[Tomoyasu Hotei] – How to Recreate the BOØWY Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Tomoyasu Hotei, guitarist of BOØWY, has been one of the most influential figures in the Japanese rock scene since the 1980s, thanks to his innovative and stylish guitar sound.

His guitar style blends “aggressive cutting” and “unique delay processing” with elegance and artistry, functioning as the musical core of BOØWY. Songs like “B・BLUE,” “ONLY YOU,” and “BAD FEELING” showcase his sharp rhythmic phrasing combined with compact riffs.

The true charm of Hotei’s sound lies in the balance between “sharpness and lingering resonance.” By mastering delay timing and picking articulation, he created unforgettable riffs that still stand out decades later.

His approach was rooted in ska, punk, and new wave, while also incorporating synthetic elements influenced by YMO and Kraftwerk. For its time, his style was groundbreaking. On stage he delivered dynamic, entertainer-like performances, but in recording he aimed for precision and minimalism.

Even after BOØWY disbanded, Hotei expanded into solo work, film music, and production. Yet his guitar tone from the BOØWY era remains a model for countless guitarists. The phrase “Hotei-like sound” has even become a common shorthand among musicians across genres.

This article explores how to recreate Hotei’s BOØWY-era guitar tone through amps, effects, and settings, focusing on confirmed gear, with practical setup tips. We’ll also highlight affordable alternatives for beginners who want to get close to his sound without breaking the bank.

Exploring Hotei’s sound is not just about imitation—it’s also a journey into his musical philosophy as a guitarist.

▶ Search official YouTube videos of BOØWY

List of Amplifiers and Features [BOØWY / Tomoyasu Hotei]

During the BOØWY years, Hotei’s amp choices focused on sharp attack, cutting clarity, and excellent compatibility with delay. His mainstays were the Roland JC-120 and the Marshall JCM800, both widely confirmed in live footage, magazine features, and interviews.

The Roland JC-120 became synonymous with his crisp clean tones and lush stereo chorus, crucial for songs like “B・BLUE” and “Cloudy Heart.” Its excellent pairing with external effects such as delay and compressor made it perfect for Hotei’s cutting style.

For harder-edged songs like “BAD FEELING” and “NO.NEW YORK,” the Marshall JCM800 came into play. Its aggressive crunch and midrange punch defined BOØWY’s heavier moments, with Hotei often running it in light overdrive mode and enhancing it with delay and overdrive pedals.

There’s also evidence of Fender Twin Reverb use in some recording sessions, especially for softer ballads like “MEMORY.” While less central, it added a warm clean texture. Rumors of Bogner Ecstasy or Soldano SLO-100 amps exist, but those belong mostly to his post-BOØWY solo era.

Hotei’s amp settings typically featured reduced bass, boosted mids, and enhanced presence to cut through the band mix while matching his heavy use of delay. His goal was always clarity and rhythm-tight integration, rather than overwhelming gain.

Gear	Brand	Amazon Link	Artist	Guitarist	Notes
JC-120	Roland	Search	BOØWY	Tomoyasu Hotei	Classic for cleans and chorus. Used extensively for cutting and arpeggios.
JCM800	Marshall	Search	BOØWY	Tomoyasu Hotei	Crunch tone for aggressive riffs. Essential in “BAD FEELING.”
Twin Reverb	Fender	Search	BOØWY	Tomoyasu Hotei	Occasionally in late recordings. Warm clean tones for arpeggio-driven songs.

Types of Guitars Used and Features [BOØWY / Tomoyasu Hotei]

When people think of Tomoyasu Hotei during the BOØWY era, the image that immediately comes to mind is his famous black-and-white geometric-pattern guitar, widely known as the “Hotei Model.”

This was based on the Fernandes TEJ-70HT, and it became one of the most iconic instruments in Japanese rock history. Countless live performances, promotional videos, and photos confirm its central role in his arsenal. The sharp attack, bright clarity, and tight response of this guitar perfectly complemented Hotei’s percussive cutting style.

The geometric design reportedly began as something Hotei himself drew on with a marker. From that, Fernandes turned it into a signature production model. It was not just a guitar but also a visual trademark—Hotei’s sound and image in one instrument.

In terms of electronics, early versions featured Fernandes’ stock pickup configuration: a single coil in the neck and a humbucker in the bridge. The bridge humbucker provided the fat, punchy tone for riffs and leads, while the neck single coil created shimmering textures when combined with delay and chorus. This duality allowed Hotei to shift easily between aggressive rhythm and atmospheric layers.

