[Shintaro Sakamoto] How to Recreate the Yurayura Teikoku Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shintaro Sakamoto, the guitarist and frontman of Yurayura Teikoku, is a prominent figure in Japanese alternative rock known for his unique sound design and experimental playing style. His guitar sound is characterized by “a distinct thickness without excessive distortion,” “a gritty texture created by layering multiple fuzz and overdrive effects,” and “an expansive quality enhanced by tremolo and spatial effects.” These elements form the core of the psychedelic soundscape that envelops the music of Yurayura Teikoku.

In iconic tracks such as “Koudou desu,” “Tako Monogatari,” and “Mi no Ka,” Sakamoto creates a unique sense of buoyancy through simple chord work and riffs, enhanced by the reverb and fuzz textures of his guitar. He has long favored a 1970s Gibson SG Standard, often sticking to this single guitar during live performances. This simplicity is part of his sound aesthetic, strongly highlighting his individuality as a guitarist.

Moreover, his approach to selecting amplifiers and effects reflects a philosophy of “choosing only the essential elements needed for his musical vision,” rather than assembling an expensive and extravagant setup. The use of fuzz pedals is particularly prominent, with combinations of distinctive models like the Electro-Harmonix Big Muff Pi and Roland Bee Baa, creating a psychedelic and experimental sonic landscape.

Therefore, when aiming to replicate Shintaro Sakamoto’s sound, it is more important to incorporate the essence of “the texture of distortion,” “the atmospheric quality of tremolo and reverb,” and “the simplicity of direct amp connection,” rather than striving for an exact match of his gear.

▶ Search official YouTube videos of Yurayura Teikoku

List of Amplifiers and Features

One of the crucial elements supporting Shintaro Sakamoto’s sound design is his choice of amplifiers. He utilizes multiple amps for live performances and recordings, favoring models that provide “a straightforward tone with a strong midrange, enhancing compatibility with fuzz and effects without excessive distortion.” Notably, Orange amplifiers are prominent in live settings, as seen in music videos, while he also employs Roland JC-120 and Fender amps as secondary options, adeptly altering his tone to suit different contexts.

The Orange amplifier (likely from the OR series) is particularly appealing for its thick, British tone characterized by a strong midrange. This allows for effective combinations with fuzz pedals like the Big Muff and Bee Baa, ensuring that the sound remains clear and drives the entire band without getting buried. The dynamic and rich sound of Yurayura Teikoku is strongly supported by this amplifier’s characteristics.

The Roland JC-120 is frequently used in studio work, known for its transparent clean tone, which accentuates fuzz and modulation effects. While it appears as a secondary option during live performances, it is primarily chosen for situations requiring a clean, airy sound. Additionally, the Fender Vibro King is suitable for creating depth with its reverb, suggesting its use in specific tracks.

Through his choice of amplifiers, Sakamoto’s approach becomes clear: “Rather than crafting a complex sound, he secures a minimal, straightforward tone and expands his sonic landscape through effects and performance.” In this sense, the amplifier acts as a “foundational canvas,” upon which fuzz and tremolo paint the soundscape. Thus, for those aiming to emulate his sound, selecting “simple yet characterful amplifiers” like Orange, Roland JC-120, and Fender models is effective. However, due to some ambiguity regarding specific model names and usage periods, it is ultimately assumed that he primarily utilized these three models.

Types of Guitars Used and Features

A key element in discussing Shintaro Sakamoto’s guitar sound is his long-time use of the 1971 Gibson SG Standard. Known for primarily performing with this single guitar throughout his career with Yurayura Teikoku, this simplicity is directly connected to his musical philosophy. The lightweight and manageable body of the SG, along with its unique midrange punch, pairs perfectly with Sakamoto’s minimalistic and repetitive phrases, serving as a pillar supporting the band’s psychedelic aesthetic.

Other guitars he has been seen using include the Greco SG Custom, a domestic copy model, which was likely used as a backup guitar. The slightly dry sound characteristic of domestic models is thought to have emphasized the roughness when combined with fuzz. Additionally, there are records of him occasionally using a Fender Duo-Sonic, whose short scale and unique single-coil tone likely contributed to his experimental sound design.

Moreover, the VOX Hurricane, a distinctive model, is also noted among Sakamoto’s guitars. This model is characterized by a dry texture, adding a unique vintage feel to the overall sound of the tracks. These choices reflect his prioritization of “sound quality” over “brand power” in his guitar selection.

Overall, Sakamoto’s guitar selection is characterized by a stance of “maximizing expression with a minimal number of instruments,” particularly with the midrange-heavy sound based on the SG, which has remained consistent throughout Yurayura Teikoku’s career. Therefore, when attempting to replicate his sound, it is effective to focus on SG-type guitars. While the frequency of use and specific periods remain somewhat uncertain, it is assumed that “the main guitar was the SG, with others appearing occasionally.”

