[Tora] How to Recreate the Alice Nine Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Alice Nine’s guitarist Tora is renowned for his hard-hitting yet melodic riffs and a three-dimensional guitar sound enhanced by spatial effects. His guitar arrangements support the band’s visual concept, showcasing a wide range from heavy metal-infused riffs to crystal-clear cleans.

Iconic songs like “RAINBOWS” and “閃光” feature tight riffs and striking lead guitar that drive the band’s overall groove. Tora’s sound is characterized by a thick distortion based on MESA/Boogie high-gain amps, seamlessly switching to the pristine cleans of the Roland JC-120 for different tracks. Additionally, he employs unique-shaped guitars, including signature models from Combat and Explorers, to create a distinct presence.

On stage, Tora effectively uses boosters and preamps to maintain a stable tone even during intense performances. Notably, the Providence STAMPEDE OVERDRIVE and Hughes & Kettner Tubeman are professional-grade effects that help craft a consistent distortion character.

As a result, Tora’s guitar serves not just as a lead instrument but also plays a crucial role in controlling the band’s overall sound pressure while dramatically enhancing the song’s atmosphere. This multi-layered and high-quality sound design is likely why he appeals to fans of visual kei, modern rock, and metal alike.

Understanding Tora’s sound design is the first step in recreating the Alice Nine sound. Below, we will delve into the specific gear used, including amplifiers, guitars, and effects, along with their features and reasons for selection.

▶ Search official YouTube videos of Alice Nine

List of Amplifiers and Features

The core of Tora’s sound is built around the contrasting personalities of the MESA/Boogie TRIPLE RECTIFIER and the Roland JC-120. The MESA/Boogie is a 150W high-gain head that produces overwhelming sound pressure and articulate distortion, making it ideal for the heavy and aggressive riffs characteristic of visual kei bands. In powerful tracks like “閃光” and “RAINBOWS,” the thick and tight distortion unique to this amp supports Tora’s rhythm guitar.

On the other hand, the Roland JC-120 is a globally recognized clean amp known for its bright and spacious clean tones. Tora utilizes this amp for ballads and clean-centric songs, leveraging its clarity. The stereo chorus built into the JC-120 plays a crucial role in creating a sense of floating sound, making it indispensable for ethereal tracks.

On stage, it is believed that Tora switches between amps for different songs or uses both through a line-out or effects board. The transition between the heavy distortion of the MESA/Boogie and the cleans of the JC-120 is manageable for the PA system and makes sense in the overall sound design of the band. Live photos and audio sources confirm that these two types of amps are used selectively based on the song’s requirements.

Additionally, during recording sessions, there are indications that Tora may use other boutique amps or amp simulators alongside the MESA/Boogie distortion. The characteristics of tube amps, such as “thickness” and “presence,” can be felt in the recordings, suggesting that multiple miking and amp combinations are employed in his sound design.

Tora’s choice of amps reflects a conscious effort not just to achieve volume or distortion strength but to “construct the optimal space for each song.” Therefore, for guitarists aiming to replicate the live intensity, the combination of the MESA/Boogie TRIPLE RECTIFIER and the Roland JC-120 is essential.

Types of Guitars Used and Features

A significant aspect of Tora’s playing style is his lineup of guitars, primarily featuring original models from Combat and Gibson. The Combat Guitars, particularly Tora’s signature models, frequently appear in live performances and music videos, making them a core part of his tone.

Notably, the “COMBAT Custom Guitar” (a Telecaster + SG-style original model) features a unique shape that blends the sharpness of a Telecaster with the power of an SG. This model not only looks distinctive but also allows Tora to switch between single-coil and humbucker configurations, supporting his diverse sound design.

Combat Guitars also offers distinct signature models like the “TORA SIGNATURE MODEL 3 SINGLE” and “TORA SIGNATURE MODEL 2 HUMBUCKER,” which Tora uses to vary distortion texture and picking nuances for different songs. The former excels in clarity and cutting tones, while the latter is ideal for thick riff work.

Additionally, the Combat Guitars STRATOCASTER SHAPE WHITE has been confirmed in use, showcasing a balanced sound typical of Stratocasters and contributing bright high-end phrases. These various Combat guitars distinctly color Tora’s character on stage.

Gibson guitars also frequently make an appearance, particularly the “Gibson Explorer” and “Gibson Explorer B-2 (Satin Ebony),” which emphasize Tora’s rock side with their sharp shapes and powerful sounds. Explorer models excel in thick low-end and aggressive tones, making them essential for the band’s more aggressive tracks.

