[Nobumasa Kondo] How to Recreate the Lord of Major Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Nobumasa Kondo, the guitarist of Lord of Major, emerged as a prominent figure in the Japanese rock scene from the late 1990s to the early 2000s, known for his straight and powerful guitar sound. Iconic songs like “Taisetsu na Mono” and “Kokoro e” showcase tight riff work and thick chord progressions that highlight the vocals.

His sound is characterized by a balance of “aggressive distortion” and “clear, soaring cleans,” achieved through the use of two distinct amplifiers. The MESA/Boogie Triple Rectifier provides a heavy distortion, while the Roland JC-120 offers a transparent clean tone, allowing for seamless transitions between songs. This straightforward approach effectively supports the band’s overall sound.

Kondo’s guitar playing emphasizes solid backing rather than flashy solos or special techniques, making the presence of the guitar sound itself crucial. Therefore, his choice of guitars, amplifiers, and pickup modifications play a significant role in shaping his sound.

Even after the disbandment of Lord of Major, Kondo has continued to evolve his sound using signature models from Freedom Custom Guitar Research and the Orange Rockerverb, embodying the essence of “straightforward rock guitar” through the years.

In the following sections, we will explore Kondo’s amplifiers, guitars, effects, and the creative approaches he employs in sound design.

▶ Search official YouTube videos of Lord of Major

List of Amplifiers and Features

The foundation of Nobumasa Kondo’s sound lies in the amplifiers he used throughout his career, both during and after his time with Lord of Major. He primarily operated with a simple two-channel setup, clearly distinguishing between “distortion” and “clean” tones. This allowed for smooth transitions in sound color from song to song, effectively supporting the vocals while maintaining the dynamics of the music.

During the height of the band’s popularity, the MESA/Boogie Triple Rectifier served as the main distortion amplifier. This three-channel amplifier is known for its thick low-end and powerful high-gain sound. The robust riffs and punchy power chords characteristic of Lord of Major’s hits can be attributed to this amplifier.

On the clean side, Kondo utilized the Roland JC-120. This classic jazz chorus amplifier is renowned for its transparent clean tone, which beautifully expresses arpeggios and quiet passages. The JC-120’s ability to stand out even in a loud band setting made it ideal for coexistence with twin guitars and synthesizers in the Japanese rock genre.

Additionally, it is believed that a Hughes & Kettner head was occasionally used as a secondary amplifier, allowing for flexible switching depending on the studio or live environment.

After the disbandment, Kondo introduced the Orange Rockerverb 100 MKII. This amplifier has a more pronounced midrange character compared to the Rectifier and offers a slightly vintage tone, becoming a key component of his sound in solo projects. He continued to pair it with the Roland JC-120, reflecting his sound philosophy of maintaining a traditional two-channel setup.

In summary, during the Lord of Major era, Kondo constructed a robust rock sound with the combination of “Rectifier and JC-120,” transitioning to a more versatile sound with “Rockerverb and JC-120” post-disbandment.

Types of Guitars Used and Features

When discussing Nobumasa Kondo’s sound, his extensive guitar collection is indispensable. He has used a variety of guitars throughout his career, both during and after his time with the band, each playing a significant role in songs and live performances. Notably, the balance between the rock tones of the “Les Paul Custom” and the warm resonance of acoustic guitars has created the signature sound of Lord of Major.

The main guitar he used was the Nobumasa Kondo model from Freedom Custom Guitar Research (FCGR). Designed based on the specifications of a Les Paul Custom, it features hand-wound pickups by Mr. Fukano, showcasing Kondo’s personal touch. After the disbandment, he switched to EMG pickups for a time but has since returned to vintage-like pickups for a more organic sound. This guitar is primarily used in standard tuning, making it reliable for studio work.

Additionally, the Gibson Les Paul Custom was a representative instrument during the band era. It was used predominantly in songs tuned a half-step down, featuring a coverless rear pickup and stainless steel frets for practical customization. The deep attachment to this guitar is evident, as it has been repaired after a neck break and continues to be used.

For acoustic work, Kondo utilized a Gibson J-45 with rosewood sides and back. This guitar matched his powerful strumming and heartfelt singing, making it essential for Lord of Major’s ballads and acoustic sets.

In the early days, he was seen using a Gibson Les Paul Standard in live performances, and a Fender Japan Stratocaster was confirmed during the recording of the first album. This contributed to a brighter and more pronounced sound in the band’s formative years.

