[Yoshiaki Tanabe] How to Recreate the Macaroni Enpitsu Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yoshiaki Tanabe, the guitarist of Macaroni Enpitsu, is known for his versatile playing style, which ranges from sharp cutting to delicate arpeggios and powerful riffs. His sound adds depth and drive to the band’s music, intertwining beautifully with the vocals of frontman Hattori.

In iconic songs such as “Koibito Gokko” and “Blueberry Nights,” listeners can hear his bright and spacious clean tones, as well as a strong rock-driven sound. During live performances, his sound design stands out, utilizing the power of direct amp connections. Tanabe’s guitar is essential to the pop yet robust sound of Macaroni Enpitsu.

The charm of his sound lies in a delicate balance that is neither too flashy nor overshadowed, achieved through a meticulous control of texture across different songs. He primarily uses Gibson Flying Vs and Les Pauls, alongside a variety of amplifiers like Marshall and Kemper, to craft his tones.

Additionally, his pedalboard features numerous distortion pedals and spatial effects, allowing him to switch tones instantly during live performances. Tanabe’s sound design offers valuable insights for both aspiring guitarists and professional players alike.

In the following sections, we will thoroughly explore the amplifiers, guitars, and effects used by Tanabe, detailing how these elements contribute to the creation of his unique sound.

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List of Amplifiers and Features

When discussing Yoshiaki Tanabe’s sound, his choice of amplifiers is crucial. He primarily utilizes classic rock-inspired Marshalls while also incorporating modern multifunctional amps and simulators, showcasing a rich variety in his sound palette.

One of the most iconic amplifiers he uses is the Marshall 2245 (JTM45). This amp delivers the thick, warm clean tones characteristic of 60s rock, excelling at light crunch. It serves as a foundation for Tanabe’s soft arpeggios and clean tones that do not interfere with the vocals.

Another amp confirmed on stage is the Marshall Astoria Classic AST1H, a modernized version of the JTM45 sound. Its finely detailed crunch complements pop-rock, fitting perfectly with Macaroni Enpitsu’s catchy songs.

In heavier contexts, the Marshall JCM900 comes into play, known for its raw power that resonates with 90s grunge and alternative rock, supporting strong riffs and dynamic chord play.

For recent live performances and recordings, Tanabe has been seen using the Kemper Profiling Power Head. This amp allows him to profile the sounds of classic amps, ensuring stable sound creation and reproducibility, making it possible to match studio and stage sounds closely.

When seeking clean tones or vintage-like textures, the Tone King Imperial 20W is employed. It possesses the brightness of Fender amps while adding a bluesy depth, enriching the ensemble’s overall sound.

As a secondary option, Tanabe uses multifunctional amps like the Hughes & Kettner GrandMeister, allowing him to finely craft sounds according to the scene. For practice and sound checks in green rooms, small amps like the Roland Micro Cube, Marshall MS-2, and Blackstar FLY 3 have also been confirmed, ideal for home practice.

For cabinets, he uses the Orange PPC212 (2x Celestion Vintage 30), which provides a solid mid-low range, enhancing the thickness of the Flying V and Les Paul sounds.

In summary, Yoshiaki Tanabe combines traditional Marshall rock sounds with modern technology like Kemper and Tone King, achieving a flexible and stable sound design.

Types of Guitars Used and Features

The key point supporting Yoshiaki Tanabe’s guitar play is his collection centered around the Flying V. His iconic look with the Flying V has become familiar to fans, serving as a visual icon for the band.

Among these, the Gibson Flying V Antique Natural stands out as a representative model. Its natural color and versatility allow it to handle everything from sharp cutting to powerful riffs. The sound produced by its front and rear humbuckers provides solid support for Macaroni Enpitsu’s pop-rock songs.

Another important guitar is the Gibson Flying V Classic White, which has been modified with Euphoreal pickups and a G’7 Guitars neck. This guitar possesses a distinct sound character, creating a more unique tone than the original.

The Gibson Flying V Cherry features Euphoreal’s humbucker-sized P-90, which combines the clarity of single coils with the power of humbuckers. This model is often used as the main guitar for certain songs, showcasing its distinctive mid-range presence.

Besides the Flying V, the Dean Michael Schenker Standard MS STD has also been spotted on stage, known for its sharp hard rock sound that matches well with flashy riff work during live performances.

Additionally, the classic Gibson Les Paul Traditional 2018 Honey Burst is utilized. Its thick mid-low range and long sustain shine in ballads and mid-tempo songs. Tanabe skillfully alternates between the Flying V and Les Paul to control the thickness of the sound according to the song.

Moreover, a Fender Telecaster has been confirmed in his setup. The Telecaster excels in delivering crisp cleans and cutting tones, adding brightness to the pop sound of Macaroni Enpitsu.

