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

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Introduction (Overview of Tone)

Ulfurukeisuke, the guitarist of the band Ulfurs, holds a unique position in the Japanese rock scene. His guitar sound is characterized by a blend of blues and soul roots, creating a simple yet robust rock sound. Iconic songs like “Guts daze!!” and “Banzai – I’m Glad I Liked You” showcase his raw yet warm chord strumming and groove-focused riffs.

Ulfurukeisuke’s playing style is best described as “guitar that complements the song” rather than being technically flashy. He has a remarkable balance, supporting the lead vocalist Tortoise Matsumoto’s voice without overshadowing it, while also delivering powerful solos when needed. This has earned him high praise among guitarists for his “unflashy yet unreplicable groove.”

In terms of sound design, he frequently uses vintage guitars, primarily from Fender and Gibson, and opts for a simple setup. His effects are kept to a minimum, emphasizing the guitar’s natural resonance and the amp’s characteristics. Notably, his use of a blues driver and tremolo adds a unique flavor, producing his signature “clear backing” and “sweet tone solos.”

Moreover, Ulfurs’ music places a strong emphasis on live cohesion, leading to a guitar sound that is crafted to shine in a live setting rather than merely replicating studio recordings. As a result, listeners experience a “simple yet memorable sound.”

This article will delve into the guitars, amplifiers, and effects used by Ulfurukeisuke, uncovering the secrets behind his sound. By exploring his gear choices and sound design settings, you too can recreate the robust rock sound characteristic of Ulfurs.

▶ Search official YouTube videos of Ulfurs

List of Amplifiers and Features

Understanding Ulfurukeisuke’s amplifier settings is crucial to grasping his sound. He primarily uses a simple setup centered around Fender amps, ensuring that the guitar’s inherent character shines through. The “Fender Vibro Champ” has been confirmed as part of his rig, known for its small size yet excellent clean tones and rich overdrive when pushed. This amp is frequently used in studio recordings and rehearsals, forming the foundation for his impactful tones.

In live settings, he has also utilized a combination of Marshall preamps and power amps. Notably, the “Marshall JMP-1” (preamp) and “Marshall EL34 100/100” (stereo power amp) have been pivotal in shaping the thick sound of Ulfurs during the 1990s and 2000s. The JMP-1 is a tube-based preamp capable of a wide range of tones from clean to driven, while the EL34 100/100, with its 100W + 100W stereo configuration, delivers powerful sound that stands out on large stages.

By alternating between the compact Fender combo and the Marshall rack system, Ulfurukeisuke skillfully manipulates tones to suit different songs and scenes. For example, in the powerful track “Guts daze!!,” he leverages the thickness of the Marshall, while in the warmer “Banzai,” he utilizes the Fender’s clear tones.

Search engine results corroborate these combinations, suggesting that he likely adjusted his rig based on the venue. Smaller amps like the Fender Vibro Champ are favored for studio recording due to their mic-friendly characteristics, while the powerful Marshall rack system is used in live settings to achieve fullness and stability in sound.

Thus, Ulfurukeisuke’s amplifier choices reflect his playing style of “supporting the song,” characterized by simplicity and appropriateness. Although definitive usage information is limited, it is assumed that the combination of Fender and Marshall amps is the source of his robust and warm sound.

Types of Guitars Used and Features

When discussing Ulfurukeisuke’s sound, the choice of guitars is a pivotal point. He primarily utilizes iconic models from Gibson and Fender, skillfully selecting them to match the mood of each song. Each model reflects the traditions of blues and rock while producing a “simple yet resonant sound.”

First, we should highlight the “Gibson Les Paul Standard (1958 Reissue, Serial No.842338).” This guitar was provided by Gibson and mainly used for recording and solo parts. The thick and sustaining sound characteristic of the Les Paul adds strength and weight to Ulfurs’ music. Although it rarely appeared in live performances, it was considered essential for studio work.

On the other hand, the “Fender USA Telecaster Blonde (1967, Serial No.215577)” served as his stage companion. This guitar has been played so extensively that nearly all parts have been replaced, and it has accompanied him on national tours. Currently, it is said to be in a resting state due to excessive maintenance, but its distinctive cutting sound has played a crucial role in providing robust backing during live performances.

The “Gibson ES-335TDC (1967, Serial No.5111668)” was introduced during the hit song “Guts daze!!” era. This vintage model, featuring a cherry red color and a trapeze tailpiece, is known for its sweeter humbucker sound compared to the Les Paul. It was particularly valuable for playing soulful phrases, enhancing the warmth of the songs.

Additionally, the “Fender USA Stratocaster (1962 Reissue)” is also significant. It was used during the recording of “Guts daze!!,” with modifications including the replacement of the rear pickup with a Seymour Duncan single-sized humbucker. It is said that this model was primarily used for live performances, making it Ulfurukeisuke’s “partner.”

