[Yoshikane Satoshi] How to Recreate the ZAZEN BOYS Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

ZAZEN BOYS’ guitarist Yoshikane Satoshi is known for his exceptional sense of rhythm and a unique tone that cuts through the air. In the songs led by Mukai Hideto, Yoshikane’s guitar plays a crucial role in “dominating the atmosphere with riffs,” particularly characterized by the sharp, cutting sound of his Stratocaster and the Whammy pedal used in a more experimental manner.

His playing style goes beyond mere chord strumming or lead playing; he treats the tone itself as an integral part of the music. For instance, in iconic tracks like “HIMITSU GIRL’S TOP SECRET” and “HONNOJI,” he extensively employs effects like filters and pitch shifters, creating a powerful groove in conjunction with the rhythm section.

Moreover, Yoshikane tends to prioritize “portability and responsiveness on stage” when selecting amplifiers and pedals. A notable example is his transition from using BadCat to the more portable Orange Tiny Terror.

Thus, Yoshikane Satoshi’s sound design is not merely about “distorting” or “expanding space,” but rather about meticulously designing the arrangement of rhythm, space, and tone. As a result, his sound significantly enhances the avant-garde musicality of ZAZEN BOYS.

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List of Amplifiers and Features

The amplifiers used by Yoshikane Satoshi in ZAZEN BOYS are crucial elements that support his distinctive sound. Notable models include the BadCat Black Cat, Marshall (brown grill cabinet), Orange Tiny Terror, and Roland MICRO CUBE.

First, the BadCat Black Cat was used live from the mid-2000s. It is known for its vibrant yet solid clean tone and crunch sound, particularly when using the upper left channel. This versatile amp pairs well with effects, although its weight made it less convenient for touring and rehearsals. However, the sound it produced was very stable.

Then around 2009, the Marshall (with a brown grill cabinet) made its appearance. The mid-range character of Marshall complements ZAZEN BOYS’ raw and explosive sound, adding thickness to powerful cuts and riffs. While the specific model name has not been officially identified, it is presumed to be from the JCM series.

Another important amplifier is the Orange Tiny Terror, which became the main amp after parting ways with BadCat. This compact, lightweight 15W tube head excels in portability, making it highly responsive in live settings. Although it has a slightly rough and low-end sound, it combines well with Yoshikane’s filter effects and Whammy to create a sharp sonic image characteristic of ZAZEN BOYS. Particularly from the 2010s onward, this Tiny Terror became the main gear on stage.

Additionally, the Roland MICRO CUBE has been confirmed to be used for reamping in recordings. By treating it as an amp simulator, it played an important role in the studio work of ZAZEN BOYS.

Overall, Yoshikane’s amplifier history reflects a balance between “ideal sound and portability.” Initially, he embraced the rich tones of BadCat, while later incorporating the lightness of Tiny Terror. Much of the information is inferred from live photos and some interviews, indicating that the exact models may not be definitively identified, but this evolution has shaped the sound of ZAZEN BOYS.

Types of Guitars Used and Features

When it comes to Yoshikane Satoshi’s guitars, the first that comes to mind is the Fender USA Stratocaster (black). While the specific model name remains unclear, live photos and recordings confirm that this black Stratocaster has been used as his main gear. The pickups are said to be stock with minimal modifications. The setup features a low action for speedy and precise cutting, and the bright tone of this Stratocaster significantly contributes to Yoshikane’s distinctive rhythm guitar sharpness.

Additionally, a Fender Telecaster has been used as a secondary instrument. The specific model is unknown, but the solid midrange typical of Telecasters emphasizes the edge in ZAZEN BOYS’ music, making it effective in situations that require more direct and sharp cuts. It features a thicker tone compared to the Stratocaster, particularly effective in rhythm-heavy tracks or songs that demand a rough sound.

Yoshikane’s choice of guitars is also significantly influenced by their compatibility with effects. His pedalboard consistently features spatial and modulation effects like the Whammy and M9, which require a straightforward and wide-ranging guitar to effectively utilize these “processed sounds.” Fender guitars like the Stratocaster and Telecaster are particularly well-suited in this regard, as they provide a strong yet clear original tone that enhances the sound after effects processing.

In live settings, his guitar sound is established through the “interaction of riffs and effects,” where the guitar does not overly assert its character but instead functions as a simple and manageable foundation. In essence, Yoshikane Satoshi’s approach is to “maximize the potential of simple guitars,” resulting in a unique tone that contributes to ZAZEN BOYS’ musical identity.

Overall, it can be inferred that Yoshikane Satoshi operates his guitars by “using the black Stratocaster as a foundation and reinforcing the sound range with the Telecaster.” Neither model is particularly original, but their straightforward tones are utilized to fully leverage the individuality of effects and amplifiers.

Effects and Pedalboard Setup

When discussing Yoshikane Satoshi’s sound design, the presence of effects is indispensable. His pedalboard has evolved over time, but key characteristics include “experimental sounds centered around the Digitech Whammy,” “simplification using LINE 6 multi-effects,” and “bold tonal processing with auto-wah and chorus.”

