[Yoshinobu Ohga] – How to Recreate the B’z, ZARD, and Mai Kuraki Sound + Guitar Gear and Tone Settings [Effects & Amps]

Introduction (Overview of Tone)

Yoshinobu Ohga has long been active as a support guitarist for leading J-POP and rock artists such as B’z, ZARD, and Mai Kuraki. His career spans numerous live performances and studio recordings, making him a highly respected player in the Japanese music scene.

His playing style prioritizes enhancing the vocalist while simultaneously adding the necessary edge and groove to elevate each song. What sets him apart is his remarkable versatility: he seamlessly shifts from delicate clean tones to thick high-gain sounds, always adjusting his tonal palette to fit the moment with precision.

For example, in B’z tracks like “RED” or “Black Coffee,” his use of a Gibson Les Paul combined with FAT amplifiers delivers a powerful, cutting drive sound. On the other hand, for ZARD or Mai Kuraki songs, he often turns to Taylor acoustic-electric guitars or Fender Stratocasters, producing transparent tones enriched by spatial effects that blend beautifully into the mix.

A noteworthy aspect of Ohga’s approach is his dedication to the overall completeness of the music. In live shows, he employs the BOSS MS-3 and Morningstar FX ML5 to switch tones instantly, bringing in spatial and drive effects at precisely the right moments. Behind this streamlined system lies an array of professional-grade hardware such as Custom Audio Japan and FAT pedals, Eventide H9, and Nova Delay—all carefully integrated into a systematic control design that showcases his professionalism.

Rather than flashy solos, Ohga acts as the “perfect supporting actor,” maximizing the overall musical value of the band. This humility and reliability are the very reasons why so many top-tier artists trust him with their sound.

This article dives into Yoshinobu Ohga’s sound-building techniques, exploring how his tone is constructed and providing insights into gear and setting choices that will help you recreate it.

▶ Search official YouTube videos of B’z

List of Amplifiers and Features

Yoshinobu Ohga’s amplifier setup revolves around high-quality tube amps crafted by FAT. Especially during his support work for B’z, he used the same FAT custom amplifiers as Tak Matsumoto. These amps are renowned for their thick response, impressive headroom, and ability to cut through a full band mix while still offering the dynamics needed for professional live settings.

The FAT13 is primarily used for overdriven tones. It is a high-gain amp that retains chord clarity and punch even when driven hard, making it ideal for songs like “RED” or “ultra soul,” where the trademark B’z rock drive sound is essential. This amp ensures his rhythm playing maintains both power and definition on large stages.

For clean tones, Ohga turns to the FAT12. This is a 100W, two-channel tube amplifier with a wide frequency range, making it a perfect match for Taylor acoustic-electrics and Stratocaster-style guitars. It is often associated with ZARD or Mai Kuraki support performances, where his warm yet detailed cleans fit seamlessly into the overall mix. Its high headroom allows transparent acoustic guitar reproduction without breaking up at higher volumes.

He also carefully pairs his amps with specific speaker cabinets. For distorted tones, he uses the FAT212 cabinet loaded with two Celestion Vintage 30 speakers, delivering mid-focused punch and cutting power. For clean tones, he uses a cabinet loaded with Jensen C12K speakers, producing smooth highs and a natural, spacious clean response. By dividing the cabs by role, Ohga achieves clarity and separation even in dense band arrangements.

On the rack side, he employs MIDI-enabled controllers such as the RJM Mini Effect Gizmo and Custom Audio Japan RS616. This allows instant switching of amp channels and effects loops, a necessity for complex live setups. In smaller rehearsal or studio contexts, Ohga is often seen using a more compact rig centered around the BOSS MS-3, showcasing his adaptability across different environments.

Overall, Ohga’s amp choices reveal his focus on “clear separation” and “precise dynamic control.” Whether driving heavy riffs for B’z or adding delicate clean textures for ballads, his amplifier system is built to support a wide range of musical contexts with consistency and professionalism. These amp setups are believed to form the backbone of his live and studio tone.

Gear Name	Brand	Amazon Link	Artist	Guitarist	Notes
FAT13	FAT	Search on Amazon	B’z	Yoshinobu Ohga	High-gain tube amp for distortion. Same type used by Tak Matsumoto.
FAT12	FAT	Search on Amazon	B’z	Yoshinobu Ohga	100W two-channel amp, often for cleans. Great with acoustic-electrics.
FAT212 Cabinet (Vintage 30)	FAT	Search on Amazon	B’z	Yoshinobu Ohga	Cabinet for overdrive tones. Loaded with Celestion Vintage 30 x2.
FAT212 Cabinet (Jensen)	FAT	Search on Amazon	B’z	Yoshinobu Ohga	Cabinet for clean tones. Equipped with Jensen C12K x2.

