[RYU-TA] How to Recreate the 04 Limited Sazabys Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Yūzō Kayama] How to Recreate the Yūzō Kayama Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

[TAKURO] – How to Recreate the GLAY Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.08.29

Souichiro Yamauchi – How to Recreate the Fujifabric Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

Introduction (Overview of Tone)

RYU-TA, the guitarist of 04 Limited Sazabys, showcases a unique blend of power and delicacy in his playing style, particularly evident in their tight and energetic tracks. His sound is characterized by a robust distortion that supports hard-hitting riffs, balanced with clean tones that evoke the brightness of pop-punk.

In iconic songs like “swim” and “Squall,” RYU-TA delivers melodic and memorable guitar phrases. During live performances, he primarily uses his signature ESP model, “Ikak,” paired with the Mesa/Boogie Mark V amplifier to produce thunderous sounds. His pedalboard features a combination of BOSS, JHS, and Free The Tone effects, creating a simple yet highly effective setup.

What makes RYU-TA’s sound design captivating is his ability to merge visual elements reminiscent of hide with the bright sound typical of US pop-punk. By emulating his playing style, you can get closer to the emotional band sound that defines 04 Limited Sazabys.

In the following sections, we will delve into the details of the amplifiers, guitars, and effects used by RYU-TA, along with insights into his sound design techniques.

▶ Search official YouTube videos of 04 Limited Sazabys

List of Amplifiers and Features

The cornerstone of RYU-TA’s sound is the combination of the Mesa/Boogie Mark V Medium and the ORANGE PPC412 cabinet. The Mark V is a versatile amp with three channels, capable of covering a wide range from clean to high gain. RYU-TA typically sets Channel 1 for clean tones, Channel 2 for crunch, and Channel 3 for lead, switching between them according to the song’s requirements.

He often employs a graphic EQ that cuts mid frequencies, focusing on clarity and separation within the band during live performances. This approach ensures that his guitar cuts through the mix without overpowering other instruments.

For the cabinet, RYU-TA opts for the ORANGE PPC412, which he prefers over Mesa’s own cabinets for its aesthetic and tonal balance. This cabinet delivers a thick sound with stable low-end while maintaining clarity even at high gain settings.

In the past, RYU-TA has also used the Marshall JVM410H, known for its aggressive and linear distortion. This amp was confirmed in early live footage and interviews, but he appears to have transitioned to the Mark V for his current setup. Additionally, the Fender Twin Reverb has been spotted in studio settings, likely used for its warm, vintage clean tones.

His social media stories indicate that he has purchased a green Mesa/Boogie Mark V, highlighting his attention to aesthetics and appearance. Regardless, it is safe to conclude that the “Mesa/Boogie Mark V Medium × ORANGE PPC412” setup is his main configuration for both live and recording sessions.

Overall, RYU-TA’s amplifier configuration is established as a combination of “Mesa/Boogie for thickness and clarity” and “ORANGE for visual appeal and stable low-end,” which defines his signature sound.

Types of Guitars Used and Features

The centerpiece of RYU-TA’s sound design is undoubtedly his signature ESP model, “Ikak.” This model pays homage to X JAPAN’s hide with its unique design, and he uses two types of finishes: lacquer and matte during live performances.

Beyond its striking appearance, “Ikak” features a maple top and mahogany back, providing thickness in the mid-low range and clarity even at high gain, supporting the aggressive band sound of 04 Limited Sazabys.

For those seeking a more affordable option, the GrassRoots G-Ikak offers a similar look at a more accessible price point, gaining popularity among fans and cover bands alike. Additionally, the wood-grain Navigator N-EX-LTD is another iconic choice for him, modified with black chrome parts and custom wiring, showcasing his strong commitment to both aesthetics and sound.

RYU-TA also owns a diverse collection of guitars, including the Navigator N-JM-ALR (modified with a reverse headstock), E-II Horizon NT (custom color), and E-II Horizon NT-II (borrowed from ESP, specifically for Drop D tuning). The E-II Horizon NT-II is particularly notable for its EMG pickups, making it suitable for more modern and high-gain tracks.

He frequently uses the ERNIE BALL MUSIC MAN Silhouette, confirmed in the music videos for “standing here” and “Buster call.” Recently, he has also been seen with the “MUSIC MAN Silhouette Snowy Night,” a current production model. These guitars symbolize RYU-TA’s modern and pop-oriented sound.

