[Takuto Akizuki] How to Recreate the Kankaku Pierrot Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takuto Akizuki, the guitarist of Kankaku Pierrot, plays a crucial role in shaping the band’s dark yet humorous soundscape. His guitar tones range from straightforward rock riffs to ambient, expansive clean tones, supporting the band’s identity in both live performances and recordings.

Akizuki’s playing style is characterized by sharp, cutting riffs and emotional chord work. Iconic songs like “Haikei, Itsuka no Kimi e” feature straightforward guitar riffs, while “A-Han!!” showcases a sense of urgency with its cutting style. By utilizing Jazzmaster-style guitars and semi-hollow models, he alters the tonal expression for each song, creating a three-dimensional soundscape.

The music of Kankaku Pierrot often reflects influences from alternative and UK rock, with Akizuki expressing these elements through his choice of guitars and the drive of his amplifiers. Particularly in live settings, he often overwhelms the audience with a powerful sound delivered through Marshall stacks, symbolizing the band’s “aggressive stance” with his guitar tones.

In summary, Akizuki’s sound design can be distilled into three pillars: “a diverse selection of guitars,” “a robust rock sound driven by amplifiers,” and “a wide range of tonal expressions that change with the context.” For listeners wanting to replicate Kankaku Pierrot’s music, understanding the types of guitars and amplifiers used is essential.

▶ Search official YouTube videos of Kankaku Pierrot

List of Amplifiers and Features

Takuto Akizuki (Kankaku Pierrot) is known to use Marshall stacks (head + cabinet) during live performances, as confirmed by stage photos and reports from insiders. Although specific model names have not been disclosed, it is highly likely that he uses models from the JCM800 series, DSL series, or possibly the more recent JVM series.

Marshall amplifiers have been the backbone of British rock since the 1980s, and their powerful midrange sound helps push Akizuki’s guitar to the forefront. Kankaku Pierrot’s music requires a guitar presence that stands out without getting lost in the band’s overall groove, and Marshall amps are ideal for this, capable of handling everything from crunch to high gain.

Moreover, the ability to switch between clean and crunch tones is crucial for certain songs, suggesting that Akizuki utilizes channel switching on his amp head and possibly a pedalboard for assistance. For emotional tracks like “Haikei, Itsuka no Kimi e,” the dynamics of expressing clear chord tones while unleashing distortion in the chorus are essential, and Marshall amps provide the necessary expressive capabilities.

In studio recordings, it is also plausible that he combines other amplifiers or amp simulators. For songs that benefit from the warmth of semi-hollow guitars, it would be reasonable to assume he uses amplifiers like the Fender Twin Reverb or VOX AC30. However, as of now, Marshall remains the primary amplifier confirmed in live settings, forming the core of his sound.

In conclusion, Akizuki’s sound design is centered around “a British rock-oriented sound based on Marshall,” supplemented by additional amplifiers and effects tailored to specific songs and guitars.

Types of Guitars Used and Features

Takuto Akizuki employs a diverse range of guitars in Kankaku Pierrot, as evidenced by live photos and music videos. He is seen using Telecaster types, Les Paul types, offset models like Jazzmasters and Jaguars, as well as semi-hollow models with f-holes.

The Telecaster type, equipped with a black pickguard, is noted for its sharp cutting and piercing riffs. The unique single-coil sound of the Telecaster resonates effectively in fast-paced rock numbers, supporting Kankaku Pierrot’s robust rhythm.

Regarding the Les Paul type, there are cherry and goldtop variants that likely produce a thick midrange sound. Particularly in choruses and heavier sections, the power of the Les Paul enhances the intensity of the music.

Additionally, an offset model in surf green (Jazzmaster or Jaguar) is used to create a modern texture and unique resonance. The expansive tone characteristic of Jazzmasters aligns well with Kankaku Pierrot’s playful sound.

Lastly, semi-hollow models with f-holes have also been observed, presumably used in ambient tracks or ballads. The airy sound typical of semi-hollow guitars adds a softer hue to Kankaku Pierrot’s music, which is not solely rock-oriented.