Types of Guitars Used and Features

Yoshinobu Ohga’s guitar collection demonstrates both tonal diversity and adaptability to different performance contexts. His mainstay instrument for many years has been the Gibson Les Paul Standard. With its thick, powerful tone and strong sustain, it naturally complements the heavy, hard-driving sound of B’z. In songs like “ultra soul” and “RED,” the punchy distortion tones owe much to the Les Paul Standard’s strong midrange character.

During the “B’z LIVE-GYM 2015 -EPIC NIGHT-” tour, Ohga expanded his lineup further, preparing multiple Les Paul models including the Les Paul Custom and a ’58 Reissue. These instruments were carefully selected to handle different tunings and tonal needs, allowing him to switch guitars mid-set depending on the musical context. The Custom provided a darker, smoother tone, while the vintage reissue brought a rawer, more open midrange texture.

In acoustic sections, Ohga frequently uses a Taylor 814e, which offers lush resonance and sparkling overtones. This guitar has been featured in ballads like “Kimi wo Kinishinai Hi Nado” and “Exit To The Sun,” where its natural projection and clarity suit intimate arrangements. Backup models from the Taylor 800 series have also been spotted on stage, showing his preparation for unexpected live situations and ensuring tonal consistency across performances.

A Fender Custom Shop Stratocaster has also been part of his arsenal. This guitar was chosen for its bright, sharp attack and the kind of crisp high end that works perfectly for tracks such as “Black Coffee” or “EPIC DAY.” Compared to the Les Paul, the Stratocaster provides a contrasting tonal option with more articulation and presence in the upper registers.

For songs requiring alternate tunings or dramatic stage visuals, Ohga has used a double-neck guitar made by Diamond. This instrument was notably employed in “RED,” where one neck could handle standard tuning and the other a half-step down, allowing instant transitions between parts without changing guitars mid-performance. The striking look of the double-neck also adds stage impact, underlining Ohga’s flexibility as a performer.

All of these choices reflect his role as a support guitarist for diverse acts such as B’z, ZARD, and Mai Kuraki. Each guitar is selected not for flash but for functionality, enabling Ohga to cover a broad musical spectrum. His instrument lineup showcases his deep understanding of tone, as well as the professionalism required to adapt to different artists and live situations. These selections are believed to represent the backbone of his guitar setup across tours and recordings.

Gear Name	Brand	Amazon Link	Artist	Guitarist	Type of Guitar	Notes
Les Paul Standard	Gibson	Search on Amazon	B’z	Yoshinobu Ohga	Electric Guitar	Main guitar. Powerful tone for B’z rock numbers.
Les Paul Custom	Gibson	Search on Amazon	B’z	Yoshinobu Ohga	Electric Guitar	Backup guitar. Produces a smoother, darker sound.
Les Paul ’58 Reissue	Gibson	Search on Amazon	B’z	Yoshinobu Ohga	Electric Guitar	Vintage reissue model used on tour for tonal variety.
814e	Taylor	Search on Amazon	B’z	Yoshinobu Ohga	Acoustic-Electric	Used in ballads. Known for rich and clear resonance.
800 Series (Backup)	Taylor	Search on Amazon	B’z	Yoshinobu Ohga	Acoustic-Electric	Backup for the 814e. Provides tonal consistency on stage.
Stratocaster (Custom Shop)	Fender	Search on Amazon	B’z	Yoshinobu Ohga	Electric Guitar	Bright and cutting tone. Used in specific tracks.
Double Neck	Diamond	Search on Amazon	B’z	Yoshinobu Ohga	Electric Guitar	For half-step down tunings and stage impact. Used in “RED.”

Effects and Pedalboard Setup

Yoshinobu Ohga’s pedalboard has evolved over the years, reflecting both technological progress and the demands of professional live performances. In recent years, his setup has become more compact yet highly sophisticated, built around efficient switching systems and high-quality pedals. At the core of his pedalboard is the BOSS MS-3 Multi Effects Switcher. This unit not only provides built-in effects but also functions as a loop switcher, allowing seamless integration with external pedals. Paired with the Morningstar FX ML5, which controls external loops via MIDI, Ohga gains the flexibility to switch complex effect combinations instantly during live shows.

