[Todaka Masashi] How to Recreate the ART-SCHOOL, MONOEYES Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masashi Todaka, the guitarist for ART-SCHOOL and MONOEYES, is one of the leading figures in the Japanese alternative rock scene. His playing style is characterized by a masterful use of spatial effects, combined with a solid cutting tone and expansive lead work.

In ART-SCHOOL, he creates a floating tone within an art rock shoegaze sound, while in MONOEYES, he supports the punk-emo tracks of Takashi Saito with a crunch to clean sound that emphasizes speed. Todaka’s sound design is not merely about distortion; it is about creating a “texture” that supports the entire composition.

For instance, in the iconic track “Scarlet” by ART-SCHOOL, you can hear an ambient sound created by combining deep reverb with a swirling chorus. In MONOEYES’ “My Instant Song,” the tight cutting and expansive spatial effects come together seamlessly. This duality of “presence and clarity” along with “floating spatial processing” is what makes his sound so appealing.

On stage, he primarily uses Fender-style amplifiers, complemented by VOX AC30 and Dr. Z amps, which excel in crunch to clean tones. His pedalboard showcases a dedication to sound design, featuring everything from boosters and fuzz to custom ABY boxes.

Understanding Masashi Todaka’s sound is not just about copying; it offers insights that can be applied across a wide range of guitar sounds. In the following sections, we will delve into the details of the amplifiers, guitars, and effects he uses, as well as the creative approaches he employs in his sound design.

▶ Search official YouTube videos of ART-SCHOOL

▶ Search official YouTube videos of MONOEYES

List of Amplifiers and Features

Masashi Todaka’s choice of amplifiers is closely tied to the style of his band activities at any given time. During the early days of ART-SCHOOL, he relied on Fender’s clean tones as a foundation, layering spatial effects to create a deep soundscape characteristic of shoegaze. The Fender Twin Reverb stands out as a symbol of this era, providing thick, warm cleans that perfectly complement the effects.

In contrast, when a more robust drive was needed, he turned to the VOX AC30 and Dr. Z Amplification SRZ-65. The Dr. Z is currently his main amplifier, capable of covering a wide range from light crunch to clean, making it ideal for the driving riffs and chord work in MONOEYES. The VOX AC30 is known for its iconic British crunch sound and has been used in conjunction with the Twin Amp.

Interestingly, there are records of him briefly using SUNN amps and Selmer Treble ‘n’ Bass mkⅡ. These were not high-gain setups but were likely used for their unique clean to crunch settings. The Selmer, in particular, is thought to match the decadent and aesthetic atmosphere of ART-SCHOOL with its 60s British rock texture.

To enhance the sound’s clarity on stage, he has also incorporated a Marshall 4×12 cabinet (previously owned by LOSTAGE’s Gomi), showcasing his attention to cabinet characteristics alongside the amplifier itself. For cleaner setups, he has utilized the Fender Hot Rod Deluxe Lacquer Tweed, which is lightweight and user-friendly, making it suitable for live performances and smaller stages.

Notably, he uses Mad Professor RED Cable for connecting his amps, indicating a keen interest in the tonal changes that cables can impart on his sound. This attention to detail reflects his commitment to achieving the best possible tone.

Overall, Masashi Todaka’s amplifier choices can be summarized as focusing on a range that emphasizes clean to crunch tones tailored to the atmosphere of each song. Given his extensive use of effects, the amplifiers are designed to be a canvas that enhances the nuances of his playing and spatial processing.

Types of Guitars Used and Features

Masashi Todaka’s guitar journey has evolved significantly over the years, reflecting the styles and periods of his band activities. In ART-SCHOOL, he primarily used the Fender Jazzmaster to support the shoegaze sound, while in MONOEYES, he incorporated Telecasters and Stratocasters for a more straightforward rock sound.

One particularly notable instrument is the 1965 Fender Jazzmaster (Black), which has been a mainstay for live performances. This guitar has undergone a refinish from its original paint, and its sweet midrange pairs well with spatial effects, supporting the floating sound characteristic of ART-SCHOOL. Additionally, a Natural Finish 1965 Jazzmaster with paint wear has also been spotted, delivering a warm tone that blends beautifully with deep reverb and chorus.

In MONOEYES, he uses the Sago New Material Guitars Custom Model: JM (Lake Placid Blue), which features a modified P-90 in the bridge position, creating a unique character that combines the punch of a Telecaster with the depth of a Jazzmaster. He also employs the Sago Custom: JG (Black/Jaguar Type), which fits perfectly into the powerful and tight sound sought after in MONOEYES.

Moreover, he has several Telecasters, including the Fender Telecaster Deluxe (Mocha Brown) and Fender Telecaster (See-through Red with Lace Sensor pickups). The Lace Sensor model is particularly noteworthy for its noiseless and clear sound, making it ideal for the fast-paced tracks of MONOEYES.

