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

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Introduction (Overview of Tone)

Vaundy is a singer-songwriter and multi-artist known for his ability to compose, arrange, and mix his own music. His sound is often described as “genreless,” blending elements of pop, rock, R&B, and electronic music. As a guitarist, he showcases a wide range of tones, from clean sounds to bluesy tones with minimal distortion, and even modern approaches emphasizing spatial effects. His performance style often involves playing guitar while singing, transitioning from acoustic guitar ballads to thick electric guitar ensembles, adapting his sound to fit various scenes.

In his hit song “Kaiju no Hanabuta,” Vaundy employs emotional chord progressions and the transparent clean tones of a Stratocaster. In “Odoriko,” he blends acoustic and synth sounds for a striking effect. Additionally, songs like “Hana Uranai” and “Koi Kaze ni Nose te” feature the soft sound of a semi-hollow guitar with restrained distortion. Vaundy’s ability to use different gear for each song and integrate sound design and effects processing within his DAW is a key aspect of his appeal.

The reason Vaundy’s sound design garners attention is that he is both a musician and an engineer. He goes beyond mere guitar sound shaping, meticulously considering EQ processing, reverb usage, and compression to ensure his tracks resonate within a unique sonic landscape.

In the following sections, we will delve into the specific amplifiers, guitars, effects, and even recording equipment used by Vaundy, explaining how to recreate his signature sound.

▶ Search official YouTube videos of Vaundy

List of Amplifiers and Features

Vaundy plays guitar not only as a singer-songwriter but also as part of his band setup. He tends to choose amplifiers that can deliver both classic and modern tones, with a strong preference for well-known brands like VOX and Marshall. The VOX AC30C2 Limited Edition is characterized by its bright and warm clean tones, making it ideal for transparent sound creation during chord strumming and arpeggios. In songs like “Kaiju no Hanabuta,” the clean guitar sound plays a crucial role in supporting the overall composition, and the tonal characteristics of this amplifier are believed to be a significant factor.

On the other hand, Vaundy also utilizes Marshall combo amplifiers, which are particularly useful for achieving a more rock-oriented sound. The moderate distortion and emphasized midrange allow for a thicker band sound during live performances. This punchy tone is especially effective in upbeat and energetic tracks.

Innovative mic placement is also evident in his setup. He uses the classic dynamic microphone, SHURE SM57, adjusting the angle from the center of the speaker cone outward to achieve a balanced sound that is neither too harsh nor too soft. It is speculated that he often employs a condenser microphone during recording to capture ambient sound, with final mixing done in a DAW.

Additionally, it is highly likely that he utilizes amp simulators and plugins (e.g., WAVES or UAD preamp plugins) during studio sessions or live streams, adapting his setup for home recording environments. In essence, Vaundy employs a flexible approach, using “amps in live settings” and “plugins in production.”

Overall, Vaundy’s choice of amplifiers is notable for their versatility, catering to the genreless nature of his music while effectively handling both clean and driven tones for live and studio settings. While some details remain unconfirmed, the following equipment is primarily believed to be in use based on live footage and sonic characteristics.

Thus, Vaundy’s amplifier setup is simple yet flexible, allowing for tailored sound choices based on the song or scene. While some aspects remain unconfirmed, it is assumed that he operates with the above configuration.

Types of Guitars Used and Features

Vaundy employs a variety of guitars, both electric and acoustic, tailored to the songs and live performances. Notably, he has been seen using classic semi-hollow guitars like the Gibson ES-335, Stratocasters, and jazz-oriented D’Angelico models. These guitars are all known for their clarity and tonal presence, aligning perfectly with his diverse songwriting style.

The Gibson ES-335 is characterized by its warm and soft sound, making it ideal for mellow tracks like “Hana Uranai” and “Koi Kaze ni Nose te.” The semi-hollow body provides an airy quality that envelops the entire song, enhancing the unity between vocals and instrumentation.

The Fender Stratocaster is frequently used in songs like “Kaiju no Hanabuta,” where it emphasizes the band sound with its bright and core-rich clean tones. It shines in arpeggios and chord strumming, providing a strong presence.

Moreover, the D’Angelico guitar has been confirmed in live videos, showcasing a modern tone with jazzy nuances. This allows for a more urban and sophisticated arrangement of his songs. For acoustic performances, he uses both Gibson and Martin brands, which are suitable for live singing and acoustic sets. While specific models remain unidentified, it is believed that he utilizes classic models based on visual and sonic characteristics.

The rationale behind Vaundy’s guitar selection is his priority to “express the world of each song clearly.” Therefore, he assigns specific roles to each guitar: a Strat for clean-centric songs, an ES-335 for enveloping ballads, a D’Angelico for urban grooves, and an acoustic for simple performances.

In this way, Vaundy skillfully utilizes different guitars to enrich his musical expression. Although some details remain unconfirmed, it is assumed that the following guitars are primarily used based on live footage and tonal characteristics.

In summary, Vaundy skillfully employs multiple guitars to adapt to different scenes. While some details remain unconfirmed, it is assumed that he primarily uses the models listed above based on live footage and tonal characteristics.