Furthermore, the Gibson Flying V and Explorer made appearances in TV performances and live shows, while later on, SCHECTER and FCGR long-scale models were introduced. These guitars were utilized for composing down-tuned songs and live arrangements.

In summary, Nobumasa Kondo maintained a style of “primarily using Les Paul-type guitars while complementing with Strats and Flying Vs as needed,” focusing on both practicality and individuality.

Effects and Pedalboard Setup

Information regarding Nobumasa Kondo’s pedalboard is quite limited, with few specific details available. Official gear explanations and primary sources do not highlight individual pedals, suggesting that his pedalboard was likely very simple. This simplicity is largely due to the reliance on the inherent tones of the MESA/Boogie Triple Rectifier and Roland JC-120.

However, based on the common rig setups of Japanese rock guitarists at the time and the characteristics of using both the Rectifier and JC-120, the following pedals can be assumed. First and foremost, a tuner would be essential. The BOSS TU-2/TU-3 are standard pedal tuners that would likely have been used for their reliability in live settings.

A delay pedal would also be expected to enhance the thickness of solos and leads. Simple digital delay models like the BOSS DD-3 or DD-5 were commonly used in the Japanese rock scene and would have been crucial for creating spatial depth in lead play and ballads.

Additionally, placing a light overdrive or booster in front of the Rectifier to refine the distortion’s clarity is a plausible setup. For example, the BOSS SD-1 or OD-3 are classic overdrives that would work well for gain boosting, enhancing the midrange to help the guitar stand out in the band mix.

For clean tones, it is likely that Kondo utilized the built-in chorus of the Roland JC-120. This would allow for a simple yet effective way to create spaciousness in arpeggios and ballad parts. While there is no confirmation of using external chorus pedals, the stereo chorus of the JC-120 is professional-grade and fits Kondo’s straightforward style.

Overall, Kondo’s pedalboard can be summarized as a compact setup centered around “tuner + delay + overdrive/booster.” This approach maximizes the amp’s direct sound while adding minimal corrections, reflecting a rational method that supports the straightforward rock sound of Lord of Major.

Tone Settings, EQ, and Mixing Approaches

Nobumasa Kondo’s sound design is characterized by a straightforward rock sound, yet it incorporates meticulous details tailored to each song. The dual setup of the MESA/Boogie Triple Rectifier and Roland JC-120 forms the core of his sound design. The distortion provides a powerful and thick sound, while the clean tone maintains clarity and presence, supporting the unique dynamics of Lord of Major’s music.

In terms of EQ, when using the Rectifier, it is advisable to avoid excessive low-end while boosting the mids. Particularly in live settings, too much low-end can clash with the bass, so keeping the 50-80Hz range slightly suppressed while maintaining a core in the 100-250Hz range, and boosting the 1kHz-2kHz range to bring the guitar riffs forward, is a rational approach. This ensures a “thick yet prominent guitar sound” within the overall band mix.

For high-gain sounds, settings of Treble around 6-7, Mid around 5-6, and Bass around 4-5 would likely strike a balance between clarity and power. Since the Rectifier is rich in low-end, keeping the bass in check is crucial. Conversely, in studio recordings, the bass might be slightly increased for thickness, allowing the mixing engineer to adjust during the final mix.

For clean tones, the settings would leverage the JC-120’s bright high-end. The EQ would likely have the Treble slightly lowered and the mid-low frequencies slightly boosted to create a natural arpeggio sound that isn’t piercing to the ears. The use of the built-in stereo chorus of the JC-120 would add spatial resonance, enhancing presence during quiet parts or intros.

During recording and mixing, double-tracking techniques would likely be employed to create a thick guitar sound. In songs like “Kokoro e” and “Taisetsu na Mono,” panned distorted guitars create a wall of sound, with vocals and acoustic guitars centered, a typical structure in Japanese rock. It is common to use one side with the Rectifier and the other with a different guitar (Les Paul or Strat) to create a sense of width.

For solo parts, a light delay would enhance the presence of leads. A delay time of around 300-400ms is a simple setting that avoids excessive reverb, allowing the lead to stand out without overshadowing the vocals. Reverb would primarily come from the amp’s spring reverb or post-processing in the PA, with no evidence of dedicated reverb pedals on the pedalboard.

