[Tomoyasu Uehara] How to Recreate the Dopamen Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tomoyasu Uehara, the guitarist of Dopamen, is renowned for his “powerful yet delicate” guitar playing that supports the band’s sound. His guitar tone is characterized by a blend of gritty undertones and a solid core of clean and robust drive, evoking the essence of punk rock and rock ‘n’ roll.

His primary instrument, the Fender Stratocaster, showcases a dazzling tone typical of American vintage guitars, enhanced by personal modifications such as Gotoh locking tuners and a custom pickguard. This guitar is highly reliable, used in over 99% of their live performances.

In ballads and acoustic-driven songs, he often switches to a Gibson J-45, demonstrating his ability to adapt his playing style to suit the nuances of each track. His main amplifier is the Fender Super-Sonic, which he pairs with a secondary amp depending on the venue, showcasing his flexibility.

In Dopamen’s songs like “Ai no Deban da!” and “Kodoku Club,” Uehara’s choice and use of effects are clearly evident. The former features single-note cutting with a wah pedal, while the latter employs long delays to create a spacious soundscape.

The reason Uehara’s sound design garners attention is not merely due to his extensive use of effects, but rather his “subtracting aesthetics,” where he employs only what is necessary for each moment. This approach ensures that his guitar sound maintains a strong presence within the overall band sound, regardless of the era.

In the following sections, we will delve into the amplifiers, guitars, and effects he uses, uncovering the secrets behind his sound design.

▶ Search official YouTube videos of Dopamen

List of Amplifiers and Features

Tomoyasu Uehara’s choice of amplifiers is grounded in achieving a balance between clean and distorted tones. His main amplifier for both live performances and recordings is the Fender Super-Sonic. This amp combines the transparent clean tones typical of Fender with a sharp distortion when boosted, making it ideal for supporting Dopamen’s robust rock sound. It pairs exceptionally well with his Stratocaster, delivering a solid core whether strumming chords or playing single-note riffs.

Additionally, he utilizes the One Control BJF-S66 as a supplementary amp, which serves to adjust EQ based on the venue’s acoustics. For a band like Dopamen that tours extensively, the ability to produce consistent sound across various locations is a significant advantage, highlighting the rationale behind Uehara’s use of this secondary amp.

Live footage and gear showcase articles confirm the presence of the Super-Sonic alongside its cabinet, demonstrating Uehara’s adaptability in responding to different spatial acoustics by switching to the BJF-S66. This setup reflects Uehara’s focus on maintaining the overall balance of the band rather than simply cranking up the volume.

While some past music magazines and fan sites speculate that he may have used Marshall-style amps at certain points, reliable interviews or official information have yet to confirm this. Currently, it is almost certain that his primary setup revolves around the Fender Super-Sonic and the One Control BJF-S66.

Thus, Uehara’s amplifier setup can be characterized as “common for both live and recording” and “environmentally adaptive through a secondary amp,” indicating a practical and field-oriented configuration. Notably, he emphasizes the natural characteristics of the amp over relying solely on effects for distortion.

Considering these points, it can be inferred that Dopamen’s guitar sound is built around a solid rock tone centered on the Fender Super-Sonic, enhanced by the environmental adaptability of the One Control BJF-S66.

Types of Guitars Used and Features

The core of Tomoyasu Uehara’s guitar sound undoubtedly comes from the Fender American Vintage ’57 Stratocaster (1987 model). This guitar is used in over 99% of their songs and has become a trademark of Dopamen. Its maple fingerboard provides a bright and cutting tone, ensuring a strong presence whether playing chords or single-note leads.

Moreover, he has customized this Stratocaster to his preferences, replacing the pickguard with a three-ply version and switching to Gotoh locking tuners. He even reinforces the tremolo springs with tape, a unique modification that helps maintain stable tuning during tours and in demanding stage environments. Such “field-responsive” modifications reflect Uehara’s down-to-earth nature as a musician.

On the acoustic side, he uses the Gibson J-45. Particularly in recordings like “Reiwa (Kyou) Aika,” its warm and deep tones enhance the atmosphere of the songs. In contrast to the sharpness of the Stratocaster, the acoustic guitar adds a rich resonance, broadening the band’s sound palette.

