[Yonedakaki] How to Recreate the Yoru no Honki Dance Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yonedakaki, the guitarist of Yoru no Honki Dance, plays a crucial role in supporting the band’s “sharpness” and “groove.” His guitar sound is characterized by simple yet robust riffs, combined with a spatial depth achieved through the use of delay and reverb.

In iconic tracks like “WHERE?” and “Take it back,” he embodies danceable rock by blending the sharp attack typical of a Telecaster with a lightly overdriven amp. Notably, he employs a short delay consistently, which adds depth to his riffs.

During live performances, he reflects the energy of the music in his sound, keeping the basic tone very straightforward. However, through meticulous settings and a well-structured pedalboard, he creates a diverse range of expressions despite the simplicity.

His sound design emphasizes the natural resonance of the amp and guitar while using minimal effects to create a sense of space, which is a significant factor in drawing listeners onto the dance floor.

To hear his sound in action, check out the official videos of Yoru no Honki Dance through the following link.

▶ Search official YouTube videos of Yoru no Honki Dance

List of Amplifiers and Features

The amplifiers that support Yoneda’s sound play a crucial role in delivering the band’s groovy and sharp guitar tones. The primary amp used for live performances and recordings is the VOX AC30CC2X, which is set to a slightly clean tone that lightly distorts to enhance the Telecaster’s sharp attack.

This amp is a modern version of the iconic VOX AC30, known for its bright cleans and natural drive. Yoneda typically selects the NORMAL channel, keeping the EQ relatively flat and slightly increasing the gain to achieve a tone that cuts through the mix without becoming overly distorted. Adding delay and overdrive further enriches the sound.

For studio work or special setups, he has also used the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (stereo power amp). These are effective in scenarios where a louder and tighter sound is desired, and their use likely varies depending on the scale of the stage. The JMP-1 is particularly well-regarded in professional settings and is assumed to be used in combination with the VOX when aiming for a more distorted sound.

Overall, Yoneda’s approach is to create sound primarily through the Telecaster and overdrive while using the amp as a foundation to enhance that sound. This setup appears consistent when considering live photos and audio sources.

Below is a list of the amplifiers used.

Thus, Yoneda’s amp settings are based on a “clean yet punchy sound,” with distortion and spatial effects supplemented by pedals. Based on live footage and interviews, this configuration is assumed to be the most reliable for sound reproduction.

Types of Guitars Used and Features

The guitar sound that symbolizes Yoneda’s playing is undoubtedly the Fender Telecaster. His main guitar is the Fender American Standard Telecaster, which he prominently uses in live performances and during the recording of the album “dip.” He selects the rear pickup and keeps the volume and tone at full. The bridge saddle has been replaced, and the original pickups have been upgraded to achieve a more pronounced and clear sound. The sharp attack characteristic of the Telecaster supports the groove of Yoru no Honki Dance.

Additionally, during the recording of the song “Niji,” he utilized a Fender ES-335. The semi-hollow body provides a thick sustain and warm tone, adding depth to the ballad-like track. Although it does not appear much in live settings, it plays a significant role in expanding the tonal palette during recordings.

He also owns a Fender Johnny Marr Jaguar, which primarily serves as a backup guitar in the dressing room, with minimal recorded usage. The Jaguar’s short scale and unique tone provide a sense of security and variety as a secondary option.

Furthermore, the Fender Road Worn Player Telecaster is kept as a backup guitar, ready to be switched to in case of string breaks or other issues during live performances.

Overall, Yoneda’s choice of guitars emphasizes practicality in live settings and sound separation, centering around the Telecaster while using the ES-335 for tonal character as needed. It is assumed that he consciously aims for a diverse sound during album production.

Below is a list of the guitars used.

In summary, Yoneda primarily uses the Telecaster while supplementing with the ES-335 and Jaguar as needed. His guitar sound is supported by straightforward settings and a thoughtful approach to tonal variation based on the song.

Effects and Pedalboard Setup

The most distinctive feature of Yoneda’s sound design is his simple yet calculated pedalboard configuration. At the center is the One Control Chamaeleo Tail Loop, designed to efficiently manage each effect in loops, allowing for seamless sound switching during live performances while avoiding complex footwork.

The Mad Professor Sweet Honey Overdrive is always on, functioning as his main overdrive pedal. It enhances the combination of the Telecaster and VOX AC30 by adding a natural crunch and quick response, making it versatile enough for both riffs and chord strumming. Additionally, he can engage the BOSS JB-2 Angry Driver for more gain, primarily using the BD-2 mode and switching to JHS mode for a stronger distortion when needed.

During solos, he steps on the Mad Professor Ruby Red Booster and uses the MXR M108S 10 Band EQ to adjust frequencies, achieving a lead sound that stands out in the mix. This setup ensures a consistent presence from small venues to large festival stages.

For spatial effects, the BOSS DD-500 Digital Delay is commonly used, particularly with short delays for riffs and chord backing. This adds depth and dimension to simple riffs, amplifying the band’s groove. Depending on the song, he may switch to long delays to create expansive echoes. The Electro-Harmonix Nano Holy Grail is also used as a reverb for specific tracks.

His tuner of choice is the classic BOSS TU-2, powered by the Noah’s Ark AC/DC-1. He also integrates the BOSS FS-5L footswitch to enhance the DD-500’s usability. The EX-Pro 32 volt Booster is present on the board but appears to be rarely used.

Below is a list of his effects setup.

