[Masaharu Fukuyama] How to Recreate the Masaharu Fukuyama Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masaharu Fukuyama is a renowned Japanese singer-songwriter and actor, but he is also recognized as a “serious guitarist.” His collection of guitars spans from classical to acoustic and electric, showcasing a variety of world-class instruments that have influenced both amateur and professional guitarists alike.

In his iconic song “Sakurazaka,” Fukuyama emphasizes the gentle resonance of the acoustic guitar, while during his appearance in the drama “Love Song,” he utilized a 1956 Gibson J-45. For live performances, the Taylor 814ce serves as his main acoustic guitar. When leaning towards a rock sound, he employs the James Tyler Studio Elite Burning Water, achieving a powerful yet delicate tone.

The reason Fukuyama’s sound garners attention is not just due to his extensive gear collection but also his commitment to selecting the “optimal instrument” based on the song and live situation. His sound embodies a consistent, beautiful tone that ranges from the traditional resonance of classical music to the acoustic expressions of a singer-songwriter, and the rock approaches of electric guitar.

As a result, his sound production serves as an accompaniment that supports his vocals while also allowing him to step forward as a guitarist when needed. The natural blend of singing and guitar creates a sound balance unique to Fukuyama, making it a point of admiration for many fans and players.

Fukuyama’s sound world transcends the typical “vocalist and guitarist” label, showcasing a unique presence that is at the core of his musical identity.

▶ Search official YouTube videos of Masaharu Fukuyama

List of Amplifiers and Features

Masaharu Fukuyama’s amplifier setup reflects his dedication as a “serious guitarist,” showcasing a diverse range of equipment that surprises many when viewed in the context of his live performances. His electric guitar stage presence is characterized by a focus on clean tones and the clarity of distortion, primarily utilizing Fender-style amplifiers.

One of the most notable amplifiers confirmed in his setup is the Fender Super-Sonic. This amp features easily manageable clean and drive channels, frequently spotted in live footage and stage photos. The clean channel delivers a clear tone reminiscent of a jazz chorus, while the drive channel has the depth to handle rock music, making it a cornerstone for his wide-ranging repertoire.

Additionally, the European brand Koch has been observed in his live setup. Known for its warm, tube-like sound and compression, this amp is perfect for acoustic-oriented songs and bluesy phrases. Live photos confirm its placement behind his rack, supporting his sound variations.

Among his rack equipment, the VHT 2150 (power amp) has been spotted in a purple rack case. This high-power amp broadens the range and amplifies the output from Fender-style preamps and multi-effects units. Furthermore, his rack includes a KORG DTR-2000 (tuner) and a Samson wireless receiver, showcasing a professional-grade setup.

When using acoustic guitars, he often employs a Countryman Type85 or L.R. Baggs Para Acoustic D.I. to send signals directly to the PA system, especially in large venues or dome performances. This method helps prevent feedback and ensures sound stability.

Overall, Fukuyama’s amplifier setup embodies both “versatility” and “reliability.” He primarily uses user-friendly channel-switching gear like the Super-Sonic for live performances, while employing line outputs for acoustic guitars. For electric songs, he enhances thickness with a power amp and rack system, while emphasizing the natural resonance of the acoustic in simpler ballads. This “optimal solution for each scenario” is a significant strength in his sound production.

The following table summarizes the amplifiers and rack equipment used by Masaharu Fukuyama. Some of the gear is based on live photos and magazine interviews, and may vary depending on the time period or setup.

In summary, Masaharu Fukuyama’s amplifier setup revolves around Fender amps while incorporating Koch and rack systems for flexible sound production. He effectively utilizes direct outputs for acoustic guitars, ensuring his presence is felt even in simple acoustic arrangements. The evolution of his gear suggests a thorough commitment to “optimal choices based on usage.”

Types of Guitars Used and Features

Masaharu Fukuyama’s collection of guitars is impressively extensive, ranging from classical guitars to acoustic and electric models, showcasing him as a true guitar enthusiast. His meticulous selection of instruments for stage and recording highlights his commitment to choosing the right guitar for each song’s color and arrangement.

