[Nao] How to Recreate the Arlequin Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Nao, the guitarist of ΛrlequiΩ, is renowned for his ability to manipulate heavy riffs and clear tones, creating a unique sound that stands out even in the loudest band settings. His guitar sound possesses a distinct texture that maintains clarity while blending tension and a sense of ethereality.

His playing style is characterized by a combination of heavy low-end riffs achieved through aggressive down-tuning and transparent clean arpeggios. In particular, his signature songs showcase dramatic tonal shifts between sections, leaving a powerful impression on listeners. Nao meticulously constructs his sound for each track using various amplifiers and pedals, which has garnered attention from fans and gear enthusiasts alike.

Moreover, through the strategic use of effects and amp channel manipulation, he recreates a sound that is even more powerful live than on studio recordings. His ability to switch between heavy distortion and delicate clean tones maximizes the expressive potential of the guitar, which is a key aspect of Nao’s appeal.

What sets his sound design apart is not just the creation of heavy tones but the coexistence of “defined clarity” and “resonance that utilizes space,” making him a standout among guitarists in the same genre.

▶ Search official YouTube videos of ΛrlequiΩ

List of Amplifiers and Features

One of the most famous amplifiers used by Nao (ΛrlequiΩ) is the “Diezel VH4.” This model is considered one of the best high-gain amplifiers and is beloved by metal guitarists worldwide. Nao acquired a used unit and customized it with white paint, silver knobs, and a reversed logo, creating his own original specification. With an output of 180W, it is overwhelmingly powerful, yet it is interesting to note that it is also praised for its “crystal clear clean tone.” In live performances, he skillfully utilizes the crunch channel for clean sounds and the P channel for his main distortion.

For cabinets, he uses a VHT (now Fryette) model, which is known for its robust yet lightweight design and excellent durability. After purchasing it used, Nao replaced the speakers to get closer to his ideal sound. The cabinet’s resonance is flat yet powerful, achieving a balance of “weight” and “clarity” when paired with the Diezel VH4.

The choice of these amplifiers is essential for the sound of ΛrlequiΩ’s music. While the band’s sound features many intense and heavy riffs, clean parts and arpeggios that evoke a sense of space frequently appear. Therefore, for Nao, who values the beauty of both distortion and clean tones, the Diezel VH4 is an ideal amplifier. Although it is an expensive, professional-grade amp, it is indispensable for his sound design.

Interviews and live photos available online confirm the combination of the Diezel VH4 and VHT cabinet as central to ΛrlequiΩ’s sound. However, it cannot be ruled out that he may have experimented with other brands in studio or rehearsal settings, with some speculation that he might have used Marshall or Mesa/Boogie amplifiers at certain times. While the confirmed information points to Diezel and VHT, it is assumed that he may use different options depending on the environment.

Types of Guitars Used and Features

Nao’s main guitar is a signature model from Combat Guitars. Combat is one of Japan’s leading custom guitar brands, and they have produced models specifically suited for ΛrlequiΩ’s heavy low-end riffs. Nao prefers designs that are tailored for down-tuning, paying close attention to scale length adjustments and pickup selections. The unique design also stands out on stage, aligning perfectly with the band’s aesthetic.

The Combat signature model is not just a custom guitar; it is optimized for Nao’s playing style. Adjustments to the neck thickness, fingerboard radius, and fret specifications are made with the intention of balancing stability for low-end riffs and fast-playing phrases. The scale settings are particularly designed to maintain tension on the lower strings, and the inclusion of powerful humbucker pickups is central to Nao’s sound.

ΛrlequiΩ’s music possesses a heaviness akin to modern metalcore while also incorporating melodic developments characteristic of visual kei. Therefore, Nao seeks a guitar that embodies both “heaviness” and “clarity.” The guitars from Combat fulfill these requirements and contain many original elements that are difficult to replicate with other commercially available models.

Past live photos and fan reports indicate that Nao is rarely seen using guitars other than Combat. While there may be a possibility of using ESP or Ibanez as backup guitars, their actual usage appears to be limited, suggesting a long-standing trust in the Combat brand.

Thus, Nao’s choice of guitar strongly reflects both ΛrlequiΩ’s musicality and his playing style, making it a crucial element of the band’s sound. The “heavy yet clear” tones heard in live performances and recordings are supported by the Combat Guitars signature model.

Effects and Pedalboard Setup

Nao’s pedalboard reflects a meticulous approach to sound management and a unique sonic vision. At the center is a “Custom Audio Japan (CAJ)” switcher, which controls multiple pedals and rack gear simultaneously. Each button is labeled by Nao himself, allowing for instant tonal changes. This focus on stability and usability during live performances is a notable feature.

