[Takamasa Ono] How to Recreate the KEYTALK Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Nobuo Oki] How to Recreate the ACIDMAN Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

[Yutaka Takezawa] How to Recreate the Anzenchitai Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.122025.09.12

Recreating you’s Janne Da Arc Sound: Guitar Gear, Amp & Effect Settings

2025.06.132025.09.04

Introduction (Overview of Tone)

KEYTALK’s guitarist, Takamasa Ono, is a pivotal figure in delivering the band’s refreshing and danceable rock sound. His playing style is characterized by energetic cutting, vibrant riffs, and an overwhelming presence during live performances.

In iconic tracks like “MONSTER DANCE” and “Ouka Ranman,” Ono emphasizes a thick distortion sound paired with tightly executed rhythm guitar, enhancing the overall groove of the band. He skillfully alternates between transparent clean tones and bright lead tones, adding depth to each song’s unique atmosphere.

In terms of sound design, Ono primarily relies on his main guitar, the Gibson SG Standard (2002 model), and a modified Marshall JCM2000 DSL50 amplifier, which together create a powerful midrange and a sticky tone. Additionally, he incorporates a Cry Baby wah pedal and a BOSS DD-3 delay, adding expressive nuances to his music.

His live performances radiate powerful sound pressure and rhythm, while studio recordings showcase his ability to support delicate ensembles. This duality captivates many listeners and garners attention from fellow guitarists.

In the following sections, we will thoroughly explore the amplifiers, guitars, and effects used by Takamasa Ono, detailing key points in his sound design and providing practical gear recommendations for beginners looking to achieve a similar tone.

▶ Search official YouTube videos of KEYTALK

List of Amplifiers and Features

A significant pillar supporting Takamasa Ono’s sound is his amplifier. His main amp is the “Marshall JCM2000 DSL50 Nozzy Mod,” which he received from Shinya Saito of ONIGAWARA and was further modified by I.M.I LIGHTS. The JCM2000 model has been beloved by many rock bands since the late ’90s to early 2000s, but the modifications have improved the midrange push and tightened the low end, making it an optimal choice for Ono’s desired “danceable rock sound.”

For live EQ settings, he typically raises the BASS to just past 3 o’clock, maxes out the MIDDLE, and keeps the TREBLE and PRESENCE around 9 o’clock. This configuration emphasizes the midrange while controlling the brightness of the high frequencies, allowing his guitar to stand out without overpowering the vocals, bass, or drums.

Ono uses a “HIWATT 412 Cabinet (Celestion Vintage 30 ×4).” The Vintage 30 speakers have a character that brings the midrange forward, making them an excellent match for the Marshall amp. This combination supports the thick backing sound and sharp cutting that resonates during KEYTALK’s live performances.

In the past, he has also used the “Marshall JCM800” and “Marshall JCM2000 TSL.” However, the JCM800 leaned too heavily on the high frequencies for his taste, leading to its discontinuation. The TSL also had limitations in live settings, prompting his transition to the more flexible and robust DSL50.

During his time with Alaska Jam, he often relied on house amps at live venues, using available Marshall or Fender models without a fixed setup. This experience has likely contributed to his adaptable sound design and ability to create his tone in any environment.

Additionally, another variant, the “Marshall JCM2000 I.M.I LIGHTS MOD,” has been noted, which may also be part of his current live setup. While the tonal direction is similar to the DSL50, it is believed he uses it depending on the venue or the song.

Overall, Ono’s choice of amplifiers emphasizes “midrange presence,” “the core of rhythm guitar,” and “controlled high frequencies,” which solidly supports the “danceable rock” sound of KEYTALK.

Types of Guitars Used and Features

Takamasa Ono is well-known for his love of the Gibson SG, which forms the backbone of KEYTALK’s sound. His main guitar is the “Gibson SG Standard (2002 model/Ebony),” which he purchased in his first year of high school (2004) and has since become his primary instrument. This particular guitar has undergone significant modifications, using only the front pickup, which has been rewound. The jack area has been fitted with a metal plate, the nut has been replaced with ivory, the saddle with Graph Tech, and the tuners have been changed to GOTOH. He uses D’Addario Regular Light (.010-.046) strings to ensure stability and a sticky sound during live performances. The confirmed serial number “01922592” indicates its special significance to him.

Additionally, he owns a rare “Gibson 1961 Les Paul Custom (SG Custom/White),” produced in the first year of SG production, characterized by its white finish and gold hardware. The bridge has been replaced with a Montreux ABR-1, allowing for a sound with a bright edge in the high frequencies. It is believed to be used to highlight lead tones in certain songs.

Furthermore, a “Gibson Custom/SG Standard” has been introduced as a secondary guitar, reflecting the specifications of the 1961 Les Paul/SG Custom. It has been used in live performances since 2023 and is known for its high resolution and low-end clarity. It is assumed that this guitar is used to balance the sound on stage, differentiating it from the main guitar.