Current Setup (since 2015): The BOSS TU-2 is used at the front for visibility and mute function. The Digitech Whammy is consistently used (set to down 4th and up 5th), creating unique riffs through bold pitch shifting. The LINE 6 M9 has been introduced to consolidate delay, chorus, auto-wah, and filter effects into one unit, reducing the need for multiple pedals and minimizing the risk of equipment issues. The M9 features unique settings, such as using short delay as a reverb-like effect and applying a more pronounced digital chorus.

Mid-Period (around 2012, during the production of “Stories”): During this time, in addition to the Whammy, he combined effects like EMMA Auto Wah, Providence Sonic Drive (overdrive), and Providence Anadime Chorus. Individual pedals were prepared for each sound, utilizing the auto-wah’s “gradually closing” setting and the warm distortion unique to Providence. The LINE 6 DL4 delay played a role in dramatically expanding the sound space, adding a unique depth to the band’s sound. Additionally, NOAH’SARK AC/DC-1 (power supply, LED modified) and NOAH’SARK TBSW-1 (switcher) were introduced for stable power supply and switching.

Early Period (around 2005-2009): The setup was more eclectic and experimental. He utilized BOSS TU-2, Maxon ROD-880 (tube overdrive), Guyatone Funky Box FB-X (auto-wah), LINE 6 MM4 (modulation), LINE 6 DL4 (delay), and BOSS DD-5 (delay). He also incorporated BOSS ME-50 and Roland SP-303 (sampler) for real-time experimental sound creation. During this period, ZAZEN BOYS had particularly avant-garde sounds, and Yoshikane’s board functioned like a “laboratory.”

Throughout his effects journey, it can be noted that “the Whammy remains constant, while everything else trends towards efficiency and organization.” Particularly from the 2010s onward, simplification through the M9 has allowed for a wide range of sounds with minimal operation. Conversely, the early days focused on increasing the variety of sounds by lining up various pedals. In any case, Yoshikane’s sound design is characterized by “using effects to expand riff ideas,” positioning them as crucial elements rather than mere decorations.

Tone Settings, EQ, and Mixing Approaches

Yoshikane Satoshi’s sound design encompasses not only simple amp distortion and effects addition but also includes EQ adjustments on the amp, effect settings, and mixing processes during PA and recording stages, forming a “comprehensive sound design.” The musicality of ZAZEN BOYS is particularly characterized by groove and spatial tension, and the guitar sound plays a significant role in this.

Regarding amplifiers, during the period he used the BadCat Black Cat, the settings were likely centered around clean to crunch tones. The Treble was set slightly higher, Bass was kept low, and Middle was emphasized to ensure that the effect tones did not get buried, resulting in a clear sound. When using Marshall, the mid-range power was strong, so the Treble was slightly lowered, with adjustments made using Presence to balance the overall sound. With the Orange Tiny Terror, it is assumed that the Gain was kept moderate and the Tone was set slightly bright to allow room for filter effects and the Whammy to shine.

As for EQ adjustments, a crucial point is not to overly widen the range of the guitar alone. Yoshikane’s sound needs to coexist with the strong rhythm created by ZAZEN BOYS’ bass and drums in the low to mid-range, so the low end is intentionally cut back, focusing on mid-high settings. This means that when heard in isolation, the guitar may sound somewhat thin, but it resonates most effectively when listened to as part of the entire band.

Examples of effect settings include using the Whammy fixed at down 4th and up 5th range for pitch shifting that includes chords, forming unique riffs. The M9’s delay is used in two patterns: one with short delay to create a reverb-like space and another with high-cut delay to push the reverberation back. The chorus is set to emphasize a pronounced digital feel, showcasing the effects. The auto-wah is set to gradually close the filter, creating a sense of tonal change during performance.

From a live PA perspective, Yoshikane’s guitar is positioned slightly center-oriented while EQ peaks in the mid-high range to avoid clashing with the bass’s lows. Depending on the song, compression is not overly strong, allowing the dynamics of the performance to shine through, which emphasizes the “groove of the performance.” Delay and reverb are sometimes added at the PA level, particularly in representative songs like “HIMITSU GIRL’S TOP SECRET,” where the fusion of PA spatial processing and effects creates a unique sound image.

In studio recordings, in addition to direct amp sounds, he has been confirmed to use the Roland MICRO CUBE for reamping, which suggests an approach to layer multiple tones. This is likely intended to reinforce clean tones or incorporate lo-fi qualities. In mixing, multiple tracks are not overly panned, intentionally maintaining a monaural feel to create a sense of unity with the rhythm section.

Overall, Yoshikane Satoshi’s sound design is centered on “designing sound as part of the entire band rather than just the guitar.” EQ and effect settings are structured with the premise of coexistence with bass and drums, showcasing efforts to balance tonal individuality with the cohesion of the band. This flexible and experimental approach is assumed to support the unique musicality of ZAZEN BOYS.

