[Riki Kinoshita] How to Recreate the ART-SCHOOL Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Kato Taro] How to Recreate the BEAT CRUSADERS Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.122025.09.12

【Asako Miyazaki】How to Recreate the SHISHAMO Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.09.04

[Arisa Ushimaru] How to Recreate the yonige Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

Introduction (Overview of Tone)

Riki Kinoshita, the frontman and guitarist of ART-SCHOOL, is known for his sound that draws strong influences from 90s alternative rock and shoegaze. His playing style, which oscillates between gritty distortion and ethereal clean tones, embodies the delicate yet destructive worldview of the band.

In iconic tracks like “Tupelo Honey” and “FADE TO BLACK,” his sound is characterized by a fuzz-based roaring tone and the sharp cutting typical of the Jaguar. Conversely, songs such as “Scarlet” and “Under the Skirt” highlight expansive soundscapes created through the use of reverb and delay.

Kinoshita’s sound is captivating due to the overwhelming presence found within his simple gear choices. Understanding his sound is a crucial first step for guitarists who wish to emulate ART-SCHOOL.

In live performances, he layers the powerful distortion of Marshall amps with the unique tones of his Jaguar and Flying V, while in the studio, he incorporates the clarity of the JC-120 and Fender Twin Reverb, showcasing his ability to adapt tones for different contexts. This flexibility contributes significantly to the depth of his sound.

Riki Kinoshita’s guitar sound is not merely a combination of effects and amps; it is closely tied to his emotions and the lyrical themes of his songs, requiring a high level of expressiveness from the player.

By delving deeper into ART-SCHOOL’s sound creation, one can gain insights into how to recreate a similar blend of roaring and delicate tones.

▶ Search official YouTube videos of ART-SCHOOL

List of Amplifiers and Features

Amplifiers play a significant role in Riki Kinoshita’s sound creation. His guitar tone balances the roaring sound typical of shoegaze with a transparent clean tone, made possible through the diverse use of amplifiers.

Among the most frequently used amps in live settings are the Marshall JCM900 and JCM2000. These amps are known for their mid-range characteristics, producing thick and clear distortion. Kinoshita combines these with his Flying V and Jaguar to create a unique, raw tone.

Additionally, the Roland JC-120 is utilized during recording and some performances. The JC-120 is renowned for its clean transparency and pairs exceptionally well with reverb and chorus effects, making it indispensable for songs requiring a sense of space and depth.

Fender Twin Reverb and ’65 Twin Reverb also appear on his gear list. These amps are known for their warm cleans and powerful reverb, excelling in acoustic-oriented tracks or scenes requiring deep reverb sounds.

Furthermore, the Peavey 5150 and Orange Rockerverb 50C / AD30TC have been confirmed as part of his rig. The Peavey 5150 offers high gain for hard-hitting, aggressive sounds, while the Orange amps provide a thick mid-low range that stands out in a band ensemble.

In this way, Riki Kinoshita skillfully selects amplifiers based on the song and performance context, maintaining a balance between roaring and clean tones. By primarily using Marshall amps while integrating the JC-120 and Fender models, he crafts a unique sonic world.

Types of Guitars Used and Features

When discussing Riki Kinoshita’s sound, his unique guitar choices are essential. He has consistently favored the Flying V since the band’s early days, with its striking appearance and sharp sound closely tied to ART-SCHOOL’s musical identity.

Notably, his modified white Flying V from Combat features a plate-spring tremolo unit and was frequently used in early live performances. He has since used various models, including an ebony-colored Gibson Flying V, a limited sunburst model, and a newer Flying V introduced after 2018, making the V shape a core part of his identity.

The Jaguar is also a crucial guitar in his arsenal. The Fender American Professional Jaguar (Antique Olive) features two single pickups that can mimic humbucker-like sounds, allowing for a balance of roaring tones and sharp cutting. This Jaguar significantly contributes to Kinoshita’s shoegaze-like textures and prominent arpeggios.

Additionally, the Fender Telecaster Deluxe was used for a period. It has been confirmed that he borrowed a model from Kenshi Todaka during the 2005 tour, where the Telecaster’s crisp sound can be heard in recordings and live performances.

For acoustic sounds, K.YAIRI (a model passed down from Kenji Kubo of Merengue) is used, equipped with an L.R. Baggs M-1 Passive pickup. He also utilizes a variety of acoustics, including the Martin 000-15SM, Takamine PTU441 N, and an unspecified Taylor model, each chosen for their warmth and delicacy, showcasing Kinoshita’s expressive range distinct from his electric work.