In addition, he owns classic models such as the Gibson Historic Collection Les Paul Custom (purchased at the end of 2018), Gibson Custom Shop ES-355 Reissue (Japan Limited Run, Black Ebony), and an Epiphone SG (possibly borrowed). For acoustic performances, a Taylor 214ce Rosewood model is suspected to be used.

Overall, RYU-TA’s collection includes a mix of ESP and Navigator guitars while also incorporating brands like MUSIC MAN and Gibson to achieve a wide range of sounds. His foundational sound is built on the “ESP Ikak + Navigator N-EX-LTD + Mesa/Boogie Mark V,” with other guitars serving as options depending on the song or period.

Effects and Pedalboard Setup

RYU-TA’s pedalboard is characterized by a simple yet practical configuration. He uses the JHS Angry Charlie V3 as his main distortion, combining it with the gain channel of the Mesa/Boogie Mark V to create a tight and edgy distortion sound.

Additionally, he incorporates the J. Rockett Audio Designs Archer to add Klon-like harmonics, enhancing the presence in solos and riffs.

For spatial effects, RYU-TA employs both the BOSS DD-3 Digital Delay and the Maxon AD999 Analog Delay. The DD-3 provides the clear echoes typical of digital delays, while the AD999 adds warmth characteristic of analog delays, indicating that he uses them according to the needs of each song.

He utilizes the JHS Spring Tank Reverb to create a natural spaciousness with a spring-like quality, ensuring that his sound remains prominent even in live settings.

In the modulation category, he features classic gear such as the BOSS CE-2W (Chorus, Waza Craft), BOSS TR-2 (Tremolo), and MXR EVH90 Phase-90. The CE-2W is particularly noted for its high fidelity in replicating vintage chorus sounds, enhancing the dimensionality of clean tones.

The TR-2 adds rhythmic fluctuations, while the EVH90 is effectively used in solos and for spatial effects.

To enhance the usability of his setup, RYU-TA incorporates the Free The Tone ARC-3 switcher, along with the JB-21 junction box and PT-1D power supply. This ensures reliable sound creation even during intense live performances.

He also uses the tc electronic PolyTune 2 tuner for its accuracy and visibility, and the KORG XVP-20 volume pedal to expand his dynamic range, allowing for nuanced performances tailored to each song.

Overall, RYU-TA’s board is a robust configuration of “distortion + spatial effects + modulation,” enhanced by Free The Tone’s system for reliability. The sound’s foundation is crafted by the amp, while the effects serve to add flavor and character.

Tone Settings, EQ, and Mixing Approaches

RYU-TA’s sound design is meticulously crafted to ensure that the guitar sits perfectly within the overall band sound—neither overpowering nor getting lost. Central to this is the versatile channel settings of the Mesa/Boogie Mark V Medium and his adept use of the graphic EQ.

He typically uses Channel 1 for clean tones, which allows the natural character of the guitar to shine through. By adding the BOSS CE-2W and reverb, he creates a sense of space during arpeggios and quieter sections.

Channel 2 is set for crunch, supporting the band’s driving energy with tight cutting and bridge mutes. When paired with the JHS Angry Charlie V3, this channel produces a sound that combines the crispness of British amps with modern high gain.

Channel 3 is dedicated to leads, where he boosts the sound using the J. Rockett Archer, ensuring that solos stand out within the mix. During this setting, it is likely that he raises the EQ around 2kHz to highlight picking nuances while avoiding excessive reverb and delay to maintain attack clarity.

In terms of mixing, RYU-TA’s guitar is often panned widely, although it can be centered during main riffs. When centered, he likely cuts frequencies below 100Hz to avoid clashing with the bass, while also suppressing frequencies above 7kHz to prevent interference with cymbals. The ORANGE PPC412 cabinet’s characteristics provide clear low-end definition, ensuring a stable sound image across various venues.

His strategic use of spatial effects is also noteworthy. For instance, the DD-3 delay is set to shorter times (200-400ms), adding thickness without disrupting the rhythm in tight songs. The Maxon AD999 is used selectively for its soft analog repeats, enhancing dynamics in specific sections, thereby maintaining a “clean and organized sound image” throughout.

