[Nobuo Oki] How to Recreate the ACIDMAN Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Nobuo Oki, the guitarist and vocalist of ACIDMAN, is the cornerstone of the band’s sound. His playing style is both emotional and powerful, characterized by a unique soundscape that utilizes ethereal delays and fuzz tones. Iconic songs like “Akai Orange,” “Your Song,” and “Aru Shomei” showcase the sharp contours typical of Rickenbacker guitars combined with the edgy drive of Orange amplifiers, creating a one-of-a-kind musical world.

In crafting ACIDMAN’s sound, the balance between the clarity of clean tones and the richness of distortion is crucial. During live performances, Oki primarily uses Rickenbacker guitars while also incorporating various Fender models according to the situation, expressing everything from delicate arpeggios to thunderous riffs. Additionally, the delay sounds centered around the Line6 DL4 add depth and expansiveness to their music, while the aggressive fuzz tones from the Big Muff support the explosive power of their songs.

Oki’s guitar playing captivates listeners by infusing deep emotion into simple chord strumming, influencing many guitarists along the way. This article will thoroughly explain the key points to recreate the ACIDMAN sound, focusing on the amplifiers, guitars, and effects used by the band.

▶ Search official YouTube videos of ACIDMAN

List of Amplifiers and Features

The core of ACIDMAN’s sound lies in the tube amplifiers from the British brand “ORANGE.” Nobuo Oki particularly favors the “ORANGE AD140HTC,” which has been confirmed as the central amplifier in live settings. The thick and edgy drive sound characteristic of ORANGE supports the grandeur and heaviness that permeates ACIDMAN’s music.

The ORANGE AD140HTC is versatile, capable of handling everything from clean tones to aggressive distortion. Oki’s playing often features clear, transparent clean tones for arpeggios, while combining it with the Big Muff to produce thunderous, explosive riffs. Notable tracks like “Akai Orange” and “Aru Shomei” highlight the thick tone emphasized by the mid-low frequencies unique to Orange amplifiers.

Past interviews and live footage suggest that Fender and Marshall amplifiers may have been used in studio recordings. For clean tone tracks, the bright sound of a Fender Twin Reverb might be utilized, while aggressive songs could benefit from the attack of a Marshall amp. However, it is safe to assume that the ORANGE AD140HTC is the main amplifier used in most live situations.

Furthermore, it is speculated that studio work involves nuanced adjustments through mic placement and recording techniques. For instance, using a Shure SM57 mic positioned in front of the cabinet while employing an ambient mic to capture the atmosphere likely contributes to the expansive guitar tone. Such techniques are directly linked to ACIDMAN’s “cosmic” soundscape.

In summary, Oki’s amplifier selection can be characterized as “using the ORANGE AD140HTC as the main amplifier for live performances, supplemented by Fender and Marshall amps in the studio.” This flexible approach allows for optimal sound creation tailored to each song.

Types of Guitars Used and Features

When discussing ACIDMAN’s sound, one cannot overlook the Rickenbacker guitars favored by frontman Nobuo Oki. Live footage and photos confirm his use of models such as the “Rickenbacker 330,” “Rickenbacker 360FG,” and “Rickenbacker 381MG.” The sharp and well-defined sound characteristic of Rickenbacker guitars complements both clean and distorted tones, making them a perfect match for ACIDMAN’s musical style.

The “Rickenbacker 330” is one of Oki’s main guitars, excelling in clarity for chords and the beauty of arpeggios. In transparent songs like “Akai Orange” and “Your Song,” its balanced sound shines through. The “Rickenbacker 360FG,” with its stereo output, easily integrates with spatial effects, contributing to ACIDMAN’s expansive soundscape. The “Rickenbacker 381MG,” featuring an arched top structure, enhances its presence during live performances.

In addition to Rickenbackers, Oki has been seen using various Fender models. The “Fender Telecaster” produces a sharp, cutting sound, used in tracks that require a strong attack. The “Fender Telecaster Deluxe,” equipped with humbuckers, generates a sweet and thick sound, suitable for ballads and grand arrangements. The “Fender Jazzmaster” and “Stratocaster” are also utilized in recordings and live performances, contributing to a diverse tonal palette.

For acoustic performances, Oki uses the “Martin D-18 Golden Era,” known for its bright highs and mellow lows. This guitar shines during ACIDMAN’s acoustic sets and studio recordings, particularly in unplugged performances where its unique resonance captivates the audience.