In live PA settings, guitars are typically EQ’d with a slight mid-range emphasis to support the overall sound pressure of the band. Given that Lord of Major’s songs often feature a sense of urgency, a guitar sound that is too thin lacks impact, while excessive low-end can muddy the mix. Therefore, collaboration with the PA engineer to ensure a solid mid-range presence is essential for maintaining the band’s driving force.

In summary, Kondo’s sound design revolves around “organizing the low-end while bringing the mid-range forward to highlight a straightforward rock sound.” The clear distinction between clean and distorted tones, along with a simple setup, supports the powerful guitar sound characteristic of Lord of Major.

Affordable Alternatives to Recreate the Tone

Recreating the sound of Nobumasa Kondo from Lord of Major can be challenging, especially when considering the expensive amplifiers like the MESA/Boogie Triple Rectifier and Orange Rockerverb, as well as the custom models from FCGR. However, it is entirely possible for beginners and intermediate players to achieve a similar vibe with relatively affordable gear. Here, we will focus on products in the price range of $100 to $500 (up to $1,000) that can effectively recreate the sound.

For amp simulators, the is highly recommended. Specifically, the “BOSS Katana-50 MkII” can handle a wide range from high-gain to clean tones, with a variety of built-in effects. It can replicate modern high-gain sounds akin to the Rectifier, making it suitable for home practice and small gigs.

As for multi-effects units, the or Line 6 POD Go are excellent options. These units feature amp models reminiscent of Orange and Mesa Boogie, allowing users to combine delay and overdrive to easily create sounds similar to “Taisetsu na Mono” and “Kokoro e.” The POD Go, in particular, is budget-friendly and ideal for beginners looking to emulate the sound of Lord of Major.

For overdrive, the is an optimal choice. This pedal is a staple for both professional and amateur players, mimicking the use of a booster in front of the Rectifier. Its natural midrange boost allows for effective sound crafting that stands out in a band mix.

For delay, the is recommended. It can handle a wide range of echoes, from simple to modern delays, making it sufficient for recreating the thickness in solos. A setting of around 300-400ms with shallow feedback would help achieve the presence heard in Kondo’s solos.

To replicate acoustic sounds, a hybrid model like the Fender Acoustasonic Player Telecaster is also a great option. This guitar combines the qualities of both electric and acoustic guitars, making it suitable for Lord of Major’s ballads and singer-songwriter styles.

In summary, for beginners looking to approach Kondo’s sound, the most cost-effective strategy is to “build a foundation with the BOSS Katana and add essential effects like the BOSS SD-1 and DD-8.” This approach offers excellent value for money while allowing players to get closer to the desired tone.

Summary and Conclusion

Nobumasa Kondo’s sound design in Lord of Major may seem straightforward at first glance, but it is underpinned by a “thorough rationality aimed at maximizing the songs.” The essence of his sound lies in the powerful tone derived directly from the amp, complemented by minimal effects. The guitar serves as a supporting pillar for the band’s melodies and lyrics, embodying the core of classic rock.

His choice of guitars revolves around Les Paul Customs, while also flexibly incorporating Strats and Flying Vs as needed. This versatility allows him to seamlessly switch between thick distortion and clear cleans, accommodating a wide range of songs from ballads to high-energy tracks. Additionally, the inclusion of the J-45 acoustic guitar adds warmth and depth to the overall sound.

Regarding amplifiers, the dual setup of “MESA/Boogie Triple Rectifier and Roland JC-120” during the Lord of Major era, and “Orange Rockerverb and JC-120” post-disbandment, is emblematic of his approach. This combination allows for the coexistence of “heavy distortion” and “clear cleans,” making it an ideal choice for straightforward rock sounds.

The effects used were minimal, likely limited to a tuner, delay, and overdrive/booster. This reliance on the amp’s core sound is a simple yet powerful approach that aligns perfectly with the direct sound of Lord of Major.

For those aspiring to recreate Kondo’s sound, the most crucial aspect is to “trust the character of the amp without adding unnecessary elements.” Proper EQ processing that organizes the low-end while bringing the mid-range forward, simple delays to enhance leads, and an awareness of the guitar’s inherent qualities can yield a sound close to Kondo’s without needing high-end gear.

In essence, the core of Kondo’s sound design is “straightforward and honest.” It is a sound born from the fusion of his playing style and the musical world of Lord of Major, leaving a lasting impression on listeners due to its simplicity. Those attempting to replicate this sound should maintain the perspective of a “guitar that complements the song,” which will undoubtedly lead to successful recreations.