[Okuda Tamio] How to Recreate the UNICORN Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Okuda Tamio, the guitarist and singer-songwriter of UNICORN, is a prominent figure in the Japanese rock scene. From his time with UNICORN to his solo career, he has consistently maintained a “relaxed and natural rock sound,” characterized by a unique blend of roughness and boldness in his guitar tone that has influenced many guitarists.

In iconic tracks like “Dai Meiwaku,” “Hataraku Otoko,” and “Subarashii Hibi,” you can hear a thick, driven sound centered around the Les Paul. Conversely, in his solo works and acoustic arrangements, the warm tones from guitars like the Jazzmaster and J-45 create a light and airy strumming style.

Okuda’s playing style is marked by powerful cuts that utilize picking nuances and melodic solos that are deeply connected to the song’s emotional core. Rather than showcasing technique for its own sake, he focuses on creating a “singable guitar” that complements the music. This philosophy extends to his gear selection, which emphasizes vintage aesthetics while ensuring practicality and reliability in live settings.

His humorous character and broad musical influences allow him to absorb a variety of genres, including blues, country, and folk, resulting in a sound that balances “a good kind of roughness” with “exceptional musical sense.” To recreate Okuda’s sound, it is essential to choose the right guitar, amp, and effects, but equally important is the relaxed attitude that allows for a cohesive performance, even when played casually. In essence, pursuing a “human touch” over perfection is the key to approaching his sound.

In the following sections, we will meticulously organize the actual gear used by Okuda Tamio and UNICORN, providing specific approaches to recreating their sound.

▶ Search official YouTube videos of UNICORN

List of Amplifiers and Features

One of the significant elements that support Okuda Tamio’s sound is his amplifiers. He utilizes a variety of amps, primarily vintage Marshalls, adapting them for both live performances and recordings. His style is characterized by a “simple direct sound” that leverages the amp’s natural drive.

A particularly famous model is the Marshall JMP 2061X Lead & Bass 20, known for its striking red tolex. Despite its small size, this 20W head provides ample power on stage, achieving a natural crunch when the volume is turned up. This allows for the “relaxed drive” that is quintessentially Okuda.

Another essential amp is the Marshall JMP Plexi Tremolo 50W, which offers a larger output and contributes to the overall thickness of the band’s sound. Additionally, the Marshall 1959 MkII SUPER LEAD 100W, originally designed for hard rock, is modified by Okuda to reduce the output by removing two power tubes, allowing for a more manageable sound pressure level.

Okuda also frequently uses modified cabinets, such as the Marshall 1988 modified cabinet, which features two 12-inch speakers, making it easier to achieve a mid-range-focused sound. The Marshall 1960B is used in a split configuration to create a stereo effect during live performances.

For bass, the Palmer PDI03 JB (speaker simulator/DI) is employed, ensuring stable output and recording conditions. This setup allows for a balance between stage sound pressure and the signal sent to the PA system.

In smaller studio environments, amps like the Laney VC30 are used, providing a British-style clean to crunch tone that suits Okuda’s blues-influenced sound during his solo work.

All these amplifiers share a common trait of having simple circuits that allow the guitar’s inherent character to shine through. Okuda emphasizes the nuances of picking and the overall sound pressure balance of the band, resulting in a unique presence despite the conventional nature of his amp choices.

In summary, Okuda Tamio’s amplifier selection is built around “vintage Marshalls, utilizing both low and high output styles,” as is assumed.

Types of Guitars Used and Features

When discussing Okuda Tamio and UNICORN’s sound, one cannot overlook his extensive guitar collection and how he utilizes each instrument. Notably, his 1959 Gibson Les Paul Standard (#9 1165) has gained fame, even being replicated in the Collector’s Choice series, thanks to its thick midrange and pleasant compression that supports tracks like “Dai Meiwaku.” This guitar is emblematic of Okuda’s sound.

Another distinctive feature is his modified Les Paul equipped with a Bigsby. Originally a goldtop, this custom Les Paul has been refinished in black and fitted with humbuckers, allowing for a robust yet nuanced tone. The bridge and tuners have also been replaced, ensuring durability for years of live use.

Fender guitars also play a crucial role in his sound. The Fender Custom Shop ’67 Relic Telecaster from 2011 features pickups made by Abigail Ibarra, providing the bright clarity and punch typical of single coils. The 1962 Jazzmaster often appears in his solo work, offering a soft attack and expansive tone that enhances expressiveness.

Lightweight models like the Epiphone Casino and Fender Mustang are also utilized, bringing in Beatles-esque nuances and alternative vibes. Furthermore, he frequently employs various Gibson models such as the Flying V, Explorer, and SG for rock-oriented tracks. The SG Melody Maker, modified with a Vibrola and mid-boost, showcases Okuda’s playful spirit.