Overall, Yoshiaki Tanabe’s guitar selection emphasizes the individuality and power of the Flying V, while incorporating the richness of the Les Paul and the agility of the Telecaster, thereby broadening the band’s overall sound range.

Effects and Pedalboard Setup

Yoshiaki Tanabe’s sound is enriched not only by the combination of guitar and amp but also by a diverse array of effects. His live pedalboard is well-equipped, featuring multiple types of distortion and utilizing spatial and modulation effects to switch tones according to each song.

For distortion, he employs pedals like the Electro-Harmonix Nano Big Muff Pi, Pedal Diggers 819 / 819 Twin, Virtues Lander, and Vemuram Jan Ray. These allow him to seamlessly transition between fuzz, overdrive, and distortion, enriching the expression of each song. Notably, Suhr Riot Reloaded and Jackson Audio Asabi produce modern drive sounds that are used strategically in certain contexts.

As boosters, he incorporates the Xotic EP Booster and MXR M133 Micro Amp, which help elevate the sound during solos and riffs, naturally enhancing lead tones.

For spatial effects, the BOSS DD-500, Strymon Timeline, and Eventide H9 are central to his setup, allowing for precise adjustments of delay and modulation on a song-by-song basis. He often utilizes multiple presets during live performances. The Free The Tone AMBI SPACE AS-1R is specifically used for reverb, creating a sense of depth that does not interfere with the vocals.

In modulation, he uses MXR Phase 95 and DryBell Vibe Machine V-3, adding psychedelic fluctuations to certain songs. The Xotic Wah XW-1 is essential for expressing nuances in solos and funky cuts.

For dynamics, he employs the Xotic SP Compressor and Free The Tone PA-1QG, adjusting volume and EQ while blending into the overall band sound. Additionally, multi-effects units like the BOSS GT-1000CORE and BOSS MS-3 are combined to manage multiple effects according to the scene. The Free The Tone ARC-4 is used for routing and control, ensuring professional usability.

For tuning, he uses the standard KORG DT-10. The power supply is managed with Free The Tone PT-5D and PT-3D, ensuring stable power supply while minimizing noise and avoiding live performance issues.

Overall, Yoshiaki Tanabe’s pedalboard is designed with “multifunctionality and responsiveness” in mind, allowing him to switch sounds flexibly according to the needs of each song.

Tone Settings, EQ, and Mixing Approaches

Yoshiaki Tanabe’s sound design goes beyond mere amp settings and pedal toggling; it involves meticulous adjustments tailored to each song and a keen awareness of the overall ensemble. His sound is characterized by a presence that supports the vocals without overshadowing them, a quality that remains consistent in both live and recorded settings.

When setting up his amps, he tends to avoid excessive gain, opting for a drive close to crunch. For instance, when using the Marshall JTM45, he typically sets the volume around 6, playing at the boundary between clean and crunch. This allows for nuanced expression through picking dynamics, enabling him to convey a wide range of dynamics throughout the songs.

As for EQ settings, he tends to keep the low end subdued while slightly boosting the midrange. This approach emphasizes frequencies that support the vocals without clashing with bass or keyboards. The high end is controlled to avoid harshness, creating a pleasant tonal quality.

In terms of effects, he utilizes multiple distortion pedals to vary texture according to the song. For example, in the ballad “Blueberry Nights,” he opts for natural overdrives like the Vemuram Jan Ray and Suhr Shiba Drive Reloaded, focusing on warmth and transparency. Conversely, for upbeat tracks like “Koibito Gokko,” he selects distortion-oriented drives like the Suhr Riot Reloaded and Jackson Audio Asabi, which help to define the sound’s contours.

Delays and reverbs play a significant role in creating a spatial backdrop that supports the vocals. He adds slapback-style short delays using the BOSS DD-500 and Strymon Timeline, providing depth to riffs and arpeggios. The reverb from the Free The Tone AMBI SPACE AS-1R is kept subtle, ensuring it does not interfere with the vocals.

Modulation effects are kept to a minimum, with the MXR Phase 95 and DryBell Vibe Machine V-3 used sparingly to add accents to certain songs, rather than being constantly on.

From a mixing perspective, Tanabe enhances his guitar’s presence through thoughtful positioning. In recordings, he often pans his guitars left and right, placing the thickness of the Flying V on one side and the agility of the Telecaster on the other. This layering technique creates a rich, three-dimensional sound from a single performance.

During live performances, the use of Kemper profiling technology allows him to reproduce studio-quality sounds consistently. The Kemper enables him to save amp settings in advance, allowing for quick recall of presets for each song, ensuring a stable performance while maintaining the powerful essence of Marshall tones.

