[Mori no Mitsuharu] How to Recreate the SAKANAMON Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Mori no Mitsuharu, the bassist of SAKANAMON, is a pivotal figure in the band’s sound design, known for his unique tonal creations that serve as the foundation of their music. His playing style goes beyond merely keeping rhythm; he intricately weaves bass lines that interact with the guitar and drums, driving the entire composition forward into a powerful groove. Iconic tracks such as “Katachi,” “Kudaranai Inside,” and “GUZMAN” showcase his ability to switch between a hard-hitting attack and synth-like tones seamlessly.

The hallmark of Mori’s sound lies in his use of classic bass models like the Fender JB62 and Tokai Hard Puncher, enhanced with modifications such as the BADASS II bridge and Seymour Duncan pickups, which emphasize power and quick response. By keeping the SansAmp Bass Driver DI always on, he adds a thickness akin to an amp even when recording directly, fine-tuning his tone with an MXR EQ and ALBIT DI.

Moreover, his active incorporation of synth and octave pedals like the SYB-5 and AKAI UniBass allows him to fulfill a synth bass role, enriching the band’s sound despite being a three-piece ensemble. This approach not only supports the music but creates a striking presence that defines his “aggressive bass sound.” Maintaining a consistent tone in both live and studio settings while utilizing a variety of effects to switch up the character of each song provides valuable insights for many bassists.

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List of Amplifiers and Features

When discussing Mori no Mitsuharu’s sound, it is essential to highlight the combination of amplifiers and cabinets he uses. For many years, he has favored the Gallien-Krueger “800RB,” a legendary amp that has garnered support from numerous bassists since the 1980s. This amp is characterized by its punchy lows and driving midrange, making it an ideal choice to support Mori’s aggressive lines, especially in live performances where clarity and power are crucial.

The appeal of the 800RB lies in its bi-amp configuration, which allows for independent outputs for lows and highs. This enables a thick, deep low end while achieving a sharp, clear high end. Mori utilizes this feature to deliver robust low frequencies without compromising the attack of his pick playing. Additionally, by using the SansAmp Bass Driver DI in conjunction, he achieves an amp-like quality even when connecting directly, ensuring a stable sound for studio recordings and live streams.

For cabinets, he employs SUNN’s 4×10 (such as the 410H), a brand beloved by classic rock bands, known for its slightly raw yet powerful sound. The combination of Gallien-Krueger’s tight characteristics with SUNN’s robust tone creates a unique sound that compensates for the potential lack of sound pressure in SAKANAMON’s three-piece setup, ensuring he stands out alongside the guitar and drums.

Furthermore, depending on the stage, he sometimes routes the line output through the ALBIT Tube DI to the PA, with final adjustments made using the MXR EQ. This setup allows for a balanced mix of amp sound and PA, delivering a consistent sound regardless of venue size. These operational methods reflect Mori’s emphasis on sound consistency and impact.

Types of Guitars Used and Features

Mori no Mitsuharu employs several modified models, primarily the Fender Japan JB62 and Tokai Hard Puncher. In live settings, he frequently uses a black custom JB62 equipped with Seymour Duncan SJB-2 pickups and a BADASS II bridge. This setup provides a strong attack and quick response, ensuring his sound cuts through the mix of guitars and drums. Additionally, by utilizing USA-made wiring, he minimizes electrical signal loss, achieving a more direct and defined sound.

On the other hand, the Tokai Hard Puncher is a Precision Bass-type model, also featuring Seymour Duncan pickups and a BADASS II bridge. It produces a thick, punchy tone characteristic of a Precision Bass while incorporating modifications for a modern sound. This allows him to enhance the low end of the band, and he likely switches between the Jazz Bass and Precision Bass depending on the song’s requirements, providing a more rock-oriented push when needed.

Furthermore, the HISTORY HJB m-Premium Proto is a custom model from a domestic brand, used during a limited period as a prototype. This indicates his pursuit of a more refined sound balance and playability. He also utilizes the Fender Japan JB62-US, a standard model Jazz Bass, which is speculated to be used for various settings depending on the song or venue.

Mori’s choices consistently focus on achieving both thickness and clarity. His pick-based playing style allows him to support the band’s overall sound pressure while expressing melodic phrases, establishing a unique groove by switching between the characters of the Jazz and Precision Basses as needed. These instruments have been confirmed through live footage and recordings, playing a significant role in creating tonal diversity.

By modifying and utilizing both Jazz and Precision Basses, he adapts to a wide range of musical styles, from rock to pop, while supporting SAKANAMON’s distinctive ensemble sound.

