[Taisuke Inamura] How to Recreate the Alcala Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Taisuke Inamura, the frontman and guitarist of Alcala, is known for his sharp riffs and intricate chord work that support the band’s complex song structures, often referred to as “the master of odd time signatures.” His playing style balances both rhythm and melody, allowing him to seamlessly integrate guitar with vocals, showcasing a flexibility that spans from alternative rock to progressive elements.

Inamura’s guitar sound is primarily based on a clean, fast-responding Telecaster. He skillfully employs overdrive and delay to create spatial expressions, delivering a sound that is both piercing and rich during live performances. Iconic tracks like “Abnormal is Not Enough” and “Mi Ra I No To” highlight his unique sense of chord voicings and cutting techniques.

In addition to his musical prowess, Inamura expresses his individuality through his gear, often customizing his guitar amps with unique artwork. A notable example is the painting titled “Sun and Sun” on the back of his Roland JC-120, which signifies that his sound creation is not just about equipment choices but is also rooted in his philosophy and aesthetics.

To effectively recreate Alcala’s sound, it is crucial to understand the balance between “sharpness and warmth.” This involves exploring the interplay of clean and distorted tones, the depth of effects, and Inamura’s aggressive picking attack.

▶ Search official YouTube videos of Alcala

List of Amplifiers and Features

The cornerstone of Taisuke Inamura’s sound is the Roland JC-120, a staple amp loved by many professionals both domestically and internationally. Its clean tone is renowned for its beauty and quick response, making it ideal for maximizing the sharpness of Inamura’s guitar cuts and riffs.

The Roland JC-120 offers a wide stereo output and a transparent built-in chorus, but Inamura has been known to position the amp horizontally during live performances to enhance sound projection and resonance on stage. Additionally, he has adorned the back of the amp with his artwork, reflecting his unique identity as an artist. The gear is not merely a tool but serves as a canvas for his aesthetic vision.

In studio recordings, it is plausible that Inamura combines the JC-120 with other amps or amp simulators. While the JC-120 alone is sufficient for clean-oriented tracks, louder songs or those requiring emphasized distortion likely involve preamp-driven settings.

Live and festival photos consistently confirm the use of the JC-120, establishing it as Inamura’s “go-to live amp.” However, it is assumed that smaller Roland amps like the JC-40 may be utilized during rehearsals or as backup options.

Inamura’s choice of amps emphasizes the “beauty of clean tones” and the “room for effects to shine.” He appears to use the JC-120 as a canvas that enhances the guitar and effects rather than overly distorting the amp itself.

Types of Guitars Used and Features

When discussing Taisuke Inamura’s guitar playing, one cannot overlook his beloved Telecaster. The “blue Fender Telecaster” is frequently seen during live performances, and he has publicly stated in interviews that it serves as his main guitar. The sharp, cutting single-coil tone characteristic of Telecasters perfectly complements the odd-time riffs and aggressive cuts found in Alcala’s music, supporting the band’s unique groove.

In addition, the use of a VANZANDT TL Type has been confirmed. This Telecaster-type guitar possesses a vintage-like sound with a dry tone and a pronounced midrange. It is believed to be chosen for recordings where a warm sound that doesn’t overpower is desired. VANZANDT is known for its near-handmade quality control, allowing each instrument’s nuances to shine, aligning with Inamura’s quest for “distinctive tones” as an artist.

The distinction between these two guitars is often evident during live performances; when a bright and sharp sound is needed, Inamura opts for the Fender Telecaster, while the VANZANDT TL Type is selected for softer, drier tones. Alcala’s songs often feature significant dynamics, requiring frequent guitar changes to fulfill varying sonic demands.

To recreate Inamura’s sound, starting with a Telecaster-style guitar is the most straightforward approach. His playing emphasizes nuance without excessive distortion, allowing the attack and clarity of chords to shine through, which is essential for achieving a similar tone.

Inamura’s guitar selection reflects a conscious effort to balance “sharpness and dryness,” adapting to the needs of each song. While the Telecaster serves as the foundation, his willingness to use multiple instruments based on the situation showcases his flexibility in sound creation.

