[Soichi Ohyama] How to Recreate the BRADIO Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Soichi Ohyama, the guitarist of BRADIO, is highly regarded for his unique blend of funk and rock styles. His sound is characterized by groovy cutting, passionate lead phrases, and a spatial sound design that utilizes various effects.

In iconic tracks like “Flyers” and “69 Party,” his funky rhythm guitar takes center stage, showcasing a wide range of sounds from clean to crunchy, and even aggressive fuzz tones during live performances. His guitar work transcends mere accompaniment, driving the overall sound of BRADIO.

Ohyama’s choice of guitars also reflects his strong commitment to tone. He employs Stratocasters and Telecasters for funky cutting, a Les Paul for powerful solos, and an ES-335 for rich clean tones, achieving a diverse palette of expressions.

At the core of his sound are amplifiers from brands like Two-Rock and Fender, along with distinctive effects from VEMURAM and SHIGEMORI, and fuzz from Noel Cornet, all of which play a crucial role in both live and studio settings.

This article will thoroughly explore Soichi Ohyama’s sound design, covering his guitars, amplifiers, effects, EQ settings, and more, enabling readers to recreate the “BRADIO sound.”

▶ Search official YouTube videos of BRADIO

List of Amplifiers and Features

One of the key elements supporting Soichi Ohyama’s sound is his choice of amplifiers. While rooted in funk grooves, his music often requires robust rock tones and lush cleans, leading to a diverse amplifier setup that accommodates a wide range of musical styles.

The main amplifier he uses is the Two-Rock Custom Model, a brand favored by modern professional guitarists. Two-Rock amplifiers are known for their high-resolution and warm sound, which supports Ohyama’s cutting and crunchy tones. The clean tone range is particularly broad, making it an excellent match for funk-style rhythm guitar.

Another cornerstone of his setup is the Fender Super-Sonic. This amp is used in tracks like “Buster!” to create a crazy and aggressive drive sound. Its ability to switch between Blackface-style cleans and high-gain drive is also appealing, making it effective for creating intense dynamics during live performances.

Additionally, the vintage Fender Twin Reverb (1970s Silver Panel) has been confirmed to be used, especially in tracks like “69 Party.” The depth and brilliance characteristic of the Twin Reverb make it ideal for clean-centric songs when paired with an ES-335 or Stratocaster.

Thus, his amplifier configuration clearly delineates roles:
– Two-Rock = Modern, high-fidelity clean/crunch
– Super-Sonic = Powerful distortion/drive sound
– Twin Reverb = Vintage depth in clean tones
This setup allows him to skillfully adapt to each song’s requirements, providing a wide range from the lightness of funk to the explosiveness of rock.

Types of Guitars Used and Features

When discussing Soichi Ohyama’s sound, his extensive guitar collection and their strategic use are essential. Within BRADIO, he switches guitars for different songs, significantly broadening his sound. Here, we will introduce some of the prominent guitars he is known to use.

The primary guitar in his arsenal is the Kanji Guitar Stratocaster (Tomo Fujita Signature Model). With an alder body, maple neck, and Madagascar rosewood fingerboard, it features GRINNING DOG FunkmasterST pickups. This model is optimized for funk-style rhythm guitar and is reportedly used frequently in new songs. It is characterized by its clarity in cutting and strong core in clean tones.

Supporting his rock side is the Gibson Les Paul. It is said that he purchased it out of admiration for Takahiro Matsumoto of B’z, and it produces powerful sounds when combined with fuzz in tracks like “Soul Groove Legacy” and “Buster!”. Its thick midrange presence shines during live performances.

Another crucial piece is the Fender Custom Shop Mischief Maker. This heavily relic’d Stratocaster is primarily used for cutting and half-tones, expressing delicate nuances. The quick attack and clarity typical of a Stratocaster match BRADIO’s funky grooves perfectly.

The Gibson ES-335 (custom model based on the 1963 version) is used for clean and crunch tones in ballads and upbeat songs. Its semi-hollow body provides an airy warmth, making it effective for emotional solos and arpeggios.

Additionally, the Fender Limited 60th Anniversary Tele-Bration Series ’62 Telecaster also appears in live settings. It has been modified with LINDY FRALIN BROADCASTER pickups, used for producing raw overdrive sounds. The sharp attack characteristic of the Telecaster evokes sounds reminiscent of Keith Richards.

Ohyama’s guitar selection is not merely a collection; it is strategically combined based on the character of the songs and the required textures. This approach significantly enriches the “danceable rock sound” that BRADIO embodies.

