[Naoki Namimoto] How to Recreate the Kessoku Band Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Naoki Namimoto, the guitarist of Kessoku Band, embodies the vibrant and impactful guitar sound that reflects the world of the original work “Bocchi the Rock!” His playing style is characterized by a foundation of distortion while skillfully utilizing clean tones to create a colorful expression unique to each song.

In the representative song “If I Could Become a Constellation,” the use of wah creates an impressive riff, producing a unique sound that combines speed and emotion. Conversely, in “Blue Spring and the Western Sky,” he switches to a Stratocaster, transitioning from the thick tone of a Les Paul to a sparkling clean tone. Live performances showcase a powerful tone built around Bogner amplifiers, which supports the overall sound of Kessoku Band.

Additionally, his pedalboard incorporates the latest digital multi-effects, such as the Line 6 HX Stomp, achieving a modern system that blends the best of both analog and digital. For overdrive, he uses the VEMURAM Jan Ray and Wampler Tumnus, while the Xotic EP Booster enhances the thickness and dynamic expression of his sound.

The attention drawn to Namimoto’s sound creation lies not only in the luxuriousness of his gear but also in his sensibility to use the right equipment in the right places according to the song’s development. His persuasive playing style makes the audience feel, “This sound is Kessoku Band,” which is arguably his greatest charm.

▶ Search official YouTube videos of Kessoku Band

List of Amplifiers and Features

The most crucial element in Naoki Namimoto’s sound creation is undoubtedly the amplifier. Confirmed in both live and studio settings, he utilizes the Bogner system, a high-gain amplifier synonymous with German engineering. Guitar Magazine WEB states that he uses a combination of 2-channel and 3-channel setups, which provide the unique density and three-dimensional sound characteristic of Bogner, adding depth to Kessoku Band’s music.

Bogner amplifiers are designed to offer both the clarity of a clean channel and the thickness of a high-gain channel. The Ecstasy and Uberschall series are particularly popular among professionals both domestically and internationally. While the specific model Namimoto uses is not clearly documented, live photos and articles confirm that he combines a 3-channel head amplifier with a Bogner cabinet.

Moreover, the amplifier settings can be flexibly adjusted through the 4-cable method in conjunction with the Line 6 HX Stomp. This allows for a sound creation that emphasizes the midrange for the wah-driven riff in “If I Could Become a Constellation,” while easily switching to a clean reverb-laden expression for ballads. The combination of Bogner’s deep sound and the diverse effects processing from the digital multi-effects optimizes his guitar for the songs.

Listening to Kessoku Band’s live recordings, one can hear that the guitar maintains a balanced presence in the band sound without being buried, thanks to Bogner’s midrange expressiveness and the powerful cabinet’s resonance. While the exact model name remains unconfirmed, the combination of the Bogner Ecstasy Head and 4×12 cabinet is the most likely candidate.

Types of Guitars Used and Features

The primary element shaping Naoki Namimoto’s guitar sound is the Les Paul he uses as his main instrument. His favored model is the “Gibson Historic Collection 1959 Les Paul Standard Reissue HRM (Lemon Drop),” which is not just a reissue but has undergone extensive modifications. The pickups have been replaced with Lindy Fralin models, and upgrades include 50s Bumblebee capacitors, vintage wiring, and jack upgrades, achieving a modern stability while replicating the classic Les Paul sound.

Notably, during Kessoku Band’s “Stellar Live,” this Les Paul is used for nearly all songs. The thick midrange and rich sustain are essential to Namimoto’s playing style, providing a strong presence whether in leads, riffs, or arpeggios. His sound is often described as “thick yet clear,” a result of the combination of this Les Paul and its modifications.

On the other hand, for the song “Blue Spring and the Western Sky,” he switches to a Fender Stratocaster. This specific use of the Stratocaster is explicitly mentioned in Guitar Magazine WEB, showcasing a bright and wide-ranging tone that contrasts sharply with the thick sound of the Les Paul. This strategic use of different guitars adds tonal contrast throughout the setlist, keeping listeners engaged.

While the Les Paul serves as the core guitar for live performances, the Stratocaster is used selectively for specific songs. This clear differentiation indicates Namimoto’s focus on the song’s atmosphere and structure when selecting his gear. Currently, the only publicly confirmed guitars are the two mentioned above, but there is potential for new models to appear in future live or studio work, warranting continued attention.

