Introduction (Overview of Tone)
The guitarist Ryohei from the visual kei band Ayabie has garnered a significant following for his ability to create a fantastical and aesthetic soundscape. His guitar playing seamlessly blends delicate arpeggios with heavy riffs, crafting a unique world on stage.
In iconic songs like “Aitakute” and “Mikazuki no Kiseki,” he employs deep distortion while skillfully using transparent delay and reverb, inviting listeners into an extraordinary auditory space. The “melodic yet fantastical sound” that characterizes Ayabie’s music is heavily supported by Ryohei’s choice of gear and its settings.
Particularly in live performances, Ryohei predominantly uses a red SG-type guitar, expressing a sense of speed with intense distortion while creating a floating atmosphere through spatial effects. His sound is often described as a balance of “aggressiveness and fantasy,” making it one of the ideal sounds for a visual kei guitarist.
Moreover, Ryohei’s tone goes beyond mere “heaviness” or “intensity,” as he adds intricate nuances to each song, potentially altering delay times and distortion textures even within the same riff to match the song’s mood. This meticulous attention to sound crafting enhances his appeal as a guitarist.
In the following sections, we will organize the amplifiers, guitars, and effects that Ryohei uses (or is assumed to use) in Ayabie, along with detailed examples of specific sound settings.
To experience the actual sound, be sure to check out Ayabie’s official music videos.
▶ Search official YouTube videos of Ayabie
List of Amplifiers and Features
While there is no official confirmation regarding Ryohei’s amplifiers, it is assumed based on live photos and sound tendencies that he primarily uses the “Marshall JCM800.” This amplifier is a classic choice among many visual kei guitarists, known for its strong distortion and excellent separation.
The Marshall JCM800 is a legendary amp widely used in hard rock and metal, making it ideal for supporting Ayabie’s “fast-paced riffs,” “thick chord work,” and “fantastical spatial effects.” Its pronounced midrange sound ensures that Ryohei’s guitar stands out on stage without being drowned out by other instruments.
In Ayabie’s music, Ryohei tends to favor heavily distorted leads and riffs over clean tones. Therefore, it is likely that he utilizes the high-gain channel of the JCM800 while adding further drive with a TS-type pedal, such as the Ibanez TS-808 Tube Screamer (to be discussed later). This combination likely forms a thick, yet ethereal sound profile.
Additionally, in smaller venues, he may opt for a simple head-and-cabinet setup rather than a full stack. In the visual kei scene, it is common to pair the Marshall 1960A/B cabinets with heads to ensure sound pressure while considering portability and stability during setup. Ryohei may have employed a similar approach.
Overall, Ryohei’s amplifier setup can be summarized as a “classic Marshall sound base, enhanced with effects.” While definitive information is scarce, it is evident that the characteristics of Marshall amps significantly contribute to the thickness and presence of his sound.
| Gear | Brand | AmazonURL | Band | Guitarist | Notes |
|---|---|---|---|---|---|
| JCM800 | Marshall | Amazon | Ayabie | Ryohei | Assumed to be used live; known for its distortion and midrange presence. |
Types of Guitars Used and Features
The most striking guitar used by Ryohei in Ayabie is a red SG-type electric guitar, confirmed through live photos. While the specific brand has not been officially stated, it is highly likely that it is a “Gibson SG Standard” based on its body shape and aesthetics. The SG is favored by visual kei guitarists for its lightweight design and excellent playability in high positions, making it ideal for intense stage performances.
Ryohei’s playing style in Ayabie’s music is characterized by the combination of deep distortion and melodic solos. The powerful midrange produced by the SG’s mahogany body and humbucker pickups allows his guitar to maintain a strong presence within the band ensemble, even when layered with fantastical spatial effects.
Furthermore, Ryohei places significant emphasis on stage presence, and the visual appeal of the red SG aligns perfectly with the band’s aesthetic. In Ayabie’s beautifully staged performances, the guitar itself functions as a visual icon.
While there is limited information regarding backup guitars, it is likely that he had multiple SG-type guitars of the same model or used different brands for stability during live performances. In visual kei bands, it is common to use multiple guitars of the same type to ensure consistent sound during tours and recordings.
