[Masafumi Gotoh] How to Recreate the ASIAN KUNG-FU GENERATION Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masafumi Gotoh, the frontman and guitarist of ASIAN KUNG-FU GENERATION, has crafted a unique sound within the Japanese rock scene, heavily influenced by 90s alternative rock and US indie music. His guitar tone is characterized by “simple yet impactful chord work,” “sharp cutting,” and “warm tones that support the vocals.” Iconic tracks like “Rewrite,” “Soranin,” and “Kimi to Iu Hana” showcase his ability to create powerful riffs and thick chords that resonate with many listeners.

The reason Gotoh’s sound stands out is his approach to gear selection and tone crafting, which emphasizes a natural synergy with the music rather than excessive processing. For instance, his main guitars, the Gibson Les Paul Junior and Les Paul Special, feature the powerful P-90 pickups typical of single-cut models, delivering a raw midrange that beautifully intertwines with his vocal style. Additionally, he often pairs these guitars with amplifiers like the Fender Twin Reverb and Super-Sonic 60, creating a simple yet versatile setup that covers a wide range of tones from clean to distorted.

In live performances, Gotoh employs a system where “Twin Reverb = Clean,” “Super-Sonic 60 = Distortion,” “Vibro-King = Cabinet,” and “Tube Reverb = Enhanced Reverb.” His pedalboard operates in a series connection without a switcher, treating stepping on pedals as part of the performance. This philosophy reflects his aesthetic of integrating effects like delay and reverb into the music rather than using them as mere embellishments.

Ultimately, Masafumi Gotoh’s sound is built not on extravagant gear but on mastering simple combinations. This results in a tone that feels human and enhances the persuasive power of ASIAN KUNG-FU GENERATION’s music.

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List of Amplifiers and Features

At the core of Masafumi Gotoh’s tone crafting are classic Fender amplifiers and a supporting array of gear. His setup is simple yet meticulously constructed, with clean tones and distortion switching, as well as the quality of reverb playing a crucial role. The Fender Twin Reverb is a staple in his rig, particularly the 1965 and 1968 models, known for their overwhelmingly clean sound and wide headroom. The “solid clean” that supports Gotoh’s chord work and cutting is largely attributed to this Twin Reverb, making it an essential component both in studio recordings and live performances.

For situations requiring more distortion, the Fender Super-Sonic 60 comes into play. This amplifier allows switching between clean and high-gain channels, with Gotoh primarily using it for distorted sounds. Tracks like “Rewrite” and “Kimi to Iu Hana” are supported by the driving sound of this Super-Sonic, making it a key element in delivering a powerful rock sound.

Another indispensable part of his sound is the Fender Vibro-King, used as a speaker cabinet to output the sound from the Twin Reverb and Super-Sonic robustly. By routing through the Fender ’63 Tube Reverb, the reverb effect is enhanced, creating a spatially expansive sound. This combination has become a standard “basic system” for live performances.

In the past, Gotoh also used the Roland JC-160 as his main amplifier. The quick-responding clean tones characteristic of the JC series contributed to the early ASIAN KUNG-FU GENERATION sound’s hardness. However, it is reported that he no longer uses it. Recently, he has been exploring new sound possibilities with the domestic brand SHINOS & L ROCKET, indicating a willingness to innovate.

Overall, Gotoh’s choice of amplifiers is marked by a clear distinction between “the beauty of clean” and “the power of distortion.” His simple setup is flexible enough to adapt from live houses to arenas, fitting seamlessly with ASIAN KUNG-FU GENERATION’s musical style. Confirmed information indicates that the Twin Reverb and Super-Sonic 60 are central to his rig, with the Vibro-King and Tube Reverb being used as needed.

Types of Guitars Used and Features

Masafumi Gotoh is strongly associated with the Gibson Les Paul Junior, and his current main guitar is a testament to this lineage. He owns several variations, including a red John Lennon model and a 1961 version, both featuring the P-90 pickups known for their “raw and thick midrange.” The powerful chord riffs in tracks like “Rewrite” and “Soranin” are generated from this Les Paul Junior. Its simple construction allows the unique tonal character to shine through, blending seamlessly with his vocal style.

Another favorite is the Gibson Les Paul Special. He owns multiple models, including a DC (double cutaway) reissue from 1959 and a faded red version, which offers a slightly softer attack compared to the Junior. Like the Junior, it is equipped with P-90 pickups, making it ideal for songs that require delicate nuances or backing.

Gotoh also possesses a Gibson Les Paul Standard, which has a notable history, including a time when it was lent to Takashi Hosomi of ELLEGARDEN. While it serves more as a secondary guitar in his rig, it boasts the classic thickness and sustain characteristic of Les Pauls, adding a historical touch to his collection.

Previously, he prominently used the Gibson Marauder, owning two of this model during the band’s early to mid-period. It aimed for a Fender-like sound, featuring a unique clean tone and distortion compatibility, but it is now rarely used.

