[Takaakira Goto] How to Recreate the MONO Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takaakira “Taka” Goto, the guitarist of the post-rock band MONO, is renowned for his deep, majestic guitar sound characterized by beautiful reverberations. His ability to navigate between thunderous noise and silence has earned him global recognition as a “soundscape painter,” with his guitar resonating like an orchestra.

Taka’s sound design is incredibly meticulous, as he skillfully manipulates his effects pedals during live performances to create dramatic soundscapes that evolve with the music. Iconic tracks like “Ashes in the Snow,” “Halcyon,” and “Requiem for Hell” showcase a wide range of expressions, from crystal-clear clean tones to wall-like distortion.

Moreover, MONO’s music is performed on world tours, emphasizing the durability and reproducibility of their gear. Taka is known for his careful selection of robust equipment from brands like Boss and Electro-Harmonix, often stocking multiple units to account for variations in sound quality.

This article will thoroughly explore Takaakira Goto’s sound design, detailing the amplifiers, guitars, and effects he uses, as well as practical settings and affordable alternatives for beginners. By the end, you should be able to approximate the “MONO sound” in your home or studio.

▶ Search official YouTube videos of MONO

List of Amplifiers and Features

The choice of amplifiers is crucial in Takaakira “Taka” Goto’s sound design. MONO’s music requires a balance between clean transparency and powerful distortion, leading Taka to use a combination of amplifiers with different characteristics.

At the forefront is the Marshall JCM2000, which he uses in a stacked configuration of two units during live shows, producing a powerful and expansive distortion. The JCM2000 is high-gain yet maintains excellent note separation, highlighting MONO’s “melody within the roar.” It is indispensable during explosive climaxes.

For clean tones, Taka relies on the Fender Twin Reverb (Silverface Reissue). Used in conjunction with the Marshall, it delivers a crystal-clear sound. In MONO’s compositions, the Twin Reverb is employed during quiet passages and arpeggios, creating a spacious atmosphere. The deep reverb enhances its ethereal quality.

Additionally, a Fender guitar cabinet is sometimes used alongside the Marshall to adjust the sound’s breadth and range. This combination allows Taka to adapt to the size of the stage and the venue’s acoustics, showcasing his practical approach to gear selection.

Overall, Taka’s amplifier setup clearly delineates roles: “Marshall for thunderous sound” and “Fender for transparent cleans.” By switching between these two systems, he achieves the unique dynamics characteristic of MONO. While adjustments may occur depending on the tour period or venue, this dual-amplifier style has been consistently maintained over the years.

Types of Guitars Used and Features

When it comes to Takaakira ‘Taka’ Goto’s guitars, the first that comes to mind is his long-time favorite, the Fender Jazzmaster (relic with numerous modifications). This guitar frequently appears in live photos and interviews, and its heavily worn paint reveals the history of his musical journey. It features P-90 pickups, which provide a thicker, more powerful midrange than standard Jazzmasters, ensuring that the sound remains prominent even amidst distortion.

The inherent expansive tone of the Jazzmaster, combined with the presence of the P-90, allows for the essential balance of “transparency and depth” in MONO’s music. Clean tones resonate beautifully for delicate arpeggios, while distortion creates a wall of sound. This contrast is at the core of MONO’s sound.

It is said that this Jazzmaster has undergone many modifications, focusing on the volume/tone circuitry, wiring, and even the selection of parts. Enhancements for durability have been made to withstand the rigors of long tours, suggesting a design that accommodates intense performances and pedal operations.

While there are indications that Taka may use another Fender model as a backup, the modified Jazzmaster remains the most consistently used guitar based on photos and testimonies. Thus, the image of “Taka = relic Jazzmaster” is firmly established among fans, making it an essential element for recreating the MONO sound.

In summary, Takaakira Goto’s choice of guitar transcends mere equipment; it serves as a tool for expression, with modifications and extensive use designed to maximize tonal range. Consequently, even with the same Jazzmaster model, Taka’s version produces a unique sound.

Effects and Pedalboard Setup

Discussing Takaakira ‘Taka’ Goto’s sound design would be incomplete without mentioning his pedalboard configuration. MONO’s music requires the ability to traverse between ethereal reverberations created by delay and reverb and the overwhelming wall of distortion, leading to a pedalboard filled with numerous effects.

