[NAOTO] How to Recreate the ORANGE RANGE Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

NAOTO, the guitarist of ORANGE RANGE, is a master of diverse tones within a genre-less band sound. His ability to navigate from pop to rock, hip-hop, and even incorporate Okinawan scales into unique compositions showcases his flexible and distinctive sound crafting.

In iconic songs like “Hana” and “Ikenai Taiyou,” his playing style features a seamless transition between clean, shimmering tones and thick distortion. Particularly in live performances, he utilizes effects switching and spatial processing to highlight the dynamic nature of the songs.

Recently, NAOTO has centered his setup around multi-effects units while combining individual pedals like overdrives and wahs, allowing him to tackle complex song arrangements. This ingenuity in balancing thickness and clarity in sound is a point many guitarists should take note of.

NAOTO’s guitar work supports the band’s overarching “genre-crossing musicality,” and by delving into the secrets of his sound crafting, readers can apply these insights to their own tone creation.

Below, we will thoroughly explain the amplifiers, guitars, and effects that NAOTO actually uses, shedding light on his sound construction methods.

▶ Search official YouTube videos of ORANGE RANGE

List of Amplifiers and Features

NAOTO utilizes a lineup of amplifiers that form the foundation of classic rock sounds while accommodating a wide range of genres. The VOX AC30, confirmed through recent live photos, is a legendary amp loved by artists from The Beatles to modern indie bands. It is characterized by its bright clean tones and warm midrange when distorted, which strongly correlates with NAOTO’s clean to crunch tones.

Additionally, the Marshall JCM900 is also used on stage, representing the essence of ’90s rock. Its powerful drive sound and pronounced mids contribute significantly to ORANGE RANGE’s intense songs and the impactful riffs during live performances. The JCM900 is known for its strong high-end clarity, making it an essential component in a twin-guitar setup, ensuring that it doesn’t get buried in the overall band sound.

Furthermore, the Fender Twin Reverb has also been part of his rig. Fender amps are renowned for their beautiful clean tones, particularly supporting softer songs like “Hana” and “Locorotion” with their transparent sound. The deep reverb of the clean channel directly contributes to NAOTO’s “clear yet comfortably expansive sound.”

By utilizing these amplifiers, it is evident that NAOTO can adapt to ORANGE RANGE’s diverse sound. For pop and refreshing tracks, the Fender Twin is likely chosen, while the Marshall is preferred for robust rock and explosive live moments, and the VOX AC30 is selected for its bright, well-defined crunch.

These amplifiers are crucial elements in NAOTO’s ability to switch tones flexibly across ORANGE RANGE’s genre-less repertoire. While specific usage in live or studio settings may vary, it is assumed that these amps are primarily utilized.

Types of Guitars Used and Features

NAOTO’s guitar collection is equipped to handle a wide range of sounds, from clean and shimmering tones to thick distortion. A frequently used model in both live and recording settings is the Fender Jazzmaster QAC-202 G. The Jazzmaster’s wide-ranging tone and unique harmonic content align perfectly with ORANGE RANGE’s catchy pop songs. Its presence shines particularly in clean arpeggios and slightly overdriven crunch sounds.

Additionally, the Fender Stratocaster (1971 model) has been a long-time staple. Its slightly thicker neck and the bright high-end produced by the vintage single-coil pickups make it ideal for funk and rock-oriented cuts. The Stratocaster is a versatile guitar that serves as a foundational piece in NAOTO’s sound crafting.

Moreover, a Gibson Les Paul (USA-made, approximately 20 years old) has also been confirmed as part of his gear. The thick mids and long sustain characteristic of the Les Paul are perfect for ORANGE RANGE’s rock-heavy tracks and powerful live riffs. Its single-cut design provides a resonance that cannot be achieved with the Stratocaster or Jazzmaster.

By utilizing these three guitars, NAOTO can adapt to ORANGE RANGE’s diverse musical styles. The Jazzmaster provides bright cleans, the Stratocaster delivers sharp cuts, and the Les Paul offers thick leads and riffs, adding color to the overall band sound.

Depending on the song’s atmosphere, he likely switches guitars. The Jazzmaster and Stratocaster are frequently used, while the Les Paul appears more often in hard-hitting songs or key moments during live performances.