In summary, Riki Kinoshita incorporates the Flying V as a centerpiece while balancing his use of the Jaguar, Telecaster, and acoustic guitars. The ability to traverse between roaring and clean tones is a result of maximizing the unique characteristics of these guitars.

Effects and Pedalboard Setup

In Riki Kinoshita’s sound creation, effects are crucial for achieving a balance between “roaring and delicacy.” ART-SCHOOL’s songs range from wall-like distortion sounds typical of shoegaze to transparent cleans, and spacious reverb and delay effects. Supporting this wide range are the diverse pedals lined up at his feet.

For distortion, he primarily uses the Ibanez TS9 Tubescreamer and MAXON ROD881 REAL Tube Overdrive, creating a sweet and sticky drive sound. Additionally, he employs various models of the Electro-Harmonix Big Muff Pi series (including the SOVTEK Army Green, USA version, Nano, and op-amp versions) to express different thicknesses and textures for each song. Modern distortions like the Walrus Audio Voyager and One Control Rebel Red Distortion have also been integrated, expanding his sound palette.

As a booster, he uses the Xotic EP Booster to elevate solos and riffs. The Electro-Harmonix Small Clone is a staple for chorus, adding deep modulation to emphasize the ethereal quality. The Neunaber CHROMA CHORUS V1 is also used, contributing to a three-dimensional sound.

Reverb and delay effects are equally diverse. The BOSS RV-3 and EarthQuaker Devices Ghost Echo provide spaciousness within the roaring sound. For delay, he utilizes the BOSS DD-3, MXR Carbon Copy, and TC Electronic Flashback series, covering everything from warm analog warmth to digital precision. The One Control Sea Turquoise Delay adds a transparent delay effect.

Other effects include pitch shifting with the DigiTech Whammy 4 and mellotron-like sounds using the Electro-Harmonix Mel9, showcasing his experimental approach to sound design. Additionally, the SNARLING DOGS BAWL Buster Wah Gold is used for wah pedal effects, and the BOSS GE-7 for equalization, depending on the setlist.

Kinoshita’s pedalboard varies over time, but generally consists of “multiple distortions + multiple spatial effects + auxiliary effects,” a practical combination aimed at maximizing expression for each song.

Tone Settings, EQ, and Mixing Approaches

Riki Kinoshita’s sound creation involves meticulous attention not only to gear selection but also to “settings,” “EQ balance,” and processing during the mixing stage. The coexistence of roaring and delicate sounds in ART-SCHOOL’s music cannot be achieved by mere distortion; precise adjustments to clarity and spatial processing are essential.

When using Marshall amps (JCM900 or JCM2000), Kinoshita tends to set the gain high while keeping the presence and treble slightly lower to avoid harshness. He boosts the mids while keeping the lows subdued, creating a balance that allows the guitar to stand out without overwhelming the band ensemble.

Conversely, when using the Roland JC-120 or Fender Twin Reverb, he tends to set the EQ closer to flat to maintain the clean transparency. Adding chorus and reverb, like with the Small Clone, provides an ethereal quality to arpeggios and clean cuts. This clean tone particularly supports the atmosphere of songs like “Scarlet” and “Under the Skirt.”

For roaring parts using fuzz or the Big Muff, it is likely that he employs the BOSS GE-7 equalizer to prevent excessive boominess. By slightly cutting the low-end below 200Hz and gently boosting around 1kHz to 2kHz, the guitar remains distinct within the overall band mix.

Delay and reverb settings are also crucial. Using the Carbon Copy for short delays adds thickness to the sound, while adjusting delay times on the Flashback or DD-3 for specific songs. For reverb, a shallow room reverb from the RV-3 combined with additional echoes from the EarthQuaker Devices Ghost Echo creates a three-dimensional sound.

During live performances, he steps on the Xotic EP Booster to emphasize solos and riffs, pushing not only the volume but also the core of the sound forward. In studio recordings, engineers often add compression and EQ to control dynamics while ensuring the guitar maintains its expansive character.

Notably, Kinoshita’s approach to sound creation leverages the character of the gear while optimizing it through careful EQ and effect adjustments. The hard tone of the Flying V, the sharp attack of the Jaguar, and the crispness of the Telecaster are all utilized according to the song, complemented by amps and effects.