At the heart of his distortion setup is the Danelectro Fab Tone, a signature distortion pedal for Taka. He reportedly owns multiple units, selecting the best-sounding ones and modifying them for buffering. The Fab Tone produces a fat, thick sound that dominates during MONO’s loud sections. Additionally, the Electro-Harmonix Big Muff and BOSS OS-2 have been confirmed in his setup, allowing him to switch distortion characters according to the scene.

For fuzz, the EarthQuaker Devices Hoof has been introduced in recent years and is utilized in album production. The Hoof blends vintage warmth with modern clarity, contributing significantly to MONO’s evolving sound.

In terms of spatial effects, Taka employs multiple BOSS DD-7 units for intricate delay setups. He also uses classic spatial pedals like the Line6 DL4 and Subdecay Echobox (red Mr. Echo). For dreamy reverb, he incorporates the Strymon Flint and EarthQuaker Devices Afterneath. Notably, Taka has described the Afterneath as “perfectly compatible with MONO’s worldview,” making it a core element of the band’s sound.

For modulation, Taka uses the BOSS CH-1 Super Chorus and Mad Professor Tiny Orange Phaser, adding depth to arpeggios and clean sections. He also employs a modified Maxon DB-10 for boosting and pressure adjustments, while the BOSS RC-30 serves as a looper. His power supply system is equipped with Free The Tone, ensuring a stable board for touring.

Overall, Taka’s pedalboard exemplifies a “simple yet vast expressive capability,” relying on physical manipulation rather than mechanical programming to support MONO’s sound.

Tone Settings, EQ, and Mixing Approaches

Takaakira ‘Taka’ Goto’s sound design is not merely a combination of equipment; it is supported by meticulously calculated EQ and dynamic manipulation. MONO’s music features a stark contrast between “silence” and “movement,” and achieving this expression requires multi-layered adjustments across amplifiers, effects, and PA processing.

Starting with amplifier settings, the Marshall JCM2000 tends to have slightly elevated midrange and a lower presence. This ensures that melodies do not get lost in the roar, maintaining a thickness that reaches the ears. Gain is set high, but combined with the Fab Tone, the depth of distortion is achieved without excessively raising the amp’s gain.

On the other hand, the Fender Twin Reverb is dedicated to clean tones, with treble slightly reduced and bass and mid kept relatively flat, prioritizing depth over brightness. Reverb is set deep, and when combined with the Strymon Flint or BOSS RV-5, it creates a fantastical expansiveness. This setup supports the “space” of the entire piece during clean arpeggios or quiet sections.

Regarding distortion pedals, Taka carefully balances volume and distortion using the Danelectro Fab Tone. Given its tendency to be extreme, he often pairs it with the modified Maxon DB-10 booster to adjust gain, adding roundness on the Vintage channel. This combination achieves a thick wall of sound while maintaining melodic clarity.

For delay, Taka uses multiple BOSS DD-7 units, layering different delay times. For instance, one unit may provide a short delay to thicken the sound, while another offers a long delay for spatial expansion. Additionally, incorporating the Line6 DL4 allows for special modulation delays, creating MONO’s unique “layers of reverberation.”

Reverb processing is also significantly influenced by stage and PA considerations. During live performances, the amp’s reverb is set shallow, while the pedal’s reverb adds depth. The EarthQuaker Devices Afterneath is particularly useful, as it expands even in mono through the PA. The PA engineer adjusts the depth of reverberation according to the song, maximizing the contrast between roar and silence.

In mixing, the panning of the left and right guitars greatly impacts the sound. Taka’s guitar is often positioned to one side, allowing reverb to spread across the stereo field. This creates an illusion of “guitar emanating from one side resonating throughout the hall,” culminating in the unique immersive experience of MONO’s live performances.

Specific EQ examples are as follows:

• Marshall (for distortion): Bass 5 / Mid 7 / Treble 4 / Presence 3 / Gain 6-7
• Twin Reverb (for clean): Bass 5 / Mid 5 / Treble 4 / Reverb 6-7
• Fab Tone: Volume 6 / Dist 7 / Bass 5 / Treble 4 (varies by unit)

Moreover, during arpeggios or quiet phrases, reverb and delay are set deeper to “extend” the sound. Conversely, during loud sections, reverb is minimized, filling the space with the density of distortion.

