[TAKE] How to Recreate the FLOW Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Ryota Yanagisawa] – How to Recreate the SUPER BEAVER Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

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

2025.09.122025.09.12

【Akira】How to Recreate the UVERworld Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.09.04

Introduction (Overview of Tone)

TAKE, the guitarist of FLOW, captivates fans with a guitar tone that blends power and delicacy. His sound is characterized by its versatility, capable of adapting to a wide range of styles, from energetic rock tunes to grand and emotional ballads.

Iconic tracks such as “COLORS,” “DAYS,” and “Sign” showcase his sharp Telecaster cutting tones and the warm, thick sounds produced with Les Paul and ES-335 guitars, which form the core of the FLOW sound. Additionally, he incorporates custom models like the Ibanez LA Customshop and Air Craft, contributing to a unique and distinctive sonic palette.

TAKE’s playing style embodies both rhythm guitar, which supports the band’s overall drive, and melodic lead lines, showcasing his duality as a musician. Understanding his sound requires a grasp of the “character of each guitar” and the “combination of amplifiers and effects” he employs.

Notably, the seamless switching between clean and distorted tones in anime theme songs like “DAYS” and “WORLD END” highlights a well-balanced setup that shines in both studio recordings and live performances. This aspect of TAKE’s sound design is a significant reason why many guitarists pay close attention to his approach.

This article will thoroughly explore the amplifiers, guitars, and effects used by TAKE, unveiling the secrets behind his sound design.

▶ Search official YouTube videos of FLOW

List of Amplifiers and Features

An essential element supporting TAKE’s sound is his choice of amplifiers. Based on live photos and interview information, it has been confirmed that he primarily uses Marshall amplifiers. The strong midrange and crisp sound characteristic of Marshall amps perfectly complement FLOW’s robust band sound.

In particular, for upbeat tracks like “COLORS” and “WORLD END,” the classic crunch tone of Marshall amplifiers enhances TAKE’s cutting guitar work. His settings avoid excessive distortion, allowing the bright characteristics of Stratocasters and Telecasters to shine through while achieving a solid rock sound. For songs requiring a thicker guitar tone, such as “Garden” and “Re:member,” he pairs Les Paul or ES-335 guitars to create a fatter and warmer tone.

On the other hand, it is likely that other rehearsal or backline equipment is prepared for studio recordings and large arena performances. While specific model numbers have not been disclosed, it is highly speculated that he uses models from the JCM2000 series, JCM800, or the more recent DSL series. These are all staple amplifiers for rock bands and are well-suited to achieve the “power” and “clarity” that TAKE seeks.

Moreover, his sound is not solely defined by the amplifier’s character but also by the combination with multi-effects, which allows for a wide range of tones. By adding effects such as the BOSS ME-50 to the basic Marshall tone, he constructs a system that can flexibly control everything from clean to distortion and modulation effects.

In summary, TAKE’s approach to amplifiers can be described as “flexibly adjusting settings based on the song and guitar while using Marshall as a foundation.”

Types of Guitars Used and Features

When thinking of TAKE, the first guitar that comes to mind is the PGM-made Telecaster. The pure white PGM Telecaster, which arrived at the end of 2009, symbolizes his sound, and he mentioned in his blog that it was ordered around the time of “Sign.” He later commissioned a tobacco sunburst PGM Telecaster, which utilizes the sharpness and brightness characteristic of Telecasters in many of FLOW’s songs.

Additionally, a Fender Telecaster has been confirmed to be used in tracks like “COLORS,” “Answer,” and “WORLD END.” The standard Fender model possesses a more traditional tone compared to the PGM model, playing a crucial role in supporting the band’s rhythm through cutting and chord work. He also uses a Stratocaster, particularly showcasing a clean and warm sound in the song “Arigatou.”

Conversely, Les Paul-type guitars are indispensable to TAKE’s sound. The Gibson Les Paul Standard is used in “Garden” and “Re:member,” providing a thick and sustaining sound that colors the songs. The Gibson ES-335 shines in tracks like “Ryusei,” “DAYS,” and “Fuyu no Ameoto,” delivering the sweet and deep tones characteristic of semi-hollow guitars. Through these models, TAKE skillfully switches between diverse tones for each song.

