[Takahito Uchizawa] How to Recreate the androp Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takahito Uchizawa, the frontman and guitarist of androp, is a versatile player known for his ability to manipulate a wide range of tones, from delicate arpeggios to explosive band sounds. His sound design is characterized by the incorporation of post-rock and electronica textures into a rock band format, highlighting an approach that aligns closely with the thematic elements of the music.

In iconic tracks like “Bright Siren” and “Voice,” the contrast between shimmering, transparent clean tones and thick, distorted backing is striking. Additionally, “Mirror Dance” showcases Uchizawa’s unique cutting and bowing techniques using a Rickenbacker, emphasizing androp’s originality.

Notably, Uchizawa’s playing style consistently focuses on how his sound resonates within the overall composition. Rather than standing out with flashy solos, he creates layers of sound that intertwine with synthesizers and rhythm, enriching the band’s overall sonic image.

In terms of sound, he employs the clear tones of a Fender Stratocaster, the bright mid-high frequencies typical of Rickenbackers, and the warm resonance of acoustic guitars, adapting his approach to fit each musical context. Furthermore, with meticulous effect control centered around the BOSS ES-8, he can dramatically alter tones from song to song.

Given this background, Uchizawa can be seen as a “sound architect,” playing a crucial role in shaping androp’s sound.

▶ Search official YouTube videos of androp

List of Amplifiers and Features

In Takahito Uchizawa’s sound design, the choice of amplifiers is a critical element. His setups for live performances and recordings cover a range from transparent clean tones to thick distortion, utilizing a variety of amplifiers. Here, we will focus on the amplifiers that have been confirmed to be used by Uchizawa.

One amplifier frequently spotted in live settings is the Koch Studiotone XL. Koch, a Dutch amplifier manufacturer, is known for its warm tube tones and compact yet multifunctional designs. The Studiotone XL, despite its small size, offers high-resolution clean tones and maintains clarity even when distorted, making it essential for Uchizawa’s delicate arpeggios and strumming. This amplifier’s broad range is evident in androp’s live recordings.

Next, the MATCHLESS DC-30 (Sampson model) has been used for recording and some live performances. MATCHLESS is a boutique amplifier known for its hand-wired construction, and the DC-30 can produce chime-like clean tones alongside robust crunch sounds. This amplifier’s wide range and rich harmonics contribute to Uchizawa’s guitar standing out amidst synthesizers and electronic sounds. In interviews during album production, he emphasized the importance of a “natural resonance,” which likely stems from the use of the DC-30.

Uchizawa also employs a custom cabinet equipped with Celestion Vintage 30 speakers, which has been modified from a closed-back to an open-back design. This modification enhances both range and clarity, allowing the sound to blend seamlessly into the band’s overall mix. By using this cabinet in live settings, Uchizawa maintains separation between the guitar, synthesizers, and bass.

The selection of these amplifiers reflects Uchizawa’s goal of “blending into the overall band sound while retaining a unique presence.” His style emphasizes tone crafting that designs the overall song rather than focusing on flashy solo play.

In summary, it can be inferred that the combination of the Koch Studiotone XL’s user-friendliness, the MATCHLESS DC-30’s rich harmonics, and the innovative custom cabinet contributes to the unique soundscape of androp.

Types of Guitars Used and Features

When discussing the sound of androp, it is essential to highlight the diverse range of guitars used by Takahito Uchizawa. By switching guitars for different songs, he significantly expands his expressive capabilities. Here, we will explore the characteristics of his main electric and acoustic guitars.

The most notable is the Fender Stratocaster 1959 Hardtail, which has been Uchizawa’s main guitar for many years. Modifications include a 5-way selector switch, installation of a Directron capacitor, and jumbo fret replacements. These modifications enhance the characteristic clear single-coil sound of the Stratocaster while providing modern playability. This guitar shines in live performances, covering a wide range from clean to distorted tones, with its shimmering sound featured in iconic tracks like “Voice” and “Yeah! Yeah! Yeah!”

Additionally, the Fender Stratocaster 1957 has also been confirmed in use, known for its vintage, dry tone. This guitar is used alongside the main instrument to enhance expressive capabilities according to the song’s needs.

Uchizawa’s sound is also symbolized by the Rickenbacker 330 and Rickenbacker 360V64. The sharp, bright mid-high frequencies typical of Rickenbackers blend exceptionally well with synthesizers and electronic sounds. The 360V64, in particular, showcases bowing techniques in live performances, creating a fantastical soundscape.

In the realm of acoustic guitars, the Gibson J-45 is frequently used, equipped with a Fishman pickup for live performances. Other acoustic models such as the Martin D-18E Retro (2013 model) and Taylor 314ce have also been confirmed, playing significant roles in acoustic arrangements and recordings. The Martin, especially, features the Fishman F1 Aura Plus system, which helps reproduce a natural acoustic sound through the PA system.

