[Yūzō Kayama] How to Recreate the Yūzō Kayama Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Known as the “Eternal Young General,” Yūzō Kayama has captivated music fans not only with his presence as an actor and singer but also with his unique sound as a guitarist. His sound is characterized by a refreshing brightness combined with a deep tonal quality. Particularly notable is his use of the Mosrite guitar, which produces a sharp, punchy tone, alongside the modern resonance derived from Telecaster-style guitars, symbolizing his musical identity.

In iconic songs like “Kimi to Itsumade mo” and “Kōshinmaru,” Kayama’s distinctive electric guitar cutting and chord work leave a lasting impression. More recently, tracks such as “Hikari no Ito” and “Kitto Ashita” showcase his use of the Fender Acoustasonic Telecaster, which blends acoustic and electric nuances into his sound.

The essence of Yūzō Kayama’s sound lies in the fusion of rock and pop with elements of jazz and country, creating a universally appealing brightness that resonates with a wide audience. His meticulous attention to detail in settings and string selection allows him to achieve a refined sound in both live performances and recordings.

Guitars are central to his sound, with models like the Mosrite “K” head Yūzō Kayama model, Yamaha commemorative models, and Fender Jazzmasters being used throughout different eras, all while consistently pursuing a “refreshing and melodic sound.” His playing style balances brisk cutting with melodic leads, influencing many guitarists.

In the following sections, we will explore the actual amplifiers, guitars, and effects used by Yūzō Kayama, discussing key points for sound creation and approaches for beginners to recreate his tone. We will also summarize affordable gear that can help achieve a similar sound, so please take note.

▶ Search official YouTube videos of Yūzō Kayama

List of Amplifiers and Features

When discussing Yūzō Kayama’s sound, amplifier selection is crucial. For guitarists, the amplifier is responsible for the final output of sound, and for someone like Kayama, who seeks a clean, refreshing, and present tone, selecting the right amplifier is vital.

There is limited clear evidence regarding the specific amplifiers he uses, leading to many aspects being considered “unconfirmed.” However, based on live photos and information about sound equipment, we can infer some characteristics. On stage, he tends to favor amplifiers with an analog warmth and range, with Fender clean amps being a strong candidate. Models like the Fender Twin Reverb and Fender Hot Rod Deluxe are believed to align well with Kayama’s clean tone direction, and many classic artists, both domestic and international, have adopted them.

In recent years, with the advancement of digital mixers and monitoring environments, there has been a shift towards prioritizing line output and stage monitoring adjustments over sending the amplifier’s tone directly to the PA system. The use of a digital console like the Soundcraft Vi6 in Kayama’s stage setup suggests a focus on line output and PA processing rather than the amplifier itself.

Additionally, during the 1960s, it is suggested that he may have used amplifiers such as the Fender Showman and Vox AC30 alongside his Jazzmaster. Considering the domestic studio equipment situation at the time, it is also assumed that he briefly used transistor amplifiers from Yamaha and Roland.

In terms of amplifier selection, it is likely that he focuses on achieving a “thick and present clean tone,” utilizing different setups for live performances in combination with PA equipment and in the studio with tube amplifier characteristics.

Types of Guitars Used and Features

A key element in Yūzō Kayama’s sound creation is his choice of guitars. The core of the Young General sound is the Mosrite Yūzō Kayama Model, whose unique sharp tone is emblematic of his style. Additionally, brands like Fender, Yamaha, and Gibson have been used appropriately over the years, expanding the range of his sound.

The most representative model is the Mosrite Yūzō Kayama Model. Featuring a “K” design on the headstock, it symbolizes his musical career with special anniversary models released for his 40th and 50th anniversaries. The sharp attack and clear chord presence from its dual pickups excel in both cutting and lead work. He is also known to own a white model passed down from Nokie Edwards.

Next is the Fender Jazzmaster. Confirmed during the 1966 “Kirisame no Hodo” and the Ranchers era, he pursued a unique tone by setting the string height low. The Jazzmaster’s wide neck and unique pickup structure contributed to the surf rock sound of the time.