Furthermore, custom guitars from Ibanez LA Customshop and an Air Craft TAKE model (Reds & Whale) are also utilized. These are custom-made to reflect his specifications and have been confirmed in live performances and songs like “Rookie” and “WORD OF THE VOICE.” The Air Craft model, in particular, offers a unique tone with the quality expected from a domestic brand.

Live photos also show a green quilt-top double-cut model equipped with H-H pickups, which, while the model name is unknown, appears to be a custom guitar.

In this way, TAKE employs a variety of guitars, primarily focusing on Telecasters, along with Les Pauls, ES-335s, and Strats, to create the optimal sound for each song.

Effects and Pedalboard Setup

TAKE’s sound is supported not only by his guitars and amplifiers but also by his selection and use of effects. A key component is the BOSS ME-50 multi-effects unit, which was a staple model favored by many guitarists in the 2000s. Its design resembles a collection of compact effects, allowing simple knob operation for distortion, modulation, delay, and reverb, making it well-suited for live responsiveness and the diverse arrangements of FLOW’s songs.

Additionally, he employs the MIDI foot controller “Rocktron All Access,” which is used to control rack effects and multi-effects. This is a crucial item for TAKE to seamlessly switch between various tones during live performances, supporting the overall sound development of the band. Particularly for fast-paced songs like “COLORS” and “WORLD END,” the need for instant switching between clean and distorted tones highlights the effectiveness of this system.

However, there is limited confirmed information regarding specific distortion pedals or standalone compact effects. Considering the broad range of tones covered by the BOSS ME-50, it is likely that any additional effects used were kept simple, possibly limited to a tuner, booster, or noise reduction.

For effect usage, it is common to apply lighter overdrive with Telecaster-type guitars to emphasize chord separation, while stronger distortion is used with Les Paul and ES-335 guitars to create a thicker backing sound. For ballads or grand anime tie-in songs, delay and reverb are set to deeper levels to create a sense of spatial expansion.

In summary, TAKE’s effects board can be characterized as “a simple yet responsive setup centered around the BOSS ME-50” and “advanced control through the Rocktron All Access.” This allows for the flexibility needed to reproduce FLOW’s diverse musical repertoire in live settings.

Tone Settings, EQ, and Mixing Approaches

One of the key features of TAKE’s sound design is its ability to “naturally blend into the overall band sound while maintaining presence.” FLOW’s style revolves around two vocalists, with the rhythm section and guitar working together to support the song. Therefore, the guitar sound must not be overly assertive while still maintaining clarity in the midrange.

In terms of EQ, the basic balance involves boosting the midrange while cutting the low end to avoid excessive bloating and lightly elevating the high end to prevent harshness. Particularly with cutting plays using Telecasters or Strats, suppressing the 250Hz to 400Hz range while boosting 2kHz to 4kHz helps achieve a sharp tone within the ensemble. Conversely, for songs utilizing Les Paul or ES-335 guitars, a setting that emphasizes the low end to bring forth thickness and warmth is more suitable.

For amplifier channel switching, it is essential to smoothly transition between clean tones and crunch/distortion for each song. TAKE utilizes a MIDI controller like the Rocktron All Access, allowing him to manage the on/off states of delay, reverb, and overdrive collectively. This setup enables seamless transitions from the intro of “COLORS” to backing and from clean to distortion in “WORLD END.”

The distortion settings tend to be adjusted to be mid-range focused without being overly high-gain. Specifically, settings might include gain around 12 o’clock to 1 o’clock, treble near 2 o’clock, mid around 12 o’clock, and bass around 11 o’clock. This configuration allows for a clear articulation of chords and nuances in riffs without excessive distortion.

Spatial effects also show thoughtful adjustments. For ballads or grand anime tie-in songs, setting the delay around 400ms and applying medium to deep reverb creates a sense of depth and expansion. In contrast, for upbeat tracks, a lighter reverb is used to maintain a tight and cutting tone. This switching is key to effectively conveying the song’s atmosphere to listeners.

In recordings, EQ processing and compression by the engineer are also added. TAKE’s guitar often employs double tracking and stereo panning to create a wider sound. Particularly in “Sign” and “DAYS,” recording with slightly different distortion and EQ settings on the left and right guitars forms a rich sound.

