[Yoshida Kiichi] How to Recreate the Kamin wa Saikoro o Furanai Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yoshida Kiichi, the guitarist of Kamin wa Saikoro o Furanai, is known for his unique style that blends post-rock and emo elements. His tonal range spans from meticulously crafted clean tones to thunderous distortion, showcasing a remarkable versatility. The allure of his sound lies not merely in the use of distortion or effects but in his ability to harness the resonance of the guitar and the characteristics of the amplifier, creating intricate tones tailored to each song.

For instance, in the track “What’s a Pop?” from the album “Shinkai,” Yoshida employs the half-tone of a Fender Stratocaster to deliver a brilliant clean cut that leaves a lasting impression. Conversely, in “Shura no Machi,” he unleashes a raw fuzz sound using the Z.VEX Fuzz Factory 7, significantly elevating the dynamics of the entire piece.

Yoshida’s playing style is characterized by a delicate touch control that expresses nuances, complemented by meticulously chosen gear settings for each song. He frequently utilizes Drop D tuning in live performances, effortlessly maneuvering between thick riffs and clear clean arpeggios to paint a soundscape unique to Kamin wa Saikoro o Furanai.

Moreover, his sound design is mindful of the overall mix of the band. He meticulously adjusts the midrange and reverb to enhance the vocals of Shusaku Yanagida, ensuring that the guitar does not overshadow the ensemble while still maintaining a strong presence.

In the following sections, we will explore the amplifiers, guitars, and effects used by Yoshida Kiichi (Kamin wa Saikoro o Furanai) and delve into the distinctive features of each piece of gear.

▶ Search official YouTube videos of Kamin wa Saikoro o Furanai

List of Amplifiers and Features

Yoshida Kiichi places significant emphasis on achieving a balance between “thickness of tone” and “clarity” in his amplifier selection. During his indie days, he experimented with Fender and Marshall amps, but since moving to a major label, he has primarily used high-end boutique amplifiers like FRIEDMAN and Bogner.

His main amplifier is the FRIEDMAN BE-100 HEAD paired with a 412 VINTAGE CABINET, which he introduced in September 2021. This setup has been versatile for both recording and live performances. The combination of G12M-25 and Vintage30 speakers allows for a clear sound that remains articulate even when distorted, while also providing a rich clean tone. Yoshida himself describes it as “clear with a strong core,” making it a cornerstone of Kamin wa Saikoro o Furanai’s three-dimensional ensemble sound.

In terms of settings, he tends to keep the lows relatively low while balancing the mids and treble. Specific settings have been noted as CLEAN VOL=3.6, GAIN=2, MASTER=1.8, TRE=3.7, MID=5.9, BASS=1.5, and PRES=0. This configuration results in a three-dimensional guitar sound that does not interfere with the vocals.

Additionally, he uses the Bogner Ecstasy during live performances, which often delivers a crunchier sound. The Ecstasy is set with lower gain to create an airy feel, emphasizing expression in cutting and arpeggios. This versatility is particularly effective in transitioning between quiet and dynamic sections in Kamin wa Saikoro o Furanai’s songs, expanding the overall sound palette.

While there have been discussions about the possibility of using Fender amps in studio recordings in the past, the current focus remains on the combination of FRIEDMAN and Bogner. Ultimately, his philosophy of “changing the character of sound according to the song” transcends mere amplifier choice, highlighting the importance of how the sound is produced.

In summary, the FRIEDMAN BE-100 creates the primary thick sound, while the Bogner Ecstasy provides supplementary crunch, forming the backbone of Yoshida Kiichi’s amplifier system and serving as a vital element of the band’s sound.

Types of Guitars Used and Features

Yoshida Kiichi’s guitar selection is incredibly diverse, aimed at expanding his sound design capabilities. His main guitar is the Nashguitars JM63, acquired around 2020, which has undergone modifications at the Path workshop, including a bypass for the preset switch and changes to the pots. He primarily uses it in Drop D tuning during live performances, characterized by a thick low end and a distinctive gritty texture that supports Kamin wa Saikoro o Furanai’s rich sound. The use of this Strat-style guitar is frequent, accommodating a wide range from clean to crunch.

His second main guitar is the Fender Road Worn ’60s Stratocaster (MEX, made in 2011-2012), which is prominently used for ballads and cutting. Until 2022, he had the tremolo fixed, but in 2023, he switched to a 1mm float with an arm installed. The center position is frequently utilized, notably in tracks like “What’s a Pop?” and “Popcorn ‘n’ Magic!” from the album “Shinkai.” The fretboard has been customized to his liking, and the string guide has been replaced with a Dynaguide Black for improved playability.

