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

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Introduction (Overview of Tone)

Toki, the guitarist of Aldious, is renowned for her melodic yet powerful riffs and her vibrant, soaring lead play. Her sound is characterized by a metal-like thickness, combined with a bright tone and articulate distortion, allowing her to recreate the intensity of studio recordings in live performances.

The dynamic expressiveness of her playing, ranging from energetic riffs to lyrical solos, defines the overall color of the band.

Iconic songs such as “Spirit Black,” “Dominator,” “We Are,” and “Re:fire” showcase her signature sound. These tracks highlight the clear, dimensional distortion produced by Hughes & Kettner amplifiers and the dazzling tones generated by her signature models from Combat Guitars.

Additionally, her unique guitar choices, such as the ESP “CHUNPA V” and Jackson’s “Cosmo-chan,” reflect her distinctive character.

On stage, she utilizes decorative signature models and guitars equipped with LEDs, overwhelming the audience with both sound and visuals. Her presence is so significant that she can be considered a symbol of the “Aldious sound,” playing a crucial role in supporting the band’s music and live performances.

The key to Toki’s sound lies in recreating “bright and dimensional distortion” and “melodic lead tones.” In the following sections, we will delve into the amplifiers, guitars, and effects she uses to achieve her sound.

▶ Search official YouTube videos of Aldious

List of Amplifiers and Features

At the core of Toki’s sound is the German amplifier brand Hughes & Kettner. She has consistently used this brand since her debut, switching between different models over the years to construct a distortion that offers clarity and dimensionality, ideal for metal. Hughes & Kettner amplifiers are known for their warmth, characteristic of tube amps, and their ability to maintain separation even at high gain, making them exceptionally suitable for fast playing and riff-heavy metal.

One of the key models is the Coreblade. This high-gain modern metal amplifier features MIDI control and built-in noise gates, making it highly convenient for live performances. Toki primarily uses the Coreblade on stage, supporting Aldious’s fast-paced songs. Its ability to cover a wide range from clean to high gain allows it to shine in tracks like “Dominator.”

Following that, she introduced the flagship TriAmp series. It is believed that she has used models ranging from the “TriAmp MKII” to the “TriAmp MARK3,” which incorporate a more diverse channel selection and modern gain structure, allowing for smooth transitions between lead and rhythm. The TriAmp is known for its versatility, capable of producing sounds from classic rock to modern metal, and is thought to have been utilized in studio recordings as well.

The consistent criteria for her amplifier choices include “high resolution,” “clean high gain,” and “presence that stands out in live settings.” Toki’s selections are particularly rational for a band like Aldious, which requires a balance between fast rhythms and melodic vocals. Additionally, the visually striking blue LEDs of Hughes & Kettner amps harmonize well with Toki’s dazzling guitar models.

Overall, Toki has evolved the Aldious sound by primarily using the Coreblade for live performances while incorporating the TriAmp series for recordings and the latest tours. The confirmed usage is based on interviews and stage photos, but some information remains “assumed.”

Types of Guitars Used and Features

The core of Toki’s sound is her signature models produced by COMBAT-GUITARS. As a renowned handmade brand in Japan, COMBAT is known for its ability to reflect the player’s requests in detail, making Toki’s guitars symbolic of this craftsmanship. She uses multiple custom models to balance stage presence with a hard-hitting metal sound.

One of her most representative guitars is the Alt 450 Deco Custom “Phoenix”. It features Seymour Duncan SH-4 (bridge) and SH-1 (neck) pickups, providing a brilliant high-end and solid mid-range. Additionally, the body is adorned with Swarovski decorations inspired by the phoenix, making it not only sonically impressive but also visually striking on stage. This guitar excels in delivering articulate metal riffs while maintaining a flat sound in clean settings.

Another notable model is the Alt 550 “MOTHER”. This guitar is equipped with active EMG 81/89 pickups, achieving a more modern and powerful high-gain sound. Its sustain during leads and stability in the low end are particularly appealing. This model is favored for tracks that demand an aggressive sound. Furthermore, the ALD-2 also exists as a Toki model from COMBAT, showcasing her deep connection with the brand.