Effects and Pedalboard Setup

A significant aspect of Mori no Mitsuharu’s sound is his use of a wide array of effects to create a rich sonic palette that enhances the music. Rather than merely supporting the bass frequencies, he shifts the character of his sound from song to song, expanding SAKANAMON’s sonic landscape as a three-piece band. Central to this is the TECH21 SansAmp Bass Driver DI (older model), which is always on, providing an amp-like thickness and midrange presence that forms the foundation of his sound.

For synth-like tones, he employs the BOSS SYB-5 and AKAI UniBass UB1. The SYB-5 generates swirling filter sounds as a bass synth, while the UniBass adds an octave above, complementing guitar-like riffs. Particularly in songs featuring the three-piece arrangement, the bass functions as “another synth guitarist,” filling in sound pressure and creating a unique ensemble dynamic.

Additionally, the BOSS ME-8B, although discontinued, is a renowned multi-effects unit that handles a wide range of processing, including chorus and compression. The Line6 DL-4 is used for creating rhythmic phrases with delay, while the Animals Pedal Surfing Polar Bear Bass and EarthQuaker Devices Hoof add distinctive distortion and fuzz sounds. The XOTIC Bass RC Booster V2 acts as a clean booster, enhancing volume and presence before solos or flashy phrases.

The pedalboard is powered by the Custom Audio Japan AC/DC Station ver.2, with the Providence RX-L1 and One Control Iguana Tail Loop optimizing loop switching. The CUSTOM AUDIO JAPAN IN AND OUT ensures overall sound quality stability. Finally, the MXR 10 Band EQ is used for frequency correction, with the ALBIT ATDI Pro providing line output to the PA. This meticulous system design results in a consistently stable sound.

Attention to detail extends to smaller components, with the compact BOSS TU-3S tuner and cables like Belden #8412 with Switchcraft plugs, along with George L’s Solderless KIT patch cables, emphasizing sound quality and maintenance. Even his pick choice, the Fernandes P-100SL (with a non-slip design), and the creative use of a Game Boy software case for his pick holder reflect his playful approach.

In summary, the use of SansAmp as a core element, combined with a variety of effects and finalized with MXR EQ and ALBIT DI, is crucial in supporting Mori no Mitsuharu’s unique “synth-like bass sound.” While some aspects are confirmed through live footage and gear showcases, this setup is assumed to be the foundational structure of his sound.

Tone Settings, EQ, and Mixing Approaches

Mori no Mitsuharu’s sound design is structured around three key components: the always-on SansAmp, synth-like effects, and final EQ and DI adjustments. His bass does not merely serve as a low-end foundation; it plays a crucial role in expanding the arrangement’s breadth. Here, we will delve into specific settings and EQ strategies.

First, the SansAmp Bass Driver DI (older model) is kept constantly active to form the core tone. The settings are speculated to be Drive at 9-10 o’clock, Bass at noon, Treble around 1 o’clock, Presence at noon, and Blend at about 2 o’clock. This configuration adds drive while preserving the original tone, resulting in a sound with excellent attack response. For Mori, who primarily uses a pick, this setting—adding thickness while retaining the essence of the original sound—is essential.

For synth-like tones, the filter settings on the BOSS SYB-5 are set deeper, mixing in octave components to create a “swirling bass synth” effect. Combining this with the AKAI UniBass UB1 allows him to layer lead guitar-like lines. For instance, in “Katachi,” the bass supports the low end while filling the space with characteristic riffs, strongly reflecting the synth bass approach.

The MXR 10 Band EQ plays a vital role in balancing frequency ranges. Low frequencies (31.25Hz-62.5Hz) are slightly cut, while mid-low frequencies (125Hz-250Hz) are boosted for presence. Frequencies around 500Hz-1kHz are kept flat or slightly boosted to highlight the nuances of pick playing. The 2kHz-4kHz range is kept modest, while frequencies above 8kHz are cut to reduce harsh noise. This approach creates a sound that blends well with the band without leaning too heavily towards a scooped tone.

Mori skillfully uses fuzz and boosters, with the EarthQuaker Devices Hoof employed to emphasize riffs and enhance the power of choruses. The distortion level is not pushed to the max, focusing on adding roughness while retaining the bass’s core. Conversely, the XOTIC Bass RC Booster V2 is utilized to elevate volume in solos or arpeggiated sections.

Considerations during the PA and mixing stages are also crucial. During live performances, routing through the ALBIT ATDI Pro adds a tube-like warmth, while ensuring that lows are not overly cut at the PA mixer. Given the three-piece setup, maintaining the midrange of the bass is essential to avoid gaps created by just the guitar and drums. Thus, EQ and DI adjustments are vital for consistently preserving the “core sound.”

