[Tatsuya Maki] How to Recreate the go!go!vanillas Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tatsuya Maki, the frontman and guitarist of go!go!vanillas, skillfully utilizes vintage guitars from the 1960s to drive the band’s refreshing and robust sound. His playing style blends elements of alternative rock and garage rock with a catchy melodic sense, captivating a wide range of listeners.

In iconic tracks like “Counteraction” and “Kids’ Plate,” the characteristic core sound of vintage guitars and the live, gritty texture of distortion stand out. Maki’s use of 1960s Gibson and Epiphone guitars allows for a wide expressive range from clean tones to crunchy overdrive, making him a standout among his contemporaries.

Moreover, Maki’s sound creation goes beyond just the combination of amps and guitars; it also gains uniqueness through the use of recording equipment. Notably, the Universal Audio OX Amp Top Box is a crucial element in producing efficient and high-quality sounds during album production.

Ultimately, Tatsuya Maki’s sound is a unique style that fuses the warmth of vintage guitars with modern recording techniques, supporting the energetic groove of the band.

▶ Search official YouTube videos of go!go!vanillas

List of Amplifiers and Features

Tatsuya Maki’s choice of amplifiers combines the dynamism needed for live performances with the flexibility required for recording. His playing style, which emphasizes vintage sound, is characterized by the use of classic British amps.

One of the key amps he owns is the VOX AC50, reportedly inherited from Ryota Yanagisawa (of SUPER BEAVER). There’s an interesting anecdote about this amp, as it experienced smoke and odor issues during studio use, making it a memorable story for Maki. The VOX AC50 is known for its bright cleans and punchy crunch sounds, directly contributing to the bright and penetrating guitar sound of go!go!vanillas.

For recording, he also uses HIWATT and SHINOS amps. HIWATT is known for its powerful and linear sound, favored by artists like Pete Townshend of The Who. SHINOS, a domestic brand, achieves a sound that combines modernity with classic tones.

Additionally, the introduction of the Universal Audio OX Amp Top Box allows him to record these amps directly while easily switching between cabinet and microphone variations. This capability significantly contributes to the sound creation process in albums like “FLOWERS,” enabling a diverse sound palette without compromising production speed.

Overall, Tatsuya Maki’s amp setup revolves around classic British tones while incorporating modern recording techniques, providing the flexibility to adapt to both live and recording environments.

Types of Guitars Used and Features

Tatsuya Maki primarily uses vintage models from the 1960s, which form the core of his sound. The rich overtones and dry tones of 1960s Gibson and Epiphone models are essential elements of go!go!vanillas’ refreshing rock sound.

His main guitar, the 1966 Gibson ES-335, is featured on the album “FLOWERS” and delivers a sweet yet defined sound typical of semi-hollow guitars, capable of handling a wide range from clean to driven tones. This guitar plays a crucial role in adding depth to the band’s ensemble. In contrast, the 1965 Gibson SG is lightweight and easy to handle, producing a sharp rock sound ideal for explosive live performances.

Additionally, the 1965 Epiphone Coronet is indispensable when discussing Maki’s sound. Despite its lightweight and simple structure, it features P-90 pickups that deliver a raw tone, creating a loud and punkish atmosphere. It is often chosen for a more straightforward rock feel compared to the ES-335 or SG.

The 1967 Fender Custom Telecaster has been confirmed to be used in “Dirty Pretty Things,” emphasizing the bright and cutting sound characteristic of Telecasters. Maki also owns a Fender American Vintage Telecaster, which has been spotted in live and recording settings.

In the acoustic realm, he uses a Gibson LG-3, known for its rich resonance typical of vintage acoustics, making it prominent in ballads and acoustic arrangements.

In summary, Tatsuya Maki skillfully utilizes a variety of vintage models such as the ES-335, SG, and Coronet, assigning the optimal character for each song. Covering both electric and acoustic aspects, he brings a diverse range of expressions to the music. His guitar choices are grounded in respect for 1960s rock while adding a modern interpretation unique to go!go!vanillas.

Effects and Pedalboard Setup

Tatsuya Maki’s pedalboard has been partially confirmed through official interviews and live photos. While the core of his sound lies in the combination of guitar and amp, he utilizes effects to add color and nuance to each song. Notably, he tends to incorporate minimal yet effective distortion and spatial effects without compromising the character of vintage guitars.