On the acoustic side, he is known for his 1958 Gibson J-45 and his signature model, the “Gibson/Tamio Okuda J-45.” These guitars are equipped with piezo and contact pickups, making them suitable for both solo performances and band settings. He also owns signature CF-100E models, which are used for half-step down tuning and unique tunings.

In summary, Okuda Tamio utilizes a diverse lineup of guitars, primarily centered around the Les Paul, but also incorporating Fenders, Epiphones, modified Gibsons, and acoustics for various contexts. This results in a sound built on the pillars of “Les Paul thickness + Fender clarity + acoustic warmth.”

While many of these guitars are confirmed through photos and interviews, there are still uncertainties regarding specific usage times and song-specific applications, which are assumed based on circumstantial evidence.

Effects and Pedalboard Setup

Okuda Tamio’s pedalboard may appear simple at first glance, but it is intricately customized to achieve a sound that balances “roughness and practicality.” He emphasizes a direct sound while utilizing boosts, compression, and spatial effects when necessary.

One standout pedal is the Providence VLC-1 Velvet Comp, which adds natural attack and sustain to his cuts and arpeggios. The modified Ibanez NTS Nu Tube Screamer is an essential booster in Okuda’s sound, pushing the amp’s crunch even further.

For distortion, he uses the Free The Tone OT DRIVE OT-1V and Providence Sonic Drive 2. Both pedals are designed to enhance the midrange without altering the amp’s character. Additionally, the Electro-Harmonix Sovtek Big Muff π is employed for thick fuzz sounds, adding a wall of distortion when needed.

In terms of spatial effects, Okuda utilizes a variety of delays, including the Guyatone PS-014 Dual Time Delay, BOSS DM-2 (modified), Providence CHRONO DELAY, and DLS EchoTap, each chosen for specific tracks. The DM-2 is known for its warm analog character, while the CHRONO DELAY and EchoTap provide tempo sync and tap functions for stability in live settings, enriching the sound without overwhelming it.

For modulation, he employs the Providence PHF-1 Phase Force, BOSS BF-2/BF-3, and MXR M117R Flanger, effectively using phaser and flanger sounds in UNICORN tracks. An original Wah Pedal also makes frequent appearances, adding a bluesy touch to solos and playful phrases.

For tuning, Okuda uses the BOSS TU-3S and tc electronic Polytune3 mini, ensuring stable tuning while keeping the pedalboard compact. The power system includes the Autopower ASA-10II, designed to withstand long live performances.

All these pedals are organized on a Free The Tone custom board, which integrates a switcher and booster into a dedicated system. This setup allows for complex wiring to be managed while enabling one-touch switching, enhancing Okuda’s freedom during live performances.

In conclusion, Okuda Tamio’s effects setup encapsulates a philosophy of “minimal distortion + necessary spatial processing.” This simplicity is combined with professional-grade ingenuity, resulting in a sound that appears natural while effectively utilizing the right effects for each situation.

Tone Settings, EQ, and Mixing Approaches

Creating Okuda Tamio’s sound involves balancing natural distortion from the amp with EQ processing. His approach is characterized by a “less is more” philosophy, where he leverages the amp’s straightforward tone while making minimal adjustments during mixing and PA processing.

Typically, the amp’s EQ settings are said to favor slightly reduced treble, boosted mids, and bass set around 50-60%. This configuration allows the midrange to stand out, ensuring that the guitar maintains its presence within the overall band sound. This EQ balance is particularly crucial when using the 1959 Les Paul or Telecaster, as it preserves the guitar’s inherent tonal characteristics.

The amount of distortion is kept moderate, with boosters and overdrives used as “extensions of the amp.” The Ibanez NTS Nu Tube Screamer (modified) and OT DRIVE serve as accents to emphasize thickness without over-distorting the sound. As a result, the tone remains simple yet possesses “depth and richness,” allowing for a musical quality even when played casually.

Okuda’s handling of delay and reverb is also distinctive, often incorporating short delays (around 250ms) and light reverb to add dimension without overwhelming the mix. This approach aligns well with the “spacious arrangements” of UNICORN’s songs, creating an ideal spatial quality when the band plays together. He utilizes the Providence CHRONO DELAY and Guyatone Dual Time Delay to sync with the tempo effectively.

During recording sessions, it is common to see the SM57 placed in front of the cabinet, slightly off-mic. This technique prevents excessive attack while achieving a natural spread. Furthermore, during PA and mixing, a slight boost around 2-3kHz and tight processing of the low end help create a clear overall sound.