Effects and Pedalboard Setup

Soichi Ohyama’s sound design is further enriched by the composition of his effects pedalboard. To masterfully blend the essence of funk and rock, he utilizes a variety of overdrives, fuzzes, and modulation effects, along with MIDI control for seamless transitions. His pedalboard is characterized by a robust system centered around a switcher, allowing for frequent sound changes during live performances.

The core of his setup is the FREE THE TONE ARC-4. This routing controller for live use allows him to combine multiple effects and switch tones instantly. Given his need for a broad range of tones from funky cleans to rock fuzz sounds, such a switching system is essential.

In the realm of overdrives, he employs a variety including VEMURAM Jan Ray, SHIGEMORI RUBY STONE, Ibanez TS10 Tube Screamer, and JHS Morning Glory. Jan Ray serves as a foundation for crunch tones, while TS10 is used in combination with a Stratocaster to recreate a Stevie Ray Vaughan-like tone. RUBY STONE offers high-resolution distortion, pairing well with a Telecaster for a Keith Richards-inspired sound. Morning Glory provides a wide gain range, emphasizing low-end for a modern drive.

For fuzz, he uses Noel Cornet and VEMURAM Myriad Fuzz, both of which deliver a powerful presence, especially in tracks like “Buster!” and during solo sections. These fuzzes ensure that his tone stands out energetically within the band sound.

As a booster, he incorporates the TC Electronic Spark Mini, which enhances clean tones and adds sustain or compression, improving solo clarity.

Spatial effects include the Strymon Timeline (delay) and Strymon Ola Chorus (chorus/phaser), both controlled via MIDI for tempo-synchronized delay and immersive modulation. Additionally, the TC Electronic Hall of Fame Mini is utilized for reverb, allowing for a variety of reverb types.

Other effects include the BOSS OC-3 SUPER Octave for octave effects, Fulltone Clyde Wah for expressive wah sounds, Providence VELVET COMP for compression, and the Line 6 M5 Stompbox Modeler for over 100 multi-effects. This combination allows for flexibility in adapting to changing arrangements and improvisations during live performances.

Overall, Ohyama’s pedalboard is designed to coexist the “lightness of funk” with the “explosiveness of rock.” His diverse tones are supported by this intricate effects system.

Tone Settings, EQ, and Mixing Approaches

Soichi Ohyama’s sound is crafted not only through individual guitar tones but also through EQ and settings that consider the overall mix of the band, essential for creating “danceable rock.” Here, we will discuss the specific tendencies in amplifier and effect adjustments, as well as mixing techniques.

Starting with amplifier settings, the main amp, Two-Rock Custom Model, is likely set to cut bass slightly while emphasizing mids during clean tones. In funk-style cutting, excessive low-end can interfere with the rhythm section, so the bass is set around 10-11 o’clock, mids around 1 o’clock, and treble at noon, creating a balance that doesn’t overpower the mix.

When using the Fender Twin Reverb, to leverage its vintage brilliance, treble is often boosted while keeping bass moderate. Reverb is usually set to a moderate depth (around 2-3) to blend into the mix. In songs like “69 Party,” a light and tight clean tone shines, so the amp reverb may be dialed back in favor of adjustments made with the Hall of Fame Mini.

For distorted sounds, a crunch tone is typically built around VEMURAM Jan Ray, with TS10 or RUBY STONE layered as needed. The TS10 has a mid-boosting characteristic, helping leads pop when using a Stratocaster. Meanwhile, RUBY STONE provides high-resolution distortion, enhancing the Telecaster’s sharp attack.

When employing fuzz, Noel Cornet or Myriad Fuzz is introduced, with gain increased while keeping the amp’s bass in check. This approach prevents the fuzz’s chaotic overtones from muddying the band’s low end, a technique particularly evident in songs like “Buster!”.

In modulation effects, Strymon Ola and Timeline are synchronized via MIDI to maintain the song’s rhythmic integrity while adding depth. The Timeline’s delay time is adjusted to match the song’s BPM, with feedback kept low (20-30%) to ensure cutting tones remain prominent.

In terms of mixing, the guitar’s role is to support the groove without overshadowing vocals or bass. EQ processing often involves boosting around 2kHz-3kHz and applying light compression to bring the attack forward. In live PA settings, adjustments are made to emphasize the guitar’s attack, ensuring the funky 16th-note cuts remain clear.

