[Matsumoto Motoo] How to Recreate the GOING UNDER GROUND Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

GOING UNDER GROUND’s guitarist, Matsumoto Motoo, plays a central role in shaping the band’s sound. His guitar tone is characterized by a unique blend of rock edge and melodic elements. Notably, his guitar work stands out in albums like “Twilight” and singles such as “STAND BY ME.”

Matsumoto’s guitar sound is clean yet powerful, adding depth to the music. For instance, in “STAND BY ME,” he skillfully alternates between acoustic and electric guitars, enriching the song’s expression.

▶ Search official YouTube videos of GOING UNDER GROUND

List of Amplifiers and Features

Matsumoto Motoo uses the Roland JC-120 Jazz Chorus in live performances. This amplifier is known for its clean and transparent sound, serving as the foundation of his guitar tone. Notably, he relies on effects to adjust distortion and tonal characteristics, fully leveraging the JC-120’s clean attributes.

Types of Guitars Used and Features

Matsumoto Motoo skillfully utilizes various guitars to create tones that suit each song. His impressive playstyle highlights the unique characteristics of each guitar, including semi-hollows and Les Pauls.

Effects and Pedalboard Setup

Matsumoto Motoo’s pedalboard is centered around a clean sound while utilizing delay, octave, and overdrive effects to craft nuances for each song. Particularly in live settings, he combines the ZOOM MS-50G and XOTIC BB Preamp to achieve a wide range of tonal variations, with the HOTONE SOUL PRESS allowing for expressive dynamics. This setup enables him to control the thickness and depth of sound for each track seamlessly.

Tone Settings, EQ, and Mixing Approaches

Matsumoto Motoo’s tone crafting primarily revolves around the clean sound of the Roland JC-120, enhanced with effects for distortion and spatial effects. Specifically, he lightly drives the BOSS BD-2 Blues Driver to add a crunchy texture, while the XOTIC BB Preamp bolsters the mid-low frequencies.

In terms of EQ settings, he emphasizes the midrange slightly to ensure clear cutting and arpeggios do not get buried, adjusting according to live or recording scenarios. Additionally, for certain songs, he employs the DD-20 Giga Delay for reverb and delay spatial processing, giving the music a sense of expansiveness.

During PA and mixing stages, Matsumoto’s guitar is set to avoid clashing with other instruments, keeping the low-end subdued while slightly boosting treble and presence to clarify the outline. Moreover, he utilizes the HOTONE SOUL PRESS’s expression capabilities to control the dynamics and volume of phrases in real-time, enriching the overall dynamics.

For different songs, he uses acoustic guitars from brands like Martin or K.Yairi for more acoustic-oriented tracks, while semi-hollow and Les Paul guitars take the lead in rock numbers, reflecting the characteristics of each guitar in his tone crafting. This meticulous approach to sound design results in a unique blend of transparency and power that defines Matsumoto Motoo’s sound.

Affordable Alternatives to Recreate the Tone

For beginners or those looking to save costs, using the BOSS BD-2, DD-3T, and ZOOM G3Xn can easily recreate Matsumoto Motoo’s crunchy and delay sounds. The VOX V845 is a convenient substitute for expression needs, enhancing volume dynamics during live performances. The TU-3 tuner allows for precise pitch adjustments, closely mimicking settings found in actual live environments.

Summary and Conclusion

Matsumoto Motoo’s sound crafting is characterized by the clever combination of the clean JC-120 and the unique qualities of various guitars and effects. He skillfully utilizes a range of guitars, including semi-hollows, Les Pauls, and custom acoustics, to create distinct expressions tailored to each song.

His use of effects spans from crunch to overdrive, delay, octave, and expression, finely tuning nuances for each track. In EQ and mixing, he focuses on midrange emphasis and volume control, achieving a balance of transparency and power.

Numerous beginner-friendly equipment options exist, allowing for easy replication of Matsumoto Motoo’s sound through combinations of BD-2, DD-3T, and multi-effects. Ultimately, the essence of his sound crafting lies in “flexible distortion processing based on a clean foundation” and “creating tonal expressions for each song.” To approach Matsumoto Motoo’s sound, it is crucial to consider guitar selection, effects configuration, and EQ settings.

Moreover, Matsumoto Motoo’s sound crafting emphasizes expressive performance during play. By utilizing expression pedals like the HOTONE SOUL PRESS or VOX V845, he can manipulate the dynamics and volume of phrases in real-time, enriching the nuances of live performances. This allows for the replication of the vibrant and raw nuances that cannot be achieved merely by assembling equipment.

His distinctive approach to sound selection is also notable, with the hollow-bodied Epiphone Casino used for arpeggios and clean phrases, while the Gibson Les Paul Goldtop and semi-hollows provide thickness for leads and backing. The custom Trafzck Guitar Services model is designed to pursue Matsumoto’s ideals for playability and sound quality, enabling intricate nuance expression.

In conclusion, replicating Matsumoto Motoo’s sound requires a holistic approach that encompasses not just equipment copying but also an awareness of guitar characteristics, effects combinations, amp settings, and expressive performance techniques. Such attention to detail supports the unique transparency and power felt in GOING UNDER GROUND’s music.