[Takayuki Ichinose] How to Recreate the MOSHIMO Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist of MOSHIMO, Takayuki Ichinose, is a pivotal force behind the band’s emotional and powerful rock sound. His playing style beautifully balances melody and momentum, particularly evident in songs like “Aoi Cider” and “Bakashi Ai no Uta,” where his riffs and solos showcase a unique distortion and delicate spatial processing.

At the core of Ichinose’s sound design is his approach to utilizing the “natural distortion” of amplifiers. By enhancing the guitar’s acoustic resonance, he crafts a sound that merges sweetness with rawness, leaving a strong impression on the audience. His beloved 2006 Gibson Les Paul Standard, a long-time companion, produces a one-of-a-kind tone that has accompanied him throughout his musical journey.

In live performances and recordings, he skillfully employs a variety of guitars, including Fender Stratocasters and Telecasters (borrowed), as well as Thinline and ES-335 models, adapting to each song’s requirements to achieve the optimal sound. His choice of amplifiers, such as the Hughes & Kettner Duo Tone and Diezel Herbert Mk1, along with the Roland JC-120 for clean tones, allows for a wide range of expression.

Ichinose’s sound is completed through the use of long-time favorites like the XOTIC BB-Plus overdrive and the Deluxe Memory Man for spatial effects. These gear selections are not merely about sound reproduction; they serve as tools to convey the emotional essence of the music to the audience.

He truly embodies the fusion of “distortion and space,” making him an indispensable part of MOSHIMO’s music.

▶ Search official YouTube videos of MOSHIMO

List of Amplifiers and Features

The amplifiers used by Takayuki Ichinose are a crucial element that shapes his sound. MOSHIMO’s music demands that the guitar resonates powerfully yet delicately alongside the emotional vocal lines. Therefore, Ichinose places great importance on the inherent distortion of the amplifier, focusing on the texture derived from the amp rather than relying solely on pedal drives.

The main amplifiers discussed are the Hughes & Kettner Duo Tone and the Diezel Herbert Mk1. Both are high-gain models capable of delivering thick rhythm guitar tones and sustaining lead tones during solos. The Diezel Herbert, in particular, is favored by metal and loud artists for its clear and punchy distortion, which Ichinose likely utilizes for its reliability during live performances.

Additionally, the Bogner Alchemist has also been noted in his setup, known for its excellent balance between clean and drive tones, suggesting that he uses it selectively based on the song’s style. For clean tones, he employs the classic Roland JC-120 (Jazz Chorus), whose bright and shimmering clean sound suits refreshing phrases like those in “Aoi Cider,” creating a clear contrast with the distorted amps.

In recent years, he has been recorded using the Marshall JMP-1 as a preamp and the Marshall EL34 100/100 as a stereo power amp. This setup indicates a rack system approach, likely aimed at achieving greater control and stability.

Overall, Ichinose’s choice of amplifiers emphasizes “stability during live performances,” “expressiveness of distortion,” and “compatibility with spatial effects.” In studio recordings, he likely alternates between the Diezel and Bogner, while using the Roland JC-120 and Hughes & Kettner for live settings, forming the backbone of the MOSHIMO sound. Thus, the sound obtained through these amplifiers can be seen as the foundation of his sound design.

Types of Guitars Used and Features

One of Takayuki Ichinose’s long-time favorites is the 2006 Gibson Les Paul Standard. He purchased it during high school and continues to use it as his main guitar, making it a true “partner.” Despite experiencing three neck breaks, it has been repaired and has accompanied him throughout his musical life. To enhance tuning stability, he has replaced the tuners with Kluson models, evolving it into a practical instrument.

The sound of this Les Paul is characterized by a thick mid-low range and extended sustain, significantly contributing to the powerful riffs and emotional solos in MOSHIMO’s songs. This guitar frequently appears in live footage and interviews, serving as the core of the MOSHIMO sound.

Additionally, he uses a variety of guitars depending on the situation, including the Fender Stratocaster, Fender Thinline, and the Gibson ES-335 (rented). These guitars add different lightness and attack to the music, appearing in solos or specific songs.