Ono also possesses an “1980s Gibson SG Standard,” which is often used in rehearsal settings or backstage. Additionally, he has been spotted using a “Gibson SG Special (Vintage Cherry)” in collaboration with Atsuki Takemoto on the track “Tokumei Kimou,” showcasing his deep affection for the SG model.

While he seems to own an “Epiphone SG,” details are unclear and no images have been confirmed. It may serve as a backup or for experimental purposes.

Overall, Ono’s guitar selection is heavily biased towards the SG model, utilizing various years and specifications to maintain a consistent midrange thickness while ensuring a wide tonal palette suited to different songs and stages.

Effects and Pedalboard Setup

In Takamasa Ono’s sound design, effects play a crucial role in complementing the amplifier and guitar, enhancing the character of each song. KEYTALK maintains a relatively simple pedalboard setup during live performances and recordings, which contributes to the band’s cohesive sound and rhythm-focused approach.

His main pedalboard includes the “Jim Dunlop GCB95 Cry Baby (Wah),” “BOSS DD-3 (Delay),” “BOSS TU-3 (Tuner),” a custom channel-switching pedal, and the “Free The Tone PT-3D (Power Supply)” for stable power supply. The Cry Baby enhances expression during riffs and solos, while the DD-3 adds spatial depth. The TU-3 ensures tuning stability during live performances, and the custom switch allows for seamless channel switching on the Marshall DSL50.

In the past, he utilized the “One Control Minimal Series Flash Loop with 2DC OUT,” which added looping functionality to the board while keeping it simple. He has also used various spatial and overdrive effects, including “Electro-Harmonix POG2,” “Vivie Dolphin Deverb,” “Vivie Clione,” “Vivie Callion,” and “Vivie WildCat.” Notably, Vivie products are a Japanese effects brand, highlighting Ono’s preference for domestic brands.

Moreover, there are records of him using the “Electro-Harmonix Soul Food ‘Meat & 3’ Mod,” a modified classic booster that emphasizes the midrange and adds thickness to the sound.

During his time with Alaska Jam, he added the “Ibanez TS-9” and “Boot Leg Jaw Breaker,” indicating a shift towards a more pronounced distortion in line with the band’s evolving style. The TS-9 is a classic overdrive that forms a standard choice for boosting midrange when paired with Marshall amps.

Recently, he has also explored modeling approaches outside of the pedalboard, using the “Neural DSP Quad Cortex (Multi-Effects/Amp Modeler)” on a separate board. Additionally, he has integrated modern systems such as the “Shure GLXD16+” wireless system and the “Hotone Soul Press II (Wah/Volume/Expression),” enhancing convenience and stability. For power, he uses the latest power supplies like the “Walrus Audio Canvas Power HP,” and the “BOSS BCB-1000 (Pedalboard Case)” for portability, creating a practical setup that can adapt to various situations.

In summary, Takamasa Ono’s effects board combines a foundational simple structure with the occasional introduction of the latest digital gear, allowing for flexible responses to different environments and songs. His philosophy centers on “enhancing functionality without overcomplicating,” ensuring that the essence of the music remains intact. This approach vividly expresses the “danceable rock” sound that the band embodies.

Tone Settings, EQ, and Mixing Approaches

Takamasa Ono’s sound design is not solely reliant on effects; it combines “amp EQ,” “pickup selection,” and “playing nuances.” KEYTALK’s songs are fast-paced, with rhythm guitar playing a central role in driving the music forward, so his settings are tuned to maximize this effect.

Typical EQ settings on the “Marshall JCM2000 DSL50 Nozzy Mod” during live performances include:

• BASS: Just past 3 o’clock (emphasizing low end while avoiding overlap with the bass frequencies)
• MIDDLE: Maxed out (ensuring a core presence that cuts through the overall band sound)
• TREBLE: Just past 9 o’clock (keeping high frequencies subdued to avoid harshness)
• PRESENCE: Just past 9 o’clock (controlling the airiness of high frequencies to prevent excessive forwardness)

This setup results in a sound that is perfectly suited for “danceable rock,” with a strong midrange presence. While Ono’s tone may sound somewhat dark when isolated, it shines in the band context, providing strength without overshadowing vocals or synths.

Guitar manipulation is also crucial. He often uses only the front pickup of his 2002 Gibson SG Standard, with the tone knob slightly rolled back. This approach yields a warm sound even in rhythm guitar parts. Conversely, for lead phrases or solos, he opens the tone to leverage the amp’s gain for a more pronounced sound.

In mixing, engineers adjust the midrange positioning to ensure the guitar blends seamlessly into the overall band sound. For example, in “MONSTER DANCE,” the guitar spreads stereo while the bass and snare are centered, allowing the guitar to serve as a driving force in the mix. In “Ouka Ranman,” phrases utilizing the wah are emphasized through EQ processing, creating a memorable hook.

Live and studio approaches differ. Live, the focus is on sound pressure and impact, emphasizing midrange to fill the venue. In the studio, the texture of distortion is finely adjusted for each song, sometimes incorporating the POG2 or Vivie spatial pedals to add depth.