Among the staples on his board are BOSS overdrive and compact pedals. Based on live photos and gear information, it’s speculated that Maki has used BOSS SD-1 and BD-2 as distortion options. These pedals serve as boosters to drive the amp, achieving thick rhythm and lead sounds while preserving the tones of the ES-335 and SG.

Furthermore, delay and reverb effects are introduced according to the mood of the songs. The BOSS DD series and Electro-Harmonix Holy Grail, while simple, allow for deep spatial expression, enhancing the expressiveness of arpeggios and ballad parts. Many of go!go!vanillas’ songs feature an approach that envelops the listener in sound, making these effects crucial.

To ensure stability during live performances, he likely incorporates switchers and power supplies from brands like Free The Tone and One Control. Organizing the pedalboard and maintaining sound quality is essential in a professional environment, and Maki is no exception.

In summary, Tatsuya Maki’s effects setup can be characterized as “minimal yet effective.” Rather than flashy modulation, he focuses on foundational pedals like overdrive, delay, and reverb, enhancing the natural sound of the guitar while adding color to the music. While anything not confirmed from live photos remains speculative, the direction of his sound creation is assumed to be simple yet solid.

Tone Settings, EQ, and Mixing Approaches

Tatsuya Maki’s sound creation is characterized by a simple yet earnest style that maximizes the tones of vintage guitars while utilizing amps and effects minimally. The settings and EQ adjustments do not vary significantly from song to song, focusing instead on achieving a sound that stands out within the overall band ensemble.

Regarding amp settings, Maki primarily uses British amps like the VOX AC50 and HIWATT. For clean tones, the high frequencies resonate brightly, while the midrange peaks when distorted, resulting in a tone that firmly establishes its presence in the band sound. The typical EQ balance is assumed to be “slightly reduced BASS,” “slightly boosted MID,” and “bright TREBLE,” which is tuned to enhance the character of the semi-hollow and SG guitars.

For instance, when using the ES-335, he avoids excessive low-end buildup by slightly cutting the BASS, ensuring clarity during crunchy chord strumming. Conversely, when using the Epiphone Coronet or SG, which deliver a sharp solid sound, he likely reduces the TREBLE to cut any piercing frequencies, balancing the overall sound image.

In terms of effects usage, the focus is on “seasoning” the sound, with distortion used primarily as a boost to enhance the amp’s character. The BOSS SD-1 and BD-2 are employed to push the amp, reinforcing sustain and attack. Delay is applied lightly with a simple digital delay like the DD-7, while reverb is used sparingly to slightly widen the space rather than heavily applied, which is a hallmark of Maki’s style.

During recording, he utilizes the Universal Audio OX Amp Top Box to efficiently create tones by switching between mic and cabinet simulations. This allows for different characters from the same amp for each song, supporting speedy production. For example, he might choose a closed-back cabinet simulation for tight, driven songs and an open-back cabinet for cleaner tracks.

In the mixing stage, it is assumed that he often pans guitars left and right to create a chorus-like spread. By double-tracking, placing the ES-335’s crunch on one side and the Telecaster’s bright cutting on the other, he achieves thickness and dimensionality in the sound. This approach effectively creates a sense of space without losing the band’s energetic drive.

Regarding EQ processing, from an engineer’s perspective, it is assumed that he often applies “low-end cuts below 200Hz” and “light boosts around 2-4kHz.” The former prevents clashes with bass and kick, while the latter emphasizes the guitar’s attack, maintaining the rhythm’s momentum. Additionally, a light compressor is likely applied to preserve the nuances of picking while even out the dynamics of the performance.

In summary, Tatsuya Maki’s sound creation is characterized by “leveraging the individuality of vintage guitars, centering around amps while finishing with minimal effects and meticulous mixing.” It is a simple yet profound approach that supports the energetic and pop sound of go!go!vanillas.

Affordable Alternatives to Recreate the Tone

Tatsuya Maki’s sound is built around expensive vintage guitars like 1960s Gibsons and Epiphones, as well as British amps like VOX and HIWATT. However, it is not realistic for beginners or intermediate players to replicate the same setup immediately. Here, we introduce relatively affordable and highly reproducible alternative gear, focusing on products in the range of $100 to $500 (up to $1,000) and explaining “why this affordable gear can achieve a similar tone.”

