[Nanahoshi Orchestra] How to Recreate the Nanahoshi Orchestra (Karonzbekarazu) Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The Nanahoshi Orchestra, known for their unique soundscapes in the Vocaloid scene and anime music, has captivated many listeners with their hard rock sound that incorporates technical guitar riffs and a metal approach.

Under the alias Karonzbekarazu, they feature heavy riffs and a dynamic ensemble. Their songs blend emotional and catchy melodies with progressive structures, creating a powerful live performance feel despite being primarily produced using digital audio workstations (DAWs).

For their signature sound, the guitars are set to be sharp and distorted while maintaining chord clarity, forming the backbone that supports high-pitched Vocaloid vocals and orchestral arrangements. This sound design is likely achieved through the use of guitars like the Sago Ymir and processing within Ableton Live.

This article will thoroughly explain the sound design of the Nanahoshi Orchestra, covering their guitars, amplifiers, effects, and mixing techniques, providing insights into the gear and settings needed to recreate their sound. It aims to help listeners and guitarists understand how to achieve that distinctive tone.

▶ Search official YouTube videos of Nanahoshi Orchestra

List of Amplifiers and Features

The sound of the Nanahoshi Orchestra is primarily based on a digital environment rather than traditional tube amplifiers. They have explicitly stated that their production is centered around “in-the-box” techniques, primarily using Ableton Live for home recording, with drums created using BFD and guitars likely processed through plugins or modeling amps.

This approach allows for efficient production in home or studio environments. For instance, using plugin-based amp simulators enables them to recreate sounds without needing high volumes late at night, instantly recalling presets. Additionally, using modelers like Line6 Helix, Fractal Axe-Fx, or Kemper allows for seamless transitions between metal distortion and clean tones.

However, live performances may still require actual amplifiers. In recent years, many bands have shifted from transporting head amps and cabinets to using compact modelers connected directly to the PA system, a trend that the Nanahoshi Orchestra likely follows. The sounds heard in their recordings suggest a Marshall-like midrange presence and a tight, heavy low end typical of Mesa Boogie, indicating that they are replicating these characteristics within their plugins.

Popular amp simulators favored by metal and loud guitarists include “Neural DSP,” “BIAS FX,” and “Amplitube,” which are known to work well with Ableton Live, making it likely that the Nanahoshi Orchestra employs these tools. Their choice of equipment emphasizes efficiency in sound creation tailored for home recording.

The following table summarizes the anticipated amplifiers and amp simulators used by the Nanahoshi Orchestra.

Thus, the amplifier environment of the Nanahoshi Orchestra is assumed to be centered around plugins and modeling gear rather than traditional tube amplifiers.

Types of Guitars Used and Features

The guitars used by the Nanahoshi Orchestra are designed to support a sound rooted in hard rock and metal. They typically favor models that pair well with mid to high gain settings, allowing for technical riffs, fast playing, and heavy rhythm guitar.

One of the main guitars confirmed is the “Sago Ymir,” a technical concept model from the Kansai-based brand Sago, aimed at metal and progressive guitarists. It features tight low end and clear high end due to its pickup and wood composition, making it well-suited for fast tempos and complex chord structures commonly found in Vocaloid songs.

Additionally, the “EDWARDS e-ZUKA model,” a signature model of Masaki Iizuka from GRANRODEO, has also been confirmed. This guitar features seven strings and high-output humbuckers, delivering a powerful sound suitable for loud music, which the Nanahoshi Orchestra likely employs for their heavy sound.

They also use a BURNY Les Paul-type guitar (black), although the specific model is unconfirmed. It is presumed to leverage the traditional Les Paul sound while serving as a backbone for leads and riffs. The characteristic midrange of a Les Paul stands out without being overshadowed by the Vocaloid or orchestral sounds.

These choices indicate that the Nanahoshi Orchestra balances “modern technical models” with “traditional rock guitars,” combining them to achieve the optimal tone for each song. In a home recording-centric style, the character of the guitar significantly influences the overall mix, highlighting the importance of guitar selection.

The following table summarizes the guitars used by the Nanahoshi Orchestra.

