[Yu Nakajima] How to Recreate the GO!GO!7188 Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yu Nakajima, the guitarist and vocalist of GO!GO!7188, stands out in the realm of Japanese rock music with her unique presence. Her guitar playing is characterized by a distinctive sound that blends melodious elements of traditional Japanese music with alternative rock. The simple yet catchy riffs and the sound design that complements the Japanese-style melodies support the overall atmosphere of GO!GO!7188’s songs.

Iconic tracks such as “Koi no Uta,” “C7,” and “Jet Ninjinn” showcase her ability to switch between clean tones and loud, distorted guitar sounds. Particularly, the cutting style in “C7” and the emotional arpeggios in “Koi no Uta” highlight the breadth of her sound design.

Moreover, Yu’s sound is marked by her simple yet effective use of effects, utilizing a line selector to switch between overdrive and fuzz. This allows her to express different tones instantly during live performances. The foundation of her sound is built around the Fender Tone Master amplifier, which provides a clean and prominent sound.

The reason GO!GO!7188’s sound design garners attention is its catchy yet aggressive quality, embodying a distinctly “Japanese rock” texture. Unlike mere J-ROCK or garage sounds, Yu’s playing style complements the melancholic melodies with a rock edge, making her a significant figure in the genre.

For beginners looking to replicate her sound, the straightforward gear setup and established playing style make it relatively easy to imitate. In the following sections, we will explore the amplifiers, guitars, and effects she has used in detail.

▶ Search official YouTube videos of GO!GO!7188

List of Amplifiers and Features

Yu Nakajima primarily uses the Fender Tone Master for both live performances and recordings. As evident from GO!GO!7188’s music, her sound often relies on a clean foundation, with overdrive and fuzz applied as needed. Therefore, an amplifier that does not color the sound excessively and allows the guitar’s character to shine through, like the Fender series, is ideal.

The Fender Tone Master is a series that models the sound of classic amplifiers like the Fender Twin Reverb, known for being lightweight and easy to handle. During live performances, Yu has consistently used this Tone Master as her main amplifier, switching sounds with effects. Given that many of GO!GO!7188’s songs require quick transitions from clean to distorted tones, the ideal setup is a “clean foundation + pedal control” rather than relying on the amp for distortion.

There have also been sightings of her using the Fender Twin Reverb in the past. This classic model, known for its warm sound produced by vacuum tubes, may have been utilized in certain songs like “Koi no Uta” and “Ukifune,” where the lushness of the Twin Reverb’s clean tone can be felt, suggesting she may have switched between the two amplifiers.

Additionally, in many live house environments in Japan, the Roland JC-120 is commonly available, and it is believed that she may have used this as a rental option during sound checks or some performances. However, it is assumed that her primary preference remains with Fender amplifiers, with the JC-120 being used only as a supplementary option.

Overall, Yu’s approach to sound design emphasizes a “Fender clean foundation, enhanced by effects.” The Tone Master, in particular, is likely to have been a mainstay due to its lightweight and high fidelity, contributing to her sound’s transparency and emotional quality.

Types of Guitars Used and Features

The guitars Yu Nakajima has chosen play a significant role in shaping her sound. GO!GO!7188’s musical style merges the essence of traditional Japanese music with rock, necessitating clear and sharp tones, as well as occasionally gritty distortion. Yu skillfully utilizes guitars that can achieve both.

Her main guitar for an extended period has been the Trafzck Guitar Services Signature Model. This custom model, crafted by a domestic workshop, is tailored to Yu’s playing style and is her most trusted instrument during live performances. It features quick response and a prominent midrange, supporting the riffs and chord work characteristic of GO!GO!7188.

Additionally, she frequently uses the Sugi Guitars Rainmaker (Red), which produces a more modern and powerful sound, making it ideal for louder songs or sections where distortion is emphasized. Thanks to Sugi’s unique wood selection and processing techniques, this guitar achieves a thick yet articulate tone, making it suitable for studio recordings.

Moreover, the Fender Japan Yu Model Telecaster (Deluxe Nashville Tele configuration) is another significant guitar in her arsenal. Bearing her name, this model possesses a bright tone suitable for country music while perfectly complementing GO!GO!7188’s unique Japanese melodies. Its single-coil sharpness is ideal for rhythm cutting, particularly shining in upbeat tracks like “Jet Ninjinn.”

In the past, she has also used the Fender Japan Jazzmaster (Candy Apple Red). The Jazzmaster is known for its unique harmonic content and sweet clean tones, making it suitable for melody-driven songs like “Koi no Uta.” It is assumed that this guitar was chosen to produce clarity and unique nuances rather than aggressive distortion.

