[Sōjirō Oki] How to Recreate the Novelbright Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Sōjirō Oki, the guitarist of Novelbright, is a pivotal figure in the band’s sound. His tonal characteristics range widely, from modern high-gain riffs to delicate, transparent clean tones. This versatility is showcased in iconic tracks like “Walking with You” and “Ai to ka koi to,” where shimmering arpeggios and emotional solos in “Tsukimisou” enhance the dramatic essence of the music.

Oki’s playing style is rooted in alternative and pop rock, featuring technical fast picking, sweeping techniques, and dynamic rhythm work. He owns several original models primarily from Sago, utilizing each guitar’s unique personality for different songs.

His choice of amplifiers includes classic brands like Marshall and Mesa/Boogie, alongside modern options like Victory and Bogner, allowing for a flexible sound in both live and studio settings.

On his pedalboard, Oki features a wide array of effects, including his signature Sago Ridden, which supports the overall sound with its quick attack and broad range. This results in a remarkable recreation of Novelbright’s “melancholic melodies” and “overwhelming live energy.”

Oki’s sound design is not just about the luxury of gear but is also supported by his playing style and thoughtful EQ settings. In the following sections, we will delve into the amplifiers, guitars, effects, and sound design settings he employs.

▶ Search official YouTube videos of Novelbright

List of Amplifiers and Features

One of the crucial elements supporting Sōjirō Oki’s sound is his choice of amplifiers. In live performances, he demands a powerful distortion while maintaining clear clean tones, leading him to use a range of equipment from classic Marshalls to modern Mesa/Boogie and even Bogner for studio recordings.

Notably, the “Marshall Vintage Modern 2466” is characterized by its thick midrange and vibrant crunch sound, providing a powerful presence in live settings. The “Marshall JCM900” is also a staple, known for its simple operation and classic rock sound, making it user-friendly.

From the Mesa/Boogie lineup, he employs the “Dual Rectifier,” “Mark V,” and “Triple Crown.” The Dual Rectifier is invaluable for modern high-gain riffs, while the Mark V offers a versatile 5-band EQ, ideal for tailoring nuances for each song. The Triple Crown is often used for recording, known for its dense saturation.

Additionally, the compact yet high-headroom “Victory Amps V30 The Countess MKII” provides a portable and clear clean tone. For recording, the “Bogner Ecstasy” is utilized, renowned for its rich harmonics and wide dynamic range, contributing to a thick tone.

This diverse combination of amplifiers allows Oki to recreate the optimal sound for each Novelbright track. It is assumed that he primarily uses Marshall and Mesa for live performances, while opting for Victory and Bogner in the studio for more nuanced sound crafting.

Types of Guitars Used and Features

The core of Sōjirō Oki’s sound lies in his extensive collection of custom guitars, primarily from the brand Sago. He utilizes multiple Sago Shinra models for both live and recording sessions, captivating fans with their tonal and visual appeal. His style supports Novelbright’s diverse repertoire by switching between the character of each guitar for different songs.

Among his notable instruments is the “Sago Shinra” series. He owns several standard models with 24 frets and an SSH configuration, allowing for a wide range of sound creation. The “Shinra Shiki” features artwork by artist Maika Kobayashi, making it a standout during live performances. The “Hyakushiki” is characterized by its rap paint and anodized pickguard, combining visual impact with a modern tone. He also possesses custom models like “Ryujin,” “Fujin,” and “Raijin,” each with unique body and fingerboard materials that contribute to their distinct resonance.

Additionally, Oki owns distinctive models such as the Sago J’s Custom and Sago Bansho [HERMES], featuring archtop and mahogany bodies that enhance the midrange richness. The SOULTOOL VENUS CUSTOM, with its SSH configuration and fixed tone feature, improves playability during live performances.

On the classic side, he incorporates guitars like the “Fender Telecaster Custom” (including MIJ 70s) for its sweet tone from the front humbucker. The “Gibson Les Paul Custom” and “ES-335” are known for their rich, warm tones, likely used for the band’s ballads and recordings. The “Music Man Luke / Luke III” offers versatility across various genres.

Moreover, Oki expands his acoustic expressions with the “Maton EBG808” and “Cordoba Ele-Gat,” enhancing ballads and acoustic arrangements. His guitar collection reflects a style of “selecting the optimal solution for each song.” It is assumed that Oki’s balance consists of “mainly Sago, supplemented by Fender/Gibson models, and using acoustic or custom guitars for special purposes.”