Other guitars also appeared during the BOØWY years, depending on the song or video:

• Fender Telecaster (Custom type): Seen in the “BAD FEELING” PV, providing a sharp, biting tone that matched the track’s punk energy.
• Greco SS600: Reported to have been used in the band’s early years. As a Les Paul Special–style guitar, it brought raw, rock-oriented power to BOØWY’s first period.
• Fernandes ZO-3: Sometimes used for playful live moments. While unconventional, it demonstrated Hotei’s willingness to break the mold.

Towards the end of BOØWY, Hotei was also seen experimenting with a TEJ-CUSTOM prototype, which would later inspire the modern Burny FR Custom and other official Hotei signature lines. This was a bridge between his BOØWY sound and the direction of his later solo career.

Importantly, Hotei’s guitar choices were never just about tone. They reflected his stage philosophy: guitars as part of the show, as much visual as sonic. The striking look of the Hotei model, combined with its aggressive sound, gave BOØWY’s performances their edge and their style.

On the technical side, his setups leaned toward mid-focused EQ, ensuring every note cut through the band mix. He often manipulated pickup balance and guitar volume to create dynamic contrasts. For songs like “ONLY YOU” or “LONGER THAN FOREVER,” his guitar became a storyteller rather than just an accompaniment—expressive, almost vocal in its phrasing.

Altogether, Hotei’s guitars were both tools and symbols, allowing him to balance precision, aggression, and visual artistry. They remain some of the most recognizable instruments in Japanese rock, and reproducing his tone is impossible without acknowledging the guitars that defined it—particularly the Fernandes TEJ-70HT.

Gear	Brand	Amazon Link	Artist	Guitarist	Type	Notes
TEJ-70HT (Hotei Model)	FERNANDES	Search	BOØWY	Tomoyasu Hotei	Electric Guitar	Iconic black-and-white geometric design. Humbucker bridge pickup for punch, essential for his tone.
Telecaster (Custom)	Fender	Search	BOØWY	Tomoyasu Hotei	Electric Guitar	Used in “BAD FEELING” PV. Sharp and cutting, great for punk-inspired riffs.
SS600	Greco	Search	BOØWY	Tomoyasu Hotei	Electric Guitar	Early BOØWY guitar, Les Paul Special–style. Delivered a raw rock sound.

Effects and Pedalboard Setup [BOØWY / Tomoyasu Hotei]

Tomoyasu Hotei’s pedalboard during the BOØWY years was strikingly simple, yet incredibly effective. Rather than flashy gimmicks, he prioritized practicality and responsiveness. His sound relied heavily on time-based and dynamics effects, which shaped the tight, clean-yet-expansive tone that became his signature.

At the core was the BOSS DD-2 Digital Delay, one of the earliest compact digital delay pedals available in the mid-1980s. Hotei used it extensively, carefully setting delay times to match song tempos—often 1/8 notes or triplets—so that his guitar parts would lock rhythmically with the drums. This technique, heard clearly in “ONLY YOU” and “B・BLUE,” added depth and rhythmic dimension that became a hallmark of his style.

Another cornerstone was the BOSS CS-2 Compressor Sustainer. This pedal helped keep his cutting sharp and articulate, ensuring that every strum had consistent volume and clarity. For the precision-based funk and punk-influenced rhythm guitar that defined BOØWY, compression was essential.

For drive, Hotei made use of both the BOSS OD-1 OverDrive and the DS-1 Distortion. The OD-1 added a touch of grit and midrange push, ideal for solos or crunchy rhythm. Meanwhile, the DS-1 provided sharp distortion that paired perfectly with his percussive attack. Songs like “BAD FEELING” and “NO.NEW YORK” reveal how the DS-1 contributed to his aggressive, razor-edged sound.

On the modulation side, the BOSS CE-2 Chorus and BOSS BF-2 Flanger were important. Combined with the Roland JC-120’s built-in stereo chorus, these pedals created a shimmering, spatial quality, especially in BOØWY’s more atmospheric ballads. Hotei used them sparingly but effectively, proving that subtle modulation can expand a guitar’s presence without overwhelming the mix.

Occasional use of a Dunlop Cry Baby Wah has been confirmed through photos and live footage, particularly in songs like “IMAGE DOWN.” Rather than long solos, Hotei used wah as a rhythmic color, adding funk-inspired phrasing and tonal movement in fills.

