[Takuya Sato] How to Recreate the androp Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Takuya Sato, the guitarist of androp, is a versatile player known for his ability to manipulate a wide range of tones, from transparent clean sounds to aggressive distortion. His guitar work is a core element supporting the band’s unique blend of electronica and rock, with sound design playing a crucial role in defining the band’s character.

In iconic tracks like “Yeah! Yeah! Yeah!”, “Voice”, and “MirrorDance”, Sato utilizes arpeggios and clean tones to tighten the songs, while employing spatial effects to create a grand soundscape. Conversely, his use of distortion and fuzz during live performances showcases a powerful sound that captivates audiences.

One of his distinctive sound design traits is the “layering of sounds.” Even simple guitar riffs are enhanced with multiple effects, forming a rich and dimensional sound. His approach often considers the balance with keyboards and synchronized sounds, controlling the overall dynamics of the songs.

This playing style and choice of equipment are significant elements that embody androp’s unique world, drawing attention from listeners and guitarists alike. Notably, Sato transforms classic models like the Fender Telecaster and Gibson SG into his signature sound through unique settings and effect chains.

In the following sections, we will delve into the amplifiers, guitars, and effects used by Takuya Sato, providing insights that will be valuable for guitarists looking to replicate his sound.

▶ Search official YouTube videos of androp

List of Amplifiers and Features

Takuya Sato’s choice of amplifiers for live performances and recordings primarily includes classic models that are staples for rock guitarists. Notably, he often uses a combination of the “Marshall JCM900 Model 4100” and “Orange PPC212.” The former is characterized by its tube-driven warmth and thick midrange, making it suitable for everything from crunchy clean tones to powerful distortion, effectively covering the range of sounds needed for androp’s music.

The “Marshall JCM900” is a quintessential amplifier from the 90s, known for its bright and clear sound. Sato likely employs the clean channel and adds distortion through pedals to expand his tonal palette. By combining distortion and fuzz pedals, he can adjust the thickness of his sound according to the dynamics of the songs.

On the other hand, the “Orange PPC212” serves as the cabinet of choice, known for its robust low-end and warm tones, providing a presence whether clean or distorted. Equipped with two 12-inch Celestion Vintage 30 speakers, it creates a tight and cohesive sound. This cabinet choice helps achieve the “organic guitar sound that can coexist with digital sources” that is essential in androp’s music.

Additionally, recent live setups have seen the inclusion of the “Roland JC-120,” which is reportedly used in studio and rehearsal settings. This amp is well-suited for sections of androp’s music that require clean tones, pairing excellently with chorus and delay effects. However, the primary focus remains on the combination of Marshall and Orange, with the Roland JC-120 likely used for specific songs or sound design elements.

Overall, Sato’s amplifier setup balances the “cutting edge of Marshall with the fullness of Orange,” crafting a dimensional sound that stands out within the band. This equipment selection is a crucial element supporting androp’s musicality, seamlessly blending digital and organic sounds.

Types of Guitars Used and Features

Takuya Sato’s guitar selection for androp primarily features classic models, including a vintage Fender Telecaster and a Gibson SG. These guitars possess distinct characters while offering the flexibility needed for androp’s diverse musical compositions.

First, the “Fender Telecaster 1967” frequently appears as his main guitar. The late 60s Telecaster, with its maple neck and single-coil pickups, produces a bright and cutting tone, ideal for arpeggios and cutting styles. The transparent clean riffs and spatial sounds heard in androp’s signature tracks are likely achieved through this guitar’s unique clarity.

Next is the “Fender Telecaster 2004,” a more modern model often used as a backup during live tours. Compared to the vintage ’67 model, it offers better pitch stability and playability, making it reliable for tour situations. Tonally, it leans towards a modern sound with a slightly thicker character, suggesting that Sato uses it selectively based on the song’s requirements.

Finally, the “Gibson SG Standard 1991” is used for more rock-oriented tracks. Its lightweight double-cutaway body and warm, thick tone from the humbuckers pair excellently with fuzz and distortion. This SG stands out during powerful riffs and solos in androp’s live performances, functioning as a contrasting element to the clean-focused Telecaster, supporting the dynamic shifts in the songs.

From this guitar selection, it is evident that Sato effectively balances the “clean and cutting Telecaster” with the “thicker SG,” enhancing the overall sound of the band. He also consciously maintains a balance with keyboards and synth sounds, ensuring that the guitar does not overpower the mix. The unique layered sound characteristic of androp is undoubtedly born from these guitar choices.