This design offers the best of both worlds: portability for touring and deep functionality for tone shaping. It is especially valuable for support guitarists like Ohga, who must adapt his sound to suit a wide variety of artists and genres in a single performance. His rig demonstrates careful attention to efficiency, tonal consistency, and real-time control under stage conditions.

During the “B’z EPIC NIGHT” tour in 2015, Ohga relied on a larger rack system featuring Custom Audio Japan’s RS616 and RJM’s Mini Effect Gizmo. These MIDI-controlled systems enabled highly detailed patch changes, ensuring consistency and precision across multiple songs with varying tonal needs. This level of integration is common among high-level professionals who require flawless execution on stage.

Among his notable pedals are custom FAT models (such as FAT214.K, FAT514.D, FAT314.C), as well as the Ibanez BB9 Bottom Booster and Free The Tone FT-1Y Digital Delay. These represent boutique-grade, professional-quality tools chosen for their reliability and tonal richness. For boosting and harmonic enhancement, the Ovaltone Harmonics Boost is particularly important. It not only adds volume for solos but also enriches harmonic content, helping his guitar cut through dense arrangements with added dimension.

His spatial effects include the t.c. electronic Nova Delay and Nova Reverb, along with the Eventide H9. These provide lush time-based effects for both electric and acoustic guitars. The H9, in particular, is a multi-effects powerhouse, handling everything from modulation to delay and reverb, which is why it is so highly regarded among professionals. Ohga often separates delay processing for electric and acoustic signals, ensuring clarity and balance in the live mix.

Supporting these are mixing tools like the Mackie Onyx 820i, which demonstrate his attention not only to guitar tone but also to integration with the PA system. His board also features a FAT-modified BOSS stereo volume pedal and the Jim Dunlop TM95 Tak Cry Baby wah pedal, a Tak Matsumoto signature model. These pedals extend his dynamic and expressive control on stage, from subtle swells to dramatic wah sweeps.

Overall, Ohga’s pedalboard setup exemplifies professional design. It balances compact portability with high-end effects, enabling him to deliver precise tones across many genres and artists. These effects are believed to be a key factor in the consistency and adaptability of his sound across tours and recordings.

Gear Name	Brand	Amazon Link	Artist	Guitarist	Type of Effect	Notes
MS-3 Multi Effects Switcher	BOSS	Search on Amazon	B’z	Yoshinobu Ohga	Guitar Multi-Effects	Main switcher in recent years. Combines built-in and external effects.
ML5	Morningstar FX	Search on Amazon	B’z	Yoshinobu Ohga	Switching System	Controls five effect loops. Works in tandem with the MS-3.
Mini Effect Gizmo	RJM Music	Search on Amazon	B’z	Yoshinobu Ohga	Switching System	Rack-mounted MIDI-controlled switcher for complex setups.
FT-1Y Digital Delay	Free The Tone	Search on Amazon	B’z	Yoshinobu Ohga	Delay	High-resolution delay used in both pedalboard and rack rigs.
Harmonics Boost	Ovaltone	Search on Amazon	B’z	Yoshinobu Ohga	Booster	Adds volume and enhances harmonics. Improves solo projection.
Nova Delay	t.c. electronic	Search on Amazon	B’z	Yoshinobu Ohga	Delay	Used with both electric and acoustic guitars. Creates depth and space.
Nova Reverb	t.c. electronic	Search on Amazon	B’z	Yoshinobu Ohga	Reverb	Provides rich and natural reverb tails for live settings.
Eventide H9	Eventide	Search on Amazon	B’z	Yoshinobu Ohga	Multi-Effects (Spatial)	Handles delays, reverbs, and modulation. A versatile flagship unit.
TM95 Tak Cry Baby	Jim Dunlop	Search on Amazon	B’z	Yoshinobu Ohga	Wah Pedal	Tak Matsumoto signature wah. Used for expressive sweeps.
Pitchblack	KORG	Search on Amazon	B’z	Yoshinobu Ohga	Tuner	Reliable pedal tuner, suitable for both electric and acoustic guitars.

Tone Settings, EQ, and Mixing Approaches

One of the most distinctive aspects of Yoshinobu Ohga’s tone design is his ability to adjust the midrange so that his guitar always finds space in a dense band mix. This is especially crucial when supporting B’z, a band known for its loud, information-rich arrangements. Ohga’s guitar rarely gets buried in the mix, even when competing with Tak Matsumoto’s powerful lead guitar and full instrumentation. His method is not just about volume but about choosing the right frequency range and controlling dynamics naturally through playing touch.

