[SUNAO] How to Recreate the abingdon boys school Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Sunao, the guitarist of abingdon boys school (commonly known as a.b.s.), is a player who masterfully navigates between a clean tone with clarity and an aggressive high-gain sound. Known for his role as a support guitarist for T.M.Revolution, his playing style balances heavy backing with melodic leads, captivating many listeners.

Sunao’s sound is characterized by tight, cutting riffs coexisting with melodious lead phrases. Iconic tracks like “HOWLING” and “Innocent sorrow” showcase his backing, where the guitar’s presence is pronounced yet harmoniously blends with the overall composition.

He employs a mix of traditional Les Pauls and modern guitars like PRS, along with actively using collaboration models from domestic brands such as KAMINARI and Altero. This approach has allowed him to establish a unique sound. Notably, a.b.s. often integrates synthesizers and programmed elements, and Sunao ensures that the guitar sound stands out rather than getting buried in the mix.

This sound approach reflects Sunao’s extensive experience as a guitarist and his thoughtful selection of gear that adapts to the times.

▶ Search official YouTube videos of abingdon boys school

List of Amplifiers and Features

Sunao’s amplifier setup for a.b.s. performances and recordings deviates from the traditional “amp head + cabinet” configuration. In recent years, he has been observed using a rack-mounted digital modeler as the central component of his line-out system. During a 2021 WOWOW live recording, it was evident that there was no stack amplifier behind him; instead, a rack case housed what appeared to be a wireless system and a multi-processor, suggesting a direct connection to the PA system.

While specific model names remain undisclosed, considering the need for reproducibility and convenience in professional settings, candidates like the Fractal Audio Axe-Fx, Kemper Profiler, or Neural DSP Quad Cortex are likely. Each of these units is capable of producing a wide range of sounds, from high-gain to clean, making them suitable for the delicate arpeggios and loud backing required in Sunao’s music.

On the other hand, given that a.b.s.’s music is rooted in thick sounds akin to loud rock and metal, it is plausible that venues provide backline amplifiers from brands like Marshall, Mesa Boogie, or Bogner. The Marshall JCM series, in particular, is a staple in the domestic rock scene and pairs well with Sunao’s tight riff work. Mesa Boogie’s Rectifier series excels in modern heavy sounds, while Bogner’s Ecstasy series is known for its three-dimensional distortion, making them suitable choices for his playing style.

In summary, Sunao’s amplifier environment appears to be a hybrid style of “managing everything with a digital modeler while utilizing standard high-gain amplifiers as needed.” Although definitive evidence is limited, this interpretation seems reasonable based on live photos and common practices in domestic settings.

Thus, Sunao’s amplifier setup is assumed to be a flexible system combining both real and digital equipment.

Types of Guitars Used and Features

Sunao’s guitar selection for a.b.s. features a diverse lineup that combines modernity with traditional resonance. While he utilizes both domestic and international brands, each model is chosen to support his “singing leads” and “tight, powerful riffs.”

One notable model is the “Liquid-2 SUNAO MODEL,” a collaboration with KAMINARI GUITARS. This specially customized limited model boasts a perfect balance of deep lows and sparkling highs, symbolizing the Sunao sound. It is frequently used for riff work in live performances, solidifying its status as his main instrument.

Next is the custom “Bottom’s Up ‘UQ'” from Crews Maniac Sound. A long-time favorite, this instrument reflects his playing style and serves as a secondary yet equally significant model.

Additionally, the “Vuoto Bolt-on 10th Anniversary Model” from Altero Custom Guitars deserves attention. Its presence on the official artist page indicates Sunao’s trust in the brand. He often uses it in conjunction with the brand’s distortion pedal “Mag,” allowing for integrated sound creation between the guitar and effects.

On the international front, Sunao employs high-end modern guitars like the PRS Custom 24 Piezo (black) and PRS McCarty Singlecut 594. These models leverage diverse pickup modes, accommodating sounds from clean to high-gain. He also uses traditional Les Paul models, such as the Gibson Les Paul Standard and ThreeDots Guitars’ LP model, showcasing his ability to switch character depending on the song. Notably, the ThreeDots LP features a unique six-position tap switch, which Sunao has mentioned in his comments, supporting his sound creation.

By utilizing this array of guitars, Sunao adeptly navigates a.b.s.’s wide-ranging repertoire, effortlessly switching between shimmering, transparent arpeggios and sharp, loud sounds. This selection underscores his commitment to supporting the overall thickness of the band’s sound.