In summary, Takaakira Goto’s settings revolve around “avoiding excess and layering reverb and distortion hierarchically.” Since adjustments are made according to the individual characteristics of effects and the acoustics of each venue, there is no fixed setting. However, understanding this philosophy can help you get closer to the MONO sound.

Affordable Alternatives to Recreate the Tone

Takaakira ‘Taka’ Goto’s sound design relies on many expensive and rare pieces of equipment, making it impractical for beginners or intermediate players to acquire everything. Therefore, here are some commercially available gear options that can help you approximate his sound at a relatively affordable price, typically ranging from $100 to $500.

To recreate the thunderous distortion, the BOSS DS-1 Distortion or BOSS DS-2 Turbo Distortion are excellent choices. While it may be challenging to replicate the wild characteristics of the Danelectro Fab Tone, using the turbo mode on the DS-2 can achieve a thickness and clarity that closely resembles MONO’s sound. Additionally, these pedals are budget-friendly and highly durable, making them reliable for practice and live performances.

For reverb and echo effects, the BOSS RV-6 Digital Reverb is recommended. While ethereal spatial effects like the Afterneath often come from expensive handmade pedals, the RV-6 includes modulation reverb and shimmer modes, allowing for a “limitless spatial feel” akin to MONO’s sound. The “Dynamic” mode, in particular, emphasizes the contrast between loud and quiet passages, making it highly effective.

For delay, consider the BOSS DD-8 Digital Delay or TC Electronic Flashback 2. Both are multifunctional and capable of layering multiple delay times. The Flashback 2, in particular, features a tone print function for customization, enabling you to dial in a deep reverb reminiscent of MONO.

As for boosters, the affordable yet excellent TC Electronic Spark Booster is ideal. It is useful for adjusting volume and frequency when handling powerful distortions like the Fab Tone or Big Muff, serving both as a clean boost and a distortion boost.

Finally, for practicing at home, the Boss Katana series is highly effective. It can replicate a wide range of tones from Marshall-like distortion to Fender-like cleans, and with built-in effects, it allows you to enjoy MONO-style sounds without breaking the bank.

In summary, combining these pieces of gear can help you approximate Takaakira Goto’s sound while keeping your budget in check. Particularly, BOSS products are highly recommended for their durability and availability, making them a great first step.

Summary and Conclusion

Takaakira ‘Taka’ Goto’s sound design transcends mere guitar playing, approaching the realm of “sound art.” His sound in MONO’s music is grand like an orchestral string section, while simultaneously producing a thunderous roar that can engulf the listener. The contrast between delicate arpeggios in silence and explosive distortion is his hallmark, guiding the audience into a profound immersive experience.

At the core of his approach lies “simplicity” and “meticulous attention to detail.” His board consists of a vast array of effects, yet he eschews switchers in favor of direct connections, maintaining a performance style that physically manipulates sound during live shows. This transforms sound design into a performance itself, creating tension and immersion for the audience.

Moreover, his beloved relic Fender Jazzmaster has become a unique entity through years of use and modification. By operating the Marshall JCM2000 and Fender Twin Reverb in an AB switch configuration, he embodies the essence of MONO’s music, balancing “thunder and silence.” Additionally, distinctive effects like the Fab Tone and Afterneath are crucial pieces that define the band’s sonic landscape.

However, it is not necessary to replicate all of his gear exactly. Affordable effects from brands like BOSS and TC Electronic can also bring you close to MONO’s sonic expressions. The key lies not in the equipment itself but in how you layer sounds and manipulate dynamics, which can be pursued in any environment.

In conclusion, the essence of Takaakira Goto’s sound design is “meticulous sound layering” and “manual manipulation of reverberation.” There is no need to aim for a perfect copy; instead, focus on how much you can recreate the layering and spatial expression of sound in your own context. Understanding his philosophy through sound design is the best way to learn about the MONO sound.

Finally, it is essential to emphasize that Takaakira Goto’s sound is not merely a stack of effects but a “device for transforming emotions into sound.” This is why his sound continues to resonate deeply with listeners worldwide, transcending time and equipment.