The selection of these guitars reflects the broad musicality of androp. Uchizawa utilizes Strats and Rickenbackers to convey rock energy, while acoustic guitars are employed for delicate and warm expressions, adding depth and persuasion to the music.

Overall, Uchizawa’s guitars serve as “tools to shape the song’s world,” playing a vital role in sound design.

Effects and Pedalboard Setup

androp’s music is characterized by clean, three-dimensional soundscapes, which are supported by a meticulously constructed effects board. Takahito Uchizawa has systematized his effects around the BOSS ES-8, allowing for seamless switching between complex tones. One reason for the dramatic tonal changes in live performances is this switching system.

In the realm of overdrive, the Vemuram Jan Ray and Xotic BB Preamp are utilized. The Jan Ray provides a light distortion that enhances the brilliance of Fender-style amplifiers, making it suitable for arpeggios and cleaner phrases. Conversely, the BB Preamp can deliver solid distortion when gain is increased, supporting powerful backing for the entire band. By combining both, Uchizawa achieves a wide range of expressions from clean to crunch to lead.

For fuzz and distortion, the Crazy Tube Circuits Starlight stands out. It can produce everything from transparent distortion to rough fuzz sounds, allowing for significant tonal variation depending on the song. This pedal is particularly effective in experimental contexts, such as in “Mirror Dance.”

Additionally, the api TranZformer GT serves as a preamp that combines compression, EQ, and DI functions. It helps shape the original sound of the guitar while sending a suitable signal to the PA or recording environment. This piece of equipment is crucial for integrating delicate sounds into the overall composition.

Uchizawa also employs the Ex-pro 32volt Clean Booster for clean boosts, enhancing the presence of solos and arpeggios. The BOSS PS-6 Harmonist has been confirmed in use, adding pitch-shifting effects that expand the song’s spatial dimensions.

As a multi-effects unit, the LINE6 M9 is utilized, allowing for flexible switching between delay and modulation effects. This capability enables Uchizawa to control a variety of spatial effects that would be challenging to replicate with standalone pedals. It is essential for creating the expansive sound found in tracks like “Bright Siren.”

For additional gear, Uchizawa uses the Sonic Research ST-300 tuner for stable pitch management. He also employs MIDI through boxes and junction boxes from Custom Audio Japan, along with a power supply to stabilize the entire board. This robust system construction is a significant feature of Uchizawa’s setup, reflecting professional use.

In summary, Uchizawa’s effects board balances “precision and flexibility,” serving as the foundation for a band sound that merges with synthesizers and electronic elements. Overall, his board can be considered “another instrument” in crafting androp’s unique sonic world.

Tone Settings, EQ, and Mixing Approaches

When listening to androp’s sound, the multi-layered and spacious sonic image stands out. This characteristic is not only due to the choice of guitar equipment but also significantly influenced by amplifier settings, EQ processing, and mixing techniques. Here, we will delve into Uchizawa’s sound design settings and the approaches taken from a PA and engineering perspective.

Starting with the basic amplifier settings, it is assumed that the Koch Studiotone XL is primarily used on the clean channel with low gain, slightly elevated treble and presence to enhance clarity, while keeping mids relatively subdued. This setup allows the guitar to blend without overpowering the overall band sound, achieving a mix that integrates well with synthesizers and vocals. In instances where distortion is required, Uchizawa typically adds a booster or overdrive.

In scenarios where the MATCHLESS DC-30 is employed, Uchizawa likely capitalizes on the natural crunch of the amplifier, setting the master volume slightly higher to achieve a rich, layered sound. The DC-30’s signature “chime-like” mid-high frequencies can stand out without much effect correction, suggesting that EQ settings are kept relatively flat.

In combination with effects, Uchizawa likely keeps the Vemuram Jan Ray always on to provide a clean boost or light compression, layering it with the Xotic BB Preamp to create a deep drive sound. During solo parts or climactic moments, he raises the volume further with the Ex-pro 32volt Clean Booster, adding dynamic shifts to the performance.

For spatial effects, the LINE6 M9 is utilized to finely tune delay and reverb settings. Particularly in “Bright Siren,” there are efforts to sync the delay time with the song’s BPM, enhancing the stereo feel. Reverb is applied generously, yet with a short pre-delay to maintain clarity and avoid muddiness.

For pitch processing, Uchizawa employs the BOSS PS-6 Harmonist to add octave shifts, creating a thickness that belies the fact that only one guitarist is playing. This integration allows for seamless blending with synthesizer lines, contributing to a three-dimensional band sound.

In recording and PA environments, Uchizawa likely utilizes the EQ and compression features of the api TranZformer GT to refine the guitar’s original sound before sending it to the amplifier, ensuring a stable tone. During mixing, it is assumed that he lightly boosts frequencies around 2kHz to 3kHz to emphasize attack while cutting low-end frequencies below 80Hz to distinguish the guitar from the bass and kick.

