[Okamoto Kouki] How to Recreate the OKAMOTO’S Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

Eriko Hashimoto (Chatmonchy) Guitar Sound Guide: Creating That Distinctive Tone + Complete Gear Setup

2025.06.092025.09.04

[Koji Nakamura] How to Recreate the Supercar Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.122025.09.12

[Hyota Matsuzaki] How to Recreate the SHANK Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

Introduction (Overview of Tone)

Okamoto Kouki, the guitarist of OKAMOTO’S, has gained attention for his classical sound design rooted in 60s and 70s rock. His guitar tone is characterized by a thick, sticky quality that balances a garage rock rawness, allowing him to seamlessly transition from simple riffs to mellow arpeggios.

In iconic songs like “Brother” and “Beautiful Days,” he skillfully alternates between the bright cutting tones of a Fender Stratocaster and the thick sound of a Gibson ES-335, showcasing his versatility. During live performances, he employs a Fender Super-Sonic and a Vox AC-30, merging modern sound pressure with vintage warmth.

His playing style emphasizes nuance through picking and volume control rather than relying heavily on effects. This approach maximizes the inherent qualities of both the guitar and the amplifier, creating a sound that is both rich and expressive.

What truly sets Okamoto Kouki apart is his ability to inherit the essence of rock and roll while adapting it to fit contemporary band sounds. In the following sections, we will delve into the amplifiers, guitars, and effects he uses, as well as specific settings for achieving his signature tone, and introduce affordable alternatives for aspiring musicians.

▶ Search official YouTube videos of OKAMOTO’S

List of Amplifiers and Features

When discussing Okamoto Kouki’s sound, the amplifiers he uses are indispensable. The music of OKAMOTO’S is heavily influenced by garage rock and rock and roll, and their robust, raw tones are largely dependent on amplifier selection. Here, we will organize and explain the features of the models he currently uses and those he has used in the past.

One of his main amplifiers is the Fender Super-Sonic Twin Combo FSR – Black Gold. This limited model, with only ten units imported to Japan, serves as his primary live amplifier. He has swapped the standard Celestion Alnico Gold speaker for a Vintage 30, emphasizing tighter, punchier midrange frequencies. The clean tone is bright and the drive is perfectly thick, making it a cornerstone of OKAMOTO’S stage sound.

Additionally, he frequently uses the classic Vox AC-30, a staple of vintage rock. The sound, reminiscent of the British Invasion, pairs excellently with Kouki’s cutting and arpeggiated playing style. He appreciates its raw, lively sound, and by alternating between the Fender and Vox, he achieves a wider variety of tonal options.

Another notable amplifier in his arsenal is the Zinky Electronics NS-2, which is highly regarded among core guitarists. It offers a vintage-like sound while maintaining presence in modern band mixes. This amp is often used alongside the Super-Sonic and Vox, particularly during studio sessions and recordings.

In the past, he has also utilized the first and second generation amplifiers from AKIMA & NEOS. From around 2010 to 2013, he used the first generation, and from 2013 to 2014, he switched to the second generation. He was initially drawn to their appearance, but they also possess a strong sonic character. The second generation, in particular, received high praise from Kouki, who noted its exceptional sound quality, making it a significant influence on his musical perspective.

Through these amplifiers, it is clear that Okamoto Kouki consistently pursues a sound that is both “raw” and “thick.” Rather than merely distorting the sound, he emphasizes dynamics from clean to crunch, ensuring that his tone integrates seamlessly into the overall band ensemble.

Thus, his choice of amplifiers appears to be optimized for the music and playing style of OKAMOTO’S rather than driven by brand loyalty.

Types of Guitars Used and Features

The core of Okamoto Kouki’s sound undoubtedly lies in the carefully selected guitars he plays. OKAMOTO’S music ranges from straightforward rock to melodic, ethereal ensembles, supported by a variety of unique guitars.

His primary guitar is the Fender Stratocaster (1964 model / Olympic White / Rosewood fretboard / refinished). Inspired by Eric Clapton, this guitar excels in its responsiveness from clean to crunch. It features a dry midrange resonance and the rich sustain characteristic of the rosewood fretboard, making it a symbol of Kouki’s sound that frequently appears in live performances.

Another key instrument is the Fender Telecaster (1974 model). This guitar has been modified by a previous owner, providing a vintage feel with modern playability. It delivers the sharp attack typical of Telecasters, making it ideal for rock and roll riffs. By alternating between the Stratocaster and Telecaster, Kouki can switch nuances depending on the song.

Since his debut, he has also used a Gibson SG (with P-90 pickups). This guitar pairs well with the simple, raw garage sound that defined the early days of OKAMOTO’S. Its lightweight design allows for energetic performances during live shows.