In summary, Takuya Sato’s guitar style encapsulates the idea of “playing classic models in his own way.” His ability to seamlessly connect clean and distorted sounds while navigating between vintage and modern tones is a significant aspect of his sound design.

Effects and Pedalboard Setup

Takuya Sato’s sound design is characterized by an extensive effects pedalboard. Given the need to switch seamlessly between clean, high-gain, and spatial sounds for different songs, he employs a system centered around the “Free The Tone ARC-3.” The ARC-3 is a programmable switcher that allows him to instantly recall tones based on the setlist, making it an essential piece of equipment for the complex arrangements of androp’s music.

For distortion, he uses overdrives like the “Vemuram Jan Ray” and “Xotic BB Preamp,” which maintain clarity while pushing the midrange, adding presence to arpeggios and leads. Additionally, the “Z-Vex Box of Rock” provides distortion, and a handmade fuzz from a friend enhances the explosive sound pressure during climactic moments. These are often combined with the clean channel of the Marshall JCM900, allowing for a style that emphasizes pedal-driven tone shaping.

For compression, Sato employs the “A.Y.A. R-Comp,” which helps even out the volume of intricate arpeggios and chord work, balancing the guitar with synths and vocals. This is particularly crucial during live performances where volume discrepancies can arise, and using compression ensures a stable output.

In terms of spatial effects, the “KORG SDD-3000” is a notable example. Famous for being used by U2’s The Edge, this delay unit features a unique presence boost, making it indispensable for creating the ethereal soundscapes that characterize androp’s music. The “LINE6 M9” is also incorporated, allowing for modulation, additional delay, and reverb as needed, functioning as a multi-effects unit.

Furthermore, Sato utilizes an external “Jim Dunlop Crybaby” wah pedal and a “BOSS PS-5 Pitch Shifter” to add dynamic expression. The “BOSS FV-30” volume pedal is used for stage volume adjustments, aligning the dynamics with synths and backing tracks. Additionally, “Custom Audio Japan MLS-2 (line selector),” “Free The Tone Junction Box,” and power supplies are employed to ensure signal stability and efficiency.

In summary, Sato’s pedalboard emphasizes “expressiveness through distortion,” “spatial expansion,” and “efficient control.” The combination of multiple distortion pedals allows him to draw out different characters for each song, showcasing a style unique to androp. Overall, the choice of effects is a necessary structure that balances sound creation with live performance.

Tone Settings, EQ, and Mixing Approaches

The essence of Takuya Sato’s sound design lies in meticulously controlling the balance between clean tones and distortion, constructing a “dimensional guitar sound” that does not interfere with synth sounds or backing tracks. androp is characterized by a sound design that fuses digital and analog elements, making EQ settings and mixing techniques essential for ensuring the guitar stands out.

Regarding amplifier settings, it is likely that Sato predominantly uses the clean channel of the “Marshall JCM900,” relying on pedals for distortion. The low-end (Bass) is set around 4-5 to avoid clashing with synths and bass, while the midrange (Middle) is boosted to 6-7 to bring the guitar’s core forward. The high-end (Treble) is kept around 5 to maintain a balanced sound that is not piercing. The presence is adjusted based on the stage environment, often fine-tuned according to reflections and the PA system.

For distortion pedals, Sato likely uses the “Vemuram Jan Ray” and “Xotic BB Preamp” as light boosts to enhance clean to crunchy sounds. He also employs the “Z-Vex Box of Rock” and fuzz for explosive sound pressure during choruses and climaxes. In this context, excessive low-end is cut, and the midrange is thickened to ensure the guitar remains prominent even when mixed with synths and vocals.

In terms of spatial effects, Sato utilizes the “KORG SDD-3000,” typically setting the delay time around 400ms with feedback at 20-30% to create a dimensional echo. The “LINE6 M9” adds additional reverb and modulation, allowing for dynamic sound changes that align with the song’s progression. This approach enables arpeggios and clean parts to expand throughout the composition.

During the mixing phase, engineers likely tighten the low-end through EQ processing while slightly boosting the high-mid frequencies (around 2kHz-3kHz) to bring the guitar forward in the mix. Depending on the song, stereo delays may be used to pan left/right, filling the gaps between synths and vocals, allowing the guitar to function as an acoustic “wall.” This characteristic is a significant feature of androp’s sound.