Overall, Soichi Ohyama’s sound design prioritizes “optimizing his tone to enhance the band’s overall groove.” His EQ and settings are not self-contained but are adjusted with an awareness of how they interact with the rhythm section, which is fundamental to BRADIO’s funky and danceable sound.

Affordable Alternatives to Recreate the Tone

Soichi Ohyama’s gear includes many high-end models like Two-Rock and VEMURAM, which can be prohibitively expensive for beginners. However, it is possible to approximate his sound using more affordable commercial models. Here, we will introduce high-reproducibility alternative gear available in the $100-$500 range.

For amplifiers, alternatives to Two-Rock include the Fender Blues Junior and Yamaha THR series. The Blues Junior combines Fender’s characteristic clean and crunch, making it an excellent match for pedals. The Yamaha THR is user-friendly for home practice and recording, with built-in spatial effects that help achieve a BRADIO-like tone.

For overdrive, the BOSS BD-2 Blues Driver and JHS AT+ serve as effective substitutes for VEMURAM Jan Ray. The BD-2 is affordable yet versatile, capable of covering a wide range from crunch to solos, and can be adjusted for a funkier sound. The AT+ excels at modern sounds with boosted low-end, making it a suitable alternative to Jan Ray.

In terms of fuzz, since Noel Cornet and Myriad Fuzz are expensive and less available, options like BOSS FZ-5 and Electro-Harmonix Big Muff Nano are recommended. The Big Muff Nano can recreate the chaotic overtones typical of fuzz, closely resembling the raw sound in BRADIO’s “Buster!”.

For spatial effects, alternatives to Strymon Timeline and Ola include the BOSS DD-8 Digital Delay and TC Electronic Corona Chorus, both offering excellent cost-performance. The DD-8 is multifunctional and tap-tempo compatible, making it easy to set delay settings that match songs. The Corona Chorus, while compact, can create rich modulation, adding depth to band sounds.

For boosters, the MXR Micro Amp is a suitable choice, providing a simple one-knob operation for clean boosts and solo volume increases.

Finally, for multi-effects, options like Line 6 HX Stomp and BOSS GT-1000 Core are available. These units come equipped with professional-quality amp simulators and spatial effects, making them highly effective for approaching Ohyama’s diverse tones within a limited budget.

In summary, achieving a sound similar to Soichi Ohyama’s is possible by focusing on “amplifiers that enhance clean and crunch,” “articulate overdrives,” “dynamic fuzz,” and “adding spatial effects for depth.” Below are specific alternative gear examples.

Summary and Conclusion

Reflecting on Soichi Ohyama’s sound design, its essence lies in simultaneously achieving “the lightness of funk and the explosiveness of rock.” The sharp cutting from Stratocasters and Telecasters, the thick and rich tones from Les Pauls and ES-335s, and the wide-ranging cleans from Two-Rock and Fender amplifiers all contribute to BRADIO’s unique “danceable rock sound.”

Moreover, the composition of his pedalboard is distinctive, serving a role beyond mere tonal variation; it enhances the overall groove of the band. By combining multiple overdrives, he creates layered distortions, adding explosive dynamics with fuzz and ensuring depth through spatial effects from Strymon and TC Electronic. All these elements are integrated around the FREE THE TONE ARC-4, providing flexibility to switch tones instantly during live performances.

Equally important are his EQ and mixing techniques. By controlling low-end frequencies and emphasizing mids, he ensures that the guitar complements the bass and vocals, maintaining the funky rhythm without losing groove. This approach is not about individual tones but rather a design focused on the band’s sound, reflecting a collaborative effort with the PA engineer.

In conclusion, Soichi Ohyama’s sound is not solely built on “the luxury of gear,” but rather on his playing style, sound design philosophy, and relationship with the band. Therefore, even without the same equipment, one can approach the BRADIO sound by focusing on rhythm, adjusting EQ, and selecting necessary tones when needed.

If readers wish to pursue his sound, it is crucial to first develop a solid foundation in clean and crunch tones, then adjust distortion and spatial effects for each song. Creating “danceable sounds” requires not just mimicking gear but also honing a sense of groove. When gear choices and playing styles align, one can get closer to the unique sound that Soichi Ohyama possesses.

Ultimately, the essence of his sound design lies in “not asserting the sound but generating the driving force that makes the band dance.” This philosophy is consistent in gear selection, settings, and mixing, making it an indispensable aspect of BRADIO’s core sound.