[Shintaro Yanagisawa] How to Recreate the go!go!vanillas Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Shintaro Yanagisawa, the guitarist of go!go!vanillas, is renowned for his vibrant sound design that adds rich expression to the band’s music. His guitar work transcends mere accompaniment, becoming a significant element that shapes the overall groove and atmosphere of their tracks.

His distinctive sound is characterized by a “clear and defined tone” and a “rhythmic work that enhances groove.” Notably, in songs like “RUN RUN RUN RUN” and “Two of Us feat. Moeko Hayashi” from the album “FLOWERS,” his delicate yet impactful guitar playing stands out. Yanagisawa’s style can be described as a unique blend of alternative and garage rock with elements of funk and pop.

Moreover, Shintaro Yanagisawa selects the optimal gear for each song, utilizing a combination of amplifiers and effects to achieve a wide range of expressions. From funky cuts on a Strat-style guitar to the robust rock sound of a Gibson SG, and the warm tones of an acoustic guitar, he adeptly switches between different setups based on the musical context.

This flexibility is a key reason why his guitar work remains fresh across the diverse catalog of go!go!vanillas. Whether in live performances or studio recordings, his sound functions like “a brushstroke that defines the color of the song.”

In this article, we will thoroughly explore the amplifiers, guitars, effects, and sound design techniques used by Shintaro Yanagisawa of go!go!vanillas. We will also introduce relatively affordable gear options that can help fans and guitarists recreate his sound.

We hope you find inspiration from his sound design and can apply it to your own guitar work.

▶ Search official YouTube videos of go!go!vanillas

List of Amplifiers and Features

Shintaro Yanagisawa’s choice of amplifiers is clearly defined between live performances and studio recordings. The most notable brands he uses include Marshall and VOX, which are staples in rock guitar. However, for recording, he also incorporates more niche amplifiers like Hiwatt and SHINOS, showcasing his commitment to professional sound design. Recently, he has integrated the UAD OX for cabinet simulation, reflecting a modern flexibility and dedication to high-quality sound.

On tour, he favors the “Marshall Studio Vintage SV20H.” This compact head is based on the classic 1959 Super Lead, known for its “sharp crunch” and “expansive lead tone,” making it essential for classic rock. Its manageable size and ability to maintain sound pressure make it a practical choice for live venues.

For studio work, he utilizes the “VOX AC50,” recorded through the UAD OX. This amp provides the signature midrange sparkle and beautiful clean tones characteristic of VOX, adding warmth to go!go!vanillas’ music. Its features are particularly effective for funk-driven cuts and arpeggios that utilize space.

In interviews, he has also mentioned using “Hiwatt” and “SHINOS” amplifiers. Hiwatt, known for its powerful clean headroom and punchy low-end, enhances the overall thickness of the ensemble without overshadowing the guitar’s presence. SHINOS, a Japanese boutique amp, is noted for its detailed response and creamy distortion, aligning well with Yanagisawa’s focus on nuanced sound.

Additionally, in experimental settings or magazine features, he has been seen using modeling amps like the “Fender MUSTANG GT.” These digital amps offer flexibility and a variety of presets, making them accessible for younger guitarists looking to mimic Yanagisawa’s tone.

Overall, Yanagisawa’s amplifier choices reflect a balance between the “robust sound of classic rock” and the “flexibility required for modern recording environments.” He overwhelms audiences with Marshall’s punchy tones live while using VOX and Hiwatt in the studio to add color to his tracks.

Types of Guitars Used and Features

When discussing Shintaro Yanagisawa’s sound, one cannot overlook his extensive guitar collection. His main instrument is a vintage SG, but he also employs a wide range of guitars, including Strat-style, acoustic, and even borrowed models from bandmates, depending on the song or scene. This selection is not merely a hobby or collection; it serves the essential purpose of creating the optimal tone for each track.

One of the defining guitars of go!go!vanillas is the “Gibson SG (1964 model).” It is frequently used in the album “FLOWERS” and can be considered his main guitar. The lightweight and sharp tone typical of the ’60s SG complements Yanagisawa’s rhythmic cutting and dynamic lead playing, making it a core element in both live and studio settings.

Another notable guitar is the “Gibson SG Standard ’61 (Custom Color Series),” which he played during his appearance on Gibson’s official show “G-BASE.” This model allows for modern and stable sound creation, likely introduced to explore the tonal differences from the vintage SG. He has been seen using this combination to switch the color of his setlist during live performances.

The “Strat-style (MJT body + old American Vintage neck parts caster)” shines in funk and soul phrases. Particularly in “Two of Us feat. Moeko Hayashi,” it is used to create a clean, bouncy tone reminiscent of Cory Wong. The quick attack and clarity of single coils add a new texture to the band’s sound.