In this way, Sunao is assumed to utilize a mix of high-end domestic and international brands to achieve a diverse sound.

Effects and Pedalboard Setup

Sunao’s effects setup reflects his meticulous approach, designed for reproducibility on stage and in the studio. Recent live photos and official information suggest that he often operates with a “rack + modeler” setup rather than a traditional pedal combination, resulting in a relatively simple footboard layout.

Confirmed in use is the “Mag – Distortion –” from Altero Custom Guitars. This pedal is listed on Altero’s official page as one of Sunao’s utilized effects, providing the core “defined distortion” that is essential to his sound. It features a pronounced mid-range, creating a distortion sound that cuts through the overall band mix. Its presence is particularly strong in aggressive tracks like “Innocent sorrow” and “STRENGTH.”

Moreover, the digital modeler in his rack likely integrates spatial effects (delay, reverb) and modulation effects (chorus, flanger, etc.). To maintain consistent sound creation across large venues, collaboration with multi-effects and professional switching systems is crucial. In some performances, the rack is equipped with a wireless system, allowing for seamless guitar changes on stage without sound interruptions.

Since Sunao’s setup is based on a direct line to the PA, there is likely no need to arrange traditional analog delays and reverbs in series; everything is probably recreated within the modeler. This configuration emphasizes “reproducibility,” “maintenance,” and “sound consistency,” reflecting the choices of a professional guitarist.

Additionally, he has mentioned using Ex-pro’s FA series cables and power supplies, which likely contribute to the stability of his sound quality.

Overall, Sunao’s effects board is characterized by a robust system that integrates rack equipment, designed to support the band’s overall sound.

Thus, Sunao’s effects environment is assumed to be a practical configuration combining essential real devices like the “Mag – Distortion –” with the multifunctionality of a modeler.

Tone Settings, EQ, and Mixing Approaches

To recreate Sunao’s sound, not only the choice of guitar and effects is crucial, but also the EQ balance and sound crafting techniques play an extremely important role. A.b.s.’s songs often feature synthesizers and complex rhythms, making it essential to have precise settings to ensure the guitar maintains its presence without getting lost.

Starting with the basic settings for amplifiers and modelers, for clean tones, it is common to keep the lows subdued while boosting the mid-high frequencies to create a sparkling tone. Specifically, settings might include BASS at 4-5, MIDDLE at 6, and TREBLE at around 7, with PRESENCE adjusted to enhance the high-end clarity. This allows for transparent arpeggios to resonate brightly even when layered with synthesizers and vocals.

Conversely, for loud riffs and heavy parts, raising the BASS to 6-7 adds thickness, while keeping MIDDLE around 5-6 without cutting too much. Since a.b.s.’s songs often feature two guitars intertwining, drastically cutting the mids could risk losing presence. Therefore, Sunao’s distorted tones retain a solid mid-range, supporting the core sound of the entire band.

When it comes to distortion gain, it is crucial to keep it at around 50-60% rather than cranking it up excessively. This approach creates a clear distortion that allows for intricate riffs and fast picking to shine through, resulting in a sound that is “aggressive yet organized.” This tightness is particularly evident in fast-paced tracks like “HOWLING.”

The use of spatial effects is also important. Applying a short delay of 300-400ms during leads adds depth to phrases while preventing them from getting buried. A moderate hall reverb of 20-30% ensures that the sound remains clear even in live settings. These effects are likely managed within the modeler.

Additionally, EQ adjustments tailored to each guitar’s character can be observed. For instance, when using Les Paul models (Gibson Les Paul or ThreeDots LP), a low-cut may be applied to prevent excessive lows, while with PRS models, a slight boost in lows can enhance overall thickness. This allows the character of each song to be maintained while blending seamlessly into the band’s overall mix.

From a PA and engineer’s perspective, Sunao’s sound retains a strong mid-range, suggesting that the front-of-house console likely manages the low-end to avoid interference with synthesizers and bass. During leads, the guitar is positioned more centrally, while rhythm guitars are panned wider to create a three-dimensional and powerful sound image.

Ultimately, the essence of Sunao’s sound crafting can be distilled into three key elements: “tight and organized distortion,” “sparkling clean tones,” and “minimal spatial effect processing.” This approach ensures that even within a.b.s.’s complex arrangements, the guitar maintains a strong presence, underpinning the overall atmosphere of the songs. While specific gear settings have not been disclosed, understanding these points can help one get closer to Sunao’s sound.