In summary, Yoshiaki Tanabe’s sound design hinges on “flexible use according to the song” and “midrange-focused EQ,” achieving a guitar sound that coexists with vocals while maintaining its presence.

Affordable Alternatives to Recreate the Tone

To fully replicate Yoshiaki Tanabe’s sound, one would typically need high-end gear like Gibson Flying Vs, Les Pauls, and Marshall heads. However, it is entirely possible for beginners and intermediate players to create a similar sound at a more affordable price. Here, we will introduce budget-friendly gear while explaining why they can approximate Tanabe’s tone.

Starting with guitars, the Epiphone Flying V is a great option that offers a look and sound close to the original Gibson at a lower cost. With humbuckers, it delivers a thick midrange sound that resonates with the character of Tanabe’s Flying V. Additionally, the Squier Classic Vibe Telecaster can reproduce Fender’s signature sound affordably. Its crisp cleans and cutting tones align well with Tanabe’s Telecaster sound.

For amplifiers, consider the Marshall Code25 or BOSS Katana-50 MkII. These models utilize modeling technology to simulate JCM and JTM sounds, making them suitable for practice and small gigs. Their price points are reasonable, making them ideal for experiencing Marshall-like tones.

When it comes to distortion pedals, the BOSS BD-2W Blues Driver and Ibanez Tube Screamer Mini are excellent choices. The former offers an amp-like overdrive that easily replicates crunch sounds, while the latter emphasizes midrange, achieving a tonal clarity similar to Tanabe’s overdrive sound. The Electro-Harmonix Nano Big Muff is also a proven pedal used by Tanabe, providing a powerful fuzz sound at a relatively low price.

For spatial effects, the BOSS DD-8 is recommended as a versatile delay pedal. While it may not have the extensive features of the DD-500, it can effectively reproduce basic delay sounds. For reverb, the TC Electronic Hall of Fame 2 offers natural, high-quality reverb without overwhelming the guitar sound.

For those looking to experiment with multiple effects, multi-effects units like the ZOOM G3Xn or BOSS GT-1 are also recommended. These devices are beneficial for getting accustomed to switching between distortion, spatial effects, and modulation, similar to Tanabe’s performance style.

In conclusion, for beginners aiming to achieve Yoshiaki Tanabe’s sound, a recommended setup would be “Epiphone Flying V + BOSS Katana-50 MkII + BD-2W or Tube Screamer Mini,” with the DD-8 for spatial effects. This configuration offers an excellent balance of cost-effectiveness and tonal quality.

Summary and Conclusion

In summary, Yoshiaki Tanabe’s sound can be encapsulated as “a guitar that supports while asserting itself.” His guitar functions as a central element that tightens the band’s rock sound while keeping Hattori’s vocals at the forefront. Therefore, his sound design is balanced, avoiding flashy effects or excessive distortion, instead focusing on enhancing the overall ensemble.

His choice of guitars is also highly symbolic. By centering on the Flying V, he visually enhances the rock aesthetic, while alternating between Les Pauls and Telecasters allows for a broad sound range. His setups are clearly designed to leverage the individuality of each guitar.

Regarding amplifiers, he builds on the classic rock foundation of Marshall while integrating Tone King and Kemper to achieve a modern and stable tone. This fusion of traditional rock sounds with cutting-edge technology is a hallmark of Yoshiaki Tanabe’s style.

In terms of effects, the goal is not merely to accumulate pedals but to add the necessary textures for each song. The use of multiple distortion pedals is not just for volume increase but to introduce distinct characters for each track. Delays and reverbs are kept subtle, prioritizing harmony with vocals and other instruments.

These cumulative efforts create the unique “pop yet powerful” sound that defines Macaroni Enpitsu. Particularly in live settings, Tanabe emphasizes supporting the entire song over flashy solo play, earning the trust of many listeners with his disciplined approach.

For those aspiring to emulate Yoshiaki Tanabe’s sound, it’s essential to focus not just on acquiring the same gear but on understanding “how to make the guitar resonate within the song.” From clean to crunch, the degree of distortion, and the depth of spatial effects, maintaining a balance with the vocals should be the primary consideration. This mindset is at the core of his sound design.

Ultimately, achieving Yoshiaki Tanabe’s sound does not require acquiring all high-end gear. The key points are “a midrange-focused balance,” “awareness of the role of supporting the song,” and “flexibility in switching sounds according to the situation.” With this perspective, it is entirely possible to create a sound reminiscent of his using the gear at hand.

In essence, Yoshiaki Tanabe’s sound design philosophy can be summarized as “creating sounds that shine the spotlight on the main act.” This philosophy is fundamental to his guitar playing.