[Mossa] How to Recreate the Necry Talkie Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Mossa, the guitarist and vocalist of Necry Talkie, stands out with her transparent voice and a simple yet edgy guitar tone that strongly defines the band’s identity. Rather than showcasing flashy techniques, she focuses on rhythm guitar that enhances the vocals, utilizing crunchy chord work and sound crafting that supports the catchy nature of their songs.

In iconic tracks like “Kitakami no Susume” and “Tooboe no Sunset,” you can hear the bright, crisp Stratocaster cutting or the lively tone characteristic of a Mustang. Additionally, she has been seen using a Martin D-41 for acoustic performances, indicating a thoughtful approach to gear selection between studio and live settings.

Since 2019, Mossa has primarily used the Roland Blues Cube Artist as her main amplifier, combining it with distortion effects like the RAT and BD-2 to achieve a sound that balances “fullness” and “clarity.” This “sound that doesn’t overshadow the vocals yet has a presence” is what makes Mossa’s approach as a guitarist particularly captivating.

Her sound crafting is closely tied to the overall arrangement of the band, emphasizing mid-range clarity and the clean response of the amplifier to allow other instruments to shine. Understanding this balance is the first step to recreating Necry Talkie’s pop and alternative sound.

Therefore, guitarists looking to emulate her sound should not only replicate the gear but also consider “which frequencies to highlight and which to suppress” in their playing.

In the following sections, we will delve into the amplifiers, guitars, and effects she uses, exploring the background of her sound crafting.

▶ Search official YouTube videos of Necry Talkie

List of Amplifiers and Features

Examining Mossa’s amplifier history reveals a clear transition around 2019. From her debut until around that time, she primarily used the Roland JC-120 as her main amplifier. This amp is renowned for its beautiful clean tones and is widely supported across genres from jazz to pop. The “clear cutting sound” and “transparent guitar resonance that supports the vocals” that Mossa aimed for in her early days matched well with the JC-120’s characteristics.

However, since 2019, she has switched to the Roland Blues Cube Artist as her main amplifier. This hybrid model mimics the behavior of a tube amp while leveraging digital technology for ease of use. It allows for blending clean tones and crunch, making it highly versatile for live settings. Mossa combines this with overdrive and distortion pedals to express a wide range of nuances in a simple yet effective manner.

The Blues Cube Artist is characterized by its mid-range push, allowing it to stand out without getting buried in the band’s ensemble. This is particularly fitting for Necry Talkie’s sound, which blends pop rock and alternative elements, especially excelling in songs with heavy riffs and chord work. Additionally, it provides a pleasant drive without needing to be cranked to high volumes, which is likely why it has been chosen.

Recent live footage indicates that the Roland Blues Cube Artist has been consistently used, suggesting it will remain her primary amplifier for the foreseeable future. However, it is possible that the JC-120 is still used for studio practice or specific secondary applications, especially in situations requiring a clean tone with chorus effects.

In summary, Mossa’s amplifier configuration has evolved from the “clear cleans of the Roland JC-120” to the “crunch and blendable expressions of the Roland Blues Cube Artist.” This evolution reflects her focus on live stability, portability, and sound reproduction.

Types of Guitars Used and Features

Tracing Mossa’s guitar history reveals significant changes alongside the band’s sound. From the early days until around 2019, she primarily used a Fender Stratocaster (3-Color Sunburst with a maple neck). The sharp cutting and bright tone characteristic of the Stratocaster strongly highlighted Necry Talkie’s pop rock style at that time. The mid-range dip of the Stratocaster was particularly effective for Mossa, allowing her vocals to shine without clashing with the guitar.

Since 2019, her main guitar has shifted to a Fender Mustang (1969 model in orange/red competition line). The Mustang features a shorter scale, making it easier for her to play chords and barre chords. Its lively, mid-range-focused sound fits well with Necry Talkie’s catchy and alternative sound. The retro look of the orange with red competition stripes also matches the band’s unique identity.

Additionally, she has been seen using a Martin D-41 (with vertical logo) for acoustic performances. The D-41 is known for its brilliant overtones and rich bass, providing not only support for her vocals but also enough presence for solo performances. Its tone blends naturally with Mossa’s singing, making it an essential instrument for both band and solo activities.

There are also indications that she owns a Gibson Les Paul, but it appears to be more of a collector’s item rather than a regularly used instrument in live or recording settings. The thick, sustaining sound of the Les Paul differs somewhat from Mossa’s current sound crafting, suggesting limited potential for its use in future songs.