For guitars, budget models from brands like Epiphone and Squier are very effective. While Maki’s Epiphone Coronet (1965) is rare, alternatives like the Epiphone Les Paul Special or Epiphone Casino Coupe, which feature P-90s or semi-hollow structures, are accessible and offer similar tonal characteristics. Additionally, choosing the Squier Classic Vibe series as a substitute for the Fender Telecaster can effectively reproduce the cutting and bright tones.

In terms of amps, the VOX Pathfinder 10 and VOX AC10C1 offer excellent cost-performance, providing the bright clean tones characteristic of VOX. If aiming for HIWATT-like sounds, the Laney Cub series can also deliver a linear British tone. Furthermore, for practice environments, utilizing multi-effects units with amp simulations is a practical option.

For effects, BOSS products are known for their high reproducibility. The SD-1 (Super OverDrive) is affordable yet perfect for boosting the amp, allowing for a crunch sound similar to Maki’s. The BD-2 also serves as an excellent alternative for transparent drive. For spatial effects, options like the BOSS DD-8 or TC Electronic Flashback Mini provide simple operation and enhance spatial depth.

To approximate a recording environment, investing in an affordable audio interface or amp simulator is also beneficial. For example, using a compact cabinet simulator like the Mooer Radar can create a home environment similar to the OX. Multi-effects units like the ZOOM G3n or Line 6 POD Go also come equipped with diverse amp and cabinet simulations, allowing for a wide range of sounds on a budget.

In summary, combining “semi-hollow or P-90 equipped guitars + VOX-style amps + BOSS SD-1/BD-2 + simple delay/reverb” can bring you closer to the essence of Tatsuya Maki’s sound. Gradually upgrading based on your budget is realistic, and there’s no need to seek perfection from the start. Enjoying the process of sound creation while adjusting your setup is the best way to approach Maki’s sound.

Summary and Conclusion

Looking at Tatsuya Maki’s sound creation holistically, its essence can be summarized as “a simple yet profound sound polished through vintage tones using modern methods.” He skillfully utilizes guitars from the 1960s, such as Gibsons, Epiphones, and Fenders, creating characteristically different sounds for each song. The sweet and defined tone of the ES-335, the sharp rock sound of the SG and Coronet, the cutting edge of the Telecaster, and the warm acoustic tone of the LG-3 are all expertly switched to provide the optimal expression for each piece.

Regarding amps, he centers his setup around classic British models like VOX, HIWATT, and SHINOS, emphasizing sound projection and presence within the band. By combining this with modern recording equipment like the Universal Audio OX, he maintains the charm of vintage gear while adapting to contemporary production workflows. This balance of “old-school tone” and “modern efficiency” is perhaps the most significant feature of his sound.

His effects prioritize practicality over flashiness, incorporating minimal yet essential pedals like overdrive, delay, and reverb. This choice directly relates to his intention of maximizing the individuality of the guitar and amp, emphasizing the “simplicity of sound” that Maki consciously pursues. His sound creation can be seen as a process of subtraction.

Moreover, the flexibility in his approach to sound creation for live performances and recordings is crucial. Live, he dynamically showcases the energy of the songs, while in recordings, he employs EQ and cabinet simulations to blend seamlessly into the mix, enhancing the overall quality of the work. This duality is one reason why go!go!vanillas’ music transcends being just a live band, gaining high acclaim as a complete artistic endeavor.

For those looking to chase Tatsuya Maki’s sound, it is essential to focus not on “reproducing expensive vintage gear” but rather on “how to utilize simple equipment to create a sound that stands out within the band.” Entry-level guitars and amps can effectively capture the direction, and importantly, his own playing style—straightforward and passionate picking, with phrasing that carries a sense of melody—forms the core of his sound.

In conclusion, Tatsuya Maki’s sound creation is established on “the warmth of vintage tones + modern flexibility + a simple structure,” resulting in the unique sound of go!go!vanillas. Readers can experience sound creation by keeping this “essence” in mind, allowing them to approach Maki’s nuances without relying too heavily on gear.