Effects and Pedalboard Setup

Supporting Naoki Namimoto’s sound creation is a meticulously organized pedalboard. It combines analog and digital elements, allowing for instant switching between diverse tones during live performances. Central to this setup is the Line 6 HX Stomp, which handles a wide range of effects including pitch shifting, modulation, and delay. Connected via the 4-cable method to the Bogner amplifier, it allows for flexible tone control while leveraging the amplifier’s characteristics.

He utilizes multiple overdrive pedals to create different tonal expressions. The Wampler Tumnus, known as a Centaur-style overdrive, adds clarity and midrange punch to the thick sound of the Les Paul. The VEMURAM Jan Ray, which leans towards a clean boost, is used to bring out picking nuances in certain songs. Additionally, the Analog Man Ibanez TS9 Mod, a modified version of the classic Tube Screamer, emphasizes mid-boost while achieving clarity. Coupled with the Xotic EP Booster, it enhances the presence of solos and riffs.

For spatial and special effects, the Jim Dunlop GCB-95 Cry Baby Wah is employed in the riff of “If I Could Become a Constellation,” adding a unique fluctuation to the band sound. Furthermore, the Free The Tone JB-82S (junction box) and ARC-53M (programmable switcher) are integrated to organize the often complex signal path, ensuring stable sound quality and usability during live performances.

As auxiliary equipment, he also uses the BOSS TU-3s (tuner), Kenton Turu-5 (MIDI thru), and Ex-pro PS-2 (power supply). While these do not directly contribute to sound creation, they significantly enhance the overall stability and reproducibility of the system. The combination of MIDI thru and switchers allows for one-touch complex tone switching, greatly supporting Namimoto’s live performance.

Overall, his pedalboard is assumed to be a practical configuration that harmonizes the “warmth of analog” with the “versatility of digital.”

Tone Settings, EQ, and Mixing Approaches

Naoki Namimoto’s sound creation is supported by meticulous settings that cannot simply be replicated by lining up equipment. The combination of channel switching on the Bogner amplifier, flexible sound creation using the HX Stomp, and adjustments during the PA and mixing stages come together to establish the unique “powerful yet transparent guitar sound” characteristic of Kessoku Band.

Firstly, the basic amplifier EQ settings are likely centered around a midrange-focused configuration with boosted mids. In the main sound using the Les Paul, the low end is tightly controlled while enhancing the midrange thickness, and the high end is kept from being piercing, achieving a tone that cuts through the overall band sound. Particularly in live settings, it is assumed that efforts are made to maintain “presence” without excessively cutting the low end, considering the mix with drums and bass.

Another notable aspect is the adjustment of settings for each song. In “If I Could Become a Constellation,” the midrange is further emphasized to leverage the filtering from the Cry Baby Wah, ensuring a bright sound. Conversely, in “Blue Spring and the Western Sky,” the Stratocaster is used, adding reverb and modulation to the clean channel, foregrounding transparency. This indicates that he dynamically adjusts the amplifier’s channel switching and EQ balance according to the guitar and effects used.

Additionally, the use of the HX Stomp for spatial effects is noteworthy. Delay settings often feature shorter delay times with reduced feedback to emphasize stereo effects, while reverb is applied lightly to blend with the venue’s natural reverb. Pitch shifters are used in certain riffs and phrases, playing a role in recreating the “thickness of the original song” during live performances.

Namimoto’s attention to detail is also reflected in the mixing stage. Guitars are often placed closer to the center rather than panned left or right in the band ensemble, establishing a strong presence as the “lead guitar.” In EQ processing, mid-high frequencies are slightly boosted around 2-3kHz to add presence, while unnecessary low frequencies are cut with a high-pass filter to ensure separation from the overall band’s low end.

During solo parts, he utilizes boosters or the Jan Ray to simultaneously elevate volume and gain, allowing the guitar to step forward in the mix. From an engineer’s perspective, his control over dynamics is exceptional, maintaining the natural picking nuances without overly relying on compression.

In summary, Naoki Namimoto’s settings can be described as built on three pillars: “EQ that enhances the natural sound of the equipment,” “channel switching tailored to the song,” and “mixing in cooperation with the PA.” By considering these factors, it is assumed that a heavy yet clear guitar sound characteristic of Kessoku Band can be reproduced.

