[Ryota Fujimaki] How to Recreate the Remioromen Sound + Guitar Gear and Tone Settings [Effects & Amps]

The selection of these guitars stems from a consistent approach to finding the best sound for each song, emphasizing resonance, transparency, and presence over flashiness. Overall, it can be inferred that Ryota Fujimaki’s guitars serve as tools to support the vocals and paint the scenes of the songs, with each instrument chosen for its specific contribution.

Effects and Pedalboard Setup

When discussing Ryota Fujimaki’s sound, his pedalboard configuration is indispensable. The effects chosen enhance the nuances while preserving the character of the amps and guitars, contributing to a sound design that elevates the vocals. His setup is practical and straightforward, allowing for effective switching of effects tailored to each song.

The signal chain is clear, with effects 1 through 8 in series, and the 9th tuner branching off from the tuner out of the first effect. At the forefront is the Shin’s Music Baby Perfect Volume 250k, enabling dynamic control during performances. Next, the Providence Velvet Comp smooths out the sound, emphasizing the beauty of the clean tones. This ensures that delicate touches in arpeggios and ballads are preserved.

Three distortion effects are employed, each with distinct characters. The Pete Cornish Linear Boost & Line Driver functions as a booster, enhancing volume and presence, ensuring that solos and overall band sound do not get buried. The Z.Vex ’59 Sound emulates the warmth of a Fender Bassman, providing a vintage-style overdrive. Additionally, the Vemuram Jan Ray offers a modern overdrive suited for clean to crunchy tones, adding a lush midrange.

In the modulation category, the Strymon Mobius plays a crucial role. It is used as a phaser in “Naked Oh Summer,” adding color to the track. Fujimaki’s approach is characterized by a preference for subtle effects that alter the “atmosphere” when necessary. For spatial effects, the Eventide TimeFactor (delay) and Strymon Flint (reverb/tremolo) are combined. Notably, in “Song of the Earth,” the tremolo from Flint resonates impressively, emphasizing the dynamics of the song.

Finally, the KORG Pitchblack Custom is integrated as the tuner, ensuring performance stability. This tuner is highly visible and user-friendly in live settings.

Overall, Fujimaki’s pedalboard is structured to produce diverse expressions with minimal effects. By incorporating multiple distortion options, he adapts the character of each song while positioning modulation and spatial effects to envelop the vocals. Though not flashy, his setup achieves a sound that aligns with the temperature and atmosphere of the music.

Tone Settings, EQ, and Mixing Approaches

Ryota Fujimaki’s guitar sound is not only a product of his choice of amps, guitars, and effects but also reflects careful attention to EQ settings and mixing techniques in both recording and live contexts. The essence of his sound design lies in “enveloping the vocals and providing depth to the songs,” which requires meticulous adjustments.

Regarding amp settings, Fujimaki often uses the Matchless DC-30 as his main amp, typically emphasizing midrange frequencies while keeping the low end tight. Specifically, he likely sets the Bass around 4, Middle at 6-7, and Treble at 5-6. This configuration ensures that chords remain clear without muddying the vocals, providing a clean backing. When transitioning to lead parts, he utilizes boosters or distortion to further highlight the midrange.

When using the Blankenship MiniLeeds 21, the settings lean more towards a rock-oriented tone. Here, he tends to boost the Treble to accentuate crisp cutting tones and increase Presence for a bright sound. When paired with Fender Mustang or Telecaster, this setup enhances the drive during climactic sections of the songs.

Spatial effects are also crucial in Fujimaki’s sound. The Eventide TimeFactor delay is typically set to a quarter-note delay synchronized to the tempo, with feedback kept low during arpeggios to create a “melting echo” effect. For solos, he often extends the delay time to add a sense of expansiveness. The Strymon Flint is primarily used with plate reverb, adjusted to moderate depth, allowing the vocals and guitar to blend naturally.

Specific songs also utilize modulation effects. In “Naked Oh Summer,” the Strymon Mobius phaser adds a refreshing quality, while in “Song of the Earth,” the Flint’s tremolo is emphasized to introduce a sense of fluctuation throughout the piece. These effects are not overly flashy; rather, they serve as subtle enhancements to the song’s atmosphere.

From a mixing perspective, Fujimaki’s guitar sound is characterized by a balanced approach that does not overly widen the stereo field. Acoustic guitars are placed left and right, while electric guitars are positioned closer to the center to maintain clarity around the vocals. A high-pass filter is often set around 100Hz to cut unnecessary low frequencies, ensuring that the midrange remains clear without clashing with the bass or kick. The high frequencies are gently boosted around 5-8kHz to accentuate the sparkle of arpeggios.

Song-specific adjustments are also notable. For example, in “Powder Snow,” a light compression is applied to the clean tones, with a subtle delay added to evoke a “floating snow” effect. In “Under the Sun,” the distortion is dialed up to emphasize the strength of the strumming. In “March 9,” the acoustic guitar is placed prominently, with EQ adjustments made to slightly reduce the midrange, allowing the vocals to shine through.