Oki’s guitar selection can be summarized as “supporting ACIDMAN’s spatial sound with Rickenbackers while using Fenders to diversify the sound and adding warmth with acoustic guitars.” This combination creates different dynamics for each live performance and allows for flexible sound creation tailored to the song’s mood. Overall, it is clear that Rickenbackers are central to Oki’s sound, as their resonance lies at the heart of ACIDMAN’s musical identity.

Effects and Pedalboard Setup

Nobuo Oki’s pedalboard is simple yet broadens the sound significantly. Notably, he skillfully combines fuzz and overdrive effects with delay, allowing for a seamless transition from clean to thunderous tones. The ethereal and grand soundscapes in ACIDMAN’s music are heavily supported by this pedalboard.

Starting with the booster/overdrive section, he uses the “MXR Micro Amp” as a preamp to boost the basic sound pressure. By incorporating “HUGHES & KETTNER TUBE FACTOR” and “BOSS BD-2,” he covers a wide range from natural drive to intense distortion. The “Marshall Drive Master” and “Electro-Harmonix Big Muff Pi Original” are essential for producing powerful fuzz and distortion sounds, particularly in tracks like “Aru Shomei” and “FREE STAR,” where this explosive sound is prominent.

For spatial effects, Oki utilizes the “Line6 DL4” and “BOSS DD-5.” The DL4 employs various delay patterns to add depth to the music and also functions as a looper. Meanwhile, the DD-5 provides tight and manageable delay, enhancing the intricacy of arpeggios and riffs. Combining these two creates a fantastical and three-dimensional soundscape.

In the modulation section, the “BOSS CH-1 Super Chorus” and “BOSS TR-2 Tremolo” are confirmed. The CH-1 adds thickness to the sharp tones of the Rickenbacker, emphasizing the clarity of clean tones. The TR-2 creates a dynamic feel that highlights the quiet and loud moments in the music, adding a dreamlike quality. Additionally, the “Sobbat A/B Breaker” is used for signal switching, allowing efficient operation of multiple amps and effect loops.

Overall, Oki’s effects setup can be summarized as “leveraging the sharp fundamental tones of the Rickenbacker while adding space and explosiveness with the Big Muff and DL4.” Live footage shows that while maintaining the same basic setup, he makes fine adjustments to suit each song. This simple yet profound pedalboard configuration is undoubtedly a source of the unique sound that defines ACIDMAN.

Tone Settings, EQ, and Mixing Approaches

Nobuo Oki’s sound creation is completed not only through the equipment used but also through EQ settings, amplifier adjustments, and mixing techniques during the PA stage. ACIDMAN’s songs coexist with grand spatiality and powerful drive, and the secret lies in the meticulous settings.

Regarding the basic settings of the amplifier, it can be inferred from live footage and recordings that Oki tends to emphasize the mids while utilizing the characteristics of the ORANGE AD140HTC. This approach allows the sharp fundamental tones of the Rickenbacker to stand out without being buried, ensuring their presence within the overall band sound. The bass is typically set around 50-60%, treble is slightly lower (40-50%), and mids are higher (60-70%). Gain is adjusted according to the song, with clean tones around 30% and songs emphasizing distortion set above 70%.

Effect usage is also crucial in Oki’s sound creation. For instance, during clean tones, he reinforces sound pressure with the “MXR Micro Amp” while lightly applying chorus (BOSS CH-1) to enhance clarity. In arpeggio sections, the “BOSS DD-5” is used to add depth with short delays. Conversely, for powerful riffs and choruses, the “Electro-Harmonix Big Muff Pi” is central, adding the fuzz’s rawness to create dynamic developments. This setup is particularly evident in “Aru Shomei,” where the sound remains balanced despite its explosive nature.

The use of the Line6 DL4 is also a significant point. The DL4 not only serves as a delay but also utilizes reverse delay and looper functions, constructing a fantastical and cosmic sound space. Layering loops during songs or using reverse effects to emphasize ethereality are experimental applications that align with the song’s atmosphere.

In studio recordings, mic placement becomes a crucial element. ACIDMAN’s works likely feature a dynamic mic like the SM57 positioned in front of the cabinet, with a condenser mic set slightly further back to capture the ambient resonance. This setup yields a naturally expansive guitar tone that blends seamlessly with the overall band sound. Furthermore, during mixing, EQ adjustments are made to refine the low end around 200Hz-400Hz while boosting around 3kHz to highlight the jangly attack characteristic of the Rickenbacker.

Additionally, careful adjustments are made in live PA settings to ensure the guitar does not get buried. Since Oki also serves as the vocalist, balancing his voice is crucial. Therefore, the guitar’s frequency range is kept thick in the mids while lightly cutting around 2kHz to avoid clashing with the vocal range, indicating meticulous adjustments. This PA approach supports ACIDMAN’s grand yet clear live sound.