Specific adjustments for different songs are meticulous; for up-tempo tracks, the SansAmp and EQ are tightened, while mid-tempo or effect-heavy songs incorporate the SYB-5 and DL-4 for a more expansive sound. By sometimes taking on the thickness of a synth bass and at other times the lead feel of a guitar, Mori ensures that the bass remains dynamic and continually supports the band’s overall energy.

In summary, Mori’s sound design incorporates three essential elements: thickness, presence, and variation. Through careful EQ and mixing techniques, he achieves consistent quality whether connecting directly or performing in live venues.

Affordable Alternatives to Recreate the Tone

Mori no Mitsuharu’s sound is supported by professional-grade equipment, including the SansAmp, an intricate pedalboard, and the Gallien-Krueger amp. However, for beginners or players looking to achieve a similar tone on a budget, it is practical to start with more accessible gear. Here, we recommend items available for around $100 to $500, focusing on three key points: the core of the sound, synth elements, and final adjustments.

First, for a substitute for the core SansAmp Bass Driver DI, while the SansAmp itself is available in the used market, prices have risen recently. A great alternative is the BOSS GT-1B, a bass multi-effects unit that includes SansAmp-like preamp modeling, EQ, and compression, suitable for both live and home recording. This single unit can effectively replicate Mori’s foundational sound direction, which is a significant advantage.

Next, for recreating synth-like elements, the Zoom B3n is a solid choice. It features built-in effects such as bass synth, octave, and delay, allowing for a reasonable approximation of the SYB-5 and UniBass sounds. Particularly in a three-piece band, utilizing octaves and synths can effectively enhance sound pressure, and the Zoom B3n offers a wide range of options at an affordable price.

For distortion effects, the Electro-Harmonix Bass Big Muff is a classic choice that can provide a character similar to the EarthQuaker Devices Hoof and Animals Pedal Surfing Polar Bear Bass at a lower cost. It easily delivers a rough fuzz tone, making it suitable for emphasizing choruses and riffs, allowing players to recreate Mori’s signature “bass-forward moments” affordably.

For easy EQ adjustments and volume control, the MXR M109S Six Band EQ is effective. While simpler than a 10-band EQ, focusing on low to mid-range adjustments can help secure presence within the band sound. This model is also beginner-friendly for those learning about EQ.

Finally, while it may be challenging to acquire the Gallien-Krueger 800RB or SUNN cabinets, for practice or small gigs, relatively affordable combo amps like the Hartke HD series or Ampeg BA series are practical options. Choosing models that emphasize a hard attack and midrange clarity will help players get closer to Mori’s live sound.

In summary, by assembling elements such as a SansAmp-like preamp, synth and octave multi-effects, fuzz, and EQ, beginners can easily approach Mori’s sound. The best strategy is to gradually acquire gear that fits within a budget while adapting to personal playing environments.

Summary and Conclusion

The essence of Mori no Mitsuharu’s sound design transcends the confines of bass, expanding its role within the music. Building upon classic bass models like the Fender JB62 custom and Tokai Hard Puncher, he emphasizes power and quick response through modifications like the BADASS II bridge and Seymour Duncan pickups. Keeping the SansAmp Bass Driver DI always on allows him to achieve amp-like presence even when recording directly, ensuring consistency and impact.

Additionally, his distinctive use of effects is noteworthy. By incorporating the SYB-5 and UniBass, he adds synth-like tones, while fuzz and boosters enhance dynamics as needed. The use of the DL-4 and multi-effects units adds spatial depth, ultimately fine-tuned with the MXR EQ and ALBIT DI. This flow enables the creation of a rich band sound that does not thin out, even in a three-piece setup. This is not merely about using effects; it reflects a practical philosophy of accurately supplementing necessary sounds.

Moreover, his efforts to maintain stable quality in both live and studio settings are commendable. With attention to cables like Belden #8412 and George L’s, as well as picks like the Fernandes P-100SL, he minimizes losses in the details, forming the foundation of his overall sound. Such “invisible efforts” are crucial elements that shape Mori’s sound.

In conclusion, to replicate Mori no Mitsuharu’s sound, one must focus on four key elements: a thick and clear bass tone, SansAmp-like drive, synth and fuzz expansion, and final EQ and DI corrections. By assembling these elements, even beginners can gradually approach his sound. Especially for smaller band setups, Mori’s approach to expanding the bass’s role offers valuable insights.

Mori’s sound is not a product of chance; it is the result of meticulous gear selection and a process of trial and error. Learning from his approach is the first step toward achieving the distinctive “SAKANAMON Mori no Mitsuharu sound,” beyond merely acquiring the same equipment.