In modulation, he adds subtle fluctuations with the CE-2W and creates rhythmic nuances with the TR-2, switching roles meticulously according to the song’s needs. This careful attention to detail supports the dynamic and energetic nature of 04 Limited Sazabys’ music.

Overall, RYU-TA’s sound design consistently aims to “organize mid frequencies while balancing the power of low-end and clarity of high-end.” By maximizing the potential of his amp, guitar, and effects, he creates a sound that is both simple and highly reproducible.

Affordable Alternatives to Recreate the Tone

To fully replicate RYU-TA’s sound, high-end gear like the ESP signature model and Mesa/Boogie Mark V are typically required. However, beginners and intermediate players can still achieve a similar vibe with more accessible options. Here, we introduce alternative gear from brands like BOSS and MXR that can help you get closer to RYU-TA’s sound.

For distortion, consider the BOSS DS-1W (Waza Craft) or MXR Distortion+, both of which share a similar character to the JHS Angry Charlie V3. Priced in the $100 range, these pedals can produce tight and articulate distortion when paired with the amp’s clean channel. If you’re looking for a Klon-like boost, the Electro-Harmonix Soul Food is a great alternative, providing harmonic enhancement and boost for solos.

In terms of spatial effects, the BOSS DD-8 is a versatile delay option. It offers more features than the DD-3 while remaining budget-friendly, allowing you to replicate RYU-TA’s shorter delay settings. For reverb, the BOSS RV-6 is a reliable choice, capable of producing a wide range of sounds from spring to hall reverb, making it suitable for live use.

For modulation, consider the BOSS CH-1 Super Chorus or TC Electronic Corona Chorus as alternatives. While they may have a more modern flavor compared to the CE-2W, they effectively add depth to clean parts. The MXR Phase 90 (standard version) can also provide a similar modulation effect to RYU-TA’s EVH90 at a more accessible price point.

While acquiring a Mesa/Boogie Mark V may not be feasible, modeling amps like the BOSS Katana series or Marshall CODE series can offer a wide range of tones from high gain to clean. The Katana, in particular, excels in EQ responsiveness, making it easy to cut mids and boost low and high frequencies, achieving a sound closer to RYU-TA’s settings.

By combining these pieces of gear, you can achieve a RYU-TA-like sound for under $1,000. The key is to focus on “organizing mid frequencies while balancing low-end power and high-end clarity.” Keeping this direction in mind will help you get closer to his signature sound.

Summary and Conclusion

When examining RYU-TA’s sound design, its essence lies in the balance of “aggression and clarity.” Utilizing his ESP signature model “Ikak,” along with unique guitars like the Explorer-type and MUSIC MAN, he achieves a high-gain sound that remains articulate.

His amplifier settings, centered around the Mesa/Boogie Mark V, combined with the ORANGE PPC412 cabinet, create a unique thickness and clarity that defines his sound.

RYU-TA’s pedalboard features practical choices, including the robust distortion from the JHS Angry Charlie V3, strategic delay usage with BOSS DD-3 and Maxon AD999, and dimensional enhancement of clean tones with the CE-2W. These elements work together to support the energetic tracks of 04 Limited Sazabys.

Moreover, RYU-TA’s EQ and mixing strategies are crucial. By organizing mid frequencies and emphasizing low-end power while maintaining high-end clarity, he secures a position for the guitar that prevents it from getting lost in the mix. This approach is a key point for anyone looking to emulate his sound.

Even for beginners, replicating his sound doesn’t require high-end gear. By combining affordable options like the BOSS DS-1W, Katana amp, and MXR Phase 90, you can get close to RYU-TA’s signature sound. The focus should be on “simple configurations that shine within the overall band sound.”

Ultimately, RYU-TA’s sound design exemplifies the coexistence of “unique appearance” and “practical sound.” His look reflects the influence of hide, while his sound embodies the lively essence of pop-punk, making it a significant asset for 04 Limited Sazabys. Aspiring guitarists should pay attention to “organizing mid frequencies” and “articulation in distortion” to get closer to his sound.

Through experimentation with your own gear, you will surely take a step closer to achieving RYU-TA’s sound. This process will undoubtedly serve as a valuable learning experience in refining your band sound.