For acoustic work, he employs guitars from “Taylor,” “Guild,” and “Gibson LG-3.” Notably, in “RUN RUN RUN RUN,” he uses the Gibson LG-3, adding warmth and depth to the track. His ability to switch between electric and acoustic guitars creates a spatial expansion unique to Yanagisawa’s style.

Additionally, he has recorded with borrowed guitars like the “Fender Custom Telecaster (1967 model)” and “Gibson ES-335” from his bandmate Tatsuya Maki. By incorporating the sharp cutting of the Telecaster and the airy tone of the ES-335, he further broadens the tonal palette within the band.

In summary, Shintaro Yanagisawa’s guitar selection reflects a continuous quest for the “optimal solution to create the necessary sound for each song.” By skillfully using vintage and modern, single coils and humbuckers, electric and acoustic guitars, he brings depth to go!go!vanillas’ music.

Effects and Pedalboard Setup

Shintaro Yanagisawa’s pedalboard is characterized by a practical setup that emphasizes “maximum effect with minimal gear.” His sound prioritizes the distortion of the amp and the character of the guitar, avoiding an overly complex array of effects in favor of essential tools that support his core sound.

One confirmed pedal is the “BOSS CP-1X (Compressor).” In the official BOSS “BOSS×ARTIST” video series, Yanagisawa himself demonstrates and explains this model, indicating its use in both live and recording settings. It helps to even out attack dynamics, enhancing his tight rhythm and clean playing, making it a crucial pedal in his setup.

Additionally, he has experimented with a “One Control switcher” to improve the usability of his effects chain, as suggested in a 2017 social media post. One Control offers compact and high-performance loop switchers, making them suitable for guitarists like Yanagisawa who want to efficiently organize a simple setup.

Regarding distortion, while specific models have not been clearly identified in interviews, it is presumed that he incorporates classic BOSS overdrives or boosters based on live footage. However, he primarily relies on the natural distortion of Marshall or VOX amps, suggesting that many of his pedals serve to “organize and reinforce the amp’s inherent sound” rather than dramatically alter it.

For spatial effects and modulation, there is no evidence of an elaborate pedalboard. Instead, he likely utilizes UAD OX and studio reverb processing during recordings to shape the sound, keeping his effects setup simple. This allows him to flexibly adapt his sound design between live and studio environments.

In summary, Yanagisawa’s pedalboard consists of a “compressor and switcher at its core, with additional boosters or distortions as needed,” maintaining a minimal system that maximizes the individuality of the guitar and amp. His approach emphasizes touch and the inherent sound of the equipment over excessive effects.

Tone Settings, EQ, and Mixing Approaches

Shintaro Yanagisawa’s sound design is based on “leveraging the inherent characteristics of the guitar and amp while extracting maximum presence with minimal processing.” His playing style is tight and rhythmically adept, allowing his sound to stand out without relying on excessive effects. Consequently, his EQ and mixing techniques tend to focus on “removing unnecessary elements.”

When using the Marshall SV20H live, he sets the gain relatively low, centering his sound around a crunchy tone. By manipulating the guitar’s volume knob, he retains the ability to express a dynamic range from clean to lead. His EQ settings typically boost the treble slightly while emphasizing the midrange, ensuring that the guitar does not get lost in the mix.

In recordings with the VOX AC50, he tends to reduce the bass slightly to enhance the shimmering midrange, raising the treble to create a “sparkling clean” tone. This approach is particularly evident in “Two of Us feat. Moeko Hayashi,” where he likely adjusts the EQ lightly to replicate a Cory Wong-like bouncy tone.

When using Hiwatt, known for its powerful headroom, he emphasizes the low end on the amp while cutting unnecessary lows during the mixing stage to avoid clashing with the bass. The strong presence of the guitar in the final mix, despite the overall balance of the band, is likely a result of these mixing strategies.

Furthermore, in the studio, he utilizes the UAD OX Amp Top Box for cabinet and mic simulation, allowing him to adjust the tonal quality. This setup enables him to “maintain the live energy while delicately controlling positioning and EQ during recordings.” He often delegates delay and reverb to post-processing rather than relying on pedals, which contributes to a “simple yet clear” sound.

Specific EQ settings can be inferred as follows:

• Marshall SV20H (live): Gain 3-4, Treble 6, Middle 7, Bass 5, Presence 5
• VOX AC50 (recording): Gain 2-3, Treble 7, Middle 5, Bass 4
• Hiwatt (studio): Gain 3, Treble 6, Middle 6, Bass 6 (low end adjusted during mixing)

In mixing, he creatively positions the guitar for each song, employing wide panning for clean guitars and centering the SG riffs to drive the music forward, demonstrating a sophisticated approach to sound placement. Listening to go!go!vanillas’ tracks reveals how “the guitar complements the vocals while driving the overall momentum of the song.”