Notably, he borrowed a Fender Telecaster from KEYTALK’s Tomoyasu Teranaka for the outro of “Aoi Cider.” The Telecaster’s sharp cutting and bright sound created a refreshing atmosphere in this song, making for an impressive moment during live performances.

Overall, Ichinose’s guitar selection emphasizes “providing the optimal character for each song.” By centering on the Les Paul and incorporating Fender and ES-335 models as needed, he significantly broadens the musical range. This choice balances power and delicacy in live performances, supporting the expressive capabilities of MOSHIMO.

Effects and Pedalboard Setup

Takayuki Ichinose’s pedalboard is a vital component supporting the wide range of expressions in MOSHIMO’s music. While his core sound design revolves around “amp-derived distortion,” he skillfully utilizes effects to highlight the nuances of each song. His distinctive use of overdrive and spatial effects adds depth and dimension to the overall sound.

A standout on his board is the XOTIC BB-Plus, a booster and overdrive he has relied on for over ten years. It enhances the amp’s distortion, providing additional thickness and boosting volume during solos. The natural compression of the pedal works seamlessly with the Les Paul, achieving a solid tone.

For distortion pedals, he has also used the OKKO Dominator MKII Red and Sunfish Audio Skyscraper. These pedals offer a wide gain range, contributing to the expression of each song. By combining these with amp-driven distortion, he can achieve everything from clear lead tones to aggressive rhythms.

In terms of spatial effects, he primarily employs the Electro-Harmonix Deluxe Memory Man, utilizing delay and reverb. Particularly in songs like “Bakashi Ai no Uta” and “Danshari,” the Memory Man’s deep modulation delay creates a dreamy atmosphere. Additionally, the BOSS DD-20 serves as a multifunctional delay, ensuring stable repeats during live performances, while the Animals Pedal Bath Time Reverb adds delicate echoes, expanding the overall depth of the tracks.

The combination of these effects allows for precise control over the dynamics of distortion and spatial expression. His setup is simple yet meticulously curated, reflecting his commitment to sound design. It serves as a significant tool for expressing MOSHIMO’s emotional world in both live and studio settings.

Tone Settings, EQ, and Mixing Approaches

One notable aspect of Takayuki Ichinose’s sound design is his meticulous control over EQ and spatial effects while leveraging the “natural distortion” of amplifiers. MOSHIMO’s music is catchy and pop-oriented, yet it also possesses the thickness and loudness characteristic of rock. This balance is supported by Ichinose’s thorough attention to his settings.

The foundation of his distortion primarily revolves around the gain channel of the amplifier. His choice of high-gain amps like the Diezel Herbert and Hughes & Kettner Duo Tone is aimed at achieving a naturally thick distortion. By pushing the XOTIC BB-Plus, he enhances sustain and volume during solos. Rather than altering the sound solely through pedals, he focuses on “driving the amp,” which is a distinctive feature of his approach.

In terms of EQ, it is believed that he favors a midrange-focused setting. By preserving the thickness of the Les Paul Standard and ensuring it doesn’t clash with vocals and bass in the mix, he tightens the lows slightly and emphasizes the mids for presence. The treble is likely kept somewhat subdued to avoid harshness.

For clean tones, he utilizes the Roland JC-120, which provides depth and clarity. His combination of spatial effects is very delicate; the Electro-Harmonix Deluxe Memory Man is used for a modulated delay that adds depth to ballads like “Bakashi Ai no Uta.” Furthermore, the BOSS DD-20 adds tempo-synced delays, enhancing the overall rhythm of the band.

Reverb is primarily centered around the Animals Pedal Bath Time Reverb, with depth adjusted according to the song. For upbeat tracks, he sets shorter decay times, while longer decays are used for emotional pieces, creating dramatic resonance. The combination of reverb and delay allows the guitar to play a significant role in shaping the overall atmosphere of the song.

In mixing, it is highly likely that he employs double-tracking to spread the guitar across the stereo field. In live footage and studio recordings, the thick rhythm guitar fills both channels, with vocals and lead guitar positioned centrally. This setup allows listeners to experience both the edge and thickness of the guitar sound.