Recently, the Fender Acoustasonic Telecaster (Olympic White) has appeared in his performances. Unlike a standard Telecaster, it omits the rear pickup, featuring a sound that blends acoustic and electric elements. It was used in “Hikari no Ito” and “Kitto Ashita” during the ON THE ROAD 2015 tour, achieving a stage-friendly mid-range clarity while leaning towards an acoustic sound.

The Yamaha SG3KY, produced as an anniversary model, is also noteworthy. This guitar was created to commemorate Yamaha’s 40th anniversary of electric guitars and Kayama’s 45th debut anniversary, making it a highly limited edition. Additionally, during his student days, he played a Gibson hollow body for country music, showcasing his versatility across genres.

From this diverse guitar history, it is evident that Yūzō Kayama has carefully selected guitars over time to achieve a balance of “refreshing and bright tones” and “supportive accompaniment for vocals.” The sharpness of the Mosrite, the unique tone of the Jazzmaster, and the modern resonance of the Acoustasonic have all contributed to his sound.

Effects and Pedalboard Setup

Yūzō Kayama tends to keep his effects usage relatively simple and minimal, emphasizing the natural sound of the guitar. Particularly during the eras when he used the Mosrite and Jazzmaster, he relied on the clean tone and light distortion from his amplifiers, avoiding excessive processing with compact effects.

From the 1960s to the 1970s, reverb and tremolo were central to his sound, reflecting surf rock and country influences. This was achieved by utilizing the built-in reverb and tremolo of Fender amps, especially evident in songs like “Kirisame no Hodo.” It is also assumed that reverb units and tape echoes were introduced in domestic environments at the time, used in both live performances and recordings.

After the 1980s, with the expansion of live venues and advancements in PA systems, spatial effects like delay and chorus were introduced to enhance sound reproduction. Notable examples include BOSS compact effects, particularly the Boss CE-2 Chorus and Boss DD series delay, which are considered essential for recreating Kayama’s sound.

In recent years, when using the Acoustasonic, preamps/DI and compressors have been utilized to stabilize the acoustic line sound. This is likely used in combination with digital consoles like the Soundcraft Vi6 to ensure a stable acoustic sound on stage.

Kayama’s pedalboard setup is focused on “the bare essentials.” While reverb and tremolo are fundamental, the recent addition of preamps and compressors for line environments has streamlined his setup.

Tone Settings, EQ, and Mixing Approaches

Yūzō Kayama’s sound creation is centered around “refreshing guitar tones that support the melody,” and his settings and EQ adjustments align with this objective. Generally, he focuses on clean tones while adding light compression and spatial effects as needed, maintaining presence without overshadowing the vocals.

Regarding amplifier EQ settings, assuming a Fender clean amp, it is likely that he sets the Bass (low) at 4-5, Middle at 6-7, and Treble (high) at 5-6. By keeping the low end subdued, he avoids muddying the overall band sound, while boosting the midrange allows for prominent chord cutting and arpeggios. The high end is adjusted to retain string clarity without becoming harsh.

Reverb is a crucial element that symbolizes the Kayama sound. While maintaining a surf rock aesthetic from the 1960s, he likely keeps the reverb level at around 2-3 to create a natural echo. Even when using the Acoustasonic in recent years, he adds light reverb to create an acoustic-like spaciousness without interfering with the vocals.

For delay, a short delay (approximately 250ms, 1-2 repeats) is set for live spatial effects, which is a key point in approaching the Kayama sound. Avoiding deep delays and keeping it subtle helps the guitar blend beautifully behind the vocals.

Compression is particularly effective when using the Acoustasonic, with a shallow threshold (lightly applied) and slightly extended sustain setting to create consistent articulation and stability in strokes. This helps reduce volume fluctuations in live environments.