Different approaches are taken for various songs; for instance, in intense rock tracks like “Dai Meiwaku” and “Hataraku Otoko,” the mids are emphasized to allow the guitar to cut through the band sound. In contrast, for softer songs like “Subarashii Hibi” or solo pieces, the tone knob is slightly rolled off to prioritize balance with the vocals.

In acoustic settings, blending piezo and contact pickups is crucial. Using devices like the Radial PZ-DI or Grace Design m201 mk2 expands the range while suppressing feedback. During live performances, the signal sent from the DI to the PA is appropriately split to create the optimal sound for each song.

Overall, Okuda’s sound design philosophy revolves around “preserving the guitar’s character,” “leveraging the amp’s natural drive,” “focusing on midrange EQ,” and “minimizing spatial effects.” While this approach may seem straightforward, it is evident that meticulous adjustments are made according to the performance context, showcasing his true artistry. This methodology results in the rough yet exquisitely musical “Okuda Tamio sound.”

Affordable Alternatives to Recreate the Tone

Okuda Tamio’s sound is supported by high-end, rare gear such as vintage Les Pauls and Marshall amps. However, for beginners or hobbyists looking to replicate his tone, acquiring original gear worth hundreds of thousands of yen is not practical. Here, we present practical alternatives available at more affordable prices (around $100-$500) that can help achieve a similar sound.

For guitars, if you’re seeking the thickness associated with a Les Paul, the Epiphone Les Paul Standard is an excellent choice. As a direct subsidiary of Gibson, its sound character closely resembles that of the original, allowing for the reproduction of Okuda’s midrange thickness across various amps. If you need a Telecaster or Jazzmaster-like sound, the Squier by Fender Classic Vibe series is recommended. Despite its affordable price, it offers the cutting and warmth typical of Fender guitars, ensuring clarity in band ensembles.

For amplifiers, consider the Marshall DSL20CR or Laney Cub-Super12. While the Marshall JMP 2061X and Plexi that Okuda uses are expensive, the DSL series features channel switching and reverb, making it versatile for both home and live settings. Laney is also known as one of his backup amps, providing a similar tonal profile while keeping costs down.

In terms of effects, the BOSS SD-1 Super OverDrive is the ideal choice for replicating Okuda’s boost sound. It is more accessible than actual TS-style pedals and is reasonably priced. For delay, the BOSS DM-2W Waza Craft is perfect. While the original DM-2 has become costly, this reissue offers similar analog warmth. For modulation, having the BOSS BF-3 or MXR Phase 90 will suffice, allowing you to get close to Okuda’s sound with a simple pedalboard setup.

If you’re looking to replicate his acoustic sound, consider affordable dreadnought models like the YAMAHA FG830 or Epiphone J-45 Studio, paired with a preamp-equipped DI (like the Radial StageBug) to mimic the live acoustic guitar sound Okuda achieves.

Key points to remember are “emphasizing midrange EQ,” “avoiding excessive distortion,” and “keeping spatial effects minimal.” The essence of Okuda’s sound lies more in the “musical nuances that allow for relaxed playing” rather than the gear itself, making it possible to enjoy recreating his sound with these relatively affordable options.

Summary and Conclusion

The essence of Okuda Tamio’s sound design lies in his “relaxed and natural rock sound.” By centering his setup around vintage Les Pauls and Marshalls while skillfully incorporating Telecasters, Jazzmasters, and custom models, he selects the most suitable tones for each song. At the same time, he avoids excessive distortion and effects processing, maintaining a simple and intuitive setup that produces “human-like sound.”

Particularly crucial is the presence of midrange. By emphasizing mids in the amp’s EQ and keeping bass levels lower, the guitar stands out within the band. Boosters and overdrives are used not to distort but to accentuate the amp’s best qualities, contributing to a rough sound that retains musicality. This is a significant characteristic of the “Okuda sound,” which can be perceived as “natural yet layered.”

Moreover, in live and recording settings, he cleverly utilizes minimal spatial effects. By adding short delays and subtle reverb, he adjusts the dimensionality of each song. This results in a sound that leaves room for the band while allowing for emphasis when needed.

For beginners aiming to replicate his sound, understanding the philosophy of “not acquiring expensive vintage gear” is essential. Instead, focus on “simple EQ,” “emphasizing midrange,” “avoiding excessive distortion,” and “keeping spatial effects minimal.” Affordable models from Epiphone or Squier, along with Marshall DSL or BOSS pedals, can adequately express the essence of Okuda Tamio.

Ultimately, Okuda Tamio’s sound is intertwined with his playing style of “relaxed and natural performance.” Within the roughness lies a calculated sound design that captivates listeners with a sense of “effortless cool.” Understanding this core and creatively experimenting with sound design will be the most effective way to recreate the UNICORN and Okuda Tamio sound.