[Takashi Gima] – How to Recreate the MONGOL800 Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Takashi Gima, the guitarist of MONGOL800, has been the backbone of the band for over two decades, armed with his straightforward ensemble playing and an outstanding sense of groove.

His guitar sound has evolved from the raw, DIY-driven rock tones of the early years into today’s tighter and more emotionally nuanced ensemble-focused style. Especially in early 2000s songs such as “Chiisana Koi no Uta” (“A Small Love Song”) and “Anata ni” (“To You”), his direct, crunchy tones became symbolic of youth punk and have been imitated by countless guitarists.

In recent years, Gima’s playing has expanded to include mellow clean backing and even tricky noise-driven phrases. Particularly in live arrangements, he often emphasizes minimal cutting parts and wide reverb treatments, showing his focus on ensemble balance over flashy solo playing.

His gear has also shifted over time: from his early Fender USA Stratocaster and Bacchus Strat-type models to his current mainstay, the Sadowsky Metroline R1h.

He also incorporates high-end gear such as the CastomaudioJapan 3+SE 3ch preamp, a piece favored by tone connoisseurs. While MONGOL800’s sound is often perceived as “simple rock,” Gima’s tone approach is in fact highly strategic—focused on space, subtle dynamics, and the overall balance of the band mix.

In this series, we will thoroughly break down Takashi Gima’s guitar gear, the characteristics of his sound, and specific tone-setting techniques, section by section. From beginners to advanced players, this article is designed to serve as a detailed guide for anyone aiming to recreate the sound of Gima and MONGOL800.

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List of Amplifiers and Features [MONGOL800・Takashi Gima]

Takashi Gima’s amplifier setup for MONGOL800 is not the typical straightforward stack amps you often see in punk or melodic hardcore. Instead, he has built a more high-end system consisting of a preamp, power amp, and speaker cabinet combined together.

For his preamp, Gima uses the CastomaudioJapan 3+SE 3ch. This unit is designed in the lineage of the classic Soldano SLO-100, featuring a three-channel configuration that allows instant switching between clean, crunch, and lead tones. For a guitarist like Gima, who frequently shifts between backing and lead parts within songs, this flexibility makes it a highly practical choice.

For the power amp, he employs the VHT 2902. This tube power amp is well respected for its high headroom and detailed clarity. Even under high-gain conditions, the low end remains tight and doesn’t collapse, ensuring reliable performance in live settings with loud volumes.

The speaker cabinet of choice is the Mesa Boogie Lone Star Black Designs 4×12. While it has a classic black tolex look, its tonal character emphasizes a thick midrange presence, making it perfect for supporting MONGOL800’s strong rhythm guitar sound on stage.

Although not confirmed by direct evidence, it is also possible that Gima has used clean-style amps such as the Roland JC-120 or Fender Twin Reverb as secondary or practice gear. The sharp definition and natural ambience of his clean tones suggest that these amps could have been part of his setup at times.

Overall, his amplifier configuration shows a clear preference for stability and usability in live performance rather than flashy or overly complex rigs. Even in situations where guitar tones could easily get buried in the mix, his amps are tuned to cut through and maintain balance within the ensemble. This reflects a strong sense of reliability and professionalism in his live sound approach.

Gear Name	Brand	Amazon Lowest Price URL	Band	Guitarist	Notes
3+SE 3ch	CastomaudioJapan	Amazon Link	MONGOL800	Takashi Gima	Used live and in studio. Three channels allow highly flexible tone shaping.
VHT 2902	VHT	Amazon Link	MONGOL800	Takashi Gima	Tube power amp with high headroom and stable output, suited for live use.
Lone Star Black Designs 4×12	Mesa Boogie	Amazon Link	MONGOL800	Takashi Gima	Features thick midrange and strong projection, ideal for live performance.

Types of Guitars Used and Features [MONGOL800・Takashi Gima]

Takashi Gima’s guitar history has evolved alongside the musical growth of MONGOL800, changing with the times and adapting to the band’s shifting sound.

In the early years, his main instrument was a Fender USA Stratocaster. The straightforward single-coil tone matched perfectly with the punk-driven sound of their debut album MESSAGE and the iconic anthem “Chiisana Koi no Uta.” This guitar emphasized a raw yet sincere energy that highlighted the youthful edge of MONGOL800’s music.