Toki also utilizes custom guitars from ESP. These include custom-made models based on the Arrow shape, the original “CHUNPA V,” and the visually impactful “CHUNPA V-LED,” which features LED lights. These guitars create a strong presence during live performances and add thickness to the mid-range, tightening the overall sound of the band.

Additionally, the Jackson Stars USA KV “Cosmo-chan” is known to be one of Toki’s favorite guitars. It is assumed to be equipped with Seymour Duncan SH-1 and TB-5 pickups, embodying the quintessential metal sound. Its presence was notable in Aldious’s early songs.

Overall, Toki’s guitar choices revolve around three key points: “brilliant decoration and visual impact,” “clear sound even at high gain,” and “variety of signature models.” The timing of her guitar usage varies according to the songs and live performances, with some information based on confirmed details and others inferred from photos and sound, thus some details are “assumed.”

Effects and Pedalboard Setup

In Toki’s sound creation, the role of effects is incredibly important. She combines BOSS’s standard compact effects with her original models and high-quality systems to build a wide range of tones.

In live performances and recordings, she utilizes various spatial and modulation effects tailored to each song, creating a bright and dimensional sound.

First, supporting Toki’s pedalboard is the FREE THE TONE ARC-53M. This switching system allows for instant switching between multiple effects, making it an essential item for efficiently managing complex sounds in live situations where operations between songs are limited.

Next, we have the ESP CHUNPA DRIVE, developed specifically for Toki. This original overdrive pedal reflects her unique sound creation style. While powerful on its own, it is often used as a boost to push the amp’s distortion further.

For spatial effects, the BOSS DD-7 (Digital Delay) is a standout. It adds depth to her bright leads and solos, particularly effective in songs with grand developments like “We Are” and “Re:fire.” Additionally, modulation effects such as the BOSS CE-5 (Chorus Ensemble) and BOSS BF-3 (Flanger) are used to create thick and expansive sounds.

This setup is designed to achieve Toki’s goal of a “bright and dimensional sound.” By relying on the amp for basic distortion and using effects for spatial enhancement and boosting, she balances the heaviness of metal with its brilliance. The confirmed information is based on her social media and stage photos, but some details are inferred, thus they are “assumed.”

Tone Settings, EQ, and Mixing Approaches

Toki’s sound creation emphasizes not just chasing high gain but also prioritizing “brightness” and “separation.” Therefore, meticulous adjustments are likely made in her amp, effects, and EQ settings. Given the fast tempo of Aldious’s songs, which often feature intricate riffs and melodic leads, it is essential to organize each frequency range to prevent the sound from becoming muddled.

Regarding amp settings, it is assumed that she bases her tones on the high-gain channels of Hughes & Kettner Coreblade and TriAmp, keeping the gain at a manageable level to maintain articulation. For instance, she might set the gain around 7 and boost the mids to ensure clarity without losing definition. The bass is typically set around 5-6, while the treble is slightly higher (6-7) to maintain the characteristic edge of metal.

In terms of EQ processing, she likely emphasizes the midrange (1kHz-2.5kHz), which can easily get buried in a band ensemble. This adjustment ensures that fast passages and arpeggios remain prominent. The low end is likely organized with consideration for the bass guitar, with frequencies below 80Hz cut. The high end is probably slightly attenuated above 8kHz to avoid harshness and excessive brightness.

For effect usage, she employs the BOSS DD-7 for delays during solos, adding depth and dimension. The delay time is likely set around 400ms, with repeats adjusted to avoid overwhelming the mix. For clean tones, she typically uses the BOSS CE-5 chorus to create a bright, floating tone. Additionally, the BF-3 flanger is used selectively to emphasize dramatic song developments.

On the mixing side, guitars are often double-tracked left and right, with one side adjusted slightly lower in the lows and the other side boosted in the mids and highs. This approach enhances the stereo feel, delivering a powerful experience to listeners, akin to a live performance. Furthermore, a compressor is applied moderately to even out the sound, ensuring that rapid phrases maintain a consistent volume and stability.

Examples of song-specific settings include:
– “Dominator”: Higher gain (7), boosted mids, with light delay from DD-7.
– “We Are”: Clean tone with CE-5 chorus for a bright intro.
– “Re:fire”: Boosted leads with CHUNPA DRIVE, deeper delay for a grand effect.