Unlike his later career, where modern brands like Providence or Free The Tone became part of his rig, Hotei’s BOØWY pedalboard remained grounded in classic BOSS compact pedals. This simplicity gave him reliability, immediacy, and the ability to create a full spectrum of textures without unnecessary complexity.

Hotei’s approach to effects was minimalistic in philosophy: effects should never overshadow the player. His pedals were tools to enhance rhythm and atmosphere, not to dominate. This is why his sound feels so organic—every effect blends into the playing, rather than standing apart from it.

In summary, Hotei’s pedalboard exemplified the “less is more” ethos. With only a handful of compact pedals, he crafted one of the most distinctive and influential tones in Japanese rock history.

Gear	Brand	Amazon Link	Artist	Guitarist	Type	Notes
DD-2	BOSS	Search	BOØWY	Tomoyasu Hotei	Delay	Set to song tempos for rhythmic sync. Core of Hotei’s signature spacey tone.
CS-2	BOSS	Search	BOØWY	Tomoyasu Hotei	Compressor	Kept cutting consistent and articulate. Essential for percussive funk/punk rhythms.
OD-1	BOSS	Search	BOØWY	Tomoyasu Hotei	Overdrive	Added warmth and mid-push for solos. Used with JC-120 clean base.
DS-1	BOSS	Search	BOØWY	Tomoyasu Hotei	Distortion	Sharp, aggressive distortion. Featured heavily in “BAD FEELING.”
CE-2	BOSS	Search	BOØWY	Tomoyasu Hotei	Chorus	Added shimmer alongside JC-120’s chorus. Gave depth in ballads.
BF-2	BOSS	Search	BOØWY	Tomoyasu Hotei	Flanger	Occasional use for swirling, spacey textures. Enhanced atmospheric songs.
Cry Baby	Dunlop	Search	BOØWY	Tomoyasu Hotei	Wah Pedal	Used sparingly for funk-inspired fills. Added tonal movement in “IMAGE DOWN.”

Tone Settings, EQ, and Mixing Approaches [BOØWY / Tomoyasu Hotei]

Tomoyasu Hotei’s BOØWY-era tone was built on three main pillars: tight cutting with sharp edges, deliberate use of spatial effects, and balance within the overall band mix. His guitar was not meant to dominate the soundstage but to integrate seamlessly into the rhythm section, while still cutting through with clarity.

When using the Roland JC-120, his typical amp settings were as follows:

• Bass: 3–4 (kept low to avoid clashing with bass guitar)
• Middle: 6–7 (emphasized for presence and punch)
• Treble: around 6
• Reverb: 2–3 (subtle, not overpowering)
• Chorus: On (Depth around 5, Rate around 3)

This EQ curve gave his sound a crisp, mid-forward focus, ensuring every strum cut clearly in the mix. By lowering bass frequencies, he allowed the kick drum and bass guitar to dominate the low end, while his guitar danced in the higher register with precision.

When he used the Marshall JCM800, his settings leaned toward light crunch: pre-gain around 6–7, master volume around 3–4. He avoided excessive presence, which could make the tone too piercing, instead focusing on midrange density for thick, authoritative riffs. This approach is audible in songs like “BAD FEELING,” where the chords bite without overwhelming the mix.

A crucial part of Hotei’s sound was delay synchronization. With his BOSS DD-2, he matched delay times exactly to the song’s BPM, often setting dotted eighth or triplet delays. This created a “shadow guitar” effect—his notes echoed back in rhythm, giving the impression of multiple guitars playing in perfect sync. The intro to “ONLY YOU” is a textbook example of this method, where delay transforms a simple phrase into a hauntingly layered texture.

In studio EQ, engineers often cut everything below 100Hz from his guitar tracks, keeping the low end clean for bass and kick. Instead, they boosted slightly around 3kHz and 6kHz to highlight his cutting attack and shimmering top-end edge. This EQ strategy allowed his guitar to remain present without stepping on vocals or keyboards.

Different songs demanded different adjustments:

• “ONLY YOU” / “LONGER THAN FOREVER”: boosted highs, deeper delay, chorus enhanced for spacious ballad textures.
• “BAD FEELING” / “WORKING MAN”: midrange boost, stronger distortion, lighter compression to retain aggression.
• “CLOUDY HEART”: subdued mids, more reverb, softened attack for emotional resonance.