In summary, the guitars of the Nanahoshi Orchestra are assumed to combine “modern” and “classic” elements to construct their unique sound.

Effects and Pedalboard Setup

The sound design of the Nanahoshi Orchestra is primarily based on home recording, focusing more on plugin processing within DAWs than on actual pedalboards. They have stated that they use “Ableton Live, with drums created using BFD, and guitars produced in-the-box,” indicating a high likelihood that distortion and spatial effects are processed through plugins.

As a result, specific individual effect names have not been disclosed, but based on the genre characteristics and songs, the following processing is likely employed. For distortion, plugins or modelers featuring “distortion/overdrive” are central. In metal riffs, gain settings are likely high, with noise reduction used to maintain a modern sound.

In terms of spatial effects, “delay” and “reverb” are emphasized in lead guitar and solo sections. To create the expansive sound typical of Vocaloid songs, hall-type or plate-type reverb is likely used. Additionally, in sections where synthesizers and orchestras blend, modulation effects (chorus or phaser) are assumed to enhance the thickness of the sound.

Considering live performances, it is highly probable that they utilize multi-effects/modelers like Line6 Helix or Fractal Axe-Fx, which maintain compatibility with their home recording environment. When integrated with Ableton Live, effects can be automatically controlled to switch on and off according to the sequence, facilitating efficient sound reproduction.

The following table estimates the effects used by the Nanahoshi Orchestra.

In summary, the Nanahoshi Orchestra is assumed to create their sound using a flexible setup centered around “DAW effects” and “multi-effects/modelers” rather than physical pedals.

Tone Settings, EQ, and Mixing Approaches

The sound of the Nanahoshi Orchestra is characterized by a balance where the guitar asserts itself while naturally blending with Vocaloid and orchestral elements. Since their production is based on home recording, the actual settings within the DAW play a significant role in EQ processing and mixing.

Starting with the EQ settings for distorted guitars, the low frequencies (below 80Hz) are typically cut to avoid clashing with the bass and kick, while slightly boosting the 100-150Hz range to add thickness. The midrange (500Hz-1.5kHz) is likely dipped to balance the presence of vocals and synthesizers. The high frequencies (3kHz-6kHz) are boosted to emphasize the attack of the picking, enhancing the “sharpness” of guitar riffs. Frequencies above 8kHz may be smoothed out as they can interfere with cymbals and other high-frequency elements.

For lead guitar processing, delay and reverb are crucial. Delay is typically tempo-synced and slightly panned left and right to create a sense of depth. Reverb is applied lightly with a hall type to maintain a balance of spaciousness while preserving clarity. This approach allows the Vocaloid voice to remain prominent while ensuring the guitar retains its presence.

Panning for rhythm and lead guitars is also carefully considered. Typically, rhythm guitars are panned hard left and right (100% each), with bass and vocals centered. Synthesizers and orchestral elements overlap in between, necessitating careful EQ management in the midrange. Guitars are compressed tightly to avoid excessive sustain, allowing the dynamics of the orchestration to shine through.

Noise reduction is also essential. High-gain sounds inevitably generate noise, but using plugin gates and noise reduction effectively maintains the overall transparency of the track. Given the fast tempos of many Nanahoshi Orchestra songs, reducing unnecessary reverb and noise enhances the clarity of the performance.

In the overall mix, it is assumed that they utilize group tracks in Ableton Live to separate “guitars,” “bass,” “vocals,” “orchestra/synths,” and “drums,” applying bus compression and multiband compression to control the attack and sustain of each part while achieving a cohesive final product.

Analyzing representative songs, it is notable that the guitar is not always pushed to the forefront; instead, it plays a supportive role in enhancing the vocals while underpinning the song’s foundation. This approach reflects a more arranger/composer perspective rather than a typical rock band approach.

Ultimately, the essence of the Nanahoshi Orchestra’s sound design lies in “asserting the guitar only where necessary, allowing it to deliver power in the required frequency range.” Their unique mixing techniques, utilizing EQ, panning, and spatial effects, create a coexistence with Vocaloid and orchestral elements.

