[Yuki] How to Recreate the Acid Black Cherry (Rayflower) Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yuki (結城雅彦) is one of Japan’s most prominent guitarists, known for his work with Acid Black Cherry and Rayflower. His sound is characterized by a blend of heavy metal thickness and the catchy elements of pop rock. He utilizes tight, crisp picking in riffs and employs rapid-fire playing and vibrato to create expressive solos.

Iconic songs like Acid Black Cherry’s “Kuro Neko ~Adult Black Cat~” and Rayflower’s “Bloom Moment” showcase his ability to switch seamlessly between hard distortion and transparent clean tones. This versatility is supported by his signature models from the ESP LIZARD series and the high-gain Marshall JVM410H amplifier.

In live performances, Yuki’s intense stage presence is matched by the high quality of his sound design. His use of the BOSS GT-100 for MIDI control and expressive phrases with a wah pedal are key components of his musical identity.

This article will delve into Yuki’s sound design from the perspectives of “amplifiers,” “guitars,” “effects,” and “settings,” while also introducing relatively affordable gear options for beginners and cover bands.

First, experience his sound through official videos.

▶ Search official YouTube videos of Acid Black Cherry

▶ Search official YouTube videos of Rayflower

List of Amplifiers and Features

The cornerstone of Yuki’s sound design is the combination of the Marshall JVM410H head and the 1960B cabinet. This setup is frequently confirmed in live photos and magazine interviews with Acid Black Cherry and Rayflower, making it a symbol of his tone. The JVM410H features a four-channel design, each with three switchable modes, providing remarkable flexibility. Yuki skillfully utilizes these diverse channels to achieve a wide range of expressions, from distortion-heavy lead tones to clean arpeggios.

Notably, the head is adorned with a “LIZARD” sticker and has an additional cooling fan installed. This modification ensures stable performance during long live shows, showcasing a professional’s adaptability to the demands of live settings. The amp’s distortion is well-defined, maintaining clarity even during fast picking phrases and power chord chugs, resulting in a punchy sound.

The cabinet used is the Marshall 1960B, a staple in the world of stack amplifiers, known for its tight low-end and cutting high-end. In Yuki’s sound, the pronounced low-end and bright treble push the guitar forward in the mix, allowing it to stand out within the band.

In the studio, reports suggest that Yuki combines the Marshall with an ESP Horizon for a more neutral tone. While the JVM410H is predominantly used in live settings, it is likely that he employs different amplifiers in the studio to suit the song’s style.

Overall, Yuki’s amp setup leverages the “thickness and clarity typical of Marshall” while allowing for versatile tone switching through MIDI control with the BOSS GT-100. This configuration is ideal for hard rock and loud rock guitarists, making it an essential element for recreating the music of Acid Black Cherry and Rayflower.

In summary, Yuki is believed to build his ideal sound around the Marshall JVM410H and 1960B, making adjustments as necessary to achieve his desired tone.

Types of Guitars Used and Features

The most defining aspect of Yuki’s sound is the ESP signature model “LIZARD” series. As seen in live footage and magazine photos, he utilizes multiple variations of this guitar. Many models feature a pearl white body, adorned with the LIZARD logo and hand-painted designs of a skeletal lizard, showcasing a striking visual identity.

The ESP LIZARD SPECIAL is emblematic of Yuki’s guitar collection, featuring a pearl white body with a prominent LIZARD logo. It is equipped with a Seymour Duncan SH-4 in the bridge position and an SH-2 in the neck position, achieving a classic high-gain rock sound. The LIZARD SPECIAL-II features a unique skeletal lizard paint design, making it visually impactful.

Additionally, the LIZARD SPECIAL V series offers a variety of options, ranging from V-I to V-IV. These models feature a red pickguard, with the V-III being a 7-string variant ideal for heavy low-end riffs, while the V-IV includes an inlay of the lizard’s tail, enhancing both aesthetics and functionality. The 7-string model is particularly suited for heavier music styles.

Yuki also employs the ESP FV KIKAIDER, a uniquely designed model with metallic panels, primarily used in drop C# tuning. It has been reported that he occasionally uses the ESP Horizon in the studio for a more neutral sound.