Effects and Pedalboard Setup

Inamura’s sound is shaped by a carefully selected array of effects that are simple yet effective. His pedalboard is designed to enhance clean tones without compromising the nuances, adding distortion and spatial effects only when necessary. Given that the clean tone is based on the Roland JC-120, he typically supplements distortion through pedals rather than the amp.

One key component is the MXR MC406 CAE Buffer. This buffer is employed to prevent sound degradation that can occur with long cables and multiple effects, ensuring that the guitar’s clarity is maintained even in loud live environments. The meticulous use of this essential buffer demonstrates Inamura’s commitment to sound quality.

For distortion, the BOSS OD-3 OverDrive is central to his setup. The OD-3 offers a natural overdrive feel with a robust midrange, providing ample sustain on its own. Inamura layers this overdrive onto the JC-120’s clean sound, achieving a thick tone that remains clear during chord play. Given that Alcala’s riffs are rhythmic and sharp, this overdrive likely supports the core of his sound.

In terms of spatial effects, Inamura utilizes the BOSS DD-500 Digital Delay. This multifunctional delay features 12 different modes, accommodating everything from slapback to deep reverberation. Inamura often employs delay during arpeggios and quieter sections, adding depth to the sound. Particularly in Alcala’s songs, which frequently utilize odd time signatures and breaks, the timing settings of the delay play a crucial role in controlling the overall tension and ethereal quality of the music.

Additionally, the KORG pitchblack tuner is a staple on his board. This high-precision tuner operates within 0.1 cent accuracy, ensuring stable tuning during live performances. Given the complex arrangements and odd time signatures in Alcala’s music, precise intonation is essential, making this simple yet vital piece of gear indispensable.

Inamura’s pedalboard is characterized by its minimalism, focusing on essential components that do not compromise the guitar’s inherent sound. The buffer maintains sound quality, the overdrive strengthens the core tone, and the delay creates spatial effects. These three elements are fundamental to his sound construction.

Tone Settings, EQ, and Mixing Approaches

Taisuke Inamura’s sound creation is meticulously constructed despite its simple gear setup. Using a Telecaster, a Roland JC-120, and layering effects like overdrive and delay, the foundation is built on “enhancing the clean sound.” His settings focus on not over-distorting, allowing the clarity of chords and rhythm to stand out.

For the amp settings, to utilize the JC-120’s characteristic clean transparency, it is assumed that Bass is set around 12 o’clock, Middle is slightly lower (10-11 o’clock), and Treble is around 1 o’clock. This configuration emphasizes the sharpness of the Telecaster while ensuring the midrange remains clear. In tracks with heavy cutting, excessive low-end can disrupt the overall groove, so adjustments in EQ are crucial.

When it comes to distortion, the BOSS OD-3 OverDrive is typically set lightly. It is believed that Gain is set around 9-10 o’clock, Level is raised to 12-1 o’clock, and Presence is enhanced. This approach adds a natural drive to the JC-120’s clean sound, providing sustain to riffs and chords. With minimal distortion, single-note riffs stand out, ensuring the guitar remains prominent amidst complex rhythms and odd time signatures.

For spatial effects, the BOSS DD-500 Digital Delay is finely adjusted for each song. In up-tempo tracks, slapback (around 50-120ms) is applied lightly to emphasize the sound’s attack, while in ballads or experimental pieces, delay times are set around 400ms to create depth. Given Alcala’s frequent use of odd time signatures, there may be instances where intentional timing shifts are employed to create a sense of instability.

From a mixing perspective, Alcala’s recordings often feature guitars panned widely to avoid interference with Inamura’s vocals. Utilizing the JC-120’s stereo output, the clean and delayed sounds are recorded in a way that enhances their spatial quality. Particularly for arpeggios and clean phrases, using delay as the main effect while minimizing reverb helps maintain a “dry texture” while creating an airy feel.

From a PA and engineering standpoint, Inamura’s sound is characterized by not over-emphasizing the lows. By keeping the low-end in check, space is created for the bass and kick, ensuring the overall sound pressure of the band is maintained. Additionally, not excessively cutting the mids allows the rhythm guitar to effectively support the music. As a result, the guitar’s sound achieves a balance that is “sharp yet not piercing” within the band’s overall mix.