Affordable Alternatives to Recreate the Tone

Yoshikane Satoshi’s sound design does rely on high-end gear and specialized pedals, but with some ingenuity, it is possible to replicate those nuances using relatively affordable commercial models. Here, we introduce recommended gear that beginners to intermediate players can easily obtain to approach the ZAZEN BOYS sound.

First and foremost is the pitch shifter. The core of Yoshikane’s sound, the Digitech Whammy, can be somewhat pricey when new, but used models of BOSS’s PS-6 Harmonist or PS-5 can be found for around 20,000 to 30,000 yen. While they may not match the Whammy’s wild behavior, using simple pitch shifts of down a fourth or up a fifth can sufficiently replicate the unique riff feel characteristic of ZAZEN BOYS.

For distortion, while the Providence Sonic Drive and Maxon ROD-880 are professional-grade, alternatives like BOSS SD-1 Super OverDrive or BD-2 Blues Driver work well. The SD-1, in particular, tends to emphasize midrange, making it ideal for achieving crunchy riffs when paired with Marshall-like amps or small tube amps. Priced under 10,000 yen, it is perfect as a first pedal.

For chorus and spatial effects, alternatives to the Providence Anadime Chorus and LINE 6 M9 include BOSS CH-1 Super Chorus or TC Electronic Corona Chorus. Both can create deep, digital-sounding choruses, with the CH-1 being particularly strong in brighter ranges, making it easy to replicate Yoshikane’s “pronounced chorus” feel.

When it comes to delay, bringing in an M9 or DL4 might be excessive, but using BOSS DD-7 Digital Delay or TC Electronic Flashback Delay will suffice. Particularly, applying short delays in a reverb-like manner can be achieved with these pedals. Setting them to high-cut can help create a ZAZEN BOYS-like depth.

For amplifiers, while acquiring an Orange Tiny Terror new can be costly, alternatives like Orange Crush 35RT or BOSS Katana series are strong contenders. The Crush 35RT, despite being a transistor amp, offers a mid-focused sound typical of Orange, while the Katana allows for a variety of tones, making it beginner-friendly.

For auto-wah, since the EMMA Auto Wah and Guyatone Funky Box often carry a premium in the used market, the BOSS AW-3 Dynamic Wah is recommended as an alternative. It is reasonably priced and can replicate Yoshikane’s filter effect with a gradually closing setting.

In summary, simply gathering “pitch shifters to replace the Whammy,” “affordable distortion with SD-1 or BD-2,” and “spatial effects with CH-1 or DD-7” can bring you quite close to Yoshikane Satoshi’s sound. The key is to focus not just on the individual gear’s performance but to adopt the mindset of using effects “boldly as part of the music.” It can be said that even with affordable gear, it is entirely possible to recreate the ZAZEN BOYS sound.

Summary and Conclusion

Yoshikane Satoshi’s sound design is not established by merely assembling flashy gear. Rather, it is rooted in how he boldly and experimentally utilizes simple, classic guitars like the Stratocaster and Telecaster, well-used amplifiers, and a limited selection of effects.

What he consistently employs is the Whammy, which remains a core element of his sound. Over time, his approach has evolved from experimenting with individual pedals in the early days to building a solid board with Providence and NOAH’SARK in the mid-period, and simplifying with the LINE 6 M9 in recent years. Despite changes in gear, his unique philosophy of “transforming riffs and reconstructing sound” remains consistent, forming the core of the ZAZEN BOYS sound.

Moreover, his amplifier choices reflect a duality of “ideal tone” and “practical portability.” While opting for the rich tones of BadCat, he prioritized portability for touring by switching to Tiny Terror, showcasing a flexible approach that aligns with his gear philosophy. This practical mindset values “functional sound in live settings” over “perfect sound.”

Regarding EQ and mixing techniques, the primary goal was not to produce a thick sound in isolation but to create a sound that functions well within the band. By keeping the low end in check and emphasizing mid to high frequencies, he achieves a sound that resonates powerfully without clashing with the rhythm section. This consistent approach is evident in both live venues and studio recordings.

In summary, to recreate Yoshikane Satoshi’s sound, it is not necessarily high-end gear that is required, but rather a “perspective on sound design.” Effects are not just decorations but tools that can fundamentally alter the structure of a song. Therefore, selecting simple and manageable guitar models, prioritizing practical amplifiers, and organizing effects to the bare minimum are all choices that contribute to the unique “sharpness and experimental nature of ZAZEN BOYS.”

For guitarists looking to challenge themselves with Yoshikane Satoshi’s sound, it is crucial to understand that merely copying his gear list is not the goal, but rather to possess the “flexibility to construct sound according to one’s playing environment.” Even with limited gear options, effectively combining a Whammy, simple delay, and auto-wah can bring you close to the essence of his sound.

Ultimately, the essence of Yoshikane Satoshi’s sound design lies in the experimental spirit of “turning constraints into unique grooves and tones.” This philosophy perfectly synchronizes with ZAZEN BOYS’ continuous evolution in music, transcending genres and forms.