By strategically utilizing these diverse guitars for different scenes, Akizuki skillfully manipulates the atmosphere of each song, creating tonal contrasts in live performances. While there is no clear signature model, it is assumed that he primarily uses a Telecaster, supplemented by Les Paul and Jazzmaster models to craft his sound according to the song.

Effects and Pedalboard Setup

Regarding Takuto Akizuki’s pedalboard, there was a mention on his official blog around 2016 about “renewing the board,” but specific model names were not disclosed. Thus, detailed models remain unspecified, but live footage and photos confirm that he consistently operates a pedalboard.

Akizuki’s sound is based on the distortion from Marshall amplifiers, with the addition of overdrive or distortion pedals as needed to enhance the power of riffs and solos. Kankaku Pierrot’s music often revolves around heavy, riff-driven sounds, suggesting that the role of effects is more about “reinforcement” than mere “coloration.”

In clean tracks, reverb and delay are likely employed to create spatial depth. When using Jazzmasters or semi-hollows, the depth of reverb and the echoes of delay significantly contribute to the atmosphere of the songs. In ambient sections or ballads, these spatial effects add softness to the band’s sound.

Additionally, stage photos indicate that he may also use compact effects alongside multi-effects units. For quick changes during live performances and to leverage presets for diverse sound creation, he likely has a practical board setup that includes switching systems and power supplies.

The types of effects are assumed to include “overdrive,” “distortion,” “reverb,” “delay,” and “chorus,” along with possible noise reduction and boosters as supplementary elements. Overdrive, in particular, is essential for emphasizing midrange and highlighting riffs while reinforcing the Marshall drive.

In summary, Akizuki’s pedalboard is characterized by a “simple yet practical setup,” focusing on classic distortion and spatial effects rather than complex, specialized effects.

Tone Settings, EQ, and Mixing Approaches

A key point in Akizuki’s sound design is “controlling the tonal range flexibly according to the song while basing it on the robust sound of Marshall.” Kankaku Pierrot’s music spans from simple, straightforward rock sounds to those incorporating ambient and pop elements, making EQ and mixing techniques indispensable.

Regarding basic amp settings, assuming he uses a Marshall stack, typical settings might include a gain level of around 5-6 for a slight drive, bass set to 4-5 to prioritize clarity, mids raised to 6-7 to emphasize the presence of riffs and cuts, and treble adjusted to 5-6 for sharpness. Presence can be adjusted based on the venue’s characteristics. This setup ensures a tight rhythm guitar and clear solo outlines.

When layering an overdrive pedal, it is likely used as a “push” rather than cranking the gain too high. Especially when using Telecasters or Jazzmasters, it likely functions as a boost to highlight midrange and make solos stand out. When using Les Pauls or semi-hollows, it is assumed that he keeps the amp’s distortion slightly in check to avoid excessive thickness.

EQ adjustments vary significantly from song to song. For instance, in “Haikei, Itsuka no Kimi e,” he likely reduces mid-low frequencies while bringing the lead tone forward, whereas in fast-paced songs like “A-Han!!,” he emphasizes low frequencies to enhance the overall thickness of the band while slightly lifting the highs for clarity.

In live settings, Akizuki’s guitar plays a role in supporting the midrange within the band. To avoid overlapping with vocals, the PA engineer likely adjusts around 2-3kHz while ensuring the guitar’s presence is not compromised. When using semi-hollows or Jazzmasters, keeping the effect levels moderate to maintain the natural reverb of the original sound is also crucial.

In terms of recording techniques, he often employs double tracking, layering Telecasters and Les Pauls to create a thick, expansive guitar sound. By placing a bright single-coil sound on one side and a thick humbucker sound on the other, a three-dimensional mix unique to Kankaku Pierrot is achieved.

Ultimately, the essence of Akizuki’s sound lies in “maximizing the character of each guitar type while enabling diverse expressions with a simple gear setup.” Rather than relying on flashy special effects, he supports Kankaku Pierrot’s musicality by leveraging the inherent qualities of his amps and guitars. These insights, including assumptions, are invaluable for anyone looking to replicate his sound.