Past live photos and fan reports indicate that he has experimented with other guitars, but he has consistently centered his activity around this Stratocaster, making it fair to say that “Uehara’s sound equals this Strat.” The choice of guitars directly influences sound individuality, and in Uehara’s case, his modifications and extensive use have created a “one-of-a-kind tone.”

With its bright Fender characteristics, enhanced by Uehara’s personal touch, the sound fits perfectly within Dopamen’s musical identity.

In summary, Tomoyasu Uehara’s guitar setup primarily consists of a customized Fender Stratocaster as the main instrument, complemented by the Gibson J-45 for specific contexts.

Effects and Pedalboard Setup

Tomoyasu Uehara’s pedalboard is characterized by a diverse selection of pedals, yet he emphasizes fitting the sound to the song without excessive processing. His main distortion is built around the Xotic BB Preamp, which he also uses as the primary distortion pedal during recordings. This pedal provides a natural yet powerful sound that supports the core of the band’s sound.

For solos and climactic sections of songs, he incorporates the Rockbox Boiling Point and Rockbox Super 763, adding thickness and nuance through overdrive. The Super 763 shines when he wants to add a bit of flavor to his clean tone. By combining multiple overdrives as needed, Uehara effectively adapts to Dopamen’s diverse musical styles.

Additionally, the Jim Dunlop JB95 Joe Bonamassa Cry Baby Wah is prominently featured in “Ai no Deban da!” for single-note cutting, while the BOSS BF-2 Flanger creates a unique spatial effect in “Kakete Pātsu no Uta.” In “Kodoku Club,” he employs the TC Electronic Flashback X4 for long delays, crafting expansive soundscapes.

To enhance low-end and thickness, he utilizes octave pedals like the BOSS OC-2 and Electro-Harmonix POG2, adding depth to specific phrases or single-note intros. Considering live practicality, he integrates switching systems like the Free The Tone ARC-3, along with loopers such as the BamBasic Loop Selector and One Control White Loop, allowing for efficient operation.

For compression, he alternates between the Mooer Yellow Comp and MXR Dyna Comp, achieving stable attack characteristics in cuts like “Janai WORLD.” Spatial effects include the Animals Pedal Bath Time Reverb, Strymon Lex (rotary simulator), and Maxon AD-999 (analog delay), meticulously crafting sounds for each context.

He uses tuners like the KORG Pitchblack XS and PB-01 as needed, powered by the One Control Distro Minimal. For noise reduction, the ISP Decimator II is regularly employed, with the Free The Tone IG-1N introduced for specific tours.

Overall, Uehara’s effects system is diverse yet built on the principle of utilizing only what is necessary for each application. This approach has successfully produced optimal tones for each of Dopamen’s songs.

Tone Settings, EQ, and Mixing Approaches

Tomoyasu Uehara’s approach to EQ and mixing is characterized by simplicity and practicality. He primarily bases his sound on the clean channel of his amp, often emphasizing the midrange while maintaining the sparkle of the high frequencies.

Distortion mainly comes from the amp’s natural crunch, boosted as needed with effects. By enriching the midrange, he ensures that the rock power of the overall band sound is preserved while maintaining a strong presence for the guitar.

In mixing, he ensures that the guitar functions as part of the band rather than standing out excessively. Uehara prefers to position the guitar simply in the center rather than thickening its stereo image, focusing on balancing it with other instruments. This approach allows lyrics and melodies to come forward clearly, emphasizing the overall harmony of the band.

Affordable Alternatives to Recreate the Tone

To recreate Tomoyasu Uehara’s sound at a relatively affordable price, here are some gear examples that beginners can easily acquire to achieve a similar tone.

Summary and Conclusion

Tomoyasu Uehara’s sound design is characterized by maximizing the natural characteristics of his guitar and amp while reinforcing tones with a minimal set of effects. This simplicity and practicality allow his music to remain timeless, continuously resonating with many fans.

His approach highlights the importance of utilizing the guitar’s inherent sound rather than relying heavily on effects, ultimately enhancing the allure of the music itself. As the backbone of Dopamen’s sound, his presence is only expected to grow stronger.

In summary, we have explored the characteristics of Tomoyasu Uehara’s guitar sound and his gear selection. By referencing his sound design, one can expect a deeper musical understanding and improvement in playing techniques.