Overall, Mossa’s guitar selection emphasizes “a lively sound that coexists with her vocals” and “visual uniqueness.” By utilizing the Mustang’s lightness, the Stratocaster’s brightness, and the richness of the Martin, she crafts a sound world that is distinctly her own.

Effects and Pedalboard Setup

Mossa’s pedalboard is simple yet effectively captures the necessary elements. In her early days with the Roland JC-120, she used the ProCo RAT2 as her main distortion to add drive to the clean amp. The RAT2 is a classic pedal known for its gritty texture and mid-range push, especially evident in songs like “Yume Miru Dobunezumi” and early live footage.

Additionally, the BOSS BD-2 Blues Driver is frequently used. It serves to slightly overdrive the clean sound of the JC-120, providing the natural crunch characteristic of the Blues Driver that supports Mossa’s chord work. Even after switching to the Roland Blues Cube Artist in 2019, the BD-2 has remained a reliable pedal in her live setup.

Furthermore, recent live footage and photos confirm the presence of the Fulltone OCD. The OCD offers a wide gain range, capable of producing everything from boosts to heavy distortion. Depending on the song, it is likely used in place of or in conjunction with the RAT2 to create a broad range of distortion.

For boosting, the Xotic EP Booster is employed. This pedal enhances the tone and improves clarity, playing a crucial role in ensuring that Mossa’s guitar doesn’t get buried in the mix during solos or choruses. Given her dual role as vocalist and guitarist, it’s essential to maintain the guitar’s presence, and the EP Booster addresses this need effectively.

For modulation, the JHS Pedals Emperor V2 (analog chorus) is used. The wavering clean sound heard in some of Necry Talkie’s songs is likely attributed to this pedal. The Emperor V2 also features a vibrato mode, allowing for a three-dimensional sound even with simple chord strumming.

Additionally, the tc electronic POLYTUNE mini is positioned at the front of the board as a tuner. Accurate tuning management during live performances is essential, making this a simple yet indispensable component.

In recent live performances, footswitches for the amplifier and additional boosters have been observed, although specific details about the gear have not been identified. Overall, Mossa’s effects setup is characterized by the roles of “distortion from RAT and OCD,” “crunch correction with BD-2,” “sound pushing with EP Booster,” and “spatial enhancement with JHS Emperor,” all working together to support her vocals while maintaining a strong presence.

Tone Settings, EQ, and Mixing Approaches

The key point in Mossa’s sound crafting is her ability to achieve a “guitar sound that doesn’t overshadow the vocals yet remains prominent.” As a guitar vocalist, balancing the guitar and vocal presence is challenging; if the guitar is too strong, it can obscure the vocals, while if it’s too weak, it loses its presence in the band’s ensemble. Thus, her EQ, amp settings, and pedal combinations are meticulously calculated.

During her time with the Roland JC-120, her basic clean tone was set with the amp EQ at Treble around 5-6, Middle at 4-5, and Bass at 3-4, which likely suppressed mid-range peaks to avoid competing with the vocals. Adding light crunch with the BD-2 provided a sense of dimensionality to her sound, particularly effective in upbeat tracks like “Oshare Daisakusen.”

After the introduction of the Roland Blues Cube Artist in 2019, her settings shifted to blending the clean and crunch channels, focusing on slightly pushing the mid-range. The Blues Cube is typically set with Middle slightly boosted (6-7), Treble around 5, and Bass kept low at about 3, achieving a balance of brightness and presence. This works particularly well with the mid-range tone of the Mustang, ensuring her guitar stands out in the ensemble.

Distortion pedal usage is also crucial. The ProCo RAT2 is typically set with gain around 10-11 o’clock, creating a rough distortion that emphasizes mid-range, suitable for rock-oriented songs. In contrast, the Fulltone OCD is chosen for its more natural and broader range of distortion, often set with Gain around 9-10 o’clock and Tone around noon.

The BOSS BD-2 serves as a light drive on the clean tone, often set with Level slightly boosted and Gain kept low. The EP Booster is activated during choruses or solos, with a boost level likely around +3-6dB, ensuring that the guitar maintains presence even when played alongside vocals.

For modulation, the JHS Pedals Emperor V2 is set with Rate low (9-10 o’clock) and Depth moderate (around noon), adding a natural wavering effect without disrupting the song’s atmosphere, particularly effective in ballads or calmer tracks.

In mixing, Mossa’s guitar likely sees a slight boost around 2kHz-4kHz to ensure presence without overlapping with vocal harmonics. The low end (below 100Hz) is cut to maintain separation from the bass. Additionally, using a compressor stabilizes volume, allowing for balanced performance alongside vocals.

