[Masanori Tanigawa] How to Recreate the UNCHAIN Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masanori Tanigawa is the frontman and guitarist of the Kyoto-based band UNCHAIN. His silky and expansive vocal style intertwines beautifully with soulful and jazzy guitar playing, captivating many listeners.

Tanigawa’s guitar work is characterized by a crossover sound that traverses jazz, soul, R&B, and rock. In iconic songs like “Show Me Your Height” and “Change,” he establishes a rich expressiveness by layering overdrive on a foundation of clean tones and delicate chord work.

One notable aspect of Tanigawa’s sound is that it functions not merely as accompaniment but as an integral part of the song. As both a singer and a lead guitarist, he requires a setup that can express both harmonic and melodic elements simultaneously. His jazz-influenced voicings and soulful rhythm guitar work strongly define UNCHAIN’s uniqueness.

Additionally, in live performances, he employs spatial effects and preamps to achieve a three-dimensional mix. In home recordings and studio work, he skillfully differentiates compression and EQ to enhance the overall ensemble. Studying his sound design is not only crucial for replicating UNCHAIN’s sound but also for understanding the “borderless guitar playing” that spans jazz, soul, and rock.

Tanigawa’s sound design can be said to be centered around the “resonance between voice and guitar.”

▶ Search official YouTube videos of UNCHAIN

List of Amplifiers and Features

One of the crucial elements supporting Masanori Tanigawa’s sound is his choice of amplifiers. UNCHAIN’s music crosses genres such as jazz, soul, R&B, and rock, making the balance between the beauty of clean tones and the drive sound extremely important. Therefore, it is believed that Tanigawa prefers amplifiers that have a good attack and a rich sound.

A prominent amplifier he uses is the GROOVE TUBE SOUL-O. This amplifier is known for its warm sound characteristic of vacuum tubes, producing rich and thick tones even in clean settings. It allows Tanigawa’s jazzy chord work and cutting techniques to resonate with pleasant overtones. When adding drive, it maintains a range that enhances the vocals without becoming too aggressive.

Another significant amplifier he is said to use is the Dumble Overdrive Special clone (used as a preamp). The original is a legendary amplifier that is difficult to obtain, but by utilizing a clone model as a preamp, he achieves an extremely smooth and singing lead tone. The memorable quality of Tanigawa’s guitar solos and melodic phrases is largely influenced by this amplifier.

In live settings, he likely combines the GROOVE TUBE as the main amplifier with the Dumble-type preamp to switch tones according to the situation. In studio recordings, it is also speculated that he adjusts the sound’s contour through a DI (Direct Box).

These amplifiers excel at balancing clean tones and drive sounds, making them essential elements supporting UNCHAIN’s diverse music. To touch the core of Tanigawa’s sound, it is essential to choose amplifiers that are clean yet possess adequate compression and overtones. Overall, it is assumed that his amplifier selection emphasizes “tone creation that enhances the vocals.”

Types of Guitars Used and Features

At the core of Masanori Tanigawa’s sound design are the guitars he loves to use. UNCHAIN’s music is based on clean tones while incorporating funk-like cutting, jazzy chord work, and bluesy lead phrases, making guitar selection extremely important. The guitars he uses range from semi-hollow, Stratocaster-style, Telecaster-style, to acoustic, supporting the breadth of his musicality.

One iconic model is the Gibson ES-335 (Larry Carlton Signature Model). Known for its warm midrange typical of semi-hollow guitars, this model offers a smooth and expansive tone that is captivating. It frequently appears in UNCHAIN’s live performances, excelling in both chord work and leads. Particularly in soulful songs and ballads, it plays a crucial role.

Next, noteworthy models include the Grosh Guitars Retro Classic Vintage T and Grosh Guitars NOS Retro. Grosh is an American boutique brand that combines vintage aesthetics with modern playability. The Telecaster-like Retro Classic T is strong in cutting and chord work, while the Strat-like NOS Retro is suitable for leads and arpeggios. These guitars play a significant role in supporting Tanigawa’s funk and jazz elements.

He also uses the Japanese-made HISTORY HS-LS, which is a reliable domestic guitar utilized as a backup in live settings. The single-cutaway Les Paul style complements a thicker rock-oriented tone.

For acoustic performances, he primarily uses the Martin D-28 (estimated 2003 model, equipped with L.R. Baggs Anthem). This guitar is characterized by its brilliant overtones and rich low end, supporting his performances in solo and acoustic sets. Additionally, he employs the classic guitar Shunpei Nishino NR-3 CW (estimated 2006 model), which excels in delicate nuance expression, broadening the band’s musical range.

