[Takaaki Mino] How to Recreate the toe Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takaaki Mino, the guitarist of toe, is a unique sound creator representing the post-rock scene. His playing is characterized by a clean tone, intricate arpeggios, rhythmic shifts, and a floating soundscape created using delay and loopers.

In toe’s music, Mino’s guitar plays a crucial role in coloring the space, contrasting with the tight rhythms of the drums and bass. The repetition from delay, delicate compression, and analog-like drive blend exquisitely, creating a balance of transparency and tension unique to toe.

Iconic tracks like “Goodbye,” “グッドバイ,” and “孤独の発明” showcase a three-dimensional clean sound primarily produced by his 1961 Fender Jazzmaster. During live performances, the layering of improvised phrases using a looper is a significant attraction, strongly reflecting toe’s improvisational nature and Mino’s sound creation philosophy.

The essence of his sound design lies not merely in the combination of gear but in how he utilizes the “gaps” and “reverberations” in sound. As a result, toe’s music captivates listeners across genres and has received high acclaim both domestically and internationally.

Below, we will delve into Takaaki Mino’s amplifier, guitar, effects setup, EQ settings, and methods that beginners can replicate.

▶ Search official YouTube videos of toe

List of Amplifiers and Features

When discussing Takaaki Mino’s sound creation, the presence of amplifiers is indispensable. The amplifiers he uses in toe’s live performances and studio recordings are selected to cover a wide range from clean to crunch while capturing subtle nuances. In the post-rock genre, where analog quality and responsiveness are essential, the choice of amplifier significantly determines the overall sound’s dimensionality.

The main setup consists of the Orange AD30H head and Orange PPC412 cabinet. The AD30H is a renowned British amplifier known for its warm drive sound that sits between clean and crunch. In toe’s live settings, it is often configured to lightly distort when picking hard, ensuring clarity even in arpeggios while harmonizing beautifully with spatial effects.

By pairing it with the PPC412 cabinet equipped with four Celestion Vintage 30 speakers, Mino achieves a thick midrange presence. In toe’s ensemble, his guitar neither overpowers nor gets buried, playing a role that envelops the entire sound. This balance is significantly influenced by the characteristics of the amp and cabinet.

When using acoustic guitars or electric guitars, the AER Compact 60/2 comes into play. This compact amplifier boasts exceptional sound quality, delivering transparent clean tones, often sent to the PA through a DI (Countryman Type 85) during live performances. In toe’s music, there are many instances where the acoustic and electric tones are switched, making this consistency crucial.

During live performances, Mino adapts the mic placement according to the stage size and venue acoustics, often using Shure SM57 and CAD Audio E100 in front of the cabinet to capture a natural texture distinct from direct line connections. The CAD E100, with its wide range typical of condenser mics, is believed to enhance toe’s dynamics.

Thus, Mino’s choice of amplifiers can be summarized as maintaining the boundary between clean and crunch, allowing arpeggios and spatial effects to beautifully merge. This results in a sound that embodies both tension and buoyancy, essential to toe’s music. While no other amplifiers or cabinets have been confirmed in use, it is assumed that different gear may have been utilized in studio recordings.

Types of Guitars Used and Features

The core of Takaaki Mino’s sound undoubtedly lies in the guitar itself. In toe’s music, a guitar that is clean yet expressive is crucial, and this role is fulfilled by his 1961 Fender Jazzmaster. This vintage Jazzmaster has been consistently used in both live and recording settings, and Mino himself has stated in interviews that it is his main instrument.

The Jazzmaster’s large body and floating tremolo provide a delicate wavering effect, supporting Mino’s arpeggios and chord work. The unique floating sensation in toe’s music largely stems from the tremolo and picking nuances enabled by this Jazzmaster. Additionally, the vintage tone of the 1961 model achieves a distinct sound that is difficult for other guitarists to replicate.

Mino’s playing style centers around clean tones while valuing nuances that create light crunch from strong picking. Therefore, elements like “note clarity” and “wavering” are emphasized in his guitar selection, fully utilizing the Jazzmaster’s broad range and soft high frequencies.

Regarding secondary guitars, there is little confirmed usage history; however, it is speculated that he may use other Fender models such as Stratocasters or Telecasters during sessions or studio work. Nevertheless, in toe’s representative live performances and recordings, the Jazzmaster is predominantly featured, making it essential for replicating his current sound.

Additionally, toe’s music features scenes where electric guitars and acoustic guitars are used, with the AER Compact 60/2 sending the sound to the PA. This setup allows the electric and acoustic sounds to blend naturally, broadening the sonic palette.

Ultimately, Mino’s guitar selection reflects a clear intention to “maximize the unique tone and floating nuances characteristic of vintage instruments.” Therefore, acquiring a Jazzmaster-type guitar would be a shortcut for those looking to replicate toe’s sound.