In mixing, Hotei’s guitar was often hard-panned left or right, leaving space for vocals, keyboards, and lead lines. His tone was not about occupying the center spotlight, but about creating rhythmic and spatial balance within the band. Sometimes in live contexts, engineers applied delay at the PA level rather than directly from his pedalboard, ensuring the timing synced with the overall mix.

Importantly, Hotei avoided excessive layering. In recordings, his guitar was often kept mono rather than double-tracked. This decision preserved the precision and “honesty” of his playing, ensuring the listener heard exactly the nuances of his picking and delay interplay. His tone was already so complete that doubling wasn’t necessary.

Ultimately, Hotei’s sound design was less about chasing raw volume and more about architecture: every frequency, every rhythm subdivision, and every spatial choice had a deliberate role. His guitar worked as both a harmonic anchor and a percussive instrument, shaping BOØWY’s sound with elegance and restraint.

In this sense, his philosophy can be summed up as: “Not to stand out, but to make the whole ensemble breathe.” This mindset is what makes his BOØWY-era tone still feel modern and relevant today. Recreating it requires not only gear, but also a deep awareness of space, rhythm, and restraint.

Affordable Alternatives to Recreate the Tone [BOØWY / Tomoyasu Hotei]

One of the most inspiring aspects of Tomoyasu Hotei’s BOØWY sound is that it is not entirely gear-dependent. While his iconic Fernandes guitar and Roland JC-120 defined his tone, much of the magic came from how he set up and used his equipment. This means you don’t need vintage gear to capture the spirit of his sound—modern, affordable gear can take you surprisingly close if you focus on the right elements.

■ Amplifiers
The Roland JC-22 is essentially a scaled-down version of the JC-120. It retains the clear, crystalline clean tone and lush stereo chorus that made the JC-120 legendary, but in a smaller, more affordable package perfect for home or studio use. This makes it a top choice for anyone chasing Hotei’s clean cutting sound on a budget.

Another excellent alternative is the BOSS Katana-50 MkII. This amp has become a modern classic thanks to its versatility and affordability. It can emulate both JC-style cleans and Marshall-style crunch, while also offering onboard delay, overdrive, and modulation effects. With a single compact amp, you can reproduce much of Hotei’s sonic palette, from sharp cutting rhythms to wide delay-driven atmospheres.

■ Guitars
Visually and sonically, the most direct affordable route is the Fernandes TEJ Hotei Model (Burny versions included). These entry-level versions replicate the famous black-and-white geometric design and deliver a similarly bright, cutting tone. Priced in the mid-range market, they are both collectible and playable.

If you prefer versatility or want a more traditional option, the Squier Classic Vibe Telecaster is excellent. Its single-coil clarity and sharp response make it ideal for BOØWY-style funk-punk rhythms, especially for songs like “BAD FEELING.” While not visually identical to Hotei’s guitar, its tone delivers that same precision and edge.

■ Effects
For delay, the BOSS DD-3T is the modern successor to Hotei’s DD-2. It offers the same crisp delay but adds tap tempo, making it much easier to synchronize with song BPM. This feature makes recreating Hotei’s rhythmic delay patterns straightforward, even for beginners.

For compression, the BOSS CS-3 is the current production model and a spiritual successor to the CS-2. It provides sustain and articulation that make Hotei’s tight cutting style much easier to emulate, ensuring consistent note attack.

For drive, the BOSS SD-1 is a budget-friendly pedal that inherits much of the OD-1’s midrange-focused overdrive. It’s perfect for adding subtle grit and punch without overpowering your clean base, staying true to Hotei’s approach.

If you prefer an all-in-one option, the ZOOM G2 Four multi-effects processor is a fantastic choice. It includes emulations of the JC-120, OD-1, DD-3, CE-2, and more. For around the price of a single pedal, you can cover Hotei’s entire effects chain. This makes it ideal for beginners or home players who want flexibility without a large investment.

In practice, you don’t need to match every piece of Hotei’s gear. The essential elements are: a clean, mid-focused amp with chorus, a delay pedal synced to tempo, and a guitar with sharp, articulate attack. With these, you can already step into the world of BOØWY’s sound.

What truly matters is playing with space—leaving gaps, controlling dynamics, and using delay not as decoration but as part of the rhythm. Even with affordable gear, this mindset will bring you closer to Hotei’s sound than expensive equipment alone.