On the acoustic side, he uses the “Gibson Hummingbird (1965).” This guitar features a square shoulder and a hummingbird-patterned pickguard, producing a soft “honey tone” sound. The change in appearance from a natural finish to a sunburst is also appealing, adding warmth to acoustic parts.

Additionally, while details are unclear, it is said that he also owns a “Vanzandt Jimi’s equipped Crews Maniac Sound Strat-type” guitar. This is assumed to be a Strat-style model that complements the uniqueness of his Fender guitars.

In this way, Ulfurukeisuke supports Ulfurs’ diverse repertoire by skillfully utilizing the strengths of the Les Paul’s heaviness, the Telecaster’s crispness, the ES-335’s sweetness, and the Strat’s versatility. Each guitar is deeply connected to his musical vision, reflecting a “song first” philosophy.

Effects and Pedalboard Setup

Ulfurukeisuke’s sound design is characterized by a simple yet practical selection of effects. His style maximizes the natural resonance of the guitar and amp, adding minimal flavor. Therefore, the pedals on his board are few but play crucial roles.

At the center is the “BOSS BD-2 Blues Driver (modified version).” This popular overdrive pedal is known for its rich harmonic content and responsiveness, supporting Ulfurukeisuke’s robust rhythm playing and sweet lead tones. The amount of distortion is just right, allowing the overall band sound to shine through while maintaining a prominent tone.

Next is the “XOTIC EP-Booster,” a compact booster used to raise volume while adding a touch of brightness. It can enhance the presence during solos and is often kept on to add “thickness” to the sound, a technique Ulfurukeisuke likely employed.

The “BOSS TR-2 Tremolo (Analogman MOD.)” is also part of his setup, modified to reduce noise and provide a deeper tremolo effect. This allows for a warm, wavering sound in his soulful tracks, adding a unique flavor to Ulfurs’ music.

During the rack system era, he was also seen using the “Marshall JMP-1 (preamp)” and “Marshall EL34 100/100 (power amp).” While these are more integral to the overall system than typical pedals, it is assumed that he flexibly switched tones using this rack and pedals during live performances.

Overall, Ulfurukeisuke’s pedalboard is “minimalist,” yet each piece is essential to his identity. The overdrive lays the foundation, the booster adds thickness, and the tremolo creates atmosphere. These three steps are the pillars of his sound design. While there may be slight variations in information sources, it is assumed that these effects were central to his setup.

Tone Settings, EQ, and Mixing Approaches

Ulfurukeisuke’s sound design emphasizes enhancing the overall groove of the songs rather than flashy tones. Therefore, he avoids extreme EQ settings, opting instead for a straightforward approach that highlights the natural tones of the guitar and amp. Here, we will outline typical settings, song-specific tweaks, and mixing techniques from an engineer’s perspective.

For basic amp settings, when using Fender-type amps, it is assumed that he often sets Treble slightly high (around 6-7), Middle flat (around 5), and Bass slightly reduced (around 4). This configuration ensures that cutting and rhythm playing stand out within the band, resulting in a clear and prominent sound. High frequencies are particularly emphasized when using Telecasters or Strats.

Conversely, when using a Les Paul or ES-335, the mid-low frequencies are emphasized, so it is assumed that he adjusts the amp settings to reduce Bass while tweaking Treble and Presence for balance. During solos, he engages the overdrive (BOSS BD-2) or booster (XOTIC EP-Booster) to deepen the distortion while adding volume and thickness. A characteristic of his playing style is setting the guitar volume to around 7-8 and cranking it up when necessary to maintain dynamics.

The way he applies effects is also crucial. The Blues Driver is generally kept on, providing a light drive as a base while controlling nuances through picking. The EP-Booster is engaged during solos to push the sound forward. The tremolo (BOSS TR-2 MOD) is used as an accent in ballads or blues-oriented songs, adding warmth and wavering to the sound. He typically employs effects in a “spotlight” manner rather than overusing them within a single song.

Regarding song-specific adjustments, in the iconic track “Guts daze!!,” he emphasizes attack with a Strat and a slightly deeper distortion, while in “Banzai – I’m Glad I Liked You,” he opts for a Telecaster with a near-clean setting to enhance warmth and lightness. The ES-335, known for its rich midrange, is used in sections requiring “bright yet thick riffs.”

In mixing, it is assumed that the guitar is often placed closer to the center to support Tortoise Matsumoto’s vocals without spreading too wide, creating a sense of unity within the band. In EQ processing, cutting low frequencies around 200Hz prevents overlap with the bass and kick, while gently boosting 2-4kHz enhances the attack of cutting tones. Compression is applied lightly to maintain dynamics and preserve the “live performance feel.”

During live performances, to utilize the natural sound of the amp, it is assumed that one standard mic, such as an SM57, is placed in front of the cabinet. In recordings, the crunchy sound of smaller amps (like the Fender Vibro Champ) is highlighted, with adjustments made to mic distance to create depth.