In this way, NAOTO’s guitars form a rich lineup that supports ORANGE RANGE’s diverse compositions. While the frequency of use and appearance may vary, it is assumed that these guitars are central to his setup.

Effects and Pedalboard Setup

NAOTO’s pedalboard, as seen in recent live photos and gear features, comprises a “multi-effects unit + individual pedals + switcher” setup. The Line 6 HX Stomp and Eventide H9 are particularly central to his current sound crafting. The HX Stomp covers a wide range of amp simulations, spatial effects, and modulation, making it capable of handling ORANGE RANGE’s genre-less music with just one unit. The H9, with its high-quality algorithms including reverb and pitch shifting, aids in delivering diverse expressions during live performances.

For distortion pedals, notable models include the Fulltone OCD, BOSS DS-2 Turbo Distortion, and Electro-Harmonix Hot Cake. The OCD provides a tube-like overdrive, accommodating everything from light distortion to deep drive. The DS-2 adds aggressive distortion through its turbo mode, enhancing the thickness of rock songs. The Hot Cake, favored by Oceania artists, delivers a unique drive that blends seamlessly into the band’s overall sound.

Special effects include the DigiTech Whammy 4 for pitch shifting and the VOX Wah for filter effects, both utilized for impactful phrases on stage. Additionally, the FREE THE TONE ARC-4 switcher and Providence THRU-5 thru box have been integrated to streamline complex connections and enable instant switching.

In the past, NAOTO has also used staple equipment like the BOSS DS-1, MXR Phase 100, BOSS DD-20 Giga Delay, and BOSS BD-2 Blues Driver, indicating his exploration of diverse sounds while building his style. He has also incorporated unique pedals like the KRANK Distortus Maximus and Human Gear FINE OD, showcasing his experimental side.

The latest board features the “HX Stomp + H9” for versatility, while the OCD, DS-2, and Hot Cake allow for switching between different drive textures. This integrated management via a switcher results in a highly refined setup that can promptly respond to ORANGE RANGE’s genre-less music.

NAOTO’s effect system skillfully balances the latest digital technology with classic analog pedals, allowing for immediate responses to ORANGE RANGE’s diverse songs. While there may be variations depending on the time and song, the above represents the main components of his setup.

Tone Settings, EQ, and Mixing Approaches

NAOTO’s sound crafting essence lies in “having a core that supports the entire band while flexibly changing according to each song.” Although the amplifiers and effects he uses are quite diverse, there are consistent tendencies in his basic EQ and settings.

When using the VOX AC30, it is assumed that he tends to slightly lower the treble while balancing the mids and bass. This approach avoids piercing highs when combined with the single-coils of the Jazzmaster or Stratocaster while retaining bright harmonics. Conversely, when using the Marshall JCM900, he likely raises the presence to bring the guitar’s attack forward and boosts the mids for added thickness. This adjustment ensures that guitar riffs and solos in rock songs stand out within the band sound.

In scenarios where the Fender Twin Reverb is used, it is speculated that low frequencies are slightly cut to emphasize the transparency of the clean tone. Particularly in ballads like “Hana” or songs centered around clean sounds, combining with spatial effects creates a broader sound.

There are also clever techniques in the use of effects. For distortion, it is likely that the Fulltone OCD is set as the base drive, with the DS-2 added during choruses or climactic parts of songs. This allows for seamless transitions from crunch to high gain within a single track. The Hot Cake is used for its blendable distortion, especially in ensemble-focused songs.

For modulation and spatial effects, the Eventide H9 and HX Stomp are central. Chorus and delay are typically set to avoid excessive depth, providing a natural expansion. For instance, the delay settings might be around “400ms delay time, 2-3 repeats, and 30% mix,” ensuring balance without interfering with vocals or other instruments.

During the mixing stage, NAOTO’s guitar is meticulously crafted to be “centered while not interfering with other instruments.” Particularly in sections where two guitar parts overlap, one is typically panned slightly low and the other high to create a spatial separation. EQ processing often involves cutting around 200Hz to prevent muddiness in the lows and lightly boosting around 3kHz to enhance attack.

Live, the ability to switch tones instantly using a switcher is a significant strength. In dynamic songs like “Ikenai Taiyou” or “Locorotion,” he smoothly transitions from clean to wah to distortion to spatial effects, keeping the audience engaged.