Affordable Alternatives to Recreate the Tone

The gear actually used by Naoki Namimoto consists of high-end items like the Gibson Custom Les Paul, Bogner amplifiers, and expensive pedals from VEMURAM and Wampler, making it realistically challenging for beginners to acquire everything. Fortunately, there are relatively affordable alternatives available that can replicate the key features of his sound, such as “thick midrange,” “clarity,” and “spatial effects.” Here, we focus on items that can be introduced for around $100 to $500.

For guitars, the Epiphone Les Paul Standard is the strongest candidate for a Les Paul-style instrument. While significantly more affordable than the Gibson, it still delivers a thick sound that can provide a “Kessoku Band-like core tone” depending on the combination with amplifiers and effects. For a Stratocaster, the Fender Player Stratocaster (made in Mexico) or Squier Classic Vibe series are also viable options.

In terms of amplifiers, the BOSS Katana series offers exceptional cost performance, providing a model that achieves midrange punch and three-dimensionality similar to Bogner. The Katana-50 MkII, in particular, is versatile enough for home practice and small gigs, covering clean to high-gain sounds. While it may not have the multifunctionality of the HX Stomp, it can still deliver a tone close to Namimoto’s.

For effects, popular alternatives to Centaur-style overdrives include JHS Pedals’ “3 Series Overdrive” and Electro-Harmonix Soul Food. For pedals mimicking the Jan Ray, the Xotic RC Booster is also a recommendable option, providing clean boost capabilities at an accessible price. The original Cry Baby Wah is relatively affordable and can be directly integrated.

If considering a multi-effects unit, while the Line 6 HX Stomp is somewhat pricey, alternatives like the Zoom G5n or the more affordable BOSS GT-1000 Core (GT-1) are excellent choices. These units excel in spatial effects, and with proper settings for delay and reverb, they can closely approach the three-dimensional tone of “If I Could Become a Constellation.”

While power supplies and switchers are not strictly necessary, for those seeking stability, a power supply from One Control or a simple switcher like the BOSS ES-5 can enhance live usability. Overall, the combination of an Epiphone guitar, Katana amplifier, Soul Food, and Cry Baby Wah represents a solid starting point for capturing the “Kessoku Band sound” on a budget.

Summary and Conclusion

Reflecting on Naoki Namimoto’s sound creation, its essence lies in the “sense of balance that allows for presence within the band sound while complementing the songs.” By using the modified Gibson Historic Collection 1959 Les Paul as his main instrument, he secures a robust midrange and rich sustain. Additionally, by selectively using the Fender Stratocaster for different songs, he broadens the tonal range.

On the amplifier side, he leverages the high-resolution and three-dimensional tones characteristic of Bogner, seamlessly switching between clean and high-gain sounds while layering spatial effects and pitch processing through the Line 6 HX Stomp. This results in a diverse sound palette that can transition from heavy riffs to transparent arpeggios in live settings. This flexibility exemplifies a modern approach that fuses “the power of analog” with “the convenience of digital.”

The structure of his pedalboard is also distinctive. By utilizing multiple overdrives to craft tonal expressions and adding accents with the Cry Baby Wah, he achieves a balance between stability and responsiveness during live performances through the use of switchers and junctions. This goes beyond mere equipment selection; it reflects a philosophy of “how to maximize the atmosphere of the songs without breaking it.”

Furthermore, through careful adjustments at the PA and mixing stages, the guitar is consistently heard clearly within the band. By boosting the midrange while keeping the high end from becoming overly sharp and tightening the low end, this meticulous sense of balance reveals the secret to the “heavy yet clear sound” heard in Kessoku Band’s live performances.

In summary, Naoki Namimoto’s sound creation serves not as a personal statement of the guitarist but as a core element supporting the entire band. This is manifested in the presence of the Les Paul sound while flexibly incorporating the transparency of the Stratocaster and the fluctuation of the wah as needed. To replicate this, it is not always necessary to invest in expensive gear; rather, it is crucial to maintain an awareness of “supporting the band” as the foundation of sound creation.

For those looking to cover Kessoku Band’s songs, Naoki Namimoto’s sound creation represents a significant milestone and a treasure trove of learning points. By understanding the essence of his sound and making adjustments suited to one’s environment, anyone can get closer to that “live guitar sound that resonates with the heart.”