Overall, Ryohei’s guitar selection balances “visual impact,” “playability,” and “midrange presence,” making it a central piece of equipment that embodies Ayabie’s musicality.
| Gear | Brand | AmazonURL | Band | Guitarist | Type | Notes |
|---|---|---|---|---|---|---|
| SG Standard (Red) | Gibson | Amazon | Ayabie | Ryohei | Electric Guitar (Solid/SG Type) | Confirmed in live photos as a red single-cutaway. Likely a Gibson SG Standard. |
Effects and Pedalboard Setup
The fantastical sound that Ryohei constructs in Ayabie is supported by a simple yet effective array of effects. While definitive information is limited, several staple pieces of gear are likely used based on sound tendencies and genre context.
First, the classic overdrive pedal “Ibanez TS-808 Tube Screamer” stands out. When paired with Marshall amps, it adds punch and sustain to the distortion, ensuring that lead tones remain prominent. It is assumed to be an essential component for Ryohei’s heavy riffs and driving backing tracks.
Next, the “Boss DD-3 Digital Delay” is likely utilized for spatial effects. Given the ethereal quality of Ayabie’s music, it is presumed that delay is employed to create a three-dimensional sound. By layering delay on riffs and arpeggios, the sound expands into the space, enveloping the audience in an immersive experience.
Additionally, to achieve the “thickness and presence” characteristic of visual kei, it is plausible that Ryohei used reverb and equalizer pedals as auxiliary effects. Specifically, settings that emphasize mid to low frequencies would lower the overall weight of the band’s sound while supporting a dark and mysterious atmosphere.
Regarding the scale of the effects board, it is assumed that Ryohei opted for a simple setup centered around compact pedals rather than a large rack system. Based on live photos and trends among other visual kei guitarists, it is likely that he prioritized a minimal combination of distortion and spatial effects to enhance visual presentation and stage performance.
In summary, Ryohei’s effects setup is likely structured as “Marshall + SG sound base, enhanced with TS-type distortion, and layered with delay for an ethereal quality,” effectively shaping the world of Ayabie.
| Gear | Brand | AmazonURL | Band | Guitarist | Effect Type | Notes |
|---|---|---|---|---|---|---|
| TS-808 Tube Screamer | Ibanez | Amazon | Ayabie | Ryohei | Overdrive | Enhances thick distortion with core presence; ideal for leads and riffs. |
| DD-3 Digital Delay | BOSS | Amazon | Ayabie | Ryohei | Delay | Essential for creating an ethereal atmosphere; adds depth to arpeggios and riffs. |
Tone Settings, EQ, and Mixing Approaches
Ryohei’s sound crafting is characterized not just by “distortion,” but by meticulous adjustments that support Ayabie’s fantastical and dramatic musical world. Here, we will delve into the assumed EQ settings, amplifier channel usage, song-specific adjustments, and mixing techniques.
Starting with amplifier settings, when using the Marshall JCM800, it is likely that Ryohei set the gain relatively high to ensure prominence within the band mix. A reasonable setting might be Bass at 4-5, Middle at 6-7, Treble around 5, and Presence at 5-6, emphasizing the midrange. This configuration would yield a thick yet clear tone.
When using the TS-808 Tube Screamer as a booster, lowering the Drive while slightly increasing the Level would push the amp’s distortion, creating a tighter attack. This adjustment is particularly effective for lead playing, allowing the sound to cut through more smoothly.
The use of the Boss DD-3 Digital Delay is pivotal in defining Ayabie’s ethereal quality. The delay time is likely set around 400-500ms, with shallow feedback (2-3 repeats) and a modest Mix level, preserving the guitar’s clarity while adding depth. For ballads or theatrical songs, longer delay settings may have been employed to create a floating sensation in the soundscape.
In terms of song-specific adjustments, Ryohei likely kept the delay lighter for fast-paced tracks to maintain rhythmic clarity while applying thicker effects for more atmospheric pieces. This flexible control adds dimension and variety to Ryohei’s sound.
From a mixing and PA perspective, Ryohei’s tone is balanced around the midrange, making it less likely to clash with other instruments while resonating throughout the band. Engineers may have slightly reduced the high frequencies of the guitar to avoid interference with vocals while adjusting the low-end contour to blend seamlessly with the rhythm section.