These guitars are not only visually striking but are also meticulously chosen tools for producing the optimal tone for each song. The ESP LIZARD series is undoubtedly a core element defining Yuki’s sound.

In summary, Yuki skillfully utilizes a variety of ESP signature models to adapt his sound to the direction of each song. The presence of the LIZARD series is central to his tonal identity.

Effects and Pedalboard Setup

Yuki’s pedalboard may appear simple at first glance, but it is a sophisticated system that employs MIDI control. The main component is the BOSS GT-100, which serves as the foundation for his sound. The GT-100 is a multi-effects unit capable of covering a wide range of effects from distortion to modulation, delay, and reverb, allowing for quick changes during live performances. Yuki controls this unit via MIDI, enabling him to call up multiple tones instantly.

The MIDI control is managed by the Rocktron All Access, a professional-grade MIDI foot controller that allows for seamless control of the GT-100 and the amplifier. Additionally, Yuki connects a BOSS EV-30 expression pedal to enhance his expressiveness, allowing real-time manipulation of volume and effect depth.

A significant element that adds personality to his sound is the use of an RMC wah pedal. In his fast-paced phrases and lead playing, Yuki often incorporates the wah to create unique nuances, making it a distinctive feature in live performances with Acid Black Cherry and Rayflower.

His rack setup includes a KORG DTR-1 (rack tuner) and a SAMSON UR-5J (wireless receiver) to ensure stability on stage. Furthermore, it has been observed that an in-ear monitor with a LIZARD graphic design is positioned above the GT-100, allowing him to maintain a stable monitoring environment during performances.

Overall, Yuki’s effects system consists of “Marshall JVM410H’s powerful distortion + BOSS GT-100 for tone shaping + efficient switching via MIDI,” creating a practical and effective setup that supports high-level live performances.

In summary, Yuki has built a simple yet powerful setup centered around a multi-effects unit, balancing freedom in live performances with stable sound quality.

Tone Settings, EQ, and Mixing Approaches

Yuki’s sound design revolves around the Marshall JVM410H, with meticulous adjustments to EQ and effects tailored to each song. In heavy riffs, he emphasizes the lows while avoiding excessive cutting of the mids, ensuring that high frequencies are boosted during fast playing or chord work to maintain clarity. This results in a balanced sound that stands out in the mix without overshadowing vocals or keyboards.

For the Marshall JVM410H settings, it is assumed that he sets the GAIN high while keeping the BASS around noon for tightness. The MIDDLE is often slightly emphasized, while the TREBLE is adjusted to around 2 o’clock, with possible boosts during solos. The PRESENCE is fine-tuned based on the venue’s acoustics, tending to be lower in larger arenas and slightly higher in smaller venues.

Yuki is adept at using different settings for various songs. For instance, in Acid Black Cherry’s “SPELL MAGIC” and “Pistol,” he prominently features strong distortion, creating a heavy sound with low string riffs. Conversely, in ballads like “Yes” and “Black Cherry,” he utilizes the clean channel or light crunch for transparent arpeggios. These transitions are facilitated by the GT-100 and MIDI foot controller.

Key to his effects usage are the delay and reverb settings. During solo sections, he applies a subtle delay to enhance thickness and depth. Particularly in fast passages, he sets the delay repeats shorter to maintain clarity while adding sustain. Reverb is adjusted according to the size of the venue, being deeper in live settings and more restrained in recordings.

In mixing, the handling of mids is crucial. Given the thick band sound, the guitar can easily get buried, so he likely boosts the 2kHz to 4kHz range to highlight the picking attack. Additionally, low frequencies below 80Hz are probably cut to avoid clashing with the bass, ensuring the guitar’s outline is clear in both live and studio settings.

Furthermore, it is assumed that his lead guitar solos incorporate a booster-like setting. The booster function within the GT-100 or channel switching on the amp likely enhances the mids and slightly increases the volume during solos, making the transition to the solo distinctly noticeable for the audience.

Ultimately, Yuki’s sound design is a harmonious blend of “Marshall’s robust distortion + precise control via the GT-100 + engineer-like EQ balance adjustments