In summary, Oki’s sound creation revolves around “the sharp tone of the Rickenbacker + the thick mids of the ORANGE + spatial effects from fuzz and delay.” By fine-tuning EQ and gain for each song and balancing with the band during mixing and PA, a unique sound is achieved.

Affordable Alternatives to Recreate the Tone

While replicating Nobuo Oki’s sound typically requires expensive gear like Rickenbacker guitars and ORANGE amplifiers, there are ways for beginners and intermediate players to approach a similar tone at a more affordable price. Here, we introduce cost-effective alternative gear that can achieve tones reminiscent of the actual equipment.

Starting with guitars, Rickenbackers often exceed 300,000 yen, making them a challenging entry point. Instead, models like the “YAMAHA Revstar” series or “Epiphone Casino” can provide a similar jangly tone with a strong midrange. The Casino, in particular, is famous for its association with The Beatles and can express a brightness akin to Rickenbackers.

Regarding amplifiers, the ORANGE AD140HTC is expensive and hard to find, so alternatives like the “ORANGE Crush Pro series” or “Blackstar HT Club” can serve as substitutes. These models are designed with tube-like qualities in mind, allowing for tones close to the characteristic midrange push of Orange amps. For home practice, the “BOSS Katana” series is also powerful, offering versatile amp modeling suitable for everything from live performances to practice.

Effects pedals are relatively affordable and easy to acquire. The “Electro-Harmonix Big Muff Pi,” used by Oki, can be purchased for around 10,000 to 20,000 yen, effectively replicating the essential fuzz sound in his tone. The “BOSS BD-2” is a classic overdrive that can complement the sharpness of Rickenbackers. For delay, the “BOSS DD-8” is a currently accessible successor model that is well-suited for expressing ACIDMAN’s three-dimensional sound.

Furthermore, utilizing multi-effects units is another viable option. Models like the “LINE6 POD GO” or “ZOOM G5n” offer comprehensive amp simulations and spatial effects, allowing for the combination of ORANGE and DL4-like tones in a single unit. These devices are user-friendly for beginners and can serve as immediate assets in studio settings.

In summary, having “a semi-hollow guitar with a strong midrange,” “an amplifier with pronounced mids,” and “an effects setup centered around Big Muff and delay” can enable players to create a sound similar to Nobuo Oki’s at a relatively low budget. Starting with these alternative pieces of gear and gradually upgrading to Rickenbackers and ORANGE gear as finances allow is a practical approach.

Summary and Conclusion

Nobuo Oki’s sound may appear to originate from a simple gear setup, but it is supported by meticulous design and playstyle innovations. The sharp and defined tones based on Rickenbackers, the midrange push of ORANGE amplifiers, and the use of spatial effects centered around the Big Muff and DL4 create the grand soundscape that characterizes ACIDMAN.

Notably, his sound creation exemplifies the “beauty of subtraction.” Rather than stacking numerous effects, he extracts maximum expressiveness from a minimal setup. Even when using delay and fuzz, the sound design aligns with the overall flow and message of the songs. Thus, when listening to ACIDMAN’s music, one is consistently drawn to both “the song itself” and “the world it creates.”

Moreover, approaches differ between studio recordings and live performances. In the studio, mic placement and EQ processing create dimensionality, while live performances optimize the balance between vocals and guitar through PA adjustments. This reflects Oki’s philosophy of sound creation, which extends beyond mere guitar playing to encompass a vocalist’s perspective.

For beginners and intermediate players aiming to emulate Oki’s sound, starting with “a guitar with strong midrange similar to Rickenbackers,” “an amplifier with pronounced mids,” and “a simple pedalboard centered around Big Muff and delay” is advisable. The key lies not in the gear itself but in understanding “how to use the sound” and “when to let the sound resonate.” His sound creation’s essence lies in the delicate approach of conveying emotions and imagery through sound.

In conclusion, Nobuo Oki’s sound is structured around “the transparency of Rickenbackers,” “the midrange of ORANGE amplifiers,” and “the spatial effects of fuzz and delay.” While high-end gear is often necessary for replication, being mindful of the philosophy of sound creation and the beauty of subtraction can allow players to get close with their existing equipment. Through the process of covering ACIDMAN’s songs, one can engage with the philosophy of “painting scenes with sound” beyond mere replication.

We encourage you to use this article as a reference to study Nobuo Oki’s sound creation and apply it to your own guitar tone. The insights gained in this process will likely lead to new musical expressions that transcend simple imitation.