For distorted sounds, Ohga typically sets the FAT13’s gain at around 5 to 6, balancing saturation with clarity. Rather than maxing out gain, he relies on guitar volume control and picking dynamics to shape nuance. Treble and presence are slightly boosted, ensuring that his tones occupy a distinct frequency range without overlapping Matsumoto’s guitar. This approach makes his playing supportive yet audible, whether he is laying down rhythm chords or stepping out briefly for fills.

On the clean side, the FAT12’s EQ is set with restrained mids and smooth highs. This preserves the natural resonance of Taylor acoustic-electrics and the clarity of Fender Stratocasters. For live settings, PA engineers often apply light compression to the midrange, helping his clean tones remain articulate without sounding squashed. This setup allows acoustic guitars to cut through in large arenas while still sounding natural and musical.

Effect programming is also a key part of his tone strategy. With the MS-3 and ML5, Ohga pre-programs patches that activate delay or modulation effects at precise song sections. His delays are often tempo-synced, using quarter-note or dotted-eighth settings to enhance rhythmic precision. Subtle chorus or flanger effects are employed only when needed, adding dimension without overwhelming the arrangement. His discipline in avoiding unnecessary effects highlights his philosophy of serving the music first.

Signal routing is carefully optimized to preserve clarity. Wherever possible, he avoids long chains of serial connections that could muddy the tone. For acoustic sets, Nova Delay and Nova Reverb are placed on a dedicated signal path and sent directly to the PA as a clean line, ensuring maximum transparency. For electric sets, his routing balances between front-end drive pedals and effects loop integration, minimizing signal loss while maintaining tonal integrity.

In the overall band mix, Ohga’s guitar is often panned slightly right, leaving room for Matsumoto’s guitar on the left and vocals in the center. EQ adjustments by the front-of-house engineer typically emphasize the 2–4 kHz range for articulation while reducing overlap with keyboards and backing instruments. This careful placement ensures that Ohga’s contributions are always felt as part of the ensemble rather than clashing with lead elements.

Another critical factor is dynamics. Ohga’s playing integrates with compression and EQ rather than fighting against them. Instead of relying on heavy outboard processing, he achieves dynamic balance through consistent picking and guitar volume adjustments. This “player-driven compression” produces a natural feel that translates well across different venues and recording situations.

Ultimately, Ohga’s tone settings are not about spotlighting himself but about enhancing the total sound of the performance. His use of EQ, gain staging, and mix placement reflects a philosophy of balance and precision. Whether shaping crunchy rock riffs for B’z, delicate cleans for ZARD, or atmospheric textures for Mai Kuraki, his approach demonstrates professional-level awareness of how guitar fits into the bigger picture. These methods are believed to be central to his consistently reliable tone, regardless of stage or studio environment.

Affordable Alternatives to Recreate the Tone

Reproducing Yoshinobu Ohga’s professional guitar system in its entirety would be unrealistic for beginners or hobby players, given the boutique-grade amps, custom pedals, and rack-based switching systems he employs. However, it is possible to approximate the essence of his sound using more affordable and accessible gear. By focusing on the tonal characteristics that define his style—clear cleans, punchy midrange distortion, and tasteful use of spatial effects—you can get remarkably close without investing in prohibitively expensive equipment.

For the amplifier, boutique FAT amps are difficult to obtain and costly, but the BOSS KATANA Artist MkII is an excellent substitute. It delivers versatile clean tones with ample headroom and smooth overdrive that captures the essence of Ohga’s balance between power and clarity. Its integration with multi-effects pedals makes it particularly suitable for those looking to recreate Ohga’s flexibility at a fraction of the cost.

When it comes to effects, the BOSS MS-3 stands out as a practical and affordable centerpiece. Combining a switcher and multi-effects unit, it allows you to replicate Ohga’s workflow of blending core drive sounds with modulation, delay, and reverb. This single unit can cover many of the essential textures found in his live rig, making it one of the most cost-effective ways to begin.

For additional boost and solo projection, a compact pedal such as the Ibanez TS Mini or Xotic BB Preamp provides midrange focus and sustain, similar to what Ohga achieves with boutique boosters like the Ovaltone Harmonics Boost. These pedals excel at cutting through dense mixes, ensuring solos remain articulate and dynamic.