Starting with classical guitars, he owns historical masterpieces such as the Ignacio Fleta 1968, Hermann Hauser I 1928, and Robert Bouchet 1959. These instruments are considered the pinnacle of classical guitars, enabling deep tones and delicate touches. They are likely utilized in live performances and recordings of classical pieces, as well as soundtracks for films and dramas.

For acoustic guitars, the Taylor 814ce (with ES1 pickup) is a staple in his live setup. Its reliable electro-acoustic sound ensures balance even in large venues, making it a central piece during dome performances. The Gibson Hummingbird appears in the music video for “Sakurazaka,” delivering a soft yet vibrant tone. In the drama “Love Song,” he used the Gibson J-45 (1956 model), which matches his vocals with a bluesy and robust resonance. Additionally, he employs highly regarded models like the Martin D-45, OM-45, and YAMAHA LLX36C Custom, switching between them based on the song.

When it comes to electric guitars, the James Tyler Studio Elite Burning Water stands out as a symbol of Fukuyama’s sound. Frequently seen in live performances and TV appearances, it combines modern power with subtle nuances. Furthermore, he possesses the Gibson ES-335 (Clapton model), Gibson Les Paul Historic 1959, and a Jimi Hendrix-style painted Flying V, showcasing a genre-defying collection. He also utilizes PRS (Paul Reed Smith) models like the Private Stock and Modern Eagle, adapting his sound from elegant tones to raw rock expressions depending on the song and period.

As evident from his guitar collection, Fukuyama consistently practices “optimal guitar selection based on the song.” He pursues a delicate resonance with exquisite classical guitars, ensures stability with Taylor and YAMAHA for acoustic performances, and expresses rock and blues through the James Tyler and Gibson or PRS electric guitars. This meticulous gear selection adds a unique depth to his music.

The following table organizes the guitars used by Masaharu Fukuyama into classical, acoustic, and electric categories, summarizing their live usage and appearances in music videos.

In conclusion, Masaharu Fukuyama’s guitar collection is a blend of “tradition and modernity.” He achieves depth with classical masterpieces, stability with reliable electro-acoustic guitars, and expresses modern rock tones through James Tyler and Gibson. His ability to select gear based on purpose and era contributes to the uniqueness of his music.

Effects and Pedalboard Setup

Masaharu Fukuyama’s effects pedalboard is meticulously organized, resembling that of a professional guitarist. His setup incorporates multiple multi-effects units and compact pedals, optimized for both acoustic and electric performances.

The most notable piece is the LINE6 M13. This multi-effects unit contains a variety of spatial effects, distortions, and modulations, frequently used in live settings. Its ability to switch scenes per song is a significant advantage, allowing for flexibility across Fukuyama’s diverse repertoire.

In earlier live setups, he also utilized the Yamaha DG Stomp as a preamp and multi-effects unit, demonstrating an early adoption of digital amp simulation. This setup ensured stable sound output for both acoustic and electric performances.

Among compact pedals, the Dunlop Cry Baby (wah pedal) has been confirmed. It’s used to add expression during guitar solos or blues-oriented songs, aligning with his style that emphasizes nuance over flashiness. Additionally, the Ernie Ball Volume Pedal is employed for volume control, facilitating smooth transitions in both acoustic and electric contexts.

For distortion, the BOSS BD-2 (Blues Driver) is part of his setup, with reports suggesting he sometimes uses a Keeley-modified version. This pedal provides a clear bluesy distortion that enhances the guitar’s presence without overshadowing the vocals. The BOSS OD-1 is also integrated, allowing for a more classic overdrive sound.

To manage dynamics, he incorporates the Keeley Compressor, which helps even out the sound during acoustic arpeggios and clean electric performances, creating a pleasant sonic experience.

Overall, Fukuyama’s effects board is characterized by a “simple yet practical” structure. Instead of relying on flashy special effects, he focuses on a combination of spatial and dynamic effects to create a guitar sound that harmonizes with his vocals. In live settings, he can switch quickly with multi-effects, while in the studio, he fine-tunes with compact pedals, showcasing a professional approach to gear selection.