For a thicker, more sustained tone, he opts for the Gibson ES-335 (1965 model / equipped with vibrato). This guitar combines clarity and thickness, making it perfect for ballads and phrases that emphasize mid to low frequencies. It adds warmth to Kouki’s sound and is an essential piece of his setup.

Additionally, he has a unique choice in the Silvertone Model 1457 with Amp in case. This guitar features an amp and speaker built into its case, providing a retro yet rich sound. It has been frequently used in recent live performances and recordings, adding a distinctive color to OKAMOTO’S sound.

From these guitars, it is evident that Okamoto Kouki prioritizes a balance between “classic individuality and modern usability.” Rather than merely collecting vintage gear, he actively utilizes it in performance, which supports his unique style.

Thus, the guitars used by Okamoto Kouki are “choices made to resurrect vintage tones in a contemporary context,” and they are essential elements of OKAMOTO’S sound.

Effects and Pedalboard Setup

While Okamoto Kouki emphasizes the raw resonance of his guitars and amplifiers, his pedalboard features a carefully curated selection of unique pedals that expand his sound palette. His philosophy is not to rely heavily on effects but to enhance the inherent qualities of the guitar and amplifier, and all selected pedals align with this mindset.

For tuning, he uses the reliable BOSS TU-3 / TU-3W Chromatic Tuner. Simple and highly accurate, it serves as the foundation for stable live performances.

For distortion, he incorporates the Jim Dunlop JH-2S Jimi Hendrix Classic Fuzz. This fuzz sound, reminiscent of 60s rock, is essential for expressing garage rock’s rawness. Additionally, he regularly uses the Free The Tone RED JASPER RJ-1V Overdrive as a low-gain distortion. Set to a crunchy tone, it complements his style of manipulating sound through picking dynamics.

In the modulation category, he favors the MXR ’74 Vintage Phase 90. With its simple one-knob operation, it adds a swirling phase sound that enhances riffs and solos with a unique dimensionality. This allows for a floating quality to straightforward riffs.

For spatial effects, he employs the BOSS DD-7. Capable of handling everything from simple delays to deep spatial processing, he likely adjusts the delay time finely according to the song. He also uses the TBCFX MEP, an Echoplex-style preamp that is always on, adding thickness and depth to the overall sound.

Furthermore, he incorporates multi-effects units like the Line 6 M5 Stompbox Modeler and Line 6 Helix Rack. The M5 features over 100 effects, allowing for diverse sound creation as needed. The Helix Rack is used for integrated control during live performances and recordings, providing modern flexibility while aligning with his analog preferences.

His wireless system is the Line 6 Relay G10, enabling freedom of movement on stage while minimizing sound quality degradation. This ensures a stable sound that feels as reliable as using a traditional guitar cable during live performances.

Overall, Okamoto Kouki’s effects board consists of “a minimal selection of unique pedals plus flexibility from multi-effects,” balancing simplicity with multifunctionality. His sound design is characterized by a flexible approach that incorporates modern gear while maintaining a foundation in vintage sound.

Tone Settings, EQ, and Mixing Approaches

Okamoto Kouki’s sound design is characterized by its ability to harness the allure of vintage equipment while ensuring it stands out in modern band contexts. He places significant emphasis on the combination of amplifiers and guitars, with effects serving a supplementary role. Given that his playing style heavily reflects picking nuances, it is likely that his settings are simple yet finely tuned.

When using the Fender Super-Sonic Twin, his basic settings likely prioritize the clean channel, emphasizing treble slightly, thickening the midrange, and keeping the bass modest. This approach allows the sharpness of the Stratocaster and the hard attack of the Telecaster to shine while ensuring the sound does not get lost in the overall band mix. When using the drive channel, he probably keeps the distortion at a crunchy level rather than heavily distorted, allowing the player’s nuances to come through.

For the Vox AC-30, he likely sets the midrange as the focal point, keeping treble subdued while using the cut control to finely adjust the high frequencies. This way, the raw sound of the guitar can be brought to the forefront, emphasizing the garage rock essence of OKAMOTO’S.

Notably, his EQ adjustments prioritize “thickness and warmth” over “cutting through the mix.” Particularly when using the ES-335 or SG, he adds a bit of low end to enhance the thickness of riffs, ensuring that even when using fuzz, the definition does not become too muddled.

Regarding effects, he keeps the RED JASPER Overdrive engaged most of the time to lightly boost the amp’s clean tone. By varying his picking strength in this state, he can control the sound from crunchy to clean. The Jim Dunlop JH-2S Fuzz is activated for accents within songs, particularly for solos or impactful phrases. The MXR Phase 90 is used more for mid-tempo riffs or chord backing rather than faster songs, adding a psychedelic swirl to the overall composition.

For the BOSS DD-7, he likely employs it for short delays or slapback effects rather than deep settings. Especially when using the Telecaster or Silvertone, it plays an important role in adding depth to the sound while maintaining a sense of cheapness.