As a result, his guitar tone allows the vocals to shine through the roaring sound while ensuring delicate phrases are clearly heard. Riki Kinoshita’s sound is characterized by the simultaneous existence of “rawness” and “delicacy,” necessitating careful control of EQ, spatial effects, and playing touch.

Affordable Alternatives to Recreate the Tone

Riki Kinoshita’s gear consists of high-end professional amps, guitars, and effects, making it challenging for beginners to replicate his sound exactly. However, even beginner to intermediate guitarists can approach the ART-SCHOOL sound by creatively using commercially available products. Here, we introduce relatively affordable alternative gear.

For distortion, if you’re looking for a sound similar to the Big Muff, the Electro-Harmonix Nano Big Muff is highly recommended. Compact and easy to handle, it can replicate Kinoshita’s signature “wall-like fuzz sound.” Additionally, as an alternative to the Ibanez TS9, the BOSS SD-1 Super OverDrive can create an overdrive with a sticky midrange, allowing for presence in both roaring and arpeggio contexts.

While the Roland JC-120 is expensive, the BOSS Katana series amps serve as a versatile alternative. They can produce a wide range of tones from clean to distorted, closely resembling the transparency of the JC series, making them ideal for practice or small live performances. To enhance spatial effects, combining the BOSS DD-8 (delay) and TC Electronic HOF Mini Reverb can recreate the depth of ART-SCHOOL’s clean guitar sound.

For chorus, alternatives to the Small Clone include the BOSS CE-2W or Electro-Harmonix Neo Clone, both available for around $100-$200, providing sufficient performance to create ethereal cleans. Additionally, while the Xotic EP Booster is somewhat pricey, the TC Electronic Spark Mini Booster can be a useful substitute for boosting volume during solos.

If you’re looking to introduce acoustic sounds, while Kinoshita’s K.YAIRI and Martin guitars are expensive, the YAMAHA FG series or entry-level Takamine models (around $300-$500) can provide a warm tone that closely resembles his sound. For live use, employing an acoustic simulator (like the BOSS AC-3) is also an option.

In summary, assembling “distortion + clean + spatial effects” is key to recreating Riki Kinoshita’s sound. Even with beginner-friendly setups, thoughtful combinations and settings can allow players to experience the world of ART-SCHOOL.

Summary and Conclusion

The key to recreating Riki Kinoshita’s guitar sound lies in how to handle the contradictory elements of “roaring and delicacy.” He skillfully uses unique guitars like the Flying V and Jaguar while primarily relying on Marshall amps, also incorporating clean amps like the Roland JC-120 and Fender Twin Reverb to optimize tones for each song.

In terms of distortion, he employs various models of the Electro-Harmonix Big Muff series to express a wide range of textures, from thick roaring sounds to articulate fuzz. Combining this with overdrives like the Ibanez TS9 and MAXON ROD881 creates a presence that allows the guitar to coexist with the vocals without clashing.

Kinoshita’s use of spatial effects is also a hallmark of his sound. By utilizing multiple reverb and delay effects, he adds depth while providing an ethereal quality to arpeggios and clean cuts. The combination of reverb and light distortion, especially from devices like the Ghost Echo and RV-3, creates ART-SCHOOL’s unique, fantastical sound world.

Moreover, his use of boosters and EQ allows for dynamic control of volume and tone throughout the songs. During live performances, he steps on the Xotic EP Booster to push the guitar forward, while in recordings, he collaborates with engineers to cut unnecessary frequencies through EQ, ensuring the guitar maintains its expansive character.

Ultimately, Kinoshita’s sound creation is not about gathering expensive gear but rather understanding the individuality of each piece of equipment and selecting the optimal combinations for each situation. While he can unleash the hard tone of the Flying V, he can also express delicacy through the Jaguar and acoustic guitars, seamlessly navigating between distortion and clean, roaring and silence.

For guitarists looking to emulate ART-SCHOOL’s sound, it is essential to start by experimenting with their existing gear, focusing on “distortion and spatial effects.” If possible, gradually incorporate gear like the Big Muff and Jaguar that Kinoshita actually uses to get closer to his sound.

In essence, the core of Riki Kinoshita’s sound creation lies in the “link between emotion and tone.” The walls of sound and the transparent arpeggios are both made possible by his expressiveness and carefully chosen gear. Understanding this core is the first step to experiencing the sound world of ART-SCHOOL.