The following table summarizes the effects used by Masaharu Fukuyama. Some items are confirmed based on past live performances and magazine information, and it should be noted that the setup may vary over time.

In summary, Masaharu Fukuyama’s effects board is constructed as a tool to “enhance the song’s atmosphere while harmonizing with the vocals.” The simple yet effective structure allows him to draw out the necessary tones with professional ingenuity.

Tone Settings, EQ, and Mixing Approaches

Masaharu Fukuyama’s sound production goes beyond merely using guitars and effects; it involves meticulous attention to amp channel settings, EQ adjustments, and collaboration with the PA system. This approach stems from his desire to create a sound image that allows him to thrive as both a singer-songwriter and guitarist.

For instance, when using the main live acoustic guitar, the Taylor 814ce, he often sends the signal from the ES1 pickup to a Countryman Type85 D.I., which is then directly connected to the PA system. In this case, the PA engineer typically cuts some midrange (around 500Hz to 800Hz) and tightens the low end (around 100Hz) to create a “clear acoustic guitar sound that does not interfere with the vocals.” Meanwhile, slightly boosting the high end (around 8kHz) enhances the brightness during strumming, resulting in a transparent resonance suitable for ballads and pop songs.

When using classical guitars, the focus is on maximizing the natural sound of the instruments (Fleta and Hauser). To highlight the unique attack of nylon strings, a condenser microphone is often placed near the bridge, balancing the low and high frequencies naturally. During recordings, unnecessary EQ processing is minimized to deliver the “true character of the instrument.”

For electric guitars, the setup often revolves around the James Tyler Studio Elite Burning Water and the clean channel of the Fender Super-Sonic amp, with effects added for flavor. In clean tones, midrange frequencies (400Hz to 1.5kHz) are slightly boosted to add warmth while keeping the low end restrained to prioritize vocal coexistence. When distortion is applied, a light touch of the BOSS BD-2 or OD-1 is combined with the amp’s drive channel to achieve a natural and thick distortion.

In live PA settings, a compressor (Keeley Compressor) is regularly employed to smooth out the volume differences between acoustic and electric guitars. This ensures that the guitar’s presence remains stable within the band ensemble, with the attack set softer for acoustic guitars to maintain naturalness and slightly stronger for electric guitars to enhance rhythm.

Reverb usage is also crucial. For acoustic guitars, a shallow hall reverb is applied to create a sense of presence, while plate reverb is used for electric guitars to enhance dimensionality. Depending on the song, a subtle delay may be added to emphasize spaciousness in ballads, while keeping a tight echo in rock songs to avoid muddiness.

Looking at specific songs, “Sakurazaka” employs EQ that cuts the low end of the acoustic while extending the high frequencies, creating a mix that envelops the vocals. In rock-oriented tracks like “HELLO” and “IT’S ONLY LOVE,” the midrange of the electric guitar is set thicker to emphasize the energy during strumming. In the bluesy play showcased in the drama “Love Song,” he retains a strong low end to pursue a jazzy and rich tone.

Overall, Masaharu Fukuyama’s sound production revolves around the principle of “creating a guitar sound that complements and harmonizes with the song’s atmosphere.” He respects the character of the instruments while applying necessary adjustments through EQ and effects. By avoiding excessive processing, he consistently aims for natural and pleasant tones. This is likely why his sound remains stable in both live and recording settings.

Affordable Alternatives to Recreate the Tone

Masaharu Fukuyama’s collection includes high-end classical guitars, James Tyler models, and PRS Private Stock, making it challenging for the average user to replicate his gear. However, understanding the essence of sound production allows one to get close to Fukuyama’s tone even with commercially available models under $1,000. Here, we introduce “affordable alternative gear” suitable for beginners to intermediate players.

For acoustic guitars, a recommended alternative to Fukuyama’s main live instrument, the Taylor 814ce, is the Yamaha A Series (e.g., A3M, A1R). These can be purchased for around $500 to $1,000 and provide stable sound for live and recording situations. While they may not match the brightness of a Taylor, they produce a strong midrange, closely resembling Fukuyama’s strumming sound.