Furthermore, he loves the vintage Gibson J-50 (estimated 1966 model, equipped with L.R. Baggs M1 Active), which delivers a bluesy and warm acoustic tone. These acoustic guitars provide a warmth to the music that electric guitars cannot achieve.

Overall, Tanigawa’s guitar selection aims to “maximize the atmosphere of the songs,” allowing him to freely switch between electric and acoustic guitars for diverse expression. The wide range of guitars he uses is a significant key to creating UNCHAIN’s unique sound.

Effects and Pedalboard Setup

A significant element that characterizes Masanori Tanigawa’s sound is his meticulously constructed effects pedalboard. UNCHAIN’s music demands a wide range of sound creation, from clean to drive and spatial effects, making his effects setup quite diverse. His selection of compressors and overdrives is particularly thoughtful, maximizing the nuances of each song.

Notably, he prominently features TRIAL’s pedals. He uses an AB box, Bite Distortion, and the original YOU OVER DISTORTION II, which form the foundation of his sound. TRIAL is a domestic handmade brand known for its natural drive feel and high resolution, supporting his emphasis on “guitar tones that blend with the vocals.”

His overdrive selection is particularly extensive, including VEMURAM Jan Ray, JHS Morning Glory, and Zahnrad by nature sound ZVKC. Each of these pedals has the characteristic of maintaining transparency while bringing the core sound forward, allowing for optimal character switching for each phrase.

For compression, he uses both the Demeter Opto Compulator and Limetone Audio focus. The former is optical and provides natural sustain, while the latter is known for its high resolution typical of domestic brands, ensuring clarity in sound. The pleasant extension of Tanigawa’s clean tones is likely due to these compressors.

In terms of spatial effects, he utilizes the SOURCE AUDIO COLLIDER, TC Electronic Nova Delay, and TBCFX Blackface Reverb. The COLLIDER, in particular, is a pedal that integrates delay and reverb, playing a crucial role in adding depth to his music. He also incorporates the Line6 M5, a multi-effects unit that provides flexibility in calling up diverse tones quickly.

Additionally, he employs the MusicomLAB EFX MK-V for switching, allowing for complex routing control, and uses Fire-Eye Red-Eye Twin and MXR micro amp for preamp/booster applications. This setup enables quick adjustments to volume and texture balance for both live and recording situations.

As seen from this configuration, Tanigawa’s board is characterized not just by altering sound but by refining it to enhance the vocals. By incorporating a wide range of domestic and boutique brands, he has crafted a sophisticated sound that is distinctly UNCHAIN.

Tone Settings, EQ, and Mixing Approaches

Masanori Tanigawa’s sound design hinges not only on the individual selection of guitars, amplifiers, and effects but also on thoughtful EQ and mixing techniques. UNCHAIN’s music, rooted in jazz, soul, and R&B, is characterized by a focus on “the beauty of clean tones,” “the separation of chords,” and “the balance with vocals,” which differ from the thick distortion and flashy spatial processing typical of rock music.

The basic EQ setting emphasizes midrange. To avoid overlapping the guitar frequencies with the vocals, the low end is often cut, preventing muddiness. Conversely, the high end is adjusted to utilize natural overtones from the amplifier and effects, maintaining attack and brilliance while being restrained enough not to be harsh. This balance ensures that even in clean settings, the sound remains distinct, and when driven, it does not become overly aggressive.

For amplifier settings, it is assumed that the GROOVE TUBE SOUL-O is primarily used on the clean channel with moderate gain. The EQ is typically set with BASS at 30-40%, MID at 50-60%, and TREBLE at 60-70%. This configuration ensures clarity in chord sounds and presence during leads. When using the Dumble-type clone as a preamp, the midrange is slightly boosted to give a singing quality to solos and melodic lines.

In terms of effects, he often employs a combination of clean + compressor for funk-like cutting, light overdrive + reverb for soulful ballad arpeggios, and boosts with Jan Ray or Morning Glory to add “thickness that envelops the vocals,” optimizing for each situation. By avoiding excessive distortion, he maintains the “sound space with room” that UNCHAIN’s music requires.

For spatial processing, he frequently separates delay and reverb, applying a short delay lightly on lead phrases to create depth, while using reverb to provide a natural spread in backing. Particularly, multifunction pedals like the Source Audio COLLIDER allow for flexible switching of these processes, enabling changes in the “depth” of space for each song.

In mixing, the guitar is often placed slightly outside the center, allowing the vocals to be positioned centrally while the guitar contributes to the lateral spread, maintaining presence without disrupting the overall balance. During recording, it is likely that he combines line recording through a direct box (like the whirlwind Direct2-JT) with mic-ing, followed by EQ adjustments in the later stages to organize the frequency range.