For acoustic parts, Tora uses a “TAKAMINE Acoustic Guitar,” which shines during ballads and unplugged performances, providing a bright and stable sound. Takamine is a brand favored by professionals both domestically and internationally, ensuring reliability during live performances.

Overall, Tora primarily relies on signature Combat Guitars while switching to classic rock guitars like the Explorer to adapt to Alice Nine’s diverse repertoire. His guitar selection is not only about sound design but also about stage presence, embodying Tora’s musicality. In summary, he adopts a style of “selecting the optimal guitar for each song’s character.”

Effects and Pedalboard Setup

Tora’s pedalboard is confirmed to be simple yet practical for live performances. While the main distortion relies on the MESA/Boogie TRIPLE RECTIFIER, he employs multiple pedals for tone adjustments and character enhancement for different songs.

One crucial pedal is the “MXR Micro Amp.” This straightforward booster is used to elevate volume during solo parts or climactic sections of songs. When using a heavy distortion sound like Tora’s, the guitar can sometimes get buried in the mix, but this pedal helps bring it to the forefront.

Next, the “Providence STAMPEDE OVERDRIVE” features a natural mid-range push and a solid tone. It is likely used to enhance the amp’s distortion or add punch to riffs. Especially in metal-oriented tracks, boosting the high-gain amp results in Tora’s signature hard-edged and cutting riffs.

Another notable effect is the “Hughes & Kettner Tubeman,” a preamp effect with a tube, often used for solos and studio work. This pedal provides a warmer and more dimensional distortion than direct amp sound, making it valuable for recording sessions.

Additionally, a distinctive live feature is the “Jim Dunlop DB01 (Dimebag Darrell Signature Wah Pedal).” This pedal, famous for its association with the late Dimebag Darrell, is also utilized by Tora for accentuating aggressive cuts and solos. Its wide wah range makes it an essential tool for adding expression to Tora’s lead guitar.

Thus, Tora’s pedalboard does not feature an excessive number of pedals; instead, it reflects a style of “using a minimal number of effects effectively.” The pedals are used for volume control, tone correction, and adding expression to select songs while maintaining the character of the amp.

Tone Settings, EQ, and Mixing Approaches

Tora’s sound design relies heavily on EQ balance and mixing techniques, not just the combination of amps and effects. Alice Nine’s songs intertwine rhythm sections, synths, and vocals, necessitating careful control of the guitar’s frequency range to avoid being buried in the mix. Tora likely addresses this challenge through meticulous frequency management.

For instance, when using the MESA/Boogie TRIPLE RECTIFIER, the basic setting focuses on maintaining a moderate gain without cranking it too high, emphasizing the “density” of the distortion. The bass is typically set slightly below noon to prevent excessive mid-low frequencies, while the mids are slightly boosted to ensure Tora’s characteristic hard riffs stand out in the mix. Treble is adjusted per song, often set higher during live performances to enhance clarity.

When utilizing the Roland JC-120, EQ settings are often chosen to maximize the clean tone’s transparency by slightly cutting the bass and emphasizing treble. Additionally, activating the stereo chorus creates spatial depth, effectively recreating the ethereal arrangements unique to Alice Nine, particularly in songs like “ブループラネット.”

Regarding effects, when boosting with the MXR Micro Amp, the EQ is likely kept close to the amp’s settings, with only the volume raised. The Providence STAMPEDE OVERDRIVE further emphasizes the mid-range, creating a sound that stands out during lead phrases and guitar solos. In twin-guitar arrangements, Tora likely focuses on a “cutting frequency range” centered around the mids to ensure clarity when blending with the other guitarist.

In recording, double tracking is frequently employed. Rhythm guitars are panned left and right, combining different EQ and miking techniques to create a three-dimensional sound. For example, one side may emphasize mids while the other highlights highs, creating a wall of sound. During solos and lead parts, slight delay and reverb are added to enhance depth, suggesting a more pronounced sound design compared to live performances.

In mixing, care is taken not to overly boost the guitar’s low end, allowing the bass guitar and kick drum to occupy that space. Instead, the presence range around 1.5kHz to 3kHz is elevated, highlighting Tora’s picking nuances and the attack of his riffs. This frequency management is one reason his sound is described as “hard and cutting.”

During live performances, it is believed that the PA engineer combines amp miking with line outputs to ensure the sound’s definition. The MESA/Boogie is often captured with standard mics like the SM57 or MD421, typically mixed with settings that emphasize mids while controlling lows. This results in a guitar sound that maintains its heft without getting lost in the mix.

Overall, Tora’s sound design emphasizes the “quality” and “frequency management” of distortion rather than sheer volume. By balancing the performance of amps and effects with thoughtful EQ and mixing techniques, he creates a sound that confidently asserts its presence while harmonizing with other parts.