Specific song tendencies include:

• “MONSTER DANCE”: Primarily distortion-focused, emphasizing midrange to enhance riff clarity.
• “Ouka Ranman”: Utilizes wah and delay for a vibrant, spatial guitar sound.
• “Tasogare Symphony”: Prioritizes clean tones and reverb, expressing the song’s lyrical quality through arpeggios.
• “Bye Bye I Miss You”: Uses the front pickup for warm rhythms that support the vocals.

Notably, the settings for rhythm guitar are significantly influenced by the PA system. The PA engineer likely organizes the lows while ensuring the guitar tightens the band sound in the midrange. This exemplifies the guitar’s role in a dance rock band.

Overall, Ono’s sound design incorporates “midrange EQ settings,” “warmth from the front pickup,” and “minimal effects,” achieving depth and impact through careful mixing and PA collaboration.

Affordable Alternatives to Recreate the Tone

Takamasa Ono’s sound is primarily built around the combination of the Gibson SG and Marshall DSL50, but it is possible for beginners or those on a budget to approximate this tone with relatively affordable gear. Here, we introduce gear options priced around $100 to $500 that offer high replicability and ease of acquisition.

For guitars, while the original Gibson SG is expensive, the Epiphone “Epiphone SG Standard” and “Epiphone SG Special” are available at reasonable prices. They share the midrange push and lightweight body, and modifications such as replacing the nut and saddle can bring them closer to the original’s sound.

For amplifiers, the “Marshall DSL20CR” and “Marshall MG series” are recommended. The DSL20CR, in particular, maintains the DSL lineage while being low-powered, and its EQ characteristics emphasize midrange, making it a close match to Ono’s sound. The MG series is also sufficient for practice, capable of producing high-quality sounds for home recording or small gigs.

In terms of effects, staples like the “BOSS DD-3 (Delay),” “BOSS TU-3 (Tuner),” and “Jim Dunlop Cry Baby” can be acquired for around $100 to $200. These models are ones Ono actually uses, and beginners can create a solid foundation for a KEYTALK-like sound by incorporating them directly. Adding distortion options like the “Ibanez TS-9” or “BOSS SD-1” will enhance compatibility with Marshall amps and replicate the midrange drive.

For power supplies, the “CAJ AC/DC Station” or “One Control Isolated Power Supply” are relatively inexpensive options that ensure stable power supply. This investment is essential for reducing noise and maintaining clarity during live performances or studio practices.

Additionally, using modeling amps or multi-effects units is a viable approach. For example, the “ZOOM G3Xn” or “BOSS GT-1” can be purchased for around $300 to $400, featuring Marshall amp modeling and a variety of effects, making them practical for recreating Ono’s sound. Recent advancements in multi-effects technology allow for versatility in home practice and live settings.

In summary, the key points for recreating Takamasa Ono’s sound affordably are to focus on “SG-type guitars,” “Marshall-style amps,” and “standard wah and delay effects.” By centering on these three elements, even beginners can achieve a sound that has the midrange core and supports the entire band.

Summary and Conclusion

Takamasa Ono’s sound design can be succinctly described as “SG sound dominating the midrange.” He owns multiple Gibson SGs, with the 2002 SG Standard being his unwavering main instrument. His commitment to modifying pickups, nuts, and other components showcases his dedication to achieving his ideal sound, making it a truly “cultivated” instrument. This consistency forms the backbone of the band’s sonic identity.

His amplifier setup centers around a modified Marshall DSL50, paired with a HIWATT cabinet. The EQ settings emphasize the midrange while suppressing high frequencies, achieving a powerful yet non-intrusive sound that engages the audience. This balance is ideal for the dance rock genre, allowing for rhythmic precision without overwhelming the mix, a result of meticulous collaboration with the PA engineer.

The effects board is simple, revolving around the Cry Baby and DD-3, reflecting Ono’s philosophy of prioritizing band cohesion over complex tonal changes. By adding effects only when necessary, he successfully enhances the groove of the songs without detracting from their essence. Furthermore, his willingness to incorporate modern modeling gear like the Quad Cortex indicates a flexible approach to evolving his sound.

At the core of Ono’s sound design lies the “supporting core of rhythm” and “expressive simplicity.” Rather than flashy sound changes, his focus is on creating an atmosphere that encourages dancing. This foundation is rooted in his long-standing affection for the SG and the experience gained from his time in live venues.

For players aspiring to replicate his sound, it’s essential to focus on the three pillars: “midrange-emphasized EQ,” “warmth from the front pickup,” and “minimal effects.” Beginners can achieve a similar sound by acquiring an Epiphone SG, DSL20CR, and BOSS’s staple effects.

Ultimately, Takamasa Ono’s sound is not merely a collection of gear but a representation of his playing style and sound design philosophy, embodying the essence of KEYTALK. Emulating his sound goes beyond mere imitation; it allows players to experience the role of guitar in supporting danceable rock. Integrating this perspective into one’s own sound design journey will undoubtedly provide new insights.