Effects and Pedalboard Setup

Takaaki Mino of toe skillfully enhances his guitar sound using effects. His pedalboard setup functions not only to modify tones but also as an integral part of his performance, supporting the improvisational aspect of live shows. Notably, the combination of multiple delays and loopers creates toe’s unique floating soundscape.

First and foremost is the TC Electronic PolyTune 3, a highly accurate tuner that also excels in acoustic setups. For drive effects, he uses the CULT Ray (overdrive) and the classic ProCo RAT2 (distortion). These add light distortion only when necessary, naturally elevating arpeggios and solos.

For compression, Mino employs the KATANASOUND BLUE STRIPE, a Japanese-made unit that maintains picking nuances while enhancing sustain. In terms of spatial effects, he incorporates the Strymon Mobius for modulation effects like tremolo and chorus.

One of the most distinctive aspects of his setup is the simultaneous use of two BOSS DM-2 delay pedals. One is set for short delay, while the other is configured for long delay, allowing him to switch between them for different songs. This setup enables him to manipulate “depth in solos” and “expansion of space” effortlessly. The dual delay usage is a hallmark of Mino’s sound philosophy.

Additionally, a crucial piece of gear supporting toe’s improvisational nature is the Line 6 DL4. By utilizing delay presets and layering phrases, it creates the tension and dynamics unique to live performances. It is also reported that Mino uses a renowned Electro-Harmonix effect, although the specific model remains unconfirmed.

The pedalboard is constructed with the Armor PS-1C, balancing durability and portability. The power supply is managed by the FREE THE TONE PT-3D, providing a noiseless and stable power source. For signal management, he employs the F-sugar 4LOOP BOX, allowing intuitive operation while organizing a complex effects chain. The use of the BOSS FS-5L footswitch for switching amps and loops is also practical.

In summary, Takaaki Mino’s effects setup is characterized by “a clean foundation with color added only when necessary,” which allows him to stand out in toe’s intricate ensemble. It is assumed that some elements may have changed over time or for specific songs, with the current configuration based primarily on recent live performances and interviews.

Tone Settings, EQ, and Mixing Approaches

Takaaki Mino’s sound creation focuses not just on the combination of gear but on “how to use it.” Listening to toe’s music, the guitar’s presence never overpowers but significantly expands the overall band sound. Here, we will discuss amplifier settings, EQ adjustments, delay and looper usage, and insights from the PA and mixing perspectives.

Regarding amplifier settings, it is likely that the Orange AD30H is set to aim for a balance between clean and crunch. The gain is typically kept low to moderate, with the tone slightly emphasizing the midrange while reducing the high frequencies to maintain the brightness of arpeggios without causing ear fatigue. The low end is kept in check to prioritize balance with the bass and drums.

Next, the EQ adjustments are notable. Listening to toe’s live recordings, a warm sound centered around the midrange is characteristic. This is likely due to the guitar’s inherent qualities, combined with mixing techniques that cut lows and boost frequencies around 250Hz to 500Hz. By suppressing high frequencies above 4kHz, harshness is avoided, while enhancing around 2kHz brings out the picking nuances. The result is a “soft yet defined” guitar sound unique to toe.

The use of delay is one of Mino’s most distinctive sound features. By using two BOSS DM-2 pedals in parallel, one set for short delay (100ms to 200ms) and the other for long delay (over 400ms), he creates depth in the sound. In solos, he applies more long delay for lingering echoes, while in arpeggios, a subtle mix of short delay adds dimensionality. This switching dramatically alters the expression of the same guitar across different songs.

Furthermore, the utilization of loopers is crucial. Layering phrases with the Line 6 DL4 enhances the improvisational nature of live performances, making toe’s ensemble more complex and three-dimensional. For instance, recording a phrase in the looper during the intro and layering it creates a thickness that feels like multiple players are performing together.

For compression, keeping the KATANASOUND BLUE STRIPE engaged ensures that the clarity of arpeggios is consistent while allowing natural sustain during solos. This processing is essential for maintaining the guitar’s presence in toe’s “efficient ensemble.”

In terms of PA and mixing, the combination of SM57 and CAD E100 miking is frequently employed during live performances. The SM57 captures the midrange contours, while the E100 adds depth and range, providing a natural airiness that direct line connections cannot achieve. Additionally, the PA setup is carefully crafted to achieve toe’s unique “spatially expansive yet centrally focused” mix. Reverb is applied lightly, often using hall or plate types.

In conclusion, the essence of Takaaki Mino’s sound creation is a simple philosophy: “a clean foundation with color added only when necessary.” Through spatial effects from delay and loopers, meticulous EQ adjustments, and collaboration with the PA, the music of toe achieves a balance of tension and release. These elements are the result of both his sensibility and engineering, and to replicate this sound, understanding the philosophy behind sound creation is essential.