Thus, Yoneda’s pedalboard is balanced, with the main overdrive at its core, spatial effects for depth, and boosters and EQ to emphasize solos. The combination of the always-on Sweet Honey Overdrive and short delay is assumed to be the key to his sound.

Tone Settings, EQ, and Mixing Approaches

Yonedakaki’s sound design is fundamentally simple yet showcases a keen attention to detail. To balance the power of live performances with the dimensionality of recordings, he meticulously fine-tunes the balance between amp, guitar, and effects. Notably, his amp settings and EQ adjustments make his sound unique.

Using the NORMAL channel on the VOX AC30CC2X, he sets the gain to just below crunch. This allows him to express a range from clean to lightly distorted based on picking dynamics, prominently featuring the Telecaster’s sharp attack. The treble is set around 5-6, mids at 4-5, and bass is kept around 3 to prevent muddiness in the low end while highlighting the high frequencies. The master volume is adjusted for live environments, likely set a bit higher than during rehearsals to ensure the sound cuts through the venue.

His use of the MXR M108S 10 Band EQ during solos is particularly noteworthy. While he emphasizes direct amp sound during rhythm parts, he boosts the mid-high frequencies (around 1kHz-2kHz) during solos to enhance presence. Additionally, he tends to cut frequencies below 100Hz to avoid overlap with bass and kick, clarifying his role in the overall mix. Given that the band’s music is danceable rock, the mix prioritizes “tight low-end” and “sparkling high-end.”

His approach to distortion is also unique. By keeping the Mad Professor Sweet Honey Overdrive always on, he blends it with the amp’s light crunch to achieve a natural, clear distortion. Adding the BOSS JB-2 Angry Driver enhances thickness for riffs and solos. The use of the BD-2 mode is particularly effective with the Telecaster, adding depth without sacrificing attack.

In terms of spatial effects, the consistent use of the short delay on the BOSS DD-500 is a significant aspect. Short delays require precise millisecond settings, typically around 80-120ms, to create a spatial expansion without making the performance sound doubled. This effect is tighter than reverb, closely adhering to the band sound. For certain songs, he switches to long delays to create expansive echoes during ballads or dramatic moments.

In the mix, it is assumed that the guitar is often positioned centrally rather than overly spread apart. Given the tight rhythm section of Yoru no Honki Dance, the guitar is placed as a “core midrange that reinforces the rhythm.” Utilizing delay allows a single guitar to sound more dimensional, enriching the overall mix. It is likely that the engineer applies light compression to the guitar’s high frequencies, smoothing out piercing elements while retaining the attack.

Furthermore, the choice of pick (Terry Gould triangle-shaped 0.80mm) is also a crucial factor. Its moderate stiffness provides the ideal attack for the Telecaster and VOX combination, accentuating the groove of the entire song. These meticulous details collectively support Yoru no Honki Dance’s “danceable guitar sound.”

In summary, Yoneda’s sound design is built on three pillars: “keeping the amp clean to crunch,” “ensuring thickness and dimensionality with always-on overdrive and short delay,” and “using EQ and boosters to enhance solos.” This consistent style is assumed to highlight his sound in both live and recording settings.

Affordable Alternatives to Recreate the Tone

To fully replicate Yoneda’s sound, one would typically need high-end gear like the Fender Telecaster and VOX AC30. However, for beginners or those on a budget, this can be a significant hurdle. Therefore, we introduce commercially available gear that can be purchased at relatively low prices, aiming to achieve a “Yoru no Honki Dance-style” sound. Each option is available for approximately $100 to $500, making them accessible choices.

Two critical aspects to focus on are “light crunch and the sharp attack characteristic of the Telecaster” and “the combination of always-on overdrive and short delay.” By selecting gear that can replicate these elements, one can get closer to the essence of Yoneda’s sound.

By combining these pieces of gear, one can easily experience the core sound of “Telecaster guitar × light distortion × short delay” that defines Yoneda’s style. Particularly, the combination of the Squier Telecaster and VOX AC10C1 offers excellent cost performance, making it an ideal setup for beginners looking to explore the sound of Yoru no Honki Dance.

Summary and Conclusion

Reflecting on Yoneda’s sound design, its essence can be summed up as “maximizing groove with a simple setup.” The sharp attack of the Telecaster, the clean to crunch settings of the VOX AC30, and the always-on overdrive and short delay come together to create the unique “danceable rock sound” of Yoru no Honki Dance.

Looking at the gear list, it is evident that there aren’t many flashy items. Instead, the effects are carefully selected for specific uses. However, the way they are utilized is highly meticulous, with the Sweet Honey Overdrive providing a foundation and delay adding depth. During solos, the Ruby Red Booster and EQ correct the sound for clarity. This streamlined approach allows the presence of one guitarist to resonate throughout the band.

Moreover, the sound design is adaptable to the scale of the stage and the nature of the songs. In the studio, he expands his tonal range using guitars like the ES-335, while in live settings, he focuses on the Telecaster for stability and reproducibility. This “adaptability to the situation” reflects his professionalism.

There are many points that can be replicated with affordable gear, making it an appealing style for beginners. By incorporating the concepts of “light distortion,” “constant use of short delay,” and “EQ adjustments for clarity,” one can experience the sound of Yoru no Honki Dance without being overly concerned about the gear.

In summary, Yoneda’s sound design is based on the philosophy of “achieving maximum effect with minimal elements,” which makes the sound of Yoru no Honki Dance unique. There are many elements that anyone picking up a guitar can reference, making it an excellent subject for learning the art of “simple yet profound sound design.”