As a backup during that period, he often used the Bacchus BST-370 Stratocaster-type. Known for its excellent cost performance, this guitar combined easy handling with clear note definition. It was a practical choice for avoiding troubles during live shows and maintaining reliability in outdoor festival settings.

In recent years, his main guitar has shifted to the Sadowsky Metroline R1h 3 Tone Burst. Coming from a high-end New York brand, this model offers premium craftsmanship but is still designed with player practicality in mind. The R1h is notable for its humbucker in the neck position, which provides a fatter and warmer tone. Gima frequently features this guitar in live videos and social media posts, leaving little doubt that it has become his current workhorse.

As secondary guitars, he continues to use Stratocaster models, along with the Fender Telecaster, which is particularly effective for sharp cutting tones. The Telecaster is often brought out for mid-tempo songs or arrangements that incorporate Okinawan scales, where clarity and attack are essential.

Overall, Gima’s guitar choices reflect a balance between musical flexibility and on-stage reliability. He selects his instruments based on the performance context, ensuring that the guitar serves the needs of both the song and the live ensemble. His gear history shows not only brand loyalty but also an adaptive mindset toward achieving the most suitable tone for each musical situation.

Gear Name	Brand	Amazon Lowest Price URL	Band	Guitarist	Type of Guitar	Notes
USA Stratocaster	Fender	Amazon Link	MONGOL800	Takashi Gima	Stratocaster	Main guitar during the early to mid period. Widely used on signature songs.
BST-370	Bacchus	Amazon Link	MONGOL800	Takashi Gima	Strat-type	Early backup guitar. Cost-effective and reliable for live use.
Metroline R1h 3 Tone Burst	Sadowsky	Amazon Link	MONGOL800	Takashi Gima	Hybrid Strat	His current main guitar. Delivers thick, warm tones for modern arrangements.
Stratocaster	Fender	Amazon Link	MONGOL800	Takashi Gima	Stratocaster	Still used as a secondary guitar. Adaptable to various situations.
Telecaster	Fender	Amazon Link	MONGOL800	Takashi Gima	Telecaster	Used for clean cutting and sharp attack. Adds clarity in specific songs.

Effects and Pedalboard Setup [MONGOL800・Takashi Gima]

Takashi Gima’s pedalboard setup is designed to balance durability for live use with enough flexibility to cover the tonal needs of MONGOL800. While there are few official photos or direct interviews showing his board in detail, live footage and gear review articles provide a fairly clear picture of what he relies on.

For overdrive, he is often associated with the BOSS BD-2 Blues Driver and the Ibanez TS9 Tube Screamer. The BD-2 pairs naturally with Fender-style amps and his Stratocaster guitars, producing an organic crunch tone often heard in live performances. The TS9, with its strong midrange focus, can also be used more aggressively, leaning toward distortion when pushed.

Some sources also suggest the use of a Proco RAT or similar pedal, given the gritty distortion tones heard in songs such as “Anata ni” and “Don’t Worry Be Happy.” These tones feature a raw edge that the RAT is known for, making it a likely candidate for his board at different times.

For spatial effects, Gima seems to favor BOSS DD-7 Digital Delay and BOSS RV-6 Reverb. In a three-piece band like MONGOL800, these pedals are crucial for adding depth and width to the overall sound. The delay is often used with subtle settings, providing short echoes that support rhythm rather than dominate the mix, while the reverb adds atmospheric space to clean and chord-based passages.

As for modulation, the BOSS CH-1 Chorus and light tremolo effects are reported to be part of his toolkit, especially in mid-to-late era songs where the guitar carries much of the ambient mood of the track. These pedals help add texture and dimension to otherwise simple chord progressions.

A MXR Dyna Comp Compressor is also a likely part of his rig. This pedal smooths out picking dynamics, ensuring consistent volume during arpeggios and keeping cutting parts sharp and steady. Instead of pushing sustain, Gima’s use of compression seems more focused on maintaining stability and articulation.