Category	Gear	Brand	Amazon Link	Artist	Guitarist	Notes
Amp	JC-22	Roland	Search	BOØWY	Tomoyasu Hotei	Compact version of JC-120. Delivers clean, chorus-heavy tones essential for Hotei’s style.
Amp	Katana-50 MkII	BOSS	Search	BOØWY	Tomoyasu Hotei	Versatile modeling amp with onboard effects. Can emulate both JC-120 cleans and Marshall crunch.
Guitar	TEJ Hotei Model	FERNANDES	Search	BOØWY	Tomoyasu Hotei	Affordable replicas of the iconic geometric-pattern guitar. Bright and sharp tone for cutting rhythm.
Guitar	Classic Vibe Telecaster	Squier	Search	BOØWY	Tomoyasu Hotei	Budget Telecaster with excellent clarity and edge. Great for “BAD FEELING”-style rhythms.
Delay	DD-3T	BOSS	Search	BOØWY	Tomoyasu Hotei	Modern update of the DD-2. Adds tap tempo for easy BPM sync, essential for Hotei-style delay.
Compressor	CS-3	BOSS	Search	BOØWY	Tomoyasu Hotei	Successor to CS-2. Ensures consistent attack and sustain for funk-punk rhythm playing.
Overdrive	SD-1	BOSS	Search	BOØWY	Tomoyasu Hotei	Budget-friendly OD-1 descendant. Adds warmth and mid boost for lead passages.
Multi-Effects	G2 Four	ZOOM	Search	BOØWY	Tomoyasu Hotei	All-in-one solution with JC-120, OD-1, DD-3, CE-2 emulations. Ideal for practice and recording.

Summary and Conclusion [BOØWY / Tomoyasu Hotei]

Looking back at Tomoyasu Hotei’s BOØWY-era sound, we can see that its essence is not simply about minimal note counts, but about maximum density of meaning within each note. Hotei was a rare guitarist capable of giving every chord and phrase a unique role in the overall composition. His mastery came not from complexity, but from precision and control.

The tools of his sound—delay, compressor, chorus, and crisp amp settings—were never the focus in themselves. Instead, they were extensions of his architectural approach to guitar. Hotei thought like a designer: cutting frequencies to create space, layering delay to build depth, and adjusting dynamics so that the guitar became more than accompaniment—it became part of the song’s structure.

For anyone attempting to recreate his sound, the lesson is clear: gear alone will not get you there. What matters most is technique and intention. Your picking angle, touch, volume control, and sense of rhythm are the real foundations. Hotei’s delay-synced playing worked because he had impeccable timing. His cutting grooves landed so cleanly because he treated the guitar like a percussive instrument, not just a melodic one.

Hotei also exemplified a mixer’s mindset. He constantly asked: how does my guitar interact with the vocals? Is it stepping on the bass frequencies? Does it leave room for drums? This awareness is why his guitar lines never felt overbearing. They cut through with clarity, yet they were never harsh. They supported the song rather than overshadowed it.

Another important point is his philosophy of restraint. In BOØWY’s songs, silence and space mattered as much as the notes. Hotei often left intentional gaps, letting the delay fill the space or allowing rhythm to breathe. This gave his playing a sense of tension and release, a sophistication that still inspires guitarists today.

So what does this mean for modern players? You don’t need to chase rare signature guitars or vintage amps. Instead, train your ear, refine your rhythm, and think of your guitar as both percussion and harmony. Use effects sparingly, only to highlight space and texture, not to hide behind. Practice playing with fewer notes, but give each one purpose and presence.

Hotei’s sound has endured because it was never about fashion or technology—it was about philosophy and design. He built his tone like an architect builds a structure: every element supporting the whole. That’s why even decades later, BOØWY’s songs sound fresh, tight, and powerful.

If you want to capture his sound, remember this guiding principle: “It’s not about standing out—it’s about making the ensemble breathe.” By focusing on space, rhythm, and intentionality, even a beginner with affordable gear can discover something deeply “Hotei-like.”

In the end, Tomoyasu Hotei’s BOØWY-era guitar tone is more than just a sound—it’s a philosophy of playing. To study it is to learn not only how to set up amps and pedals, but how to listen, how to design space, and how to turn restraint into power. That is why his legacy continues to inspire musicians, and why his sound remains a timeless reference point in Japanese rock history.