In terms of mixing, he tends to position the guitar firmly in the “center” of the band rather than panning it left and right. This approach ensures that the guitar does not overpower the bass and drums during live performances, and in recordings, he adjusts the EQ to focus on the midrange to avoid interference with other instruments.

Moreover, Okamoto Kouki’s sound design follows a classic style of “setting the foundation with amp EQ and seasoning with effects,” while uniquely keeping the preamp (TBCFX MEP) always on to refine the overall sound. This preamp slightly elevates the tone, allowing it to maintain a solid presence within the mix.

In summary, Okamoto Kouki’s sound design is constructed around the principles of “clean foundation + light boost,” “midrange-focused EQ,” and “minimal spatial effects.” This results in a simple yet impactful guitar sound that stands out.

Affordable Alternatives to Recreate the Tone

Given that Okamoto Kouki’s sound design centers around vintage guitars and limited edition amplifiers, replicating the same environment can be challenging. However, there are ways for beginners and intermediate players to experience an “Okamoto Kouki-style sound” at a relatively low cost. Here, we will introduce commercially available gear that can be purchased for around $500 or less, focusing on items that can recreate elements of his sound.

For amplifiers, recommended options include the Fender Champion 40 and Vox Pathfinder 10, both of which are compact combo amps. The Champion 40 offers a clean tone with the signature Fender brightness and pairs excellently with effects. The Pathfinder 10 delivers the Vox midrange push and tube-like distortion, bringing you closer to Okamoto Kouki’s garage sound.

For distortion pedals, the BOSS SD-1 Super OverDrive and Ibanez TS9 Tube Screamer are excellent choices. If you’re looking for a natural, low-gain distortion similar to the RED JASPER, the SD-1 is ideal, while the TS9 is perfect for adding fat midrange and achieving a classic rock texture.

For fuzz sounds, the BOSS FZ-5 and Electro-Harmonix Big Muff Nano are also recommended. These pedals are more affordable than the original Hendrix-style fuzz and can effectively recreate a rough fuzz sound.

In the modulation category, the MXR Phase 90 (standard version) is a staple. It is more affordable than the ’74 Vintage reissue and can achieve similar swirling effects. For spatial effects, the BOSS DD-3T and NUX Time Core Deluxe delay pedals offer excellent cost performance.

Additionally, for a preamp-like role, mini pedals such as the EP Booster (Xotic) or Mooer Micro Preamp can be effective. Using these constantly on can elevate the overall sound, similar to what Kouki achieves with the MEP.

Finally, while a wireless system is not essential, the Line 6 Relay G10II offers a relatively affordable and stable option for those wanting to experience freedom on stage. It is also suitable for beginners practicing their stage presence while playing.

In summary, the key to recreating an Okamoto Kouki-style sound lies in the principles of “clean foundation + light overdrive,” “fuzz for accents,” and “modulation and delay kept minimal.” Even without investing in expensive vintage guitars, these commercially available items can allow you to capture the essence of his sound.

Summary and Conclusion

The essence of Okamoto Kouki’s sound design lies in his ability to bring the allure of vintage equipment to the stage while optimizing it to stand out in modern rock band contexts. Centered around iconic guitars like the Fender Stratocaster and Telecaster, as well as the Gibson SG and ES-335, he utilizes historically significant amplifiers such as the Fender Super-Sonic and Vox AC-30. By combining these with a minimal selection of effects, he focuses on enhancing rather than decorating the sound.

Particularly noteworthy is his approach to EQ and settings. By establishing a clean foundation and lightly boosting it, he directly reflects picking nuances, using fuzz and phaser as accents during solos. This balance allows even simple backing to have a strong presence, adding depth to the overall ensemble. In the mixing stage, he centers the guitar around the midrange, ensuring it blends well with the band while still standing out.

Moreover, Okamoto Kouki’s charm lies in his ability to “use old things as they are” while “optimizing vintage sound for modern rock.” The constant use of a preamp and the incorporation of multi-effects exemplify this flexibility, supporting his style. As a result, OKAMOTO’S music possesses a unique groove that evokes both nostalgia and freshness.

If readers wish to replicate Okamoto Kouki’s sound, there is no need to invest in expensive vintage guitars or limited edition amplifiers. Instead, understanding the philosophy of “clean foundation with low gain,” “valuing midrange,” and “keeping spatial effects minimal” is crucial. By utilizing commercially available gear with this knowledge, it is entirely possible to approach his sound.

In summary, Okamoto Kouki’s sound design is all about “drawing out maximum expressiveness from a simple setup.” By avoiding excessive effects, he delivers the emotions and nuances of the player directly. Readers can incorporate this mindset into their own playing style to build a more expressive guitar sound.