Gear Name	Brand	Amazon Lowest Price URL	Band	Guitarist	Type of Effect	Notes
BD-2 Blues Driver	BOSS	Amazon Link	MONGOL800	Takashi Gima	Overdrive	Pairs well with Fender-style amps. Suited for crunchy tones in early songs.
TS9	Ibanez	Amazon Link	MONGOL800	Takashi Gima	Overdrive	Strong midrange, can also be used in distortion-like settings.
RAT2	Proco	Amazon Link	MONGOL800	Takashi Gima	Distortion	Likely used for rougher tones in songs like “Anata ni.”
DD-7	BOSS	Amazon Link	MONGOL800	Takashi Gima	Delay	A classic digital delay, often used with short slapback settings in live shows.
RV-6	BOSS	Amazon Link	MONGOL800	Takashi Gima	Reverb	Adds depth and ambient space to clean and chord passages.
CH-1	BOSS	Amazon Link	MONGOL800	Takashi Gima	Chorus	Enhances arpeggios with added depth and three-dimensionality.
Dyna Comp	MXR	Amazon Link	MONGOL800	Takashi Gima	Compressor	Used to stabilize picking attack and smooth out dynamics in cutting parts.

In summary, Gima’s pedalboard avoids excessive effects, instead focusing on only what is necessary to create the right sound. This minimal yet precise setup reflects a philosophy of crafting tones that support the band rather than overshadow it.

While there is no confirmed evidence of loopers or advanced switching systems, it is likely that he uses simple footswitches to toggle preamp channels during live shows. His preference for reliable BOSS pedals ensures durability on national tours and makes quick replacements possible in case of unexpected gear trouble. This demonstrates his emphasis on practical “on-the-road” reliability.

Tone Settings, EQ, and Mixing Approaches [MONGOL800・Takashi Gima]

Takashi Gima’s approach to tone is not just about choosing the right gear—it is about fine-tuning his sound to act as a “balancer” within the overall atmosphere of MONGOL800’s songs. In a three-piece band, the guitar has an enormous responsibility: it must coexist with the vocals, resonate with the bass, and stay rhythmically locked with the drums. This requires careful attention to EQ, channel selection, and mix positioning.

One of the most notable aspects of Gima’s sound is his EQ shaping and frequency focus. His tones typically feature restrained low-end while emphasizing the mid to high-mid frequencies. This ensures that the guitar cuts through the mix without clashing with the bass or overwhelming the vocals.

A likely example of his live EQ approach could look like this:

• Low: around 8–9 o’clock (kept tight to leave room for bass frequencies)
• Mid: around 12–2 o’clock (emphasized for presence in the mix)
• High: around 1 o’clock (adjusted to achieve clarity and cut)

Channel selection on the CastomaudioJapan 3+SE also plays a major role. Gima appears to use CH2 (crunch) for rhythm parts and CH3 (higher gain) for more emotional songs such as “Anata ni.” This allows him to shift seamlessly between warm backing tones and more aggressive lead passages without drastically changing his rig.

When it comes to delay, the BOSS DD-7 is often set for short, slapback-like echoes. Rather than syncing delay times to tempo, he uses subtle repeats that blend naturally into the performance. This reflects his philosophy of “leaving space in the mix” rather than filling every frequency.

His use of the MXR Dyna Comp compressor also reflects this practical mindset. Instead of aiming for exaggerated sustain, he uses compression to control dynamics, keeping arpeggios balanced and chord stabs consistent in volume.

From a mixing and PA perspective, Gima’s guitar is usually positioned slightly center-focused rather than fully panned left or right. This decision strengthens the connection between his guitar and the vocals, ensuring that both elements occupy the core of MONGOL800’s sound. For clean passages, a touch of reverb and delay helps create an atmosphere of spaciousness, supporting the minimal arrangement typical of a three-piece band.

In the studio, it is possible that he combines mic’d amp tones with line recording or reamping. This method would allow engineers to capture both the authenticity of his power amp’s sound and the flexibility of post-production adjustments.

Differences between studio and live tones are also notable. In live settings, Gima tends to pull back the mids slightly and boost the highs, resulting in a more “cut-through” tone that prevents his guitar from getting buried in a loud stage mix. Studio recordings, on the other hand, may feature a more balanced EQ curve to blend better with the carefully layered arrangements.

Ultimately, Takashi Gima’s tone is about filling only the necessary sonic space rather than dominating the mix. Every choice—from EQ shaping to effect usage, from amp channel switching to mixing decisions—is carefully constructed to serve the song and the ensemble as a whole. This subtle yet intentional approach ensures that MONGOL800’s guitar always enhances the band’s identity without overwhelming it.