Moreover, in live settings, Uchizawa uses a custom cabinet modified to an open-back design with Celestion Vintage 30 speakers. This modification enhances the depth and spaciousness captured by the PA microphone. A closed-back design may yield a tighter sound, but the open-back configuration allows for androp’s characteristic “spacious clean to crunch” to flourish.

Overall, Uchizawa’s sound design can be summarized as a style that “adds flavor as needed on a flat foundation,” leveraging the individuality of the amplifier and guitar while expanding spatial and expressive dimensions through effects. This results in a unique sound design that fluidly navigates between clean and distorted, analog and digital realms.

Affordable Alternatives to Recreate the Tone

Many guitarists listen to androp’s music and feel the urge to replicate that sound. However, the vintage Strats, Rickenbackers, boutique amplifiers, and pedals used by Takahito Uchizawa can be quite expensive and difficult to acquire. Therefore, we will introduce more affordable and accessible gear that can approximate the tonal direction. The price range is aimed at 1,000 to 10,000 yen, focusing on beginner-friendly options.

For guitars, the Squier Classic Vibe 60s Stratocaster is highly recommended. As a brand under Fender, Squier offers an alder body and single-coil pickups, providing a bright Strat-like tone. While it may be challenging to fully replicate the vintage feel of a 1959 Hardtail, combining EQ adjustments and a booster can help achieve a sound closer to Uchizawa’s clean to crunch tones.

Given the high cost of Rickenbackers, alternatives like the Harley Benton RB-612, a semi-hollow model, or domestic copies from Greco/Bacchus can serve as substitutes. These options emphasize mid-high frequencies, making it easier to recreate the sharp sound that blends well with synths and spatial effects.

For amplifiers, the BOSS Katana-50 MkII is a powerful choice. It covers clean to crunch tones and includes delay and reverb effects, allowing for easy simulation of androp’s spacious guitar sound. Utilizing the built-in effects makes it suitable for both live performances and home recording, making it an ideal entry-level option.

For overdrive, the BOSS BD-2 Blues Driver and MXR Timmy Overdrive are recommended. These pedals can handle clean boosts to light distortions similar to the Jan Ray, and they are reasonably priced. The BD-2, in particular, is user-friendly for mimicking Uchizawa’s crunch sound and is favored by many guitarists.

In terms of spatial effects, the NUX Atlantic (reverb + delay) and Zoom MS-70CDR (multi-effects for spatial processing) offer excellent cost-performance. While they may not provide the extensive variety of effects found in the LINE6 M9, they can sufficiently cover essential spatial processing for beginners.

For boosters, the Xotic EP Booster and BOSS GE-7 (Equalizer) are great options. They can elevate solo volumes or boost specific frequencies to help the guitar stand out in the ensemble.

By combining these alternatives, it is possible to approach androp’s “spacious clean tones,” “thick crunch,” and “fantastical spatial effects” at a fraction of the cost of the original gear. The key lies not in acquiring expensive equipment but in understanding how to layer sounds and effectively utilize effects.

Summary and Conclusion

Takahito Uchizawa’s sound design, which is central to androp’s music, can be succinctly described as “architected transparency.” Rather than simply assembling vintage guitars and high-end effects, he selects equipment tailored to the specific sonic images required for each song, making modifications and innovations along the way to create his unique sound.

For instance, the modifications made to the 1959 Stratocaster represent an effort to adapt a classic instrument to contemporary playing styles. Additionally, the idea of playing a Rickenbacker with a bow symbolizes a conceptual approach to the band’s sound as “textures beyond the confines of traditional instruments.” Furthermore, integrating boutique pedals with the BOSS ES-8 allows Uchizawa to leverage spatial and pitch-shifting effects, establishing a unique acoustic design that sits between electronica and rock.

The essence of his sound design lies not in “pushing his sound forward” but in “blending into the overall band sound and complementing the song’s narrative.” This is why both clean and distorted tones consistently deliver a pleasant resonance, enhancing the emotional impact of the music. Uchizawa embodies the role of a “sound architect” rather than a flashy soloist.

If readers aspire to emulate androp’s sound, it is not necessary to acquire the exact same equipment. Instead, the focus should be on balancing clean and distorted tones, effectively utilizing spatial effects, and considering “how they want the sound to resonate as a band.” Even with affordable multi-effects or simulators, it is entirely possible to recreate androp’s depth of sound with the right settings.

Ultimately, Uchizawa’s sound design can be summarized as a “guitar that serves the song itself.” Rather than making a bold statement, he imbues simple phrases with persuasive power, demonstrating presence within the overall mix. This philosophy is what makes androp’s music special and continues to captivate many listeners.