For distortion, he uses several pedals tailored to different scenes. His main overdrive is the “KarDiaN C3H5N3O9 / Nitroglycerin,” which offers rich, organic tones and is used in both live and rehearsal settings. It works well with both humbuckers and single coils, producing a distortion that retains its core. Additionally, he employs the “KarDiaN C10H12N2O / Serotonin” as a gain boost or standalone distortion. He also incorporates the “KarDiaN CHCl3 / Chloroform” for additional boosting, enabling a diverse range of sound creation.

Another crucial pedal used as a booster is the “J. Rockett Audio Designs JAN RAY.” It provides a clean boost quality, adding a “springy” elasticity to the sound. When set lightly, it emphasizes the guitar’s punch. Furthermore, Nao has integrated a 2-in-1 pedal from “DAN KUDOU & ZEN KUDOU,” primarily utilizing the Zen mode to push the amp and add thickness and softness. This pedal allows switching between Dumble (green), TS (blue), and Marshall (orange) modes, providing a variety of distortions depending on the situation.

For spatial effects, he employs the “Free The Tone Tri-Chorus.” With its four-knob configuration, he particularly utilizes the “low-cut function” to manage low frequencies, creating the ethereal quality needed in ΛrlequiΩ’s songs. This pedal allows for fine adjustments, adding depth to clean parts.

By combining multiple distortion pedals, boosters, and chorus effects, Nao achieves a sound that encompasses “heaviness,” “clarity,” and “dimensionality.” His meticulous approach to differentiating distortion quality reflects his dedication to sound design. While the pedals mentioned above are confirmed through photos and interviews, it is assumed that he may have used additional spatial effects like reverb or delay at times, adapting to the performance context.

Tone Settings, EQ, and Mixing Approaches

In Nao’s sound settings, the EQ adjustments tailored to each section and the mixing techniques are crucial. For guitar tone EQ, he emphasizes the mids slightly to maintain overall balance while enhancing presence. Particularly, the low-mid settings accentuate the heaviness of the riffs, while in clean parts, he suppresses treble to maintain clarity.

One of the mixing techniques he employs is double tracking the guitar, which broadens the stereo image while clarifying the contours of each riff and melody. Additionally, spatial effects like reverb and delay are set according to the song’s tempo, creating a natural sense of resonance.

Furthermore, Nao experiments with combinations of amplifiers and pedals during live performances to pursue the optimal thickness and dimensionality of sound for each situation. His approach emphasizes “maintaining sound density while leveraging the dynamics suited to each part.”

Affordable Alternatives to Recreate the Tone

To recreate Nao’s heavy yet clear guitar sound within a budget of approximately $100 to $500, commercially available products from brands like BOSS and Zoom are incredibly useful. Here, we introduce gear that is beginner-friendly and highly replicable.

With the above combinations, it is possible to approach the tonal quality that Nao uses in live performances and recordings. Particularly, the SD-1 and BD-2 allow for flexible distortion character adjustments, while using Tri-Chorus and CE-5 to create dimensionality in clean tones can easily replicate Nao’s “clear heaviness.”

For beginners, using the multi-effects GT-1 can save the hassle of gathering multiple pedals while allowing for preset adjustments to get closer to Nao’s sound. This method is especially recommended for those looking to maintain affordability while ensuring replicability.

Summary and Conclusion

Nao’s sound design is not merely about high-gain guitar tones; it is intricately crafted to maximize the expression of the music. The stability of the low strings provided by the Combat Guitars signature model, the clarity of the Diezel VH4 amp, and the nuanced layering of distortion from KarDiaN and JAN RAY create a balance of power and transparency in ΛrlequiΩ’s music.

The pedalboard configuration is highly calculated, allowing for instant switching of pedals centered around the CAJ switcher, ensuring optimal sound during live performances. The use of chorus effects like Tri-Chorus and boosters such as Serotonin and Chloroform adds nuance, symbolizing Nao’s unique sound design.

Additionally, by combining commercially available effects like BOSS and GT-1, it is possible to easily experience Nao’s sound. The essence of sound design lies in the “differentiation of distortion and spatial effects according to the dynamics of the song,” which cannot be replicated through mere equipment copying. Therefore, being mindful of amp channel switching, booster engagement, and spatial depth adjustments can lead to a more faithful sound.

In summary, Nao’s sound design is characterized by “heavy yet clear tones,” “detailed distortion manipulation aligned with the song’s expression,” and “precise board management.” Being conscious of these aspects when selecting guitars, amplifiers, and effects, as well as adjusting settings, is key to recreating the ΛrlequiΩ sound.