For electric guitars, the James Tyler Burning Water is quite expensive, but alternatives like the Yamaha Pacifica 600 series or Fender Player Stratocaster are excellent choices. The combination of single coils and humbuckers allows for a wide range of tones, making it easier to replicate Fukuyama’s “delicate yet powerful tone.”

Regarding effects, alternatives to the LINE6 M13 include the LINE6 HX Stomp or BOSS GT-1, both of which are excellent multi-effects units available for around $500. They cover distortion, spatial effects, and modulation, making them versatile for both live and studio use. The HX Stomp, in particular, excels at amp simulation, allowing for a close replication of Fukuyama’s live tone when simulating Fender-style clean sounds.

For overdrive pedals, the best option is to directly incorporate the BOSS BD-2, which can be found for around $100 new. When set to a clean-oriented configuration, it produces a “presence-enhancing distortion that does not interfere with vocals.” Additionally, the Dunlop Cry Baby wah pedal is a staple that can help add expression to blues and solos, just like Fukuyama.

Lastly, for amp environments, while the Fender Super-Sonic and Koch models are pricey, a great alternative is the BOSS Katana 50 MkII. Priced around $300 to $400, it covers a wide range from clean to crunch, making it suitable for practice and small gigs. Its Fender-like bright tones make it ideal for laying the foundation of Fukuyama’s sound.

The following table summarizes “affordable alternative gear that can replicate Masaharu Fukuyama’s sound.” By combining these options, one can experience a sound close to his for around $1,000.

Thus, even with a budget of a few hundred dollars, one can adequately replicate the “Masaharu Fukuyama sound.” The key is to maintain a foundation of clean tones while adding light distortion and spatial effects as needed. By focusing on sound production that complements the vocals, one can approach Fukuyama’s sound regardless of the gear’s price.

Summary and Conclusion

Reflecting on Masaharu Fukuyama’s sound production, it is clear that his characteristics extend beyond merely possessing an “impressive gear collection.” He owns a wide range of instruments, from classical masterpieces to reliable acoustic guitars and cutting-edge electric models like James Tyler and PRS, but his judgment on “which song to play and how to sound” is remarkably precise.

For example, in “Sakurazaka,” he envelops the entire song with the soft tones of the Gibson Hummingbird, while in “HELLO,” he emphasizes a powerful rock sound with electric guitars, and in ballads, he resonates with the delicate and transparent acoustic sound of the Taylor 814ce. This illustrates how Fukuyama utilizes the guitar not merely as an accompaniment but as a crucial element in creating the song’s atmosphere.

As seen in his effects setup, he emphasizes “sound production that highlights the vocals with minimal yet necessary adjustments.” He efficiently switches scenes with multi-effects while complementing nuances with compact pedals, embodying a practical and reliable guitarist image.

Regarding amps and EQ settings, he optimizes his setup for each live venue and song. Grounded in the clean tones of the Fender Super-Sonic, he adjusts with overdrive and compression as needed, collaborating with the PA engineer to pursue a “guitar sound that supports the vocals.”

In essence, Masaharu Fukuyama’s sound production can be summarized as “a guitar sound that harmonizes with and supports the song while complementing the vocals.” This does not necessarily require expensive gear; rather, the right settings and discerning choices are crucial.

For those aspiring to recreate Fukuyama’s sound, I would advise focusing on building a simple clean tone as a foundation, adding light distortion and spatial effects as needed, and ensuring that during acoustic performances, the low end is restrained while maintaining the transparency of the mid and high frequencies. By keeping these points in mind, even with a modest budget, one can approach the Fukuyama sound.

Finally, it is essential to emphasize that Fukuyama’s sound production is rooted in the perspective of “how a vocalist supports their own voice.” The guitar is not merely an accompaniment but a means of expression that integrates with the vocals. This is why his sound continues to resonate with people across generations.

If you wish to get closer to “Masaharu Fukuyama’s sound,” consider the following:
“Think about how to support the vocals and what kind of resonance enhances the song.” This approach will undoubtedly be the first step toward recreating the Fukuyama sound.