Furthermore, when adding reverb, it is assumed that Ryohei preferred to apply it on the PA side rather than directly from the amp. Given the varying environments of different stages, adjusting spatial effects through the PA would ensure a consistent ethereal sound.
Overall, Ryohei’s sound is likely built upon the elements of “the thick midrange of the SG,” “the linear power of Marshall amps,” “contour adjustments with TS-type boosters,” and “ethereal effects through delay,” meticulously combined for each song.
Affordable Alternatives to Recreate the Tone
To replicate Ryohei’s sound exactly would require expensive gear like the Gibson SG and Marshall JCM800. However, even beginner players or those on a budget can approach Ayabie’s fantastical and heavy sound by selecting relatively affordable equipment. Here, we introduce practical alternative gear that can achieve a similar tone.
For guitars, the Epiphone SG Standard is recommended as an entry-level option. While more affordable than Gibson, it retains the lightweight body and playability of the SG, along with the midrange presence provided by humbucker pickups. This makes it an ideal choice for practicing Ayabie’s riffs and solos.
For amplifiers, the Marshall DSL series (especially the DSL20 or DSL40) is a viable option. While not as expensive as the JCM800, it offers similar midrange punch and distortion quality, allowing players to get closer to Ryohei’s sound. Additionally, the “Marshall MG” series can provide sufficient quality for home practice.
When it comes to effects, the Ibanez TS Mini is a great choice. This compact version of the TS-808 is more affordable while still offering the same benefits of enhancing distortion and bringing lead tones to the forefront, making it beginner-friendly.
For delay, the BOSS DD-3T or the more budget-friendly BOSS DD-8 can serve as excellent substitutes. Achieving Ayabie’s ethereal spatial quality requires a delay time setting around 400ms. Both options are reliable enough for live use while being relatively low-cost.
By assembling these combinations, players can recreate the “thickness and fantasy” of Ryohei’s guitar sound within a more accessible range. This setup is also satisfactory for beginners starting to learn how to emulate his sound.
| Type | Gear | Brand | AmazonURL | Band | Guitarist | Notes |
|---|---|---|---|---|---|---|
| Guitar | SG Standard | Epiphone | Amazon | Ayabie | Ryohei | Affordable version of the Gibson SG; capable of reproducing playability and midrange presence. |
| Amplifier | DSL20/DSL40 | Marshall | Amazon | Ayabie | Ryohei | Alternative to the JCM800; similar midrange punch and distortion quality. |
| Overdrive | TS Mini | Ibanez | Amazon | Ayabie | Ryohei | Compact version of the TS-808; ideal for enhancing tone. |
| Delay | DD-3T | BOSS | Amazon | Ayabie | Ryohei | Capable of recreating ethereal spatial effects; easy for beginners to use. |
Summary and Conclusion
The sound crafting of Ryohei, the guitarist of Ayabie, is built on a seemingly simple yet intricately structured foundation that strongly supports the band’s aesthetic world. The essence of his sound lies in the coexistence of “aggressiveness and fantasy,” with carefully chosen gear and settings that achieve this balance.
The red SG-type guitar features a thick midrange from its mahogany body and offers excellent playability, perfectly fitting Ryohei’s performance style. The Marshall amps push the midrange power, while TS-type overdrives add definition to the distortion, ensuring that both riffs and solos maintain a strong presence. Additionally, the use of delay and reverb adds a fantastical depth to the music, completing Ayabie’s aesthetic soundscape.
This sound crafting is not merely a “combination of gear” but involves meticulous adjustments based on song dynamics and stage presentation. For fast-paced tracks, distortion is tightened, while atmospheric ballads may feature thicker spatial effects, providing an immersive musical experience for the audience.
If you aim to replicate Ryohei’s sound, it is crucial to consider not just gathering the same gear but also understanding “how to achieve thickness” and “how to expand the world through delay and reverb.” The core of his sound crafting lies in the practical approach of “maximizing effects with minimal gear.” This is an important point for both beginners and intermediate players to consider.
In summary, Ryohei’s sound symbolizes Ayabie’s musicality, and recreating his guitar sound requires pursuing not only “gear replication” but also the “unity of performance and presentation.” By incorporating Ryohei’s sound crafting philosophy into your own gear and environment, you can recreate a beautiful and fantastical world akin to Ayabie’s.
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