In live PA settings, adjustments are likely made to emphasize the 2kHz to 3kHz range to ensure the guitar does not get buried under drums and vocals while keeping frequencies above 5kHz from becoming excessive. Such mixing strategies contribute to maintaining TAKE’s guitar presence in both studio recordings and live performances.

Overall, TAKE’s sound design is centered around “EQ that leverages the characteristics of each guitar,” “classic rock tones from Marshall amps,” “seamless switching through multi-effects and MIDI control,” and “midrange emphasis in mixing.”

Affordable Alternatives to Recreate the Tone

To fully replicate TAKE’s sound, one would need custom Telecasters from PGM, original models from Air Craft, and full-sized Gibson equipment, which may not be realistic for beginners or intermediate players. Therefore, an effective approach to get closer to his sound is to combine “commercial model alternative guitars,” “affordable amplifiers,” and “user-friendly multi-effects.”

Starting with guitars, the Telecaster type, which is synonymous with TAKE, is essential. The Fender Player Telecaster can be purchased for under $1,000, featuring bright attack and clarity. While simpler than the PGM Telecaster, with proper amplifier and EQ adjustments, it can closely approximate the desired tone. For a more budget-friendly option, the Squier Classic Vibe Telecaster is also a viable choice.

For amplifiers, the Marshall DSL series is recommended. Designed to emulate the JCM series, it easily creates a midrange-forward rock sound, making it simpler to replicate TAKE’s rhythm guitar and cutting tones. Many combo types are available for under $1,000, suitable for home practice and small gigs.

Regarding effects, the best choice is the “BOSS ME-80,” which is the successor to the BOSS ME-50 that TAKE actually used. It covers a wide range of effects from distortion to spatial effects in one unit, with a simple UI that is easy to use live. If a lower budget is needed, entry-level models like the “Zoom G3Xn” can still achieve a similar sound.

For those looking to refine their tone further, adding the BOSS SD-1 overdrive can enhance the cutting clarity of Telecaster-type guitars, while distortion pedals like the BOSS DS-1 or BOSS OD-3 can help create the thickness associated with Les Paul types. Adding a delay pedal like the BOSS DD-8 can also help recreate the grand sound typical of anime tie-in songs.

By combining these elements, beginners can relatively affordably recreate TAKE’s tones. The key is to “base the setup around a Telecaster while simplifying sound design with a Marshall-type amp and multi-effects.” One can achieve a powerful FLOW-like sound without necessarily investing in expensive gear.

Summary and Conclusion

Reflecting on TAKE’s sound design, its essence lies in the “flexibility to maximize the song’s atmosphere.” His sound is not merely rock guitar; it plays a crucial role in supporting the band ensemble centered around two vocalists. The sharp cutting tones from his Telecaster, the thick and warm backing from his Les Paul and ES-335, and the soft clean tones from his Strat showcase the diverse expressions he brings to each song.

While using Marshall as a foundation, his simple EQ balance and controlled distortion achieve both “clarity” and “harmony with the entire band.” The combination of the BOSS ME-50 multi-effects and the Rocktron All Access MIDI controller enables a system that allows for instant tone switching, particularly effective for anime theme songs and fast-paced tracks. This setup is what allows him to express the studio recording’s quality in live performances.

Moreover, the foundation of his sound design is a philosophy of “midrange emphasis.” By not excessively boosting low or high frequencies, he creates a balanced tone centered around the midrange, ensuring that the guitar does not get buried in the overall band sound while remaining pleasant to the ear. This approach aligns well with the engineer’s mixing processes and significantly contributes to the “power” and “clarity” that characterize FLOW’s music.

For beginners aiming to replicate TAKE’s sound, it is unnecessary to acquire all of his gear. By focusing on Telecaster-type guitars, Marshall-type amplifiers, and BOSS ME series multi-effects, one can sufficiently recreate the FLOW vibe. The key lies not in the gear itself but in understanding “which frequencies to emphasize and how to use effects effectively.”

In summary, TAKE’s sound design revolves around “the sense of identifying the optimal solution for each song” and “the simple and efficient use of gear.” Therefore, if you wish to emulate his sound, it is best to explore EQ and effect balances with your equipment, gradually making adjustments. Rather than merely acquiring the same gear, focusing on the “harmony with the entire band” and “clear tones that reach the listener” is the most critical aspect.