For different songs, she adjusts settings; in upbeat tracks, distortion is set slightly higher to drive rhythm, while in ballads, she leans towards clean to enhance vocal clarity. The basic approach is to use the amp’s clean channel as a foundation and add character with pedals.

In conclusion, Mossa’s sound crafting is centered around “balancing vocals and guitar,” “handling mid-range,” and “selecting effects that are simple yet precise.” While specific settings are not definitively stated, analyzing live footage and recordings suggests that these approaches are core to her sound crafting.

Affordable Alternatives to Recreate the Tone

Reproducing Mossa’s sound can be costly if one aims to acquire the exact gear, but there are several more affordable options that can achieve similar nuances. Here, we will introduce models that are beginner and intermediate-friendly while explaining why they can approximate Mossa’s tone.

For amplifiers, while the Roland Blues Cube Artist is a premium model, alternatives like the Roland Blues Cube Hot or the BOSS Katana series are recommended. The Blues Cube Hot, despite being a single channel, employs the same TUBE LOGIC technology, offering a similar clean to crunch texture. The Katana series, with its modeling technology, provides ample potential for achieving a “clean plus light drive” setup akin to Mossa’s.

In terms of guitars, the vintage Fender Mustang 1969 model can be quite expensive, but current options like the Fender Player Mustang or Squier Classic Vibe Mustang can deliver the lively tone characteristic of the Mustang at a more accessible price. The short scale enhances playability for chords and aligns well with Mossa’s playing style.

For effects, many distortion pedals mimic the ProCo RAT2. Brands like Biyang and Mooer offer affordable “RAT clones” that can replicate the gritty texture. The BOSS BD-2 is relatively inexpensive and is the most straightforward path to achieving a similar sound. For an alternative to the Xotic EP Booster, the tc electronic Spark Booster is recommended, priced around $100, and shares similar characteristics in boosting tone.

Using multi-effects units is also a practical approach. The BOSS GT-1 and ZOOM G3Xn cover overdrive, distortion, chorus, booster, and amp simulation, allowing for a comprehensive recreation of Mossa’s pedalboard in a single unit. The GT-1, in particular, excels in reproducing Roland/BOSS-style chorus and clean tones, making it highly recommended for beginners.

In summary, Mossa’s sound crafting is simple yet focuses on “mid-range utilization,” “light crunch,” and “necessary boosts.” Therefore, it is not essential to acquire the exact gear; affordable options can effectively replicate similar nuances. Below is a list of accessible alternative gear.

Summary and Conclusion

Reflecting on Mossa’s sound crafting, its essence lies in “simplicity while establishing a delicate position within the overall band sound.” As a guitar vocalist, she must ensure that both the guitar and vocals can coexist; if one overshadows the other, the balance is disrupted. Therefore, she meticulously crafts the guitar’s frequency range and strategically uses effects to enhance presence only when necessary.

Her amplifier evolution shows a shift from the transparent clean tones of the Roland JC-120 to the blend of clean and crunch with the Roland Blues Cube Artist, aligning with the band’s increasing incorporation of pop, alternative, and rock elements. Thus, her amplifier selection and EQ settings reflect the overall sound evolution of Necry Talkie.

The transition from Stratocaster to Mustang is symbolic. The shift from the bright, cutting sound of the Stratocaster to the lively and unique tone of the Mustang has added distinctiveness to the band’s color. The short scale of the Mustang also supports stable playing as a guitar vocalist. Furthermore, using the Martin D-41 for acoustic moments enhances her vocal richness.

Her choice of effects remains consistent. By relying on staple pedals like the RAT2, BD-2, and OCD, while using the EP Booster to push the sound forward and the Emperor V2 to add spatial depth, this simple setup paradoxically enhances the completeness of her sound crafting. By avoiding unnecessary elements and selecting only what is essential, she achieves a sound that allows both vocals and guitar to coexist.

Moreover, her mixing and EQ strategies emphasize “avoiding overlap with vocals.” By boosting presence around 2kHz-4kHz while managing low-end frequencies, she maintains clarity and balance. Understanding this approach reveals that Mossa’s sound is supported by a musical sense of balance rather than mere gear imitation.

As Necry Talkie’s sound continues to evolve, the core of Mossa’s sound crafting will likely remain unchanged. This includes “guitars that enhance vocals,” “simple and precise effect selection,” and “EQ that prioritizes mid-range presence.” For readers looking to replicate Mossa’s sound, focusing on these three pillars will provide the most direct path.

By not getting lost in the prices or types of gear, and instead adopting the mindset of “which frequencies to retain and which to cut,” it becomes possible to approach her sound crafting. Using accessible gear while finding a personal interpretation of Mossa’s setup is the most crucial point.