Affordable Alternatives to Recreate the Tone

For those wanting to replicate Takuto Akizuki’s sound, acquiring professional-grade Marshall stacks or Gibson guitars can be a significant burden for beginners. However, it is entirely possible to achieve a “Kankaku Pierrot-style sound” with relatively affordable gear. Here, we introduce recommended equipment available for around $100 to $500.

For amplifiers, smaller Marshall models or amp simulators are effective. For example, the “Marshall Code series” digitally recreates the sounds of classic JCM800 and DSL models, suitable for home practice and small gigs. Additionally, BOSS’s “Katana series” features a wide range of distortion sounds and built-in spatial effects, covering the diverse expressions akin to Akizuki’s style in one unit.

In terms of guitars, Fender options like the “Squier Telecaster” or “Squier Jazzmaster” are great choices. They can easily replicate the cutting and riffing of Telecasters and the ambient tones of Jazzmasters. For Les Paul types, the Epiphone “Les Paul Standard” is a staple, allowing players to experience the thick sound of humbuckers at a lower price point.

For effects, focusing on BOSS’s standard compact pedals is advisable. The “SD-1” for overdrive and “DS-1” or “RAT” pedals for distortion can produce similar nuances. Furthermore, reverb and delay can be effectively achieved with versatile pedals like the “RV-6” and “DD-7.” If acquiring multiple pedals is challenging, introducing multi-effects units from brands like ZOOM or Line6 is also a practical solution.

By combining these pieces of gear, one can recreate Akizuki’s “distortion + spatial effects” sound design. The key is to leverage the synergy between the guitar and amp. For instance, connecting a Squier Telecaster to a BOSS Katana and applying a light overdrive will yield a fast-paced Kankaku Pierrot-style riff. Conversely, connecting an Epiphone Les Paul to a Marshall Code with a light delay can produce a thick lead sound.

For beginners, it is crucial to approach sound design with an emphasis on “nuance reproduction” rather than “gear replication.” Akizuki’s sound does not depend on specialized equipment but rather on skillfully utilizing simple, classic gear. Thus, even with affordable equipment, one can capture the essence of his sound.

Summary and Conclusion

The essence of Takuto Akizuki’s sound design lies in utilizing simple gear while diversifying guitar and effect choices according to the song, creating a rich array of nuances. The sharp riffs from Telecasters, the thick chord work from Les Pauls, the expansive tones from Jazzmasters, and the soft resonance of semi-hollows are all employed situationally to enhance the band’s expressiveness.

In terms of amplifiers, he builds a “forward rock sound” centered around Marshall stacks, supplemented by pedals as needed. His EQ and mixing techniques emphasize the midrange to ensure his guitar does not get lost alongside vocals and other instruments. Particularly in live settings, the midrange push characteristic of Marshall amplifiers accentuates Kankaku Pierrot’s aggressive sound.

His effects are not reliant on unique tones but rather focus on basic pedals like “overdrive,” “delay,” and “reverb.” This approach maintains a heavy rock feel centered around riffs while adding spatial elements as necessary, showcasing a practical sound design. This balance directly correlates with Akizuki’s playing style.

For beginners wishing to replicate his sound, it is not essential to acquire the same gear. Affordable entry-level models or multi-effects units can sufficiently capture the essence. The key is to be mindful of “when to thicken the sound and when to let it breathe.” Akizuki’s sound design is not merely about distortion; it is a thoughtful selection based on the song’s progression and balance with vocals.

Overall, Akizuki’s sound design is characterized by “a foundation of classic gear with the flexibility to adapt to the song.” Its simplicity allows for versatility, enabling the player’s intuition to shape the sound direction. This high degree of freedom supports Kankaku Pierrot’s unique sound.

For guitarists looking to replicate his sound, it is crucial to focus on “selecting appropriate tones for each scene” rather than merely imitating specific gear. There is much to learn from Akizuki’s sound design philosophy, and incorporating this into your own playing can enrich your guitar expression.