Additionally, he frequently uses various Stratocasters, such as the Fender Japan Stratocaster (Black with P-94), Fender JV Stratocaster (Candy Apple Red with modifications), and Fender Custom Shop ’65 Stratocaster (Sherwood Green). These guitars are chosen for their ability to deliver clean tones and excellent articulation for arpeggios, emphasizing the dynamics of the music.

The selection of these guitars emphasizes the importance of “presence in the ensemble” and “maintaining clarity even when merged with spatial effects,” which is central to Masashi Todaka’s sound design.

Effects and Pedalboard Setup

The core of Masashi Todaka’s sound is supported by a rich and meticulously arranged pedalboard. It enables a wide range of expressions, from the spatial effects that underpin ART-SCHOOL’s shoegaze sound to the tight drive used in MONOEYES. His adept combination of boosters and overdrives allows him to finely switch the texture of distortion depending on the situation.

For wah and volume effects, he uses the Cry Baby (TBP modified) and Xotic XW-1 (Lake Placid Blue). These allow for delicate nuance adjustments and bold filter effects, manipulated freely to suit the song. Additionally, high-precision volume pedals like the Shin’s Music Baby Perfect Volume have been incorporated, enabling dynamic adjustments during live performances.

His overdrive setup prominently features ANALOG.MAN King of Tone, Lovepedal AMP Eleven, and BJFE Honey Bee OD, often layered in a multi-stage configuration. The King of Tone is particularly noted for its ability to balance boost and crunch, frequently used in MONOEYES for robust cutting tones. For fuzz, he employs EarthQuaker Devices Hoof and MASF Pedals RAPTIO, adding texture to the noisy parts of ART-SCHOOL’s music.

In terms of modulation, effects like Neunaber Inspire Tri Chorus, MXR Phase90, and Electro-Harmonix Small Clone are confirmed, creating a wavering spatial treatment that is essential for the floating riffs and arpeggios in ART-SCHOOL. For delay and reverb, he frequently uses high-end models like BOSS RE-20, strymon El Capistan, and BigSky, which help recreate ambient sounds during live performances.

Specialty effects include the Electro-Harmonix Micro POG and Eventide H9, which add thickness through octave and multi-functional effects, creating ambient sounds from a single unit. His custom ABY BOX (with phase adjustment) allows for a flexible pedalboard setup, accommodating stereo output and dual amp configurations.

Overall, Todaka’s effects configuration emphasizes “multi-stage distortion + modulation + deep spatial processing.” While the specific components may change over time, the fundamental philosophy remains consistent. His board functions as a single “instrument,” ensuring both live performance fidelity and sound richness.

Tone Settings, EQ, and Mixing Approaches

Masashi Todaka’s sound design is rooted in “a meticulous layering based on clean tones.” In ART-SCHOOL, he employs a variety of spatial effects, creating a sense of floating through deep reverb and modulation. In MONOEYES, he opts for tight, well-defined crunch tones to match the fast-paced tracks. Therefore, the EQ settings of his amplifiers and the application of effects are always considered in terms of “how they fit within the overall mix of the song.”

When using amplifiers like the Fender Twin Amp or Dr. Z SRZ-65, the basic setup focuses on clean to light crunch tones, typically with Bass set at 4-5, Middle at 5-6, and Treble around 6. By avoiding excessive low-end boost and slightly emphasizing the mid-high frequencies, he achieves a tone that cuts through the band sound. This is particularly important in MONOEYES, where the double guitar setup requires his sound to remain clear without muddying Takashi Saito’s guitar.

For distortion and overdrive, settings based on the King of Tone and Lovepedal AMP Eleven tend to avoid excessive gain. The gain is often kept around 9-11 o’clock, with volume and texture adjusted for boosting, only increasing gain for solos or riffs when necessary. This approach maintains a “consistently clear sound” while allowing for thickness when required.

Spatial processing relies heavily on the strymon BigSky and BOSS RE-20. In ART-SCHOOL, plate reverb and modulated reverb are set deeply, with decay times of 3-4 seconds to create a shoegaze-like resonance. Conversely, in MONOEYES, decay is kept shorter at around 1.5-2 seconds to maintain a natural spread without losing speed. Delay is often synchronized to the rhythm, particularly using eighth-note or dotted-eighth delays to add depth to riffs.

In the mixing process, Todaka’s sound plays a significant role. In ART-SCHOOL, he emphasizes stereo imaging, spreading the combination of the Jazzmaster and spatial effects across the left and right channels to create a layered sound that envelops the song. In MONOEYES, he typically occupies a position centered to slightly right, supporting tight riffs while balancing with Saito’s guitar.

Moreover, his board includes a custom ABY BOX (with phase adjustment), allowing for immediate adjustments to the output balance of two amplifiers based on the stage and PA environment. This flexibility enables him to tailor the sound to the acoustics of each venue, ensuring consistent quality.