Acoustic guitars are also a vital part of his setup. He owns the Gibson Hummingbird and Gibson J-45, which are his go-to instruments for live performances involving acoustic arrangements. The Hummingbird is rich in mid to low frequencies and ideal for strumming, while the J-45 is versatile, perfect for highlighting vocal nuances.

In summary, Gotoh’s guitar selection is characterized by a straightforward and intuitive approach tailored to the character of each song. He primarily relies on the powerful tones of Les Pauls while emphasizing warmth in his acoustic selections. By avoiding excessive processing with effects, he allows the nuances of his picking and the individuality of the guitars to shine through. Confirmed information indicates that the Les Paul Junior is currently his main guitar, but he likely switches between the Special, Standard, and Hummingbird depending on the song or context.

Effects and Pedalboard Setup

Masafumi Gotoh’s pedalboard is characterized by a lack of flashy switching systems, opting instead for a series connection where each pedal is treated as part of the performance. His selection of effects is diverse, incorporating everything from spatial effects to drive, boosters, and tremolo. Notably, the BOSS DD series (DD-5 / DD-6 / DD-20) is well-known for his use, allowing him to adjust nuances across different tracks by utilizing multiple delay units. Recently, he has also incorporated unique delays like the EarthQuaker Devices Avalanche Run and Caroline KILOBYTE, enhancing spatial depth and lo-fi textures in his sound.

For drive effects, he utilizes the Ibanez TS-808 / TS-9 as a booster, allowing the Fender Super-Sonic 60 to handle the basic distortion while adding thickness to solos and riffs. Additionally, he incorporates boosters like the JHS SuperBolt and FAT 514.D, enabling him to craft a variety of distortion textures for different songs.

In terms of modulation, Gotoh favors the BOSS PH-2 and Mu-Tron/Mu-FX Phasor 2X, which add depth through phasing effects. He also employs tremolo effects like the CAJ Twin Tremolo and Spaceman Voyager I, adding a dreamy quality to arpeggios and clean parts. This careful selection of effects allows him to create depth even with simple chord progressions.

For spatial effects, he has integrated the API TranZformer GT (compressor / EQ / preamp) and the Source Audio SA127 Envelope Filter (auto-wah), enabling detailed sound crafting. Furthermore, the strymon Zuma R300 serves as a reliable power supply, ensuring stability during live performances.

In the past, he has also used classic distortion pedals such as the Electro-Harmonix Big Muff Pi Original, BOSS DS-2, and Pro Co RAT2, which supported a more aggressive sound in his early work. However, he has shifted towards a more nuanced sound, combining spatial effects and multifunctional pedals to create his current tone.

This diverse array of effects in a series connection embodies Gotoh’s style of “avoiding complexity while achieving a wide range of tones.” By using multiple delay units, he adds different resonances to the same phrases across various songs, providing valuable insights for guitarists looking to emulate his sound. Confirmed information indicates that the DD-6 and TS series overdrives are central to his setup, but he is actively experimenting with new gear.

Tone Settings, EQ, and Mixing Approaches

Masafumi Gotoh’s sound crafting is supported by a simple yet precise setup. His tone serves as “a guitar that enhances the vocals,” ensuring that the guitar does not overpower but rather contributes to the overall thickness of the band. Therefore, adjustments to amplifiers and EQ, as well as the selection of delay and reverb, are crucial, along with coordination with the PA system.

As for amp settings, the clean Fender Twin Reverb is often set to “volume 4-5,” “treble 5-6,” “mid 5,” and “bass 4,” providing a clean yet pronounced midrange. The Super-Sonic 60 is utilized for distortion channels, with gain kept moderate (around 4-5) to maintain drive without compromising chord clarity. This allows for clear articulation even in powerful riffs like those in “Rewrite.”

In terms of EQ adjustments, Gotoh places significant importance on midrange presence. The P-90 pickups in the Les Paul Junior and Special naturally emphasize midrange frequencies, so he tends to keep bass and treble lower while balancing the mids to create a guitar sound that “supports the vocals without interference.” Excessive low frequencies can clash with the bass guitar, while too much high end can compete with the vocals, leading Gotoh to consistently aim for a sound that “runs alongside the vocals.”

The use of effects is also crucial. For example, the BOSS DD series delay is subtly adjusted for repeat counts and delay times depending on the song, ensuring that echoes from arpeggios or cutting blend seamlessly with the vocals. Unique delays like the Avalanche Run and KILOBYTE are employed to emphasize space in specific tracks, while simple reverb (Tube Reverb or the amp’s built-in spring reverb) is typically used to create an airy feel. Tremolo is applied lightly during arpeggios to create a sense of “floating,” avoiding overly flashy effects.