He has also used the Fender Classic Player Jazzmaster Special since his indie days, which features modifications to the internal circuit and pickup winding, achieving a bright and punchy midrange. The Ibanez Prestige AZ2402 was his main guitar during his indie period, used without modifications, primarily for recording. It features Hyperion pickups, and the coil tap is mostly used in single mode, as confirmed in the album “Jijou no Chiheisen” in the track “Platonic Love.”

Additionally, the Fender Custom Shop ’54 Reissue Stratocaster was particularly used for half-tone cutting during the production of “Shinkai,” creating a brilliant tone in the chorus of “What’s a Pop?” There is also a Squier (model unknown) that was borrowed by vocalist Shusaku Yanagida for line recording in “Rokujou no Denpato.” Yoshida Kiichi’s guitar selection is characterized by a thoughtful approach that matches the character of each song and playing style.

Effects and Pedalboard Setup

Yoshida Kiichi’s pedalboard is highly constructed to accommodate both live and recording needs. In 2022, he used the FREE THE TONE ARC-53M switcher, but transitioned to the ARC-3 in 2023. The ARC-3 interfaces with the Line 6 HX Stomp via MIDI, allowing for instantaneous switching of tones, ensuring that subtle nuances in each song are captured during performances.

For distortion effects, the Z.VEX Fuzz Factory 7 is employed in “Shura no Machi,” creating a distinctive fuzz tone. For solos, he utilizes the Suhr Riot Distortion, controlling nuances with the strength of his picking hand. The Fulltone OCD is set with low gain for overdrive purposes, functioning in HP mode for a clean boost effect. For crunch, he uses the Altero Custom Guitars “Kaede” overdrive and the SUMO STOMP Longtail #873, which pushes the sound forward before solos or riffs.

In terms of spatial effects, he often leaves the strymon blueSky engaged, favoring the SHIMMER mode. The Line 6 HX Stomp is utilized for spatial effects, volume adjustments, and octave effects (notably in “Shura no Machi”), and since 2023, it has been connected to the amp’s send/return for improved sound quality. The tuner used is the TC Electronic Polytune2 (2022 board) and the Peterson STROBOSTOMP HD (2023 board), ensuring accurate tuning.

Additionally, the Xotic RC Booster serves as a backup booster. The FREE THE TONE PT-1D is a power supply, while the Cornerstone GLADIO SC acts as a preamp OD, forming the foundation of the 2023 sound. The Ovaltone 34-Xtreme is on standby as a substitute for Longtail, and the BOSS DS-1X is involved in creating the grunge sound used by Shusaku Yanagida in “Shura no Machi.” Signal organization is managed through a junction box, and the PA-1QG adjusts frequencies that cannot be corrected by the amp, switching via MIDI.

Yoshida Kiichi’s effects setup is a “system optimized for switching between distortion and spatial effects tailored for specific uses,” allowing for faithful reproduction of the song’s expression in both live and recording scenarios.

Tone Settings, EQ, and Mixing Approaches

Yoshida Kiichi’s sound is not merely a result of stacking gear; it is crafted through meticulous EQ and mixing adjustments that create a unique soundscape. He primarily uses the FRIEDMAN BE-100 HEAD, setting the clean tone with a clean volume of 3.6, gain at 2, and master at 1.8. The treble is set at 3.7, mid at 5.9, bass at 1.5, and presence at 0, achieving a thick yet clear sound. The BRIGHT is set to center, and VOICE is adjusted to the right side, adding sparkle to the high frequencies and ensuring that the sound does not get buried during crunch or solos.

His use of effects is also finely tuned, with the OCD and Longtail #873 kept at low gain while serving to boost the sound before solos or phrases, creating a forward sound presence. The Riot Distortion and Fuzz Factory 7 are used selectively, reflecting the nuances of his right-hand touch and picking dynamics, enabling dynamic expression even in live settings. The blueSky reverb is frequently used in SHIMMER mode, adding a sense of space while constantly adjusting to maintain volume balance throughout the song.

In the mixing phase, he ensures that the guitar frequencies are well-defined during recording, utilizing the PA-1QG for adjustments. He fine-tunes the midrange volume while controlling the roughness of the low end and clarity of the highs. The EQ is adjusted for each song, emphasizing the clean outline in ballads and ensuring that riffs stand out in up-tempo tracks. Additionally, switching between amp channels allows for smooth transitions from distortion to clean tones.