Live performances also emphasize the importance of using the “BOSS FV-30” volume pedal for dynamic control. By lowering the volume during intros and raising it dramatically during choruses, Sato synchronizes with backing tracks, enhancing the overall dynamics of the band. Additionally, the use of the Crybaby wah pedal adds accents to riffs and solos, showcasing his expressive capabilities.

In summary, Sato’s EQ and setup techniques focus on “separating sounds while allowing them to merge.” In compositions with multiple layers like those of androp, it’s crucial for the guitar to maintain its presence without being overpowering. The balance of subtractive EQ and additive spatial effects plays a vital role in achieving this. These approaches reflect his sound design philosophy honed in professional settings.

Affordable Alternatives to Recreate the Tone

Takuya Sato’s sound design often relies on high-end boutique overdrives and vintage guitars, but it is indeed possible for beginners and intermediate players to recreate the “androp sound” at a relatively affordable cost. The key points are 1) maintaining a transparent clean tone, 2) achieving dimensionality through spatial effects, and 3) effectively utilizing distortion based on the context.

To create a clean tone, it is essential to maintain clarity while combining it with spatial effects. A notable option is the “BOSS CS-3 Compressor,” which can even out attack and clarify notes. While it is more affordable than the A.Y.A. R-Comp, it is sufficient for replicating the uniformity of arpeggios.

For distortion, while Sato’s “Vemuram Jan Ray” and “Xotic BB Preamp” are high-end, a strong alternative is the “BOSS BD-2 Blues Driver.” It can recreate a transparent crunch similar to Jan Ray with its midrange push and soft drive. For a thicker sound, classic models like the “BOSS SD-1” or “MXR Distortion+” are also recommended.

To achieve high-gain riffs, options like the “Electro-Harmonix Big Muff” or “BOSS DS-1X” are viable. The Big Muff, in particular, can produce explosive sound pressure similar to the handmade fuzz used by Sato at a relatively low cost.

For spatial effects, the “BOSS DD-8” or “NUX Atlantic Delay & Reverb” are powerful contenders. While replicating the unique presence boost of the KORG SDD-3000 may be challenging, these models offer tap tempo and various delay modes to create a dimensional sound. For a multi-functional approach, the “ZOOM G3n” or “LINE6 HX Stomp” are ideal, allowing for flexible recreation of chorus and reverb.

Finally, while professional switchers like the Free The Tone ARC-3 are expensive, smaller switchers like the “BOSS ES-5” or “Mooer L6” can serve as substitutes. This enables seamless tone switching during live performances.

In conclusion, while Takuya’s sound design is built on high-end equipment, many of its elements can be replicated with commercially available products. By combining classic pedals from brands like BOSS and Electro-Harmonix, guitarists can experience the transparent and dimensional sound characteristic of androp in their own homes or at smaller gigs.

Summary and Conclusion

Reflecting on Takuya Sato’s sound design, its essence lies in the “balance of clean and distorted tones,” “dimensionality of space,” and “fusion with synchronized sounds.” In androp’s music, which heavily features synths and backing tracks, the guitar plays a crucial role not just as a rock riff but as an acoustic wall and melodic decoration. This is made possible by a meticulous sound design that employs classic guitars like the Telecaster and SG, alongside a diverse array of effects and amplifiers.

His equipment choices reflect a clear philosophy. The combination of the Marshall JCM900 and Orange PPC212 establishes the foundational rock sound, while the Vemuram Jan Ray and Xotic BB Preamp push the midrange, and the KORG SDD-3000 and LINE6 M9 create expansive soundscapes. The programmable switcher ARC-3 allows for seamless tone switching, enabling him to manipulate live dynamics effortlessly. As a result, a unique soundscape emerges where “even with many layers, the guitar does not get buried” and “blends seamlessly with synths.”

Moreover, it is also true that beginners and intermediate players can recreate a similar sound at a relatively low cost. By utilizing effects from established brands like BOSS and Electro-Harmonix, one can achieve the transparent clean tones and thick distortions that characterize Sato’s sound. Ultimately, the most important aspect of androp’s sound design is not the “expensive equipment” itself but the understanding of “the role of sound and how to combine it effectively.”

In conclusion, what can be learned from Takuya Sato’s sound design is the “sense of balance between subtracting and adding sounds.” It is crucial to be aware of how to make the guitar resonate within the entire composition rather than standing out on its own. This awareness is the key to transforming simple phrases into grand and profound sounds. For guitarists aiming to emulate androp’s sound, understanding this philosophy and applying it to their playing will provide the greatest insight.