Effects and Pedalboard Setup

Vaundy not only engages in guitar playing but also possesses a comprehensive producer’s perspective, which is reflected in his choice of effects. His pedalboard is simple yet tailored to his musicality for live performances, while he completes his sound design in the studio with plugins. Thus, he emphasizes not only the individual tones of pedals but also how they function within the overall mix.

A crucial component of his setup is the iSP Technologies DECIMATOR II, which functions as noise reduction, effectively minimizing unwanted noise during loud live environments and when switching between clean and distorted sounds. Next, he employs the WAMPLER CORY WONG COMPRESSOR as a compressor, which helps to even out the cutting and chord strumming of the Stratocaster, adding a funky nuance.

For modulation, he uses the BOSS VB-2W WAZA CRAFT (vibrato), capable of delicate fluctuations and bold pitch shifts, creating the urban and ethereal sound that characterizes Vaundy’s music. The BOSS PS-6 (harmonist) is also confirmed, adding chorus-like overtones and unison voices to thicken the band sound.

Additionally, the SOURCE AUDIO ULTRA WAVE is integrated as a multi-effects pedal, covering a wide range from distortion to modulation and spatial effects, making it a versatile pedal for studio and streaming use. For classic spatial effects, he employs the electro-harmonix STEREO MEMORY MAN, whose warm analog delay adds depth to ballads and creates lingering echoes.

The overall structure of his effects board likely follows a basic flow of “Noise Reduction → Compressor → Modulation/Harmony → Spatial Effects → Amp.” Based on actual footage and sonic characteristics, it is highly probable that this is how his setup is arranged.

Vaundy also invests effort into sound design using DAW plugins, focusing on a minimal pedal setup for live performances while extensively utilizing plugins for studio work to enhance the final product. While some details remain unconfirmed, it is assumed that the following effects are primarily in use.

In summary, Vaundy’s effects configuration emphasizes “minimal yet effective” choices that support his musicality. While some details remain unconfirmed, it is assumed that he primarily uses the models listed above based on live footage and sonic characteristics.

Tone Settings, EQ, and Mixing Approaches

A defining characteristic of Vaundy’s sound design is his clear focus on the role of the guitar within the overall composition rather than just the tone of the guitar itself. As a singer-songwriter, arranger, and engineer, he minimizes amplifier and effects settings and instead dedicates significant effort to refining the sound during the DAW and mixing stages.

This means he distinguishes between “live sound” and “studio sound,” and this duality contributes to the richness and dimensionality of his music.

When using the VOX AC30C2, the EQ settings are likely adjusted with Treble slightly boosted (around 2 o’clock) to create brightness. Bass is kept around noon to avoid excessive low-end buildup. Middle is likely set low (10-11 o’clock) to avoid interfering with vocal frequencies.

Conversely, when using Marshall amps, aimed at a more rock-oriented sound, Middle is boosted to 12-1 o’clock to create a powerful forward tone. Gain is kept moderate, with thickness and modulation added through the BOSS PS-6 and VB-2W.

His use of compression is also adept, with the Wampler CORY WONG COMPRESSOR set to short sustain and around 50% blend, creating a natural articulation. This allows for clear cutting on the Stratocaster, providing a rhythm that stands out within the band.

Moreover, the iSP DECIMATOR II not only cuts noise during loud live performances but also helps organize unnecessary reverberation when combined with reverb and delay.

During the mixing stage, processing within the DAW (Cubase Pro) plays a significant role. For EQ, he likely cuts the guitar’s low-end below 80Hz and lightly suppresses muddiness around 250Hz to ensure clarity in the midrange. Additionally, he boosts frequencies between 3kHz and 5kHz slightly to bring out picking nuances.

For reverb, he applies a short plate reverb using WAVES Horizon or UAD plugins, unifying the overall atmosphere while ensuring the vocal presence remains intact.

His approach varies by song.
In “Kaiju no Hanabuta,” he emphasizes clean tones with light compression and EQ to highlight the mid-high frequencies for a refreshing feel.
In “Odoriko,” he layers acoustic and electric guitars, cutting the low-end of the acoustic while placing the electric in the midrange, resulting in a spacious balance.
In “Hana Uranai,” he adds stereo delay to the soft sound of the semi-hollow guitar, creating a spatial treatment that envelops the vocals.

Furthermore, stereo placement in mixing is crucial. The electric guitar is spread thinly across L/R channels, while acoustic and synth elements are positioned closer to the center. This ensures that the vocals maintain a strong presence in the middle while the instruments create a three-dimensional soundscape.

Additionally, he uses monitoring equipment like the ATC SCM25A Pro and Sony MDR-CD900ST to check EQ balance in a neutral listening environment, enhancing the precision of his sound.

Overall, Vaundy’s sound design is a hybrid of “real live sound” and “polished studio sound,” with innovative EQ and reverb processing contributing to a genreless and immersive sonic world. While some details remain unconfirmed, it is assumed that the above settings form the basis of his approach based on analysis of his music and gear usage.