In the mixing process, it is characteristic for engineers to place Kayama’s guitar within the “frequency range that supports the vocals.” Since the vocals occupy the midrange, the guitar is likely lightly cutting harmonics above 2kHz and organizing low-end frequencies around 200Hz-400Hz to provide transparency to the overall sound. This processing allows his guitar to resonate softly behind the vocals while maintaining a solid presence.

Moreover, during performances, it is assumed that digital consoles like the Soundcraft Vi6 were used to switch reverb levels for each song. For ballads, deeper settings were likely used, while shallower settings were employed for uptempo songs, adding dynamic adjustments that enhance the Kayama sound.

In summary, Yūzō Kayama’s sound creation embodies “simplicity with flexibility that aligns with the song.” By adjusting EQ, reverb, and compression to a minimum, he designs his sound to enhance the appeal of the vocals.

Affordable Alternatives to Recreate the Tone

Yūzō Kayama’s sound is built around specialized models like the Mosrite and Acoustasonic, but for beginners or hobbyists looking to enjoy the “Kayama sound,” acquiring high-end guitars and amplifiers can be challenging. Therefore, we will introduce relatively affordable gear (primarily in the $100-$500 range) that can closely replicate his sound.

Regarding guitars, while fully replicating the Mosrite may be difficult, the Fender Squier J Mascis Jazzmaster offers a good match with its sharp tone and clear attack. By utilizing the Jazzmaster’s unique low string height and wide neck, players can get closer to Kayama’s 1960s surf rock tone. For those looking to recreate more acoustic nuances, budget-friendly electro-acoustic options like the Fender Player Telecaster or Yamaha APX series can be quite effective.

For amplifiers, the Roland JC-22 and Fender Champion 40 are optimal choices. The Roland JC series is known for its clean tone and built-in chorus, making it highly compatible with Kayama’s clean sound. The Champion 40, with its Fender-like clean and built-in spring reverb, is versatile for both live performances and home practice.

When it comes to effects, selecting from BOSS’s compact series is a reliable choice. For example, the BOSS CE-5 Chorus Ensemble is ideal for adding thickness to the clean sound, while combining it with the BOSS DD-7 Digital Delay can recreate the spatial feel needed for live performances. Reverb options like the Electro-Harmonix Holy Grail Nano or BOSS RV-6 provide natural echoes and are easy for beginners to handle.

Yūzō Kayama’s “simple and bright tone” does not necessarily require expensive gear. The key is to focus on 1) an amp prioritizing clean tones 2) EQ emphasizing the midrange 3) light reverb and chorus. By adhering to these principles, players can enjoy the “Young General sound” with their existing gear.

Summary and Conclusion

Yūzō Kayama’s sound is not about showcasing flamboyance or technique but rather about “refreshing guitar tones that support the song.” The sharp attack of the Mosrite, the unique tone of the Jazzmaster, and the modern, expansive resonance from the Acoustasonic all consistently aim to enhance the vocals.

Moreover, his use of effects is minimal yet precise. By adding spatial effects like reverb, chorus, and light delay as needed, he avoids over-processing, achieving a clean and straightforward sound. This “subtle and efficient sound processing” has contributed to the enduring appeal of the Kayama sound across generations.

Additionally, even in the PA and mixing stages, efforts are made to ensure the vocals are not overshadowed. By organizing the EQ to clarify the midrange and controlling reverb according to the scene, he consistently delivers a pleasant sound. It is assumed that digital consoles like the Soundcraft Vi6 were employed to make fine adjustments for each song, ensuring a consistently enjoyable sound.

In essence, the key to recreating Yūzō Kayama’s sound lies not in the gear itself but in the approach to sound shaping. Even without access to high-end Mosrite or commemorative models, players can capture the essence of his sound by focusing on clean settings and incorporating light reverb and chorus.

The essence of the Young General sound is “refreshing, bright, and supportive of the listener.” This sound creation approach is simple yet profound, embodying a timeless style that continues to be loved across generations. Anyone picking up a guitar can imbue their performance with the “power to support the song” by being mindful of this sound creation philosophy.