The arrangement of his pedalboard is crucial, with the ARC-3 and HX Stomp working together to facilitate not only the on/off of each effect but also the instant switching of EQ, boost levels, and spatial settings via MIDI. This significantly enhances the flexibility of sound design during live performances. Moreover, the proper placement of the tuner, junction box, and power supply ensures a noise-free and stable sound. Yoshida Kiichi’s sound design is characterized by a “maximization of gear performance, adjusting sound through touch and mix,” reflecting a PA engineer’s perspective.

Specific EQ settings include keeping the midrange at 5-6 and the low end at 1.5-2 during clean tones to ensure clarity in riffs, while boosting the treble and presence to 3.5-4 during solos for better articulation. The spatial effects of reverb and delay are kept subtle, adjusted according to the tempo and phrases of the song to maintain balance with other instruments. Such meticulous adjustments support the sound character of each of Yoshida Kiichi’s songs.

Affordable Alternatives to Recreate the Tone

To replicate Yoshida Kiichi’s sound without relying on expensive custom guitars or high-end amplifiers, it is indeed possible to achieve a similar tone with relatively affordable gear. For guitars, Fender or Squier Strat-style models offer excellent replicability, making the Road Worn ’60s Stratocaster or Squier Standard Stratocaster viable options for achieving clean tones and half-tone cuts. The Squier, in particular, is budget-friendly and sufficiently capable for live performances.

For distortion effects, BOSS’s BD-2 or SD-1 can create overdrive sensations similar to the OCD or Riot Distortion. The BD-2, when set to low gain, yields a crunchier sound, while the SD-1 is effective for solo boosts and expressing picking nuances. Fuzz effects can be partially replicated with the Danelectro Fab Fuzz or Electro-Harmonix Big Muff Pi, which can emulate the gritty texture of the Fuzz Factory. The octave effect can be substituted with compact pedals like the Mooer Micro POG.

For spatial effects, the TC Electronic Hall of Fame or BOSS RV-6 can easily replicate the reverb feel of the strymon blueSky. By mimicking settings akin to the SHIMMER mode, these pedals can add depth to clean and cutting tones. Delay can be achieved with the BOSS DD-3 or Mooer Echoverb, where setting shorter delay times helps align with the song’s tempo.

For boosters and crunch effects, using the Xotic EP Booster or Joyo Sweet Baby can effectively recreate the feel of placing Longtail #873 or Kaede overdrive in front. Power supplies like the Voodoo Lab Pedal Power are compact and affordable, ensuring stable power supply. By combining these elements, one can approach Yoshida Kiichi’s guitar sound while keeping equipment costs manageable.

Summary and Conclusion

The essence of Yoshida Kiichi’s sound design lies not in merely stacking gear but in the interplay of “the player’s touch” and “subtle sound adjustments.” By maximizing the characteristics of his main guitar, the Nash JM63, and Fender Strat models, along with the FRIEDMAN BE-100 and Bogner Ecstasy amplifiers, he creates a unique tone and expressive capability. The roughness of the low end and clarity of the mid-high frequencies are finely tuned through guitar modifications, EQ settings, and effects combinations, highlighting the individuality of each song.

His choice and arrangement of effects are also meticulously planned, with MIDI integration via the FREE THE TONE switcher and HX Stomp enabling instant tone switching, facilitating diverse expressions during live performances. Distortion effects are chosen based on the song or phrase, allowing for control through the nuances of his right-hand touch and picking. Reverb and delay effects are adjusted according to the mood and dynamics of the song, creating depth in sound.

Considering the reproducibility of his sound, Yoshida Kiichi’s tone is established through a triad of “settings that draw out the potential of the guitar and amp,” “fine-tuning of effects,” and “the player’s expressive capability.” With a basic understanding of sound design concepts, one can approach a similar sound using relatively affordable guitars and effects from brands like BOSS and Xotic. The key is not to simply mimic the gear but to understand the character of the sound and make adjustments by oneself.

In conclusion, Yoshida Kiichi’s sound design is characterized by “a thick tone with a rough low end,” “diverse expressions through touch and effect manipulation,” and “detailed EQ and mixing adjustments for each song.” By adopting this perspective, one can get closer to his sound in both live and recording scenarios, deepening the understanding of guitar sound design. Being mindful of both the guitarist’s individuality and the gear setup is crucial for replicating the sound of Kamin wa Saikoro o Furanai.