Thus, Yu adeptly selects guitars based on the song’s requirements, flexibly crafting sounds for both live and studio settings. Her playing emphasizes rhythm guitar rather than flashy solos, suggesting that her guitar choices were made with the perspective of how each character could be projected onto the songs.

Ultimately, Yu’s collection of guitars comprises “clean foundation Telecasters,” “thick modern customs,” and “nuanced Jazzmasters,” which collectively support the unique world of GO!GO!7188.

Effects and Pedalboard Setup

When discussing Yu’s sound, the presence of effects is indispensable. GO!GO!7188’s songs require a simple yet effective means to switch tones throughout the song, and the pedalboard plays a crucial role in this. Notably, she utilizes the BOSS OD-3 OverDrive and Electro-Harmonix Big Muff, switching between them using a line selector (BOSS LS-2).

The OD-3 is known for its articulate and natural distortion, making it suitable for rhythm-based playing. It has been essential in tracks like “Jet Ninjinn” and “Thunder Girl,” where quick and sharp guitar work is prominent.

On the other hand, the Big Muff delivers a thick and sustaining fuzz sound, supporting melodic leads with a raw edge. In emotional parts of songs like “Ukifune” and “C7,” the rich sustain of the Big Muff shines through. Yu seamlessly switches between these effects using the LS-2, adapting her tone to fit the song’s mood instantly.

Additionally, she employs the BOSS TR-2 Tremolo, which adds a unique oscillation, contributing to a floating, psychedelic nuance characteristic of traditional Japanese music. The BOSS Digital Delay adds spatial depth, while the Fender Reverb Unit provides a glossy resonance. Together, these elements create the unique sound of GO!GO!7188, blending nostalgia with modernity.

During live performances, she adjusts volume using the Korg XVP-10 Volume Pedal and adds expression with the Jim Dunlop Wah Pedal. The wah is used for solos and accents, providing a powerful presence despite her generally straightforward sound design.

In summary, Yu’s effects board centers around overdrive and fuzz, enhanced with tremolo and delay for depth, while volume and wah pedals control dynamics. The essence of her sound design lies in expressing necessary changes with minimal gear, embodying her unique style. Consequently, her board may not be flashy, but it boasts sufficient quality and effectiveness.

Tone Settings, EQ, and Mixing Approaches

Yu Nakajima’s sound design revolves around the principle of “simplicity while conveying the song’s imagery.” GO!GO!7188’s music strongly features a unique blend of melodious Japanese tunes with the energy of rock, necessitating a delicate balance achieved through guitar tone control, amplifier EQ, and the choice of effects.

Regarding amplifier settings, it is assumed that Yu, primarily using the Fender Tone Master, sets the EQ with low bass, slightly boosted mids, and high treble. This configuration allows the guitar to stand out in the mid-high range without interfering with the bass and drums, ensuring that the guitar serves as a “midrange pillar” within the band’s overall ensemble.

For distortion, the BOSS OD-3 is likely set with lower gain, maintaining a crunchy tone. This is crucial as many of the melodies are melodious, and excessive distortion could obscure the nuances. Conversely, when using the Big Muff, Yu likely increases the sustain while keeping the volume lower, achieving a thick, sustained sound without overshadowing the vocals. These transitions are facilitated by the line selector (LS-2), allowing for smooth changes in tone during live performances.

Her handling of spatial effects is also noteworthy. The BOSS Digital Delay is set with shorter repeats, adding just enough depth. The reverb, provided by the Fender unit, is natural and not overly deep, supporting the echoes of the vocals. Particularly in ballads like “Koi no Uta,” the beautiful application of this reverb significantly enhances the song’s lyrical quality.

Furthermore, the TR-2 Tremolo is employed to impart a sense of “wavering” throughout the songs, creating an eerie or floating effect typical of traditional Japanese music. For instance, the wavering sound in songs like “Bunbu” can be attributed to this tremolo effect.

Yu’s use of guitar volume and tone controls is also crucial. When using Telecasters or Jazzmasters, she often does not set the guitar’s volume to full but rather keeps it slightly lower to add nuance. This allows for greater expressiveness at her fingertips, enabling her to adjust dynamics in line with the song’s mood.

In terms of mixing, the guitars in GO!GO!7188’s songs are typically spread slightly left and right of center, highlighting the vocals while creating a wall of sound. Since Yu’s guitar work emphasizes rhythm over solos, the PA and recording engineers likely process the midrange more robustly, maintaining the rawness of the distortion while ensuring a listenable sound throughout the ensemble.

In summary, Yu’s sound design can be encapsulated as “emphasizing midrange clean to crunch, thickened only when necessary with fuzz,” and “using spatial effects naturally without disrupting the song’s atmosphere.” This approach supports the coexistence of “nostalgia and strength” in GO!GO!7188’s music. Ultimately, it is assumed that in PA and mixing scenarios, “Yu’s sound is processed to highlight its natural quality rather than overly crafted.”