Overall, Toki’s sound creation is established on the pillars of “high-resolution high gain,” “brilliant spatial effects,” and “organized mixing.” This foundation allows her to achieve the exhilarating pace and captivating brilliance essential to Aldious’s music.

Affordable Alternatives to Recreate the Tone

Toki’s signature gear, including custom models from COMBAT-GUITARS and flagship amplifiers from Hughes & Kettner, tends to be quite expensive. However, for beginners and intermediate players looking to replicate a similar sound, using commercially available models is a more practical approach.

Here, we introduce alternative gear that can achieve a similar sound at a relatively affordable price.

For guitars, the ESP LTD series and Jackson JS series are strong candidates. These models are designed similarly to the ESP and Jackson guitars Toki uses, allowing players to acquire a sharp sound suitable for metal at a more accessible price point. Notably, the Jackson JS32 Kelly and ESP LTD Arrow-200 evoke the shapes of Toki’s “CHUNPA V” and “Arrow” models, providing a visual impact as well.

Regarding amplifiers, since Hughes & Kettner models are often pricey, the BOSS Katana series and Line 6 Catalyst modeling amps are recommended. These amps excel in high-gain sounds and come with built-in EQ and effects, making it relatively easy to experiment with bright and dimensional sound creation akin to Toki’s. The BOSS Katana, in particular, is highly regarded both domestically and internationally, priced around $300-$500, making it beginner-friendly.

For effects, instead of the BOSS DD-7 and BOSS CE-5 that Toki uses, consider the BOSS DD-3T (a more affordable delay option) or the BOSS CH-1 (a classic chorus). For overdrive, options like the BOSS SD-1 or MXR ZW-44 are budget-friendly choices suitable for metal sounds. Combining these effects can yield a sound quite close to Toki’s.

Additionally, using multi-effects units can be effective. Models like the ZOOM G5n and Line 6 POD Go come equipped with a wealth of spatial and modulation effects, allowing players to easily mimic the dimensional sound Toki employs in live settings. For beginners, starting with a multi-effects unit to experiment with settings before transitioning to individual pedals is a practical approach.

In summary, the key points for selecting affordable alternative gear are “capability for high-gain metal sounds,” “introduction of bright spatial effects,” and “emphasis on visual impact in shape.” By focusing on these aspects, players can achieve a sound reminiscent of Toki’s without needing to invest in high-end gear.

Summary and Conclusion

Toki’s sound creation in Aldious is not merely about pursuing intense metal distortion; it is meticulously constructed with a focus on “brightness,” “dimensionality,” and “sound separation.” As a result, her unique world is completed, symbolizing her playing style through exhilarating riffs, passionate lead solos, and visually striking stage presence.

Her core sound is supported by a range of signature models from COMBAT-GUITARS, along with the use of staple metal brands like ESP and Jackson, allowing her to achieve a broad sound range and stage performance. Models affectionately known as “Phoenix” and “MOTHER” leave a strong impression on fans, transcending the role of mere instruments.

For amplifiers, she employs Hughes & Kettner’s Coreblade and TriAmp, known for their transparent high gain and excellent separation, ensuring the guitar does not get buried in the overall band sound. The visually beautiful blue LED glow of these amps harmonizes with Toki’s dazzling stage presence.

Her effects setup, centered around BOSS, combines the ESP original CHUNPA DRIVE and FREE THE TONE switcher, allowing for instant sound optimization tailored to each song. This enhances her expressiveness in live settings while maintaining stability and dynamism in her performances.

In summary, Toki’s sound creation is fundamentally about “design that maintains clarity even at high gain.” This is an essential element for melodic and power metal, maximizing the appeal of Aldious’s music. Furthermore, her approach to combining sound and visual impact, such as using LED guitars, showcases her unique strengths.

For readers aiming to recreate Toki’s sound, key points to consider include:
– Maintaining an EQ balance that emphasizes mids without excessively raising gain.
– Utilizing spatial effects to create a bright and expansive sound.
– Ensuring visual impact in stage presence.

Even without investing in high-end gear, it is possible to achieve a sound reminiscent of Toki’s by creatively selecting alternative equipment.

Ultimately, Toki’s sound creation merges the “path of metal guitar” with “individual expression,” offering many guitarists new discoveries and inspiration through her sound.