Affordable Alternatives to Recreate the Tone

The high-end gear used by Tora, such as Combat Guitars and the MESA/Boogie TRIPLE RECTIFIER, can be quite expensive and often out of reach for beginners and intermediate players. However, by grasping the essence of his sound design, it is possible to approach the “Tora sound” using relatively affordable commercial gear. Here, we introduce equipment available for approximately $100 to $500 that can effectively recreate his tone.

For amplifiers, the “BOSS Katana-100 MkII” is highly recommended as an alternative to the MESA/Boogie TRIPLE RECTIFIER. Its built-in high-gain channel closely resembles the thick distortion character of MESA amps, and its flexibility in effects and EQ makes it suitable for replicating Tora’s heavy riffs. Its versatility for both home practice and live performances is also a significant advantage.

For clean tones, the “Roland JC-22” is suggested as a substitute for the Roland JC-120. This smaller version retains the stereo chorus and bright clean sound, allowing players to experience the transparent sound characteristic of Alice Nine at a lower price point. Despite its compact size, it features a line output, making it useful for recording as well.

For guitars, alternatives like the “Epiphone Explorer” and “YAMAHA PACIFICA series” are excellent choices to replace Combat Guitars and Gibson Explorers. The Epiphone Explorer offers a powerful and aggressive tone at a more affordable price than its Gibson counterpart, allowing players to enjoy Tora’s stage presence. Meanwhile, the PACIFICA series typically features an SSH configuration, making it versatile enough to cover Tora’s diverse repertoire.

In terms of effects, the “BOSS GE-7 (Graphic Equalizer)” is recommended as an alternative to the MXR Micro Amp. This pedal not only serves as a booster but also allows for mid-range emphasis, helping to create the clarity characteristic of Tora’s sound. For an alternative to the Providence STAMPEDE OVERDRIVE, the “BOSS SD-1 Super OverDrive” is ideal. This classic pedal provides strong mid-range push, making it possible to achieve a tone very close to that of MESA amps.

Lastly, the “Jim Dunlop Cry Baby GCB95” can be suggested as a substitute for the Jim Dunlop DB01 wah pedal. This standard wah model offers sufficient expressiveness, allowing players to recreate the dynamic feel of Tora’s lead guitar.

By combining these pieces of gear, it is possible to recreate the “Tora sound” for under $1,000. The key is to focus on essential characteristics such as “mid-range emphasized riffs,” “transparent cleans,” and “expression through wah,” rather than striving for an exact replica of high-end gear.

Summary and Conclusion

Tora’s guitar sound is highly regarded for its balance of “hardness” and “transparency,” making it a standout among visual kei guitarists. At the core of his sound are the thick high-gain tones of the MESA/Boogie TRIPLE RECTIFIER and the bright clean tones of the Roland JC-120. By combining these with signature models from Combat Guitars and the Gibson Explorer, he vividly differentiates the character of each song.

His use of effects is also distinctive. Boosters and overdrives are employed for “distortion correction and strength enhancement,” while wah pedals are used for “adding expression to songs.” Rather than lining up numerous pedals, Tora effectively utilizes a minimal setup to achieve a stable sound on stage. This approach reflects the pursuit of a “sound that can be reliably reproduced” in professional settings.

Moreover, the ingenuity in EQ and mixing is crucial. Tora’s sound does not come across as overly distorted when heard in isolation, but it achieves a “wall of sound pressure” when integrated into the band. The mid-range emphasis in his settings allows the presence of vocals and synths without overshadowing them, fulfilling a role that blends seamlessly with the rhythm section. This concept of “frequency management” is fundamental to his sound.

For beginners and intermediates looking to replicate Tora’s sound, it is essential to focus on elements like “mid-range-focused EQ,” “volume control with boosters,” and “switching between clean and high-gain tones,” rather than relying solely on expensive signature models or full-stack amps. With relatively affordable gear and an understanding of sound design direction, achieving a “Tora-like” sound is entirely feasible.

In summary, Tora’s sound design masterfully transitions between “powerful and heavy distortion” and “delicate and transparent cleans,” supporting the band’s overall aesthetic. This approach is not merely about the individuality of a guitarist but serves as a core element shaping the musicality of Alice Nine. Learning Tora’s sound is not just about gathering equipment; it involves adopting a perspective on “how to make the guitar resonate within the context of the entire song.”

For those looking to cover Alice Nine or create a prominent sound in their own bands, Tora’s sound design offers invaluable insights. It is less about the luxury of gear and more about how to grasp the “essence of sound.” That is the heart of Tora’s sound.