Affordable Alternatives to Recreate the Tone

While Sunao’s sound is crafted using high-end guitars and modelers, it is possible for beginners and intermediate players to achieve a similar nuance with commercially available gear. Here, we introduce equipment within a more accessible price range (approximately $100 to $500, with a maximum of $1,000) and explain why they can approximate Sunao’s sound.

First, the quality of distortion is crucial. Distortion that emphasizes a defined mid-range, like the Altero Mag Distortion, can be substituted with BOSS’s “DS-1X” or “OD-200.” The DS-1X is an updated version of the classic DS-1, providing clear and well-separated distortion, making it suitable for Sunao’s tight riff style. Additionally, the OD-200 can cover a wide range of distortion sounds, offering flexibility for live performances.

Next, for smooth transitions between clean and lead sounds, a multi-effects unit is essential. The LINE6 “HX Stomp” or BOSS “GT-1000CORE” can integrate spatial effects and amp simulations, effectively recreating the environment Sunao achieves with his rack setup in a compact form. The HX Stomp, in particular, offers high-quality spatial effects, allowing for shimmering arpeggios depending on the adjustments made to reverb and delay.

If opting for standalone spatial effect pedals, the BOSS “DD-8” delay and “RV-6” reverb are recommended. These pedals can easily recreate the depth and dimensionality Sunao often employs in his music. The delay adds thickness during leads, while the reverb enhances the overall spaciousness. Notably, the RV-6 is designed to prevent getting buried in the mix alongside synthesizers and vocals, making it a valuable addition to the band sound.

For affordable guitar options, the Epiphone “Les Paul Standard” and PRS SE series are excellent choices. Epiphone is a direct subsidiary of Gibson, allowing players to experience the thick tones of the Les Paul at a lower price point. The PRS SE Custom 24 is a budget-friendly version of Sunao’s PRS Custom 24 Piezo, offering versatile pickup modes suitable for both clean and high-gain sounds. Using these guitars makes it easier to align with his playing style.

Cables and power supplies should not be overlooked. Given Sunao’s use of Ex-pro, beginners can achieve noise-free and stable sound quality by incorporating CANARE or Providence shielded cables. For power supplies, using One Control or BOSS options can significantly enhance stability in live or practice environments.

In summary, the key points for getting closer to Sunao’s sound are “tight and clear distortion,” “sparkling spatial effects,” and “smooth transitions between clean and distorted sounds.” By focusing on these aspects during gear selection, even beginners can effectively recreate a tone reminiscent of Sunao’s.

In this way, it is possible to get closer to Sunao’s sound with accessible gear through thoughtful adjustments. The essential point is to “understand the direction of the sound and make adjustments accordingly.”

Summary and Conclusion

In summarizing Sunao’s sound crafting, its essence lies in “the strong core that supports the entire band” and “the flexible expressiveness tailored to the songs.” A.b.s.’s sound features a complex arrangement with heavy use of synthesizers and programmed elements, where the guitar’s role is not to stand out alone but to “shine within the overall mix.” Thus, his sound is constructed from organized distortion that retains mid-range, sparkling clean tones, and minimal spatial effect processing.

Moreover, his choice of guitars reflects this philosophy. By actively incorporating custom models from domestic brands like KAMINARI and Altero, alongside high-end international guitars from PRS and Gibson, he adeptly utilizes the optimal tones suited for each song. This demonstrates Sunao’s commitment to prioritizing the necessary sounds for the music rather than being attached to specific gear.

His effects environment similarly emphasizes a rack-based modeler setup, designed to deliver consistent sound in both live and studio settings. In essence, his sound crafting prioritizes “reproducibility in live settings” and “the flexibility to instantly access diverse tones,” enabling stable quality performances at any venue.

For readers aspiring to recreate Sunao’s sound in their own environments, it is crucial to focus on “tight and organized distortion,” “sparkling clean tones,” and “appropriate use of spatial effects.” It is not necessary to invest in expensive gear; commercially available pedals and multi-effects from brands like BOSS and LINE6 can provide similar tones. The key is to maintain mid-range presence while ensuring clarity in the performance.

Ultimately, the most significant takeaway from Sunao’s sound crafting is that “sound creation is an extension of playing style and understanding the music.” His gear choices are always guided by how they resonate within the band as a whole, reflecting the essence of professional sound crafting. Thus, emulating Sunao’s sound is not merely about copying gear but learning how to support the music as a whole.

Sunao’s sound, which supports abingdon boys school, serves as an aspiration for fans and an ideal goal for guitarists. By understanding and practicing his sound crafting techniques, one’s own playing is bound to evolve into a more expressive form.