In summary, Ulfurukeisuke’s settings are guided by a philosophy of “integrating the natural sound of the guitar and amp with minimal effects and EQ adjustments.” Rather than flashy sound design, he prioritizes “the overall sound of the band,” which is a significant characteristic of his tone and a point many guitarists aspire to replicate. This approach has likely resulted in a unique groove that stands out.

Affordable Alternatives to Recreate the Tone

While the ideal way to replicate Ulfurukeisuke’s sound would be to acquire the vintage guitars and amps he uses, many of these are expensive and hard to find. Here, we will introduce relatively affordable gear (around $100-$500, with a maximum of $1,000) that beginners and intermediates can easily obtain. By creatively using these, you can get closer to his robust and soulful sound.

Starting with distortion, the “BOSS BD-2 Blues Driver” serves as the core. Ulfurukeisuke himself used a modified version, but the standard model is sufficient to capture his nuances. By combining it with guitar volume control, it can handle a wide range from crunch to lead. Its reasonable price makes it a staple for both beginners and professionals.

For a booster, the “TC Electronic Spark Mini Booster” is recommended as an alternative to the XOTIC EP-Booster. It is budget-friendly and user-friendly, providing not only volume increase but also a touch of brightness. Engaging it during solos enhances presence, creating a tone that stands out in the band ensemble.

For tremolo, the “BOSS TR-2 Tremolo” is the standard choice. While the Analogman MOD version is pricier, the standard version still delivers adequate effects. It allows for easy incorporation of wavering sounds, closely resembling the bluesy vibe of Ulfurs’ music.

Regarding amplifiers, vintage Fender Vibro Champs or Marshall rack systems are costly, so options like the “Fender Champion 40” or “Boss Katana-50 MkII” modeling amps are excellent alternatives. The Katana, in particular, features a variety of amp types and built-in effects, making it easy to cover everything from clean to crunch and drive, aligning well with Ulfurukeisuke’s simple yet versatile sound design.

As for guitars, while vintage models from Gibson or Fender are challenging to find, practical options include the “Epiphone Les Paul Standard” or “Squier Classic Vibe ’60s Stratocaster / Telecaster” series. The Epiphone Les Paul offers a sweet and thick sound, while the Squier Strat and Tele deliver a lively tone suitable for cutting. By combining these, you can switch between Ulfurukeisuke’s signature tones for different songs.

In this way, even affordable gear can get you closer to the “Ulfurs sound” with some creativity. The key is to focus on “playing simply” and “expressing nuances through guitar volume and picking.” His sound design is rooted more in playing style and the overall groove of the band than in gear, so starting with a simple setup that emphasizes the joy of playing is the first step to replicating his sound.

Summary and Conclusion

Reflecting on Ulfurukeisuke’s sound design, its essence lies in “drawing maximum expression from simple gear.” He skillfully alternates between iconic guitars like the Les Paul, Strat, Telecaster, and ES-335, choosing amps from compact Fender combos to Marshall rack systems based on the scene. The effects added are minimal, focusing on basic overdrive, booster, and tremolo.

Importantly, he doesn’t merely line up gear; he constantly considers “which song requires which nuance.” For instance, in “Guts daze!!,” he creates a forward tone with a Strat and crunchy drive, while in “Banzai – I’m Glad I Liked You,” he provides crisp and warm backing with a Telecaster. In acoustic settings, he utilizes the Hummingbird’s soft sound, seamlessly integrating it into ballads or acoustic arrangements.

Moreover, his mixing and EQ approach reflects a commitment to the idea that “the vocals are the main focus.” By placing the guitar closer to the center rather than spreading it wide, he supports Tortoise Matsumoto’s vocals while creating a sense of unity within the band. Although the guitar may not sound flashy when isolated, it resonates as “the only sound” when played within the band, showcasing the depth of his philosophy.

Ulfurs’ music does not rely on technical guitar solos or complex chord work. Instead, it embodies “danceable rock” and “enjoyable blues spirit” through simple chord strumming and rhythm. The core of this is Ulfurukeisuke’s guitar work and his philosophy of gear selection and sound design.

For readers aiming to replicate his sound, the key is to start with “a simple setup that emphasizes playing style and nuances.” Even without expensive vintage gear, you can capture the essence using a BD-2 and affordable Strat or Les Paul-style guitars. The crucial elements are “the joy of making sound” and “the awareness of playing well with the band.” This is the essence of Ulfurukeisuke’s sound design and the reason Ulfurs has brought smiles to many.

Simple yet profound, Ulfurukeisuke’s guitar sound offers significant lessons for both newcomers and seasoned players. If you pursue his sound, focus not only on gear but also on “playing style” and “the synergy with the band.” This is the shortest path to making Ulfurs’ sound your own.