Affordable Alternatives to Recreate the Tone

To fully replicate Takaaki Mino’s sound, one would typically need high-end gear like a vintage Jazzmaster, Orange amplifiers, and multiple analog delays. However, there are ways for beginners and intermediates to approach a similar sound at a relatively low cost. Here, we will introduce affordable gear available on the market. All of these can be acquired for around $100 to $500, allowing access to toe’s clean and crunchy sound.

For guitars, while a genuine 1961 Jazzmaster is prohibitively expensive, alternatives like the Squier Classic Vibe Jazzmaster or Fender Player Jazzmaster are viable options. Both can be purchased for under $1,000 and can replicate the expansive clean tone and tremolo unit’s nuances characteristic of the Jazzmaster. The Squier series, in particular, offers high cost-performance and is beginner-friendly.

Regarding amplifiers, the combination of Orange AD30H and PPC412 is quite expensive and heavy. Instead, the Orange Crush 35RT or BOSS Katana 50 MkII are more suitable. The Orange Crush can recreate the warm midrange and light crunch, while the Katana offers multifunctionality with natural clean tones and built-in spatial effects, making it possible to simply replicate toe’s sound.

For effects, the BOSS DM-2W (Waza Craft version) is highly recommended. The original DM-2 has become a vintage item with skyrocketing prices, but the reissue DM-2W can be obtained new for around $200, allowing for switching between short and long delays. For looping, while the Line 6 DL4 is somewhat pricey, the BOSS RC-1 provides a simple yet effective looper for practicing Mino’s improvisational style.

In terms of distortion, alternatives to the ProCo RAT2 include the BOSS DS-1 or MXR Distortion+, both of which are affordable. The DS-1, in particular, is versatile and suitable for adding light distortion to a clean foundation. For overdrive, the BOSS SD-1 is a solid substitute for CULT Ray, providing a low-gain boost that fits well with toe’s delicate phrases.

For compression, since KATANASOUND’s domestic products are less available, the BOSS CS-3 is an optimal choice. Priced in the $100 range, it effectively evens out the clarity of arpeggios. For modulation effects, since the Strymon Mobius is expensive, combining the TC Electronic Corona Chorus and BOSS TR-2 (tremolo) can sufficiently recreate a similar atmosphere.

Lastly, for power supplies and pedalboards, it is not necessary to stick to high-end gear. Products like the One Control Iguana Tail or CAJ AC/DC Station can provide stable power supply in the $100 range, minimizing noise while ensuring a comfortable playing experience.

In summary, to approach toe’s sound affordably, it is crucial to gather “Jazzmaster-type guitars,” “analog delay units (BOSS DM-2W),” “simple loopers,” “light overdrive and distortion,” and “basic compressors.” By combining these elements, one can adequately recreate the transparency and dimensionality inherent in toe’s music.

Summary and Conclusion

Reflecting on Takaaki Mino’s sound creation, its essence lies in the balance of “delicacy and improvisation.” His guitar consistently maintains a clean foundation while adding distortion and spatial effects only when necessary, enriching the music with depth. This is not something that can be replicated merely by acquiring high-end gear; it is a product of Mino’s sensibility and the synergy with the entire band.

The main guitar, the 1961 Fender Jazzmaster, is characterized by its vintage tone and the wavering of the floating tremolo. This tone forms the foundation of toe’s transparent sound, further deepened through amplifiers like the Orange AD30H and AER Compact 60/2. The meticulous attention to miking is also one reason toe is globally recognized as a live band.

Looking at the effects setup, Mino’s commitment to using two BOSS DM-2s for delay and the utilization of the Line 6 DL4 for looping highlight his focus on improvisation and experimentation. Observing toe live, one can see how each performance can differ, which is largely due to the application of these effects. Furthermore, the choice of niche equipment like the KATANASOUND compressor reflects his philosophy of “maintaining note clarity.”

EQ and mixing adjustments are also vital. The tone control centered around the midrange, the careful blend of delay and reverb, and the thoughtful positioning in the PA create toe’s unique “soundscape where stillness and movement coexist.” This is not merely a solo guitarist’s skill but the result of collaboration with engineers and band members, rooted in Mino’s awareness of “designing the overall sound of the band.”

For beginners aspiring to toe’s sound, it is not necessary to acquire the same gear. The key is to focus on “maintaining a clean foundation,” “utilizing delay for dimensionality,” “not overusing effects,” and “adding color only when necessary.” By keeping these points in mind during practice and gear selection, one can approach toe’s sound even in a relatively affordable setup.

In summary, Takaaki Mino’s sound creation charm lies in the “aesthetic of subtraction.” Instead of relying on excessive distortion or flashy effects, he utilizes space and controls reverberation and wavering, creating sounds that stimulate the listener’s imagination. The reason toe’s music is beloved both domestically and internationally is precisely because this sound creation philosophy resonates with listeners.

If you admire toe’s world, start by refining your clean tone and getting accustomed to handling delay. This will bring you one step closer to the unique soundscapes crafted by Takaaki Mino.