Effects and Pedalboard Setup

Effects play a vital role in Shintaro Sakamoto’s sound design. His sound is characterized by “distortion centered around fuzz,” “undulations from tremolo and auto-wah,” and “spatial processing via delay and reverb,” which greatly expand the expressive potential of simple guitar riffs. The fuzz pedals, particularly the Big Muff Pi, are emblematic, and it has been recorded that he often combines multiple fuzz units during live performances.

In the realm of distortion, Sakamoto prominently features the Electro-Harmonix Big Muff Pi (owning several original and vintage units), along with custom fuzz pedals like the HONDA SOUND WORKS “MAGMA” and “FUJIYAMA DRIVE,” as well as Japanese-made fuzzes such as the Roland Bee Baa and DOUBLE BEAT. By incorporating wah-fuzz pedals from Guyatone and Ibanez, he creates a unique swirling and chaotic sound.

For modulation effects, he typically uses the Demeter Tremulator for analog-style tremolo and the Maxon AF-9 Auto Filter for auto-wah. These effects add a distinctive buoyancy to his simple riffs, contributing to his unique sonic atmosphere.

In terms of spatial effects, he employs delay/echo units like the SIB! ECHODRIVE and Mr. Echo, as well as the BOSS RE-20 Space Echo and the actual Roland RE-201. The RE-20 was confirmed during the 2019 US tour, effectively reproducing the tape echo quality in live settings. For reverb, he utilizes the BOSS RV-3 and the Fender ’63 Reverb Unit, creating a depth that envelops the entire composition even when playing solo.

Additionally, Sakamoto has experimented with synthesizer effects like the Electro-Harmonix C9 Organ Machine, transforming his guitar sound to resemble an organ. By combining loop selectors, graphic EQs, and CAJ power supplies, he has organized a complex signal chain that allows for diverse sound creation.

Overall, Sakamoto’s effects board is characterized by a “simple yet powerful structure centered around fuzz, augmented by spatial and modulation effects,” allowing him to skillfully combine different effects for each song. While the specific configurations and usage periods have varied, it is ultimately assumed that his board has been “layered with fuzz at the core, interspersed with spatial effects.”

Tone Settings, EQ, and Mixing Approaches

Shintaro Sakamoto’s sound design extends beyond mere gear selection; it encompasses meticulous amplifier and effect settings, as well as mixing techniques in PA and recording contexts. His fundamental philosophy emphasizes “avoiding unnecessary embellishments” and “maximizing the inherent qualities of the guitar and fuzz,” prioritizing the natural tones of individual equipment over specific EQ settings or multi-effect functionalities.

Regarding amplifier settings, when using Orange amps, he typically keeps the gain at a moderate level, relying on fuzz pedals to create distortion. The tone is slightly mid-focused, with bass kept low and treble adjusted as needed, reflecting a straightforward approach. When using the Roland JC-120, he emphasizes the clean tone, combining it with fuzz and reverb to enhance the sense of buoyancy. When opting for the Fender Vibro King, he likely capitalizes on the depth of the spring reverb, aiming for a sound that allows riffs to blend seamlessly.

His effect settings also demonstrate consistency, with fuzz pedals like the Big Muff Pi set to moderate sustain, preserving some sonic chaos while ensuring the sound does not get lost in the band ensemble. Particularly when using multiple fuzzes simultaneously, he likely employed an EQ pedal (Maxon PQ-9) to balance the midrange, preventing excessive lows or highs from becoming overwhelming. Furthermore, tremolo (Demeter Tremulator) and auto-wah (Maxon AF-9) are kept at a moderate depth, adding undulation to the overall riff without disrupting the groove of the entire song.

In terms of spatial processing, he sets the delay to a shorter time, integrating the reverb rhythmically, while emphasizing the fluctuations and degradation of tape echo (Roland RE-201 and BOSS RE-20) to intentionally introduce a sense of “imperfection” into the music. For reverb, he maintains a moderate level with the BOSS RV-3 and Fender Reverb Unit, ensuring the sound blends into the composition without losing definition. In PA and engineering contexts, he tends to prioritize mic placement and amp resonance over compression, emphasizing a natural and organic tone.

A distinctive aspect of his mixing approach is the idea that “the guitar is not always at the forefront; it recedes into the background as needed.” Sakamoto’s guitar sometimes functions as a rhythmic instrument, while at other times, it serves as atmospheric background noise, stepping forward when necessary. This arrangement is evident in his EQ processing, where he secures a midrange-focused range while yielding lows and highs to the drums and bass, creating a chaotic yet listenable sound. In tracks like “Koudou desu” and “Mada Ikiteru,” a deliberately lo-fi quality is maintained in the mix, amplifying the unique instability that enhances the overall appeal of the songs.