In live settings, the PA system plays a significant role. The VOX AC30 on stage is positioned for clarity, while the PA tends to keep reverb levels low to prioritize vocal clarity. Additionally, there are instances where the guitar is panned left and right to create a spacious sound, with lead guitar centered during solo sections.

Overall, Ryota Fujimaki’s sound design is established through “transparency in the midrange,” “depiction of scenes through spatial effects,” and “precise selection of effects tailored to each song,” all meticulously crafted to support the vocals.

Affordable Alternatives to Recreate the Tone

Ryota Fujimaki’s sound is supported by high-end gear such as the Matchless DC-30, Blankenship, Rickenbacker, and vintage Gibsons. However, it may not be practical for beginners or intermediate players to acquire the same equipment. Here, we will introduce more affordable alternatives (approximately $100–500) that can help achieve a sound similar to Fujimaki’s.

For amplifiers, the VOX AC15C1 and Fender Blues Junior are strong candidates. The VOX AC15C1 is a smaller sibling to the AC30 that Fujimaki uses live, capable of reproducing bright and transparent cleans, making it suitable for small gigs or home practice. The Fender Blues Junior pairs well with single-coil guitars, making it easy to create Fujimaki’s refreshing crunch with Telecasters or Strats.

For distortion pedals, the BOSS BD-2 Blues Driver and Fulltone OCD are effective options. The BD-2 can handle clean boosts to crunch, making it perfect for delicate backing in songs like “Powder Snow” and “March 9.” The OCD has a strong midrange push, providing a character similar to Fujimaki’s Jan Ray or Z.Vex when used for solos.

For modulation, using a multi-effects pedal is recommended. The BOSS MS-3 or Line6 HX Stomp can replicate high-quality modulation, delay, and reverb effects similar to those used by Fujimaki, such as the Strymon Mobius and Eventide TimeFactor. The HX Stomp, in particular, excels in spatial effects, effectively recreating the phaser in “Naked Oh Summer” and the tremolo in “Song of the Earth.”

For acoustic guitars, options like the YAMAHA FG series or Seagull S6 offer excellent cost-performance ratios, serving as alternatives to the Martin D-18 or Gibson J-45. They provide bright, dry tones and warm bass, allowing for a Fujimaki-like atmosphere in singer-songwriter settings.

Including auxiliary gear like tuners and compressors, the BOSS TU-3 and MXR Dyna Comp are practical substitutes. While the Dyna Comp may not offer the same refinement as the Providence Velvet Comp, it effectively serves to balance clean tones.

By combining these alternative pieces of gear, it is possible to get remarkably close to “Ryota Fujimaki-style” sound design for under $1,000. The key is to focus on “transparency in the midrange,” “clarity in arpeggios,” and “appropriate use of spatial effects to change the character of each song.”

Summary and Conclusion

Reflecting on Ryota Fujimaki’s sound design, the core lies in “guitar sounds that support the vocals.” The guitar serves not just as a lead instrument but as an integral part of shaping the atmosphere and supporting the overall narrative of the songs. Therefore, flashy distortions and excessive effects are avoided, prioritizing “transparency,” “warmth,” and “resonance that aligns with the music.”

On the gear side, the focus is on a midrange-heavy amp sound centered around the Matchless DC-30, complemented by bright and refreshing tones from Fender Telecaster and Rickenbacker, along with the careful sound shaping provided by pedals like Providence Velvet Comp and Eventide TimeFactor. In signature tracks like “Powder Snow” and “March 9,” delay and reverb are used sparingly to create soundscapes that evoke imagery.

Conversely, in songs like “Naked Oh Summer” and “Song of the Earth,” modulation and tremolo effects are effectively incorporated to expand the atmosphere of the music. Thus, Fujimaki’s sound design can be described as a practical style that achieves maximum expression with minimal effects.

Moreover, the story behind his gear, such as the Gibson Les Paul Standard he has used since his student days, and the special guitar acquired out of admiration for Tamio Okuda, adds depth to his sound design. This background contributes to the persuasive quality of his music, resonating with listeners as more than just a gear showcase but as a reflection of “Fujimaki’s essence.”

For guitarists looking to replicate Fujimaki’s sound, it is crucial to understand that it is not merely about acquiring the same gear but about cultivating an awareness of “painting scenes with tone.” By carefully shaping the midrange, using spatial effects to evoke resonance, and adjusting distortion based on the character of each song, one can approach a sound reminiscent of Fujimaki’s.

In conclusion, the essence of Ryota Fujimaki’s sound design can be summarized as “a guitar that resonates with the vocals.” The gear serves as a means to this end, with the guiding principle always being “not to overshadow the vocals” and “to enhance the songs.” This approach is what makes his sound truly unique.