Affordable Alternatives to Recreate the Tone

To fully replicate Vaundy’s sound, high-end equipment like the Gibson ES-335 or VOX AC30C2 is typically required. However, for beginners or those on a budget, it is entirely possible to create a similar vibe using more affordable gear. Here, we will introduce alternative products available at reasonable prices (approximately $100-$500) that can closely approximate the “Vaundy sound” in terms of quality and functionality.

For amplifiers, if you want to recreate VOX’s traditional clean sound, smaller models like the “VOX Pathfinder 10” or “VOX AC10C1” are recommended. These are relatively inexpensive but allow you to experience the bright tones reminiscent of the AC30, making them ideal for home recording or small gigs.

If you want to experience Marshall’s sound affordably, entry-level models like the “Marshall MG15GFX” are solid options. With built-in effects, they can easily replicate the distortion and spatial processing Vaundy showcases in live performances.

For guitars, alternatives to semi-hollow models include the “Epiphone DOT” or “Ibanez AS73.” These serve as budget-friendly versions of the Gibson ES-335, providing warm tones and rich sustain at a lower price point. If you’re aiming for a Stratocaster sound, the “Squier Classic Vibe Stratocaster” or “Yamaha Pacifica” are also recommended. Especially, Squier inherits Fender’s design philosophy, making it very compatible for clean sound production.

When it comes to effects, focusing on the BOSS series can enhance affordability and sound fidelity. The “BOSS CS-3 Compression Sustainer” can help stabilize articulation, while the “BOSS DD-8 Digital Delay” can reinforce spatial effects. For vibrato, consider the “TC Electronic Shaker Vibrato” as an alternative to the BOSS VB-2W. If noise reduction is necessary, the “BOSS NS-2” can adequately meet your needs.

Another option is to invest in a multi-effects pedal. For instance, the “ZOOM G1X FOUR” or “Line6 POD GO” covers a wide range from distortion to spatial effects, enhancing reproducibility in home recording or small gigs. This allows you to simulate the diverse sounds Vaundy constructs within his DAW using just one device.

For acoustic guitars, alternatives like the “Yamaha FG series” or “Morris S series” are budget-friendly. While they are less expensive than Martin or Gibson, they can adequately express warmth in chord strumming and arpeggios, making them suitable for a singer-songwriter style.

By skillfully combining alternative gear, beginners or those on a budget can indeed recreate the Vaundy sound. The key is to focus on “sound clarity,” “spatial effects,” and “clean balance,” allowing for a more authentic sound while keeping costs down.

By combining brands like VOX, Epiphone, and Squier, beginners can construct a Vaundy-like sound at a relatively low cost. The key is to focus on “sound clarity” and “spatial processing,” allowing for high-quality sound design while keeping expenses manageable.

Summary and Conclusion

As discussed, Vaundy’s sound design is not just about the “tone of the guitar” but rather the “resonance of the entire composition.” He is not only a guitarist but also a composer, arranger, and engineer, consistently overseeing all stages of music production to embed his unique worldview into sound.

Thus, simply replicating “this amp” or “this guitar” is challenging; the key lies in “flexible gear selection and sound processing tailored to the song’s concept.”

In terms of guitars, Vaundy uses a variety of models, including the semi-hollow Gibson ES-335, Stratocasters, and D’Angelico guitars, each chosen to create distinct nuances for different songs. His amplifier choices, including VOX and Marshall, allow for balanced adjustments from clean to light distortion.

Moreover, he employs compressors, vibratos, and harmonists to enhance spatial depth and rhythmic articulation, ultimately refining the mix with EQ, reverb, and compression in a DAW environment like Cubase Pro.

It is essential to note the differences between live and studio settings. In live performances, he prioritizes a simple amp and effects setup for responsiveness, while in the studio, he focuses on meticulous sound design using plugins and multi-track editing.

Therefore, to recreate Vaundy’s sound, it is crucial to approach from both hardware and software perspectives. Instead of merely mimicking guitars and amps, paying attention to EQ, compression, and reverb processing within the DAW will yield a sound closer to his.

Even when using relatively inexpensive alternative gear, thoughtful setup can effectively capture Vaundy’s essence. Options like the VOX AC10, Epiphone DOT, BOSS CS-3, and DD-8 are typical choices. The essential aspect is to consider “how it resonates in your musical environment” and incorporate his style.

Ultimately, Vaundy’s sound design essence lies not in “the luxury of gear” but in “the flexibility of thought and the ability to design the overall sound image.”

In summary, the three key points to recreate the Vaundy sound are:

1. Transparent sound design centered on clean tones (based on Stratocasters and VOX)

2. Flexible guitar selection and effects processing to capture nuances for each song

3. Comprehensive mixing using EQ, reverb, and compression within a DAW

By keeping these in mind, anyone can approach the “Vaundy-like sound” in their home environment.

In conclusion, Vaundy’s sound design is not just a gear list but a form of sound design itself. Guitarists reading this can use his approach as inspiration to explore their own sound creation.