Overall, Inamura’s sound creation embodies the principle of “building on the amp’s clean tone while using minimal effects to add depth.” This design harmonizes technical playing with the characteristics of the gear.

Affordable Alternatives to Recreate the Tone

To faithfully recreate Taisuke Inamura’s sound, the ideal setup would include a Telecaster, a Roland JC-120, a BOSS OD-3, and a delay effect. However, for beginners or intermediates, acquiring the exact gear can be a significant financial burden. Therefore, here are some practical and relatively affordable alternatives to get closer to Inamura’s sound.

For guitars, the Telecaster types from Fender Japan or Squier by Fender are highly recommended. Particularly, the Squier Classic Vibe series offers excellent cost performance, providing the bright single-coil sound that captures the essence of Inamura’s “blue Telecaster.” The pickup positioning and construction are similar to the originals, making them suitable for clean-focused sound creation without excessive distortion.

Regarding amplifiers, while the Roland JC-120 is a classic, it is large and expensive. Smaller models like the Roland JC-22 or JC-40 serve as optimal alternatives. They inherit the clean tone’s transparency and the beauty of the chorus, making them more than adequate for home practice or small live gigs. The JC-40, in particular, supports stereo output, allowing users to experience the “spatial expansion” that Inamura utilizes.

For effects, instead of the BOSS OD-3, models like the BOSS SD-1 Super OverDrive or BD-2 Blues Driver are excellent alternatives. Both can be obtained for around $100 and can add natural distortion to a clean amp, effectively replicating Inamura’s sound direction. The BD-2, in particular, tends to produce a clear attack, making it easier to recreate Alcala’s sharp riffs.

For spatial effects, the BOSS DD-3T or TC Electronic Flashback Delay offer great cost performance. While they may not be as multifunctional as Inamura’s DD-500, they are sufficient for crafting basic delay sounds. By setting the delay time to match the tempo, these alternatives can be used to create the unique phrases and spatial effects characteristic of Alcala.

Finally, for tuners, the KORG pitchblack is relatively affordable even in its current models. It is widely used by both beginners and professionals, making it essential for achieving the precise playing style that Inamura exemplifies.

In total, it is possible to assemble a “sound reminiscent of Alcala” for under $1,000. The key lies not in the expensive gear itself but in understanding concepts like “enhancing clean EQ settings,” “using subtle overdrive for sustain,” and “adjusting delay times according to the song.” By grasping these principles, one can more easily approach Taisuke Inamura’s sound.

Summary and Conclusion

Reflecting on Taisuke Inamura’s sound, its essence lies in the “sharpness based on clean tones” and “the minimal distortion and spatial effects.” Built on the transparent clean tone of the Roland JC-120, he utilizes the sharp attack and clarity of the Telecaster while adding necessary color through overdrive and delay. This simple setup, when combined with Inamura’s picking attack and rhythmic sense, culminates in a unique “Alcala sound.”

His gear choices reveal a commitment to not relying on an abundance of pedals or expensive guitars. Instead, a focus on mastering the basics emerges. The standard Telecaster, the classic Roland JC-120, and a selection of BOSS effects embody a philosophy of “trusting the classics while infusing personal expression through playing.”

Moreover, Inamura’s sound creation transcends merely “the sound of the guitar.” It is designed with an awareness of the overall sound balance within the band, ensuring that the guitar interacts with vocals amidst odd time signatures and sudden changes. Adjustments in EQ to manage lows, maintaining mids, and timing of delays all serve to establish the flow of the entire song. Thus, his sound is engineered to shine within the context of the band ensemble.

For readers aiming to replicate Inamura’s sound, it is more beneficial to adopt the mindset of “enhancing clean tones and using distortion sparingly” rather than merely copying gear. Additionally, focusing on the attack and rhythmic nuances of playing will help in capturing the essence of his guitar work. Even a simple combination of a Telecaster and a clean amp, when approached with the right techniques and effects, can evoke the tension and ethereal qualities characteristic of Alcala’s music.

In summary, Taisuke Inamura’s sound creation emphasizes “how to make universal gear resonate” rather than relying on unique equipment. This makes it accessible for beginners and intermediates while remaining profound. The sound that supports Alcala’s versatile compositions is built on a simple gear setup combined with a meticulous approach.

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