing music” rather than merely playing notes. This, indeed, is the essence of his sound and what makes Aimer’s music unique.