Effects and Pedalboard Setup

Sōjirō Oki’s pedalboard encompasses a wide range of effects, from distortion to spatial effects and multi-effects units, allowing him to switch between diverse tones according to the song. To balance explosive live energy with studio delicacy, he centers his setup around his signature overdrive, crafting layered sounds as needed.

The most distinctive element is his signature pedal, the “Sago Ridden.” Based on TS-type designs, it boasts a wide headroom and ample gain. With bright high frequencies, it maintains clarity even during chord work, making it a key component in recreating the “transparent distortion sound” heard in Novelbright’s signature tracks.

He employs several other distortion pedals as well. The Free The Tone “RED JASPER RJ1V” provides punchy midrange with low-gain characteristics, while the Suhr “Eclipse” features a two-channel design suitable for both boost and main distortion. The VEMURAM “Jan Ray” is also included, serving as a clean boost or light drive to adjust the dynamics of the music.

For spatial effects, the Strymon “blueSky Reverb” adds high-quality reverb, while the MXR “Carbon Copy Analog Delay” offers warm analog delay. These effects provide depth to arpeggios and clean sections. Additionally, the Free The Tone “PA-1QB” 10-band EQ allows for precise frequency adjustments, achieving tailored sound design based on the venue and song style.

Furthermore, he incorporates the Line 6 “HX Stomp,” a versatile unit that combines amp simulation, auxiliary effects, and interface capabilities, streamlining the sound design process during recording. Other practical selections include the tc electronic “PolyTune” for accurate tuning, resulting in a practical and reliable pedal selection.

Overall, Oki’s board is constructed around a clear concept: “main distortion (Ridden) + auxiliary OD/EQ + spatial effects + multi-effects,” ensuring stable quality in both live and studio settings.

Tone Settings, EQ, and Mixing Approaches

The foundation of Sōjirō Oki’s sound design is a clear concept: “to maintain presence without disrupting the overall sound balance of the band.” Since Novelbright’s music features prominent vocals in a pop-rock context, the guitar is adjusted to have clarity while not overly blending into the mid-low frequencies. Therefore, EQ and amp settings are crucial.

Amp Setting Example
For Marshall amps, he typically keeps the BASS around 5, raising the MID to 6-7 to create a thick sound that doesn’t get buried. TREBLE is often kept modest at 4-5, with the Presence enhancing the high frequencies. When using Mesa/Boogie amps, he utilizes the 5-band EQ, lightly cutting around 750Hz and boosting 220Hz and 6.6kHz to achieve a modern, three-dimensional distortion. When using Victory or Bogner, he often opts for clean settings, creating distortion primarily through pedals.

Distortion and Clean Usage
He employs a three-stage approach of clean → crunch → high-gain, depending on the song or live performance. For example, in “Walking with You,” he combines clean tones with the Strymon blueSky for a transparent spatial sound. In more aggressive tracks like “Kaimaku Sengen,” he unleashes high-gain riffs using the Mesa/Boogie Dual Rectifier and Suhr Eclipse.

Effect Setting Example
The Sago Ridden is typically set with gain around 9-11 o’clock, focusing on crunch to low-gain drive. Layering this with amp crunch creates a bright and three-dimensional distortion. The RED JASPER RJ1V is often set towards lower gain, serving a boosting role. The MXR Carbon Copy is usually set with a delay time around 400ms and minimal feedback to maintain clarity.

Mixing Approaches
During recording, double tracking is frequently used, panning guitars left and right to ensure sound pressure. Techniques include combining different amps, such as Marshall on the right and Mesa on the left. In PA and engineering, boosting around 2kHz emphasizes attack, while low frequencies (80Hz-120Hz) are often lightly cut to leave space for bass and kick drum.

Song-Specific Trends
– “Tsukimisou”: Clean with deep reverb, lightly layered with low-gain OD for transparency.
– “Ai to ka koi to”: Strong spatial effects in the intro, switching to high-gain riffs in the chorus.
– “Morning Light”: Utilizing the Mesa Mark V for bright arpeggios, with EQ emphasizing high frequencies.
This flexibility in settings, changing significantly per song, is a defining characteristic.

In summary, Oki’s sound design is constructed around “the amp’s natural tone as the foundation, flavored with distortion pedals, finalized with EQ, and depth added through reverb and delay.” Control of the midrange and handling of spatial effects are key elements of his sound.