Additionally, live performances emphasize collaboration with the PA system, capturing the direct sound from the amp while finely adjusting the effects. This results in a unique guitar tone that is “raw yet seamlessly integrated.” In essence, the core of Sakamoto’s sound design lies in “not completing the guitar sound in isolation, but rather how it blends into the band sound and recording space.”

To replicate these elements, it is essential to keep amplifier and fuzz settings simple, while making subtle adjustments with EQ and spatial effects, always being mindful of the guitar’s position within the overall band sound. While definitive numerical settings are not documented, the direction of “midrange emphasis, distortion primarily from pedals, and moderate spatial effects” is assumed to be the essence of Shintaro Sakamoto’s sound design.

Affordable Alternatives to Recreate the Tone

While fully replicating Shintaro Sakamoto’s sound design is challenging, it is possible to capture its essence using relatively affordable gear. The key is to balance “fuzz-centric distortion,” “undulations from tremolo and auto-wah,” and “spatial effects reminiscent of tape echo.” Here, we focus on equipment that is accessible for beginners to intermediates, typically ranging from $100 to $500.

First and foremost is the fuzz pedal. While the original Big Muff Pi and vintage models can be pricey, the current Electro-Harmonix Big Muff series (like the Nano or Op-Amp versions) are affordable and readily available. These can easily replicate the thick and gritty tone that Sakamoto loves, making them an essential first pedal to acquire.

Next, for modulation effects like tremolo and auto-wah, the BOSS TR-2 Tremolo offers a simple yet effective analog-like undulation, allowing players to experience nuances similar to the Demeter Tremulator. For auto-wah, the BOSS AW-3 Dynamic Wah is a recommended current model, functioning well as a substitute for the Maxon AF-9, adding unique swirling effects when combined with fuzz.

In terms of spatial effects, the BOSS RE-20 Space Echo is highly effective, having been used by Sakamoto in live settings, making it a must-have for achieving a similar sound. For those looking to save further, the BOSS DD-8 digital delay can also capture the atmosphere with short delay settings. For reverb, the BOSS RV-6 is versatile and serves as a natural-sounding successor to the RV-3.

Regarding the guitar itself, while acquiring a vintage SG can be costly, options like the Epiphone SG Standard or used Greco models provide a more budget-friendly way to enjoy a similar vibe. As for amplifiers, high-end models from Orange or Fender are not necessary; the Roland JC-22 or BOSS Katana series can effectively lay the groundwork.

In summary, the key to recreating Shintaro Sakamoto’s sound affordably lies in “centering around the Big Muff while combining modulation and spatial effects.” While it is difficult to gather all original gear, combining these alternative pieces allows you to experience the psychedelic soundscape of Yurayura Teikoku.

Summary and Conclusion

In summarizing Shintaro Sakamoto’s sound design, its essence lies in “a simple and clean structure infused with unique distortion and buoyancy.” He avoids overcomplicating his setup, primarily relying on a single SG, combining fuzz and spatial effects to construct a one-of-a-kind psychedelic sound. This “aesthetic of subtraction” elevates the music of Yurayura Teikoku to a singular status.

Notably, by utilizing multiple fuzz effects like the Electro-Harmonix Big Muff Pi and Roland Bee Baa, and incorporating tremolo and auto-wah for undulation, he transforms simple riffs into grand auditory experiences. Furthermore, employing tape echo units like the Roland RE-201 and BOSS RE-20 adds a sense of imperfection and warmth to the music, achieving the decadent and buoyant atmosphere symbolized in tracks like “Koudou desu.”

Additionally, his sound design emphasizes “the beauty of usage over the luxury of gear.” Rather than relying on expensive guitars or the latest digital equipment, he cherishes vintage SGs, domestic copy models, and vintage fuzz pedals, thoroughly mastering them to align with his artistic vision. The resulting sound is not easily replicated by merely assembling the same gear, as it is intrinsically tied to the identity of “Shintaro Sakamoto.”

For readers aiming to achieve a Yurayura Teikoku-style sound, starting with fuzz-centered distortion and adding modulation and tape echo for spatial effects is optimal. Moreover, employing EQ to prioritize midrange while blending with the overall band sound will bring you closer to his tone. Ultimately, the essence of Sakamoto’s sound lies in “deeply exploring expression with minimal gear.”

Ultimately, understanding that Shintaro Sakamoto’s sound design is not just a list of equipment but a “philosophical and aesthetic expression” is crucial. Grasping the guitar, stepping on the fuzz, and manipulating the space are actions that connect to the core of his music. Thus, the key to replication lies not in merely gathering gear but in pursuing a mindset of subtraction and texture.