Ultimately, NAOTO’s sound crafting can be summarized as “building on the character of the amp, optimizing for the entire band with EQ, and adding color with effects.” He emphasizes transparency in studio work while prioritizing impact and responsiveness in live settings, achieving a balanced sound.

Affordable Alternatives to Recreate the Tone

To assemble a setup similar to NAOTO’s “multi-effects + individual distortion pedals + wah or pitch shifter,” significant investment is typically required. However, there are ways for beginner to intermediate players to approximate his sound at a relatively low cost. Here, we will introduce equipment that can be acquired for around $100 to $500.

As a substitute for a multi-effects unit, the BOSS GT-1 or ZOOM G3Xn are recommended. While NAOTO’s Line 6 HX Stomp and Eventide H9 are high-performance units, their price can be prohibitive for first-time players, making BOSS or ZOOM models more realistic options. The GT-1 is compact yet covers amp simulations and spatial effects, allowing for a wide range of clean to distorted sounds akin to ORANGE RANGE.

For distortion, the BOSS DS-1 Distortion is the most accessible choice. NAOTO has previously used this pedal, and its simple controls make it user-friendly, suitable for rock-oriented tracks. If a wider range of drive is desired, the Electro-Harmonix Soul Food can effectively replicate nuances similar to the OCD or Hot Cake at a lower cost.

For a wah pedal, the VOX V845 Wah offers excellent cost performance and is an ideal alternative to the VOX Wah that NAOTO uses. If looking to incorporate a pitch shifter, the DigiTech Whammy Ricochet is recommended. While the Whammy 4’s foot-pedal operation can be challenging, the Ricochet is compact and user-friendly, allowing for quick tonal changes during live performances.

Additionally, to enhance spatial effects, adding the TC Electronic Hall of Fame Mini Reverb can provide depth to clean tones, serving as a sufficient substitute for the reverb in the Eventide H9. For delay, the BOSS DD-3T Digital Delay is a classic choice, offering stable delay effects in a simple format.

By creatively combining affordable equipment, players can closely approach NAOTO’s sound. The key is to focus on “multi-effects for breadth, individual pedals for distortion, and spatial effects for color.” Understanding this design philosophy will enable you to create a sound that stands out in a band ensemble.

These combinations allow beginners to approach NAOTO’s sound while keeping costs down. Focusing on “multi-effects for breadth, individual distortion for reinforcement, and one spatial effect” can significantly enhance your sound.

Summary and Conclusion

Reflecting on NAOTO’s sound crafting, its essence lies in “flexibility to support the band’s diverse musicality” and “the ability to accurately express the atmosphere of each song.” The use of Jazzmasters and Stratocasters for transparent cleans, Les Pauls for thick rock riffs, and leveraging the character of VOX AC30 and Marshall JCM900 amplifiers form the pillars supporting ORANGE RANGE’s genre-less sound.

In his latest board configuration, he integrates digital multi-effects like the HX Stomp and H9 while combining them with analog pedals like the OCD and DS-2, achieving varying textures of distortion and spatial effects for each song. This approach reflects a philosophy of coexisting “the breadth of digital” with “the individuality of analog,” not merely for convenience.

When attempting to replicate NAOTO’s sound, it is crucial to understand that simply acquiring the same gear is not enough. His sound crafting features “flexibility to switch instantly according to the song” and “EQ processing considering the balance of the entire band.” Thus, mimicking his playing style requires careful consideration of “which frequencies to emphasize” and “which to cut,” tailored to your band’s arrangement and the songs performed.

Moreover, even with relatively inexpensive alternative gear, if you grasp the design philosophy, you can get quite close to his sound. By focusing on a combination of “multi-effects + individual distortion + one spatial effect,” you can achieve a sound reminiscent of NAOTO’s in live settings. Understanding the “order of sound crafting” and “positioning within the overall ensemble” is essential.

Overall, NAOTO’s sound crafting emphasizes “optimal solutions to enhance the song” rather than “flashy individuality.” When incorporating his techniques into your playing, maintaining a perspective on “how to support the song’s atmosphere” is the shortest route to approaching his sound.

NAOTO’s guitar work, which underpins ORANGE RANGE’s diverse songs, is filled with valuable hints on “how to contribute to music as a player,” transcending genres and equipment.