Another notable aspect is that playability itself is part of the sound design. To leverage control over dynamics and picking nuances, his equipment settings are kept minimally processed, based on a neutral state. Especially in jazz and soul chord work, he emphasizes changing the tonal nuances with touch, so it is assumed that compression on the PA side is kept minimal to convey the dynamics directly.

In summary, Tanigawa’s settings are dedicated to “building on a clean foundation while lightly seasoning only when necessary,” resulting in a sound that is distinctly UNCHAIN. Effects and EQ serve as support, while the most important aspects are the “resonance with the vocals” and “room for nuance expression.”

Affordable Alternatives to Recreate the Tone

Masanori Tanigawa’s sound is established through the use of boutique guitars, amplifiers, and high-quality effects. However, it is realistically challenging to acquire all the same gear, especially for beginners or guitarists with budget constraints. Therefore, here are some relatively affordable products that can help approximate Tanigawa’s sound.

For guitars, models mimicking the semi-hollow or Telecaster types that Tanigawa frequently uses are effective. For example, the Epiphone ES-335 is an entry-level model of the original Gibson semi-hollow, making it easier to replicate the warm clean tones associated with jazz and soul. Additionally, the Fender Player Telecaster is readily available and suitable for funk-like cutting and clean leads.

Regarding amplifiers, while a tube amp is ideal, considering cost and ease of use, modeling amps like the Yamaha THR30II or BOSS Katana-50 MkII are excellent options. Both offer a combination of clean transparency and light drive sounds, along with built-in reverb and delay, making it simple to recreate the soulful sounds that Tanigawa excels at.

For overdrive, while the VEMURAM Jan Ray and JHS Morning Glory are expensive, alternatives like the BOSS BD-2 Blues Driver and Caline Pure Sky can be considered. Both maintain transparency and can be used as clean boosts or light drives, blending naturally into funk and jazz rhythm guitar.

Compressors are central to sound design, but Demeter and Limetone Audio are on the pricier side. Alternatives like the BOSS CS-3 Compression Sustainer or Xotic SP Compressor are recommended. The CS-3 is user-friendly and helps unify the sound, while the SP Compressor, though compact, offers a natural effect suitable for soul and pop.

For spatial effects, while replicating the Source Audio Collider or TC Electronic Nova Delay is challenging, beginner-friendly options like the NUX Atlantic Delay & Reverb or BOSS DD-8 Digital Delay are effective. These allow for simple settings for delay and reverb, making them easy to use for live performances or home recordings.

Overall, the essence of Tanigawa’s sound lies in “transparent cleans,” “natural drive,” and “depth from spatial processing.” By combining relatively affordable gear as mentioned above, it is possible to recreate these essential elements. Particularly, focusing on maintaining clean tones and using spatial effects appropriately will be the shortest route to achieving a similar sound.

Summary and Conclusion

Masanori Tanigawa’s sound design reveals a clear concept of “integrating guitar and vocals.” He is not just a lead guitarist but also a singer-songwriter who controls the expression of the songs. Therefore, the equipment he uses is characterized by a focus on “transparency,” “warmth,” and “expressiveness” rather than flamboyance.

In terms of guitars, he utilizes the semi-hollow Gibson ES-335 and boutique brand Grosh’s Telecaster/Stratocaster types, supporting soulful yet modern playing. He also employs renowned acoustic guitars like the Martin and Gibson J-50, incorporating organic resonance that electric guitars alone cannot achieve. This reflects his approach of “seeking the optimal resonance across genres.”

Similarly, his choices of amplifiers and preamps center around equipment that allows him to “freely manipulate the space between clean and drive.” This enables him to naturally balance backing and leads, supporting UNCHAIN’s diverse music.

Furthermore, the structure of his effects pedalboard showcases a practical approach of “using necessary elements only when needed.” By combining high-quality pedals from brands like TRIAL, VEMURAM, and JHS, he has created a system that amplifies expression without interfering with the vocals. Compressors and spatial effects play particularly important roles, helping to refine the play’s clarity and provide depth to the overall ensemble.

Thus, when learning about Tanigawa’s sound design, it is crucial to understand the mindset of “how to make the sound resonate” rather than merely “acquiring the same equipment.” His sound is characterized by avoiding excessive processing and valuing “the resonance of the guitar itself” and “the harmony with vocals.”

If you wish to approach his sound, it is essential to focus on points such as “settings based on clean tones,” “minimal distortion when necessary,” and “depth through spatial effects.” Ultimately, the player’s expression, including dynamics, rhythm, and touch, will be the key to defining the sound.

The essence of Masanori Tanigawa’s sound design lies in the “resonance between voice and guitar.” The ability of UNCHAIN’s music to move many hearts reflects not only technical skill and equipment but also the strong intention behind “how to deliver music.”