On the spatial side, while Eventide’s H9 is a high-end solution, more budget-friendly pedals like the NUX Atlantic Delay & Reverb offer rich time-based effects in a single compact unit. The Atlantic even supports dotted-eighth delay settings, a common feature in Ohga’s live tone, allowing guitarists to approximate his delay-driven textures at a much lower cost.

For acoustic guitar players aiming to mimic his Taylor 814e tone, the Yamaha A5R or Taylor Academy Series are viable alternatives. While they cannot fully replicate the harmonic complexity of the 800 series, they deliver warm resonance and solid projection at a beginner-friendly price point, making them excellent choices for singer-songwriters or support guitarists.

Finally, supporting pedals like the KORG Pitchblack X tuner and BOSS FV-30H volume pedal complete the system. These affordable units replicate the tuning stability and expressive control of Ohga’s more elaborate live rig. Together, this collection of alternatives allows players to recreate a simplified but effective version of his setup in the 50,000–80,000 yen range (roughly $400–600 USD), making it accessible for aspiring musicians.

Category	Gear Name	Brand	Amazon Link	Artist	Guitarist	Notes
Guitar Multi-Effects	MS-3 Multi Effects Switcher	BOSS	Search on Amazon	B’z	Yoshinobu Ohga	Affordable unit that replicates his switching + multi-effects workflow.
Preamp / Amp Simulator	KATANA Artist MkII	BOSS	Search on Amazon	B’z	Yoshinobu Ohga	Alternative to FAT amps. Provides versatile clean and driven tones.
Booster	TS Mini	Ibanez	Search on Amazon	B’z	Yoshinobu Ohga	Compact Tube Screamer that enhances mids and solo projection.
Spatial Multi-Effects	Atlantic Delay & Reverb	NUX	Search on Amazon	B’z	Yoshinobu Ohga	Budget-friendly replacement for Eventide H9. Delay + reverb in one unit.
Volume Pedal	FV-30H	BOSS	Search on Amazon	B’z	Yoshinobu Ohga	Compact stereo-compatible volume pedal, useful for electric and acoustic guitars.
Tuner	Pitchblack X	KORG	Search on Amazon	B’z	Yoshinobu Ohga	Reliable tuner offering high precision, suitable for stage use.

Summary and Conclusion

Yoshinobu Ohga’s guitar sound can best be described as the “unsung hero” of live performances for B’z, ZARD, and Mai Kuraki. His role is not about dazzling solos or stealing the spotlight but about providing unwavering stability, balance, and tone that support the entire musical framework. This quiet professionalism has earned him the trust of some of Japan’s most respected artists.

The essence of his tone lies in precision and adaptability. His amp choices deliver crystal-clear cleans and mid-focused distortion; his pedals add spatial depth without overwhelming the mix; his guitars cover a broad tonal spectrum from the heavy punch of Gibson Les Pauls to the delicate shimmer of Taylor acoustics. Nothing is excessive, yet every detail serves the song. This approach reflects a philosophy rooted in professionalism: sound design that always prioritizes the needs of the music over individual expression.

Another striking characteristic is his flexibility. The way he switches between guitars—Les Pauls for rock power, Stratocasters for sharp brightness, acoustics for intimate ballads—demonstrates a deep understanding of how different tones function within a band context. Even the use of a double-neck guitar in “RED” shows his willingness to adopt practical solutions that simultaneously enhance stage performance. These choices highlight his commitment to versatility and his ability to adapt instantly to the demands of a setlist.

Watching live footage, one notices not only the smoothness of his playing but also his consistency. His phrasing is tasteful, his timing precise, and his tonal control impeccable. He rarely overplays, instead focusing on enhancing the emotional core of each song. This level of discipline is as much a part of his sound as the gear itself.

For guitarists hoping to emulate Ohga’s tone, the lesson is clear: it is less about owning expensive boutique equipment and more about mastering the fundamentals of stability, tone shaping, and smooth transitions. Affordable alternatives like the BOSS Katana or MS-3 prove that, with careful settings and mindful playing, one can approximate his sound philosophy. The real challenge lies in understanding when to play, when to hold back, and how to complement the larger ensemble.

At its core, Ohga’s approach to tone design is not just technical but philosophical. Sound creation is treated as a form of musical empathy—a way of ensuring that every instrument and voice in the ensemble has its space, that no one is overshadowed, and that the music as a whole resonates with clarity and power. This “behind-the-scenes artistry” is what makes his contribution so vital and inspiring. For any guitarist, aspiring or seasoned, studying Yoshinobu Ohga’s methods provides not just technical insight but a model of professionalism and humility that transcends genres.