During solo sections, he likely boosts volume and distortion through a boost pedal or channel switching, while slightly emphasizing high-mids on the EQ. This ensures that solos stand out prominently within the band’s overall sound.

In summary, Ichinose’s settings are built around three pillars: “anchoring on the amp while carefully adjusting the midrange with EQ,” “adding depth to songs through spatial effects,” and “boosting and emphasizing high-mids during solos.” This results in a powerful yet delicate guitar sound characteristic of MOSHIMO.

Affordable Alternatives to Recreate the Tone

Takayuki Ichinose’s sound design is centered around professional-grade gear such as high-gain amplifiers and the XOTIC BB-Plus. However, it is possible for beginners and intermediate players to approximate his sound with relatively affordable equipment. Here, we introduce models that can be obtained for approximately $100 to $500.

For distortion effects, the BOSS SD-1 Super OverDrive and BD-2 Blues Driver are budget-friendly options. If you’re aiming for a natural overdrive similar to the XOTIC BB-Plus, the BD-2 is particularly recommended, as it can be used to boost the amp’s distortion. This allows for a relatively easy experience of the “pushing the amp” sensation found in MOSHIMO’s music.

As alternatives for distortion, the BOSS DS-1 and MXR Distortion+ are viable options. While they may not reach the high-gain levels of the Diezel or OKKO Dominator MKII, they can handle everything from crunch to distortion, making them beginner-friendly.

For spatial effects, the BOSS DD-8 is a multifunctional and relatively affordable option, serving as an excellent alternative to the DD-20. With a variety of delay times and modes, it is suitable for both live and studio use. For reverb, the TC Electronic Hall of Fame Mini is a convenient substitute for the Bath Time Reverb, providing deep echoes in a compact form.

Regarding amplifiers, instead of the expensive Diezel or Hughes & Kettner, the BOSS Katana series and Blackstar HT-1R are practical choices. These models can handle everything from home practice to small gigs, making it easier to replicate Ichinose’s style of focusing on amp-driven distortion.

In summary, by assembling “a booster-like overdrive,” “a multifunctional delay,” “a simple reverb,” and “user-friendly transistor or small tube amps,” you can get quite close to Ichinose’s sound. While the gear quality may differ, the essence of sound design lies in “amp-driven distortion combined with spatial effects,” allowing you to achieve a MOSHIMO-like sound with careful adjustments.

Summary and Conclusion

Reflecting on Takayuki Ichinose’s sound design, its essence lies in the “meticulous use of amp-derived distortion and spatial effects.” By leveraging the thick and core tone of his main guitar, the 2006 Gibson Les Paul Standard, he extracts power using high-gain amplifiers like the Diezel Herbert and Hughes & Kettner Duo Tone. Simultaneously, he masterfully employs the Roland JC-120 for transparent clean tones, skillfully adapting the expression for each song.

Regarding effects, he has a powerful lineup centered around the XOTIC BB-Plus for distortion enhancement, the Deluxe Memory Man and DD-20 for delay, and the Animals Pedal Bath Time Reverb for echo effects. The use of spatial effects significantly expands the musical landscape, resulting in a high-quality sound image despite a simple pedalboard setup.

His attention to EQ and settings is crucial, as he emphasizes mids, tightens lows, and adjusts treble to avoid harshness, achieving a sound optimized for MOSHIMO’s ensemble. During solo sections, he effectively utilizes boosts and high-mid emphasis to ensure solos are clearly present within the band’s overall sound.

Readers looking to approximate Ichinose’s sound do not necessarily need to acquire identical gear. Affordable options from brands like BOSS and Blackstar can help achieve a sound that focuses on “amp-driven distortion,” “valuing midrange,” and “utilizing spatial effects appropriately.” By being mindful of these points, you can get close to the MOSHIMO sound.

In summary, Takayuki Ichinose’s sound design embodies both “passion” and “calmness.” His raw energy reflects a direct connection to the amp, while his meticulous EQ and effects work demonstrate a thoughtful design. This balance is what makes his guitar sound unique. The tones that support MOSHIMO resonate deeply with listeners, providing significant learning opportunities for guitarists.