Affordable Alternatives to Recreate the Tone

While Yu Nakajima’s sound is supported by high-end gear like signature models and Sugi guitars, beginners and intermediate players can recreate a similar vibe with relatively affordable equipment. Here, we will introduce commercially available gear priced between $100 and $500.

Starting with guitars, the Fender Player Telecaster and Squier Classic Vibe Telecaster closely resemble Yu’s main character. These guitars provide the clear and sharp tones characteristic of single-coils, making them suitable for GO!GO!7188’s unique rhythmic cutting and chord work. The Classic Vibe, in particular, offers great cost performance and is recommended for those considering modifications. For capturing the nuances of a Jazzmaster, the Squier J Mascis Jazzmaster is also an excellent choice.

For amplifiers, the live house staple Roland JC-22 and the BOSS Katana series are ideal options. The JC-22 excels in clean tones and pairs well with effects. The Katana series features a wide range of modeling functions that include nuances of Fender-style amplifiers, making it perfect for beginners looking to replicate a “Tone Master-like” experience.

In terms of effects, the BOSS OD-3 is an easily accessible option that can be purchased for around $100, allowing users to achieve Yu’s basic crunch sound. For fuzz, while the original Big Muff is the best choice, the more affordable Electro-Harmonix Nano Big Muff is compact and user-friendly. Additionally, if you lack a line selector, a multi-effects pedal can serve as a substitute.

Notably, the BOSS GT-1 and ZOOM G3n are priced around $200 to $300 and cover all necessary effects, including overdrive, fuzz, delay, reverb, and tremolo. These options are highly effective for accommodating a simple and frequently switching playing style like that of GO!GO!7188.

For reverb, pedals like the TC Electronic Hall of Fame 2 offer affordability and high quality, while BOSS’s compact reverb (RV-6) is practical. Delay can also be effectively recreated with standard models like the BOSS DD-3 or DD-7.

Lastly, for volume and wah alternatives, the Jim Dunlop Cry Baby Mini Wah is affordable and space-saving, while the Ernie Ball MVP is a robust volume pedal. By combining these elements, even beginners can achieve a distinctly “GO!GO!7188-like Japanese rock sound.”

In conclusion, to replicate Yu’s sound, it is essential to focus on “single-coil guitars + Fender-style clean amplifiers + OD-3 and Big Muff as the foundation for distortion.” One can experience the essence of her sound without relying on expensive signature models, using relatively affordable gear instead.

Summary and Conclusion

Reflecting on Yu Nakajima’s sound design, its essence lies in “a simple gear setup that accompanies a diverse range of expressions in the songs.” Rather than showcasing her presence through flashy solos or excessive distortion, she seamlessly integrates into the overall sound of GO!GO!7188, building a solid foundation. This is a highly sophisticated role required of a guitarist who bridges melodious Japanese tunes with rock sounds.

When summarizing her gear, the foundation consists of Fender amplifiers (Tone Master / Twin Reverb) for clean tones. The guitars include Trafzck Guitar Services Signature Model as the mainstay, complemented by Telecasters and Jazzmasters featuring single-coil pickups. Distortion is managed through a practical system of OD-3 crunch and Big Muff thick sustain, switched via LS-2. Spatial effects are introduced through delay and reverb, with tremolo adding a unique floating quality. All these elements contribute to her sound’s coexistence of “nostalgia” and “strength.”

Furthermore, Yu’s guitar selection demonstrates an exquisite understanding of “how to choose frequencies.” By avoiding excessive low-end, she emphasizes the mid-high range, ensuring a clear distinction from vocals, bass, and drums. When heard in the mix, her guitar achieves an ideal position of “not overshadowing yet not being buried,” making it very manageable for engineers.

For beginners and aspiring guitarists, a valuable lesson is to “maximize the potential of limited gear rather than simply increasing the number of devices.” With just the combination of OD-3, Big Muff, tremolo, delay, and reverb, one can express a wide range of nuances in songs, thanks to her sound design philosophy. The touch upon picking up the guitar and the use of the volume knob are where true individuality resides.

GO!GO!7188’s songs serve as a valuable resource for developing expressive capabilities as a guitarist. Rather than merely acquiring the same gear, understanding “what gaps need to be filled in the sound,” “when to switch distortions,” and “how much to apply spatial effects” will be the first step toward approaching her style.

In summary, Yu’s sound design is a rare example of successfully “maintaining one’s color while accompanying the song.” While not ostentatious, her sound is unmistakably “GO!GO!7188,” possessing a unique presence. By understanding this essence and creatively applying it to your gear, you too can get one step closer to that sound.