Affordable Alternatives to Recreate the Tone

While the Nanahoshi Orchestra’s sound design likely employs professional-grade plugins and modelers, it is entirely possible for beginners or hobbyists to recreate a similar atmosphere with budget-friendly gear. Here, we will introduce cost-effective equipment available for around $100 to $500.

First, I recommend compact multi-effects like BOSS’s “GT-1” or “GT-1000CORE.” These devices include built-in amp simulators and effects, making them versatile for both home recording and live performance. The GT-1, in particular, can be purchased for under $200 and offers a comprehensive range of basic effects like distortion, delay, and reverb, allowing users to easily recreate the thick metal/rock sound characteristic of the Nanahoshi Orchestra.

Next, the Line6 POD GO is another noteworthy product. It inherits technology from the higher-end Helix series while being more affordable, allowing users to experience the digital modeling environment envisioned by the Nanahoshi Orchestra at a lower price point. Particularly for home recording users, its USB audio interface capability enables direct connection to a PC for recording.

In the realm of plugins, “Positive Grid BIAS FX 2 LE” is an affordable light version that can be easily integrated into DAWs like Ableton Live or Studio One, allowing users to replicate professional settings on a budget. When combined with a guitar audio interface (such as Steinberg UR22C or Focusrite Scarlett Solo, priced around $100 to $200), users can effectively mimic the sound design of the Nanahoshi Orchestra.

For those looking to set up a practice environment with an amp, compact modeling amps like the “BOSS Katana Mini” or “NUX Mighty Air” are recommended. Both can be purchased for around $200 to $300 and are suitable for home recording or late-night practice due to their headphone compatibility and mobile connectivity.

In summary, achieving a digital-centric sound like that of the Nanahoshi Orchestra does not require a commitment to expensive gear; rather, it involves mastering the use of multi-effects and plugins. Beginners should focus on practicing and experimenting with these affordable yet high-performance tools before investing in more costly equipment.

In conclusion, it is entirely feasible to approach the sound of the Nanahoshi Orchestra with relatively affordable gear. Products from BOSS and Line6, in particular, offer high reproducibility and are highly recommended for beginners to intermediates alike.

Summary and Conclusion

Reflecting on the sound design of the Nanahoshi Orchestra (Karonzbekarazu), its essence lies in “efficient and meticulous sound design that maximizes digital environments.” Rather than relying on traditional studio amps and physical pedals, they leverage DAWs (Ableton Live) and modeling environments to consistently create high-reproducibility tones.

Regarding guitars, they utilize modern metal-oriented models like the Sago Ymir and e-ZUKA model, which provide both attack for fast playing and thick low-end support for heavy riffs. Additionally, incorporating classic equipment like the BURNY Les Paul type adds traditional rock nuances, allowing for varied expressions in their songs. This flexible guitar selection is key to constructing a wide-ranging sound that transcends genre boundaries.

In terms of effects and amplifiers, their focus on plugins and modeling ensures freedom and speed in their production environment. They actively use spatial effects like reverb and delay to create a sound that seamlessly integrates with Vocaloid and synthesizers. Furthermore, their careful EQ processing and panning achieve a mix balance where the guitar does not overpower yet maintains its presence.

Underlying their sound design is a producer’s perspective that emphasizes highlighting only the necessary frequency ranges when needed. Even settings that may seem understated when listening to the guitar alone function remarkably well when blended into the overall mix, showcasing an approach grounded in arranging experience.

For those aspiring to emulate the sound of the Nanahoshi Orchestra, understanding “EQ processing,” “the use of spatial effects,” and “the role within the ensemble” is more important than acquiring expensive gear. Even relatively affordable multi-effects from brands like BOSS and Line6 can effectively replicate their essence. In other words, the philosophy of sound design and overall architecture is what constitutes the core of their sound, rather than the luxury of equipment.

In summary, the sound design of the Nanahoshi Orchestra merges “digital efficiency” with “flexibility that highlights the inherent character of the guitar.” Understanding this and applying it to your environment will be the key to getting closer to their sound.