Affordable Alternatives to Recreate the Tone [MONGOL800・Takashi Gima]

For guitarists who want to approximate Takashi Gima’s sound without investing in high-end professional gear, there are several affordable and beginner-friendly options available. These alternatives capture the essence of his tone—bright, mid-focused crunch with clean versatility—at a fraction of the cost. While they may not replicate his exact rig, they provide a highly accessible entry point into building a MONGOL800-inspired setup.

One of the most practical starting points is the Fender Squier Stratocaster. This budget-friendly model retains the classic Strat single-coil sound that Gima relied on during MONGOL800’s early years. The bright, raw tone makes it easy to reproduce the energy of tracks like “Chiisana Koi no Uta.” Pairing this guitar with simple overdrive pedals can already bring players surprisingly close to his early sound.

For distortion, the BOSS DS-1 is a timeless and affordable pedal that suits punk and alternative rock well. Its straightforward character makes it versatile for both crunchy rhythm and biting lead tones. While Gima’s main overdrives may differ, the DS-1 remains an excellent choice for players who want reliable gain on a budget.

To replicate his use of delay, the Behringer VD400 offers a cost-effective analog-style echo. Though simpler than the DD-7, its short delay settings can mimic Gima’s slapback-like approach, adding depth without overpowering the mix.

For chorus, the Behringer UC200 provides warm modulation that can thicken clean tones and enhance arpeggios. In a three-piece band context, adding this subtle layer of depth can make a significant difference, much like how Gima uses modulation effects to expand the atmosphere of MONGOL800’s songs.

These choices not only keep costs manageable but also reflect the philosophy behind Gima’s sound: using gear practically and tastefully to enhance the band as a whole. For beginners, they also offer versatility across many genres beyond punk, making them smart long-term investments.

Type	Gear Name	Brand	Amazon Lowest Price URL	Band	Guitarist	Notes
Guitar	Squier Stratocaster	Fender	Amazon Link	MONGOL800	Takashi Gima	Affordable entry-level Strat. Delivers tones close to Gima’s early era sound.
Distortion	DS-1	BOSS	Amazon Link	MONGOL800	Takashi Gima	A classic distortion pedal. Great for punk-style rhythm and sharp leads.
Delay	VD400	Behringer	Amazon Link	MONGOL800	Takashi Gima	Analog-style delay. Can replicate short echo settings similar to Gima’s use of the DD-7.
Chorus	UC200	Behringer	Amazon Link	MONGOL800	Takashi Gima	Budget chorus pedal. Adds warmth and depth to clean tones, useful in small ensembles.

Summary and Conclusion [MONGOL800・Takashi Gima]

If Takashi Gima’s guitar sound could be described in one phrase, it would be: “a modest yet undeniable presence.” His tone is never overly flashy, but it always exists firmly within the band’s sonic landscape. This understated quality highlights his craftsman-like approach to playing guitar within MONGOL800.

At the heart of his sound is not high-gain aggression, but a focus on clear, midrange-driven crunch-to-clean tones. By combining Fender-style single coils with high-quality preamp and power amp units, plus only a minimal selection of effects, Gima embodies the philosophy of using only what is necessary. This simplicity is what makes his sound reliable and powerful within the context of a three-piece band.

His choice of guitars also shows his flexibility. Rather than sticking only to a Stratocaster, he freely employs Telecasters and modern Sadowsky models to find the “best fit” for each song. For him, guitars and pedals are not tools of self-indulgence but instruments to serve the music, reflecting his pragmatic and professional mindset.

For young guitarists trying to replicate his style, the lesson is not just to copy the sound but to understand the intention. Gima’s playing is about placing the right note in the right space, not about adding unnecessary layers. His role in MONGOL800 has always been to reinforce the band’s raw message and keep the ensemble cohesive.

This is why his guitar may sound deceptively simple when isolated, but when heard within the full band, its presence becomes undeniable. Gima exemplifies the art of “subtraction” and the ability to read the musical space—skills that make him a truly unique guitarist.

Through this article, we hope players aiming for Gima’s sound realize that reproducing his style is less about chasing boutique gear and more about adopting his ensemble-first mindset. The essence of his sound lies in subtlety, space, and balance.

As MONGOL800 continues to evolve, so too will Gima’s guitar tones. His ability to adapt while remaining faithful to the band’s core identity ensures that listeners will always find fresh inspiration in his sound.