In terms of mixing approaches, Gotoh’s guitar is often placed closer to the center rather than overly wide in the stereo field. This is likely intentional, as he is also a vocalist, aiming for a “fusion of voice and guitar.” With support guitarists like Hisako Tabuchi and lead guitarist Kensuke Kita panned to the sides, Gotoh’s guitar occupies the center, forming the core of the song. Engineers likely understand this concept, cutting frequencies below 200Hz to avoid clashing with the bass while gently boosting around 2kHz to enhance attack.

Additionally, collaboration with the PA engineer during live performances is essential. The roles of the Twin Reverb and Super-Sonic 60 are reflected in the mixing, with the clean channel slightly pulled back and the distortion channel brought forward. Furthermore, the positioning of microphones (such as placing an SM57 slightly off-center from the speaker) likely alters the character of the sound.

In this way, Masafumi Gotoh’s sound crafting is supported by “fine EQ balancing,” “delicate use of delay and reverb,” and “organization of positioning and frequency in mixing.” While it may appear simple, it is evident that profound adjustments are made.

Affordable Alternatives to Recreate the Tone

Masafumi Gotoh’s sound is supported by an expensive array of vintage Gibsons and Fender amplifiers. However, the “essence of the sound” lies more in the “simple sound crafting that emphasizes midrange.” Therefore, even beginner guitarists or those looking to save costs can utilize affordable gear available on the market to closely replicate his nuances. Here, we introduce equipment that can be acquired for a relatively low cost (around $100-$500).

First, regarding guitars, acquiring Gotoh’s main Gibson Les Paul Junior is challenging and costly, but the Epiphone Les Paul Junior can be obtained for around $500. Equipped with P-90 type pickups, it effectively replicates the rawness and thickness of the midrange. Additionally, its playability and maintenance ease make it an ideal entry-level instrument.

For amplifiers, large tube amps like the Fender Twin Reverb and Super-Sonic 60 are expensive and difficult to manage in terms of volume, making the BOSS Katana series or Fender Champion 40 more practical options. These amps allow for clean and distorted sound switching and feature simple yet versatile EQ settings, suitable for practice and small performances. The BOSS Katana, in particular, offers modeling capabilities to easily approach Gotoh’s amp sound.

In terms of effects, incorporating the delay and booster pedals frequently used by Gotoh can significantly enhance the overall vibe. The classic BOSS DD-7 (delay) can be purchased for around $150, providing ample opportunity to experience the foundation of Gotoh’s delay work. The Ibanez TS9 Tubescreamer serves as a booster, enhancing the presence of solos and riffs, bringing you closer to his “thick sound.”

For reverb, while the Fender ’63 Tube Reverb is quite expensive, alternatives like the TC Electronic Hall of Fame 2 or BOSS RV-6 can serve as excellent substitutes. The RV-6, in particular, features various modes and can create a simple yet deep spatial effect.

In summary, a combination of the Epiphone Les Paul Junior, BOSS Katana amp, and BOSS DD-7 + TS9 + RV-6 can allow you to recreate Masafumi Gotoh’s “simple yet powerful sound that supports the vocals” at an affordable price. The ability to approach the essence of his sound without needing expensive vintage gear is a significant advantage.

Summary and Conclusion

Exploring Masafumi Gotoh’s guitar sound reveals that its essence lies in “simplicity” and “midrange presence.” While he uses top-tier vintage Gibsons and Fender amplifiers, what makes his sound unique is not a complex system but a clear philosophy of “supporting the vocals.” This aligns with the message and literary quality of ASIAN KUNG-FU GENERATION’s songs, reflecting his aesthetic in sound crafting.

Looking back at his live system, the clear role distribution of “Twin Reverb = Clean,” “Super-Sonic 60 = Distortion,” “Vibro-King = Cabinet,” and “Tube Reverb = Enhanced Reverb” serves as the foundation. Adding TS series overdrives and DD series delays creates a rich variety of expressions with minimal switching. The layering of delays and subtle differences in settings significantly contribute to the “depth” of Gotoh’s sound.

In his guitar selection, Gotoh’s style is defined by “focusing on Les Paul Junior models, with clear distinctions for Special, Standard, Marauder, and acoustics like Hummingbird and J-45.” This approach emphasizes “choosing the right tool for the job” rather than seeking a single versatile instrument. This reflects the stoicism inherent in his music.

From a recording and mixing perspective, the “unity of voice and guitar” is a key consideration, with Gotoh’s guitar often positioned centrally. By placing his voice and guitar in the same frequency range, a sense of stability is created for the entire band. This arrangement may not be flashy, but it effectively gives listeners the feeling that “the vocals are coming forward.”

In summary, what can be learned from Masafumi Gotoh’s sound crafting is not to “mimic expensive gear” but to focus on “clear settings with defined roles and an awareness of the song and vocals.” By keeping gear minimal and expanding expression through picking and chord nuances, you can capture the essence of his sound. If readers wish to approach Gotoh’s sound, they should start with a P-90 style guitar, a simple clean amp, and one or two delay pedals, while being mindful not to over-process the sound. This way, the philosophy of “a guitar that supports the vocals” will begin to emerge in their own tone.