Affordable Alternatives to Recreate the Tone

Sōjirō Oki’s gear, featuring custom Sago guitars and high-end Mesa/Boogie and Bogner amplifiers, along with signature effects like the Sago Ridden, can be challenging for beginners and intermediates to access. However, by combining entry-level to mid-range gear, it is entirely possible to approximate his sound. Here, we introduce practical alternative equipment available in the $100-$500 range.

Guitar Options
For a similar specification to the Sago Shinra, the YAMAHA “PACIFICA 612V” and the Fender Player series “Stratocaster HSS” are excellent choices. They feature SSH configurations and 24 frets, allowing for a wide range of clean to distorted sounds. The PACIFICA, in particular, offers high cost performance, making it a reliable first guitar.

Amp Options
As a budget-friendly alternative to Mesa or Marshall, the BOSS “KATANA series” stands out. Priced around $500, it accommodates a wide range from clean to high-gain sounds, with built-in EQ and effects, making it easier to recreate Oki’s diverse sound design for both home practice and live use.

Distortion Pedals
For alternatives to the Sago Ridden, the BOSS “OD-3” and Ibanez “TS9 Tubescreamer” are popular choices. The OD-3, in particular, offers wide dynamics at a low price, capable of recreating the bright nuances during arpeggios. For a substitute for the Suhr Eclipse, the “BOSS DS-1W (Waza Craft)” is a viable option, covering a wide gain range.

Spatial Effect Pedals
A recommended alternative to the Strymon blueSky is the “tc electronic Hall of Fame Reverb.” It is affordably priced and features a variety of reverb modes, making it easier to recreate Oki’s deep clean tones. For alternatives to the MXR Carbon Copy, consider the “tc electronic Flashback Delay” or “BOSS DD-8.”

Multi-Effects Units
For alternatives to the Line 6 HX Stomp, the “ZOOM G5n” and “BOSS GT-1” are strong contenders. Compact yet equipped with amp simulation and a variety of effects, they are suitable for home use or small live performances.

Thus, it is possible to get close to Sōjirō Oki’s sound by selecting guitar, amp, and effects within a lower price range. The key points are to have an “SSH configuration guitar,” a “versatile amp,” “low to mid-gain OD,” and “quality spatial effects.”

Summary and Conclusion

Reflecting on Sōjirō Oki’s sound design, its essence lies in “utilizing a diverse range of guitars and solid effects work to derive the optimal solution for each song.” The guitar maintains a subtle presence within the band without overshadowing, achieving a delicate balance that makes Novelbright’s sound unique.

Regarding guitars, he owns multiple Sago Shinra models, leveraging differences in materials and configurations to create distinct characters for each song. This allows for sharp cuts in upbeat tracks and sweet, soaring solos in ballads, achieving a wide variety of tones. Additionally, using traditional models from Fender and Gibson complements his sound, firmly rooting it in the pop-rock context.

On the amplifier front, he employs classic Marshalls and Mesa/Boogie for live settings while utilizing modern amps like Victory and Bogner for recording, optimizing settings for each scene. The emphasis on midrange EQ balance and the use of spatial effects add depth to his sound.

In terms of effects, the centerpiece is his signature model, the “Sago Ridden,” which balances transparent distortion and bright clean tones. By combining EQ, reverb, and delay, he enhances Novelbright’s unique “melancholic melodies” and “explosive choruses.” The use of multi-effects like the HX Stomp allows for flexible adaptation in both live and recording scenarios.

For readers looking to replicate Oki’s sound, the key points are threefold: “SSH configuration guitar,” “low-gain oriented overdrive,” and “quality spatial effects.” By assembling these elements, it is possible to get close to his sound without professional-grade gear. Beginners, in particular, can experience the essence of his sound design by choosing effects from brands like BOSS or tc electronic while keeping costs manageable.

Ultimately, what supports Sōjirō Oki’s sound design is not just the luxury of equipment but a “commitment to the music” and an “EQ balance mindful of the overall band sound.” Rather than pursuing the sound of the guitar in isolation, the focus is on optimizing within the band sound—this philosophy is the hallmark of his sound design and a key takeaway for aspiring musicians.

By listening to Novelbright’s music and adjusting your guitar and effects in your environment, you can take a step closer to Sōjirō Oki’s sound. The most important part of this “sound design journey” may be the process of trial and error in finding your unique tone.