In summary, Masashi Todaka’s setup appears “simple but is actually intricate.” By controlling distortion levels while using EQ and spatial processing to create depth, he achieves a clear role within the band mix. This approach encompasses not just equipment selection but also a “total sound design” that includes collaboration with the PA and engineers. The EQ processing emphasizes mid-high frequencies while keeping low-end subdued, the reverb decay settings vary by song, and the delay times are rhythmically synchronized, all aimed at ensuring how the sound blends within the overall band context.

Affordable Alternatives to Recreate the Tone

To fully replicate Masashi Todaka’s sound, one would typically need high-end equipment like a vintage Jazzmaster, Dr. Z amp, and strymon BigSky. However, beginners and intermediates can certainly grasp the “character of the sound” with more affordable options. Here, we introduce gear that can be acquired for a relatively low price (around $100-$500) and can help approximate Todaka’s sound.

For amplifiers, while the original Dr. Z and VOX AC30 are expensive, alternatives like the VOX Pathfinder 10 and Roland JC-22 can serve as substitutes. The Pathfinder is excellent for recreating British-style crunch, while the JC-22 pairs exceptionally well with spatial effects, making it suitable for the floating sound characteristic of ART-SCHOOL.

Regarding guitars, targeting used Fender Jazzmasters or Stratocasters is a practical approach. The Squier Classic Vibe Jazzmaster can be found for around $400-$500, and with deep reverb and chorus, it can closely resemble Todaka’s sound during the ART-SCHOOL era. If aiming for a MONOEYES sound, the Squier Classic Vibe Telecaster is recommended for achieving tight rhythms.

For effects, alternatives to the high-end models Todaka uses include “BOSS compact” and “MXR series” pedals. For instance, the BOSS OD-3 and BD-2 can serve as substitutes for the King of Tone and Honey Bee, providing low-gain overdrive that works well for arpeggios and crunch-based sounds. For fuzz, options like the BOSS FZ-5 or Electro-Harmonix Big Muff Nano are viable alternatives.

In terms of spatial effects, the BOSS RV-6 and TC Electronic Hall of Fame 2 are affordable yet high-performance choices. Setting the reverb modes to Plate or Shimmer can help recreate the deep expansiveness typical of ART-SCHOOL. For delay, the BOSS DD-8 and TC Electronic Flashback 2 offer excellent cost-performance ratios, accommodating the dotted-eighth delay often used in MONOEYES’ spatial processing.

Additionally, for convenience on stage or during practice, multi-effects units like the ZOOM G3Xn or Line6 HX Stomp can be effective. While the HX Stomp is pricier, its superior amp simulation and spatial effects quality make it appealing for simulating Todaka’s setup in one unit.

Ultimately, the key is to “combine gear with similar characteristics without needing high-end equipment.” Todaka’s sound is not just about simple distortion but rather a combination of clean tones, spatial effects, and meticulous EQ control. When attempting to recreate his sound, focusing on the guitar and amp while effectively utilizing reverb and delay can get you quite close.

Summary and Conclusion

The essence of Masashi Todaka’s sound design lies in “the control of space” and “a sense of balance that blends with the overall composition.” In ART-SCHOOL, he utilizes deep reverb and modulation to transform the guitar from a mere lead instrument into a “soundscape.” In MONOEYES, he supports the band’s speed and emotional intensity with a foundation of tight, core crunch sounds. This duality is a significant charm of Todaka’s sound.

The guitars he uses range from vintage Fender Jazzmasters to custom Sago models, as well as Telecasters and Stratocasters, all chosen for their “compatibility with effects” and “clarity within the ensemble.” The amplifiers are primarily clean to crunch models from Fender, VOX, and Dr. Z, avoiding excessive distortion and focusing on faithfully expressing the nuances of his playing.

His pedalboard features multiple overdrives and boosters to switch the texture of distortion based on the situation, while spatial effects are handled with strymon and BOSS pedals, allowing for a range from ambient to tight reverb. His use of a custom ABY BOX and high-quality cables reflects his philosophy of “ensuring sound quality through attention to detail.”

Moreover, sound design encompasses not just equipment selection but also a “total sound design” that includes EQ settings and collaboration with the PA and engineers. The EQ processing emphasizes mid-high frequencies while keeping low-end subdued, the reverb decay settings vary by song, and the delay times are rhythmically synchronized, all aimed at ensuring how the sound blends within the overall band context.

In summary, to recreate Masashi Todaka’s sound, one should focus on “vintage Fender + clean-oriented amps + diverse spatial effects.” However, even without identical equipment, combining a restrained crunch with deep reverb can capture the essence of his sound. Readers attempting to recreate his sound should prioritize “how to create thickness in the sound” and “how to EQ for presence while blending with the band,” as these perspectives are crucial.

Masashi Todaka’s sound is not just a collection of gear; it is a reflection of his playing style and worldview, embodying “musical expression” itself. The decadent and fantastical resonance of ART-SCHOOL and the driving rock groove of MONOEYES all stem from his sound design philosophy. Understanding this essence will provide significant insights that can enrich your own guitar playing.