In summary, Shintaro Yanagisawa’s sound design revolves around “using the amp’s inherent crunch tone as a foundation, complemented by EQ and mixing techniques that highlight the guitar’s characteristics.” His ability to express maximum creativity with minimal gear is central to his sound.

Affordable Alternatives to Recreate the Tone

While fully replicating Shintaro Yanagisawa’s sound may require vintage SGs and high-end amplifiers, many guitarists may find these options financially out of reach. Here, we present accessible gear options priced between $1,000 and $5,000 that can help you experience a “Yanagisawa-like sound.” This is particularly beneficial for beginners and intermediate players looking to recreate his signature crunch and tight cutting tones.

For guitars, the “Epiphone SG Standard” is a solid choice for replicating the SG sound. Priced around $600 to $800, it offers a design closely aligned with its Gibson counterpart, delivering thick midrange tones through humbuckers. While it may lack the vintage character of Yanagisawa’s 1964 SG, with careful amp settings, you can achieve a robust rock sound reminiscent of go!go!vanillas.

In terms of amplifiers, the “Marshall DSL20” and “Blackstar HT-20R” are viable alternatives to the SV20H. Both are suitable for home practice and small gigs, covering a wide range of sounds from crunch to lead. By focusing on EQ settings that emphasize Marshall’s characteristic midrange, you can capture Yanagisawa’s sharpness.

For effects, introducing the “BOSS CP-1X” is highly effective. This model, which Yanagisawa personally uses, is available for $100 to $200. It helps to refine clean tones and provides stability for cutting. For overdrive or booster options, classic models like the “BOSS SD-1” or “Ibanez TS9” can easily push the amp for a “natural distortion” that mirrors Yanagisawa’s sound.

If you’re looking for multifunctionality, consider multi-effects units like the “BOSS GT-1” or “Line6 POD Go.” These devices feature amp simulation capabilities, allowing you to approximate VOX and Marshall sounds while keeping costs down. They can serve as a simplified alternative to cabinet simulation like the UAD OX for studio practice or home recording.

For acoustic sounds, since Taylor and Gibson LG-3 models are expensive, alternatives like the “Yamaha FG series” or “Epiphone J-45 Studio” are effective. Priced between $300 and $500, they can produce warm chord strumming.

In conclusion, the best combination for recreating Shintaro Yanagisawa’s sound would be “Epiphone SG + BOSS CP-1X + Marshall-style amp.” By focusing on these three elements, you can get quite close to his core sound. Adding multi-effects or acoustic guitars as needed will allow you to explore a broader range of go!go!vanillas’ sound.

Summary and Conclusion

In summarizing Shintaro Yanagisawa’s sound design, its essence lies in “simplicity” and “musical flexibility.” He does not rely on flashy effects; instead, he maximizes the character of the guitar and amp, finishing his sound with only the essential effects.

The main guitars he uses, such as the Gibson SG and Strat-style parts caster, along with acoustic guitars, each have clearly defined roles. By selecting the optimal guitar for each song and phrase, he achieves the diverse sound of the band. The SG provides a robust rock tone, the Strat delivers a lively and bouncy funk-like clean, and the acoustic adds warmth to the overall sound.

Regarding amplifiers, he employs a range from the powerful Marshall SV20H for live performances to VOX AC50, Hiwatt, and SHINOS for recording, while also integrating the UAD OX for modern mixing capabilities. This is not merely a preference but a rational choice to maintain the overall sound balance of the band, showcasing his perspective as a guitarist with an engineer’s mindset.

His pedalboard centers around essential tools like the BOSS CP-1X, which helps refine touch, and a switcher to organize his setup. By avoiding excessive coloration, he positions his guitar sound in an “optimal place” within the band ensemble, ensuring it complements the vocals without overshadowing them.

Furthermore, Yanagisawa’s sound design teaches us that “the touch and playing style determine the sound more than the gear itself.” His technique of switching between clean and crunch tones using the guitar’s volume control and expressing rhythmic nuances through playing rather than effects exemplifies a professional approach.

For guitarists looking to chase his sound, the key takeaway is not to gather expensive vintage gear but to learn how to “maximize nuances with simple equipment.” With an Epiphone SG, an affordable Marshall-style amp, and a reliable compressor like the BOSS CP-1X, you can experience the essence of Yanagisawa’s sound.

In conclusion, the core of Shintaro Yanagisawa’s sound design is “the power to drive a song with minimal notes” and “the depth found within simplicity.” Pursuing his sound is not just about mimicking gear but also about practicing “sound design that considers the entire band.” For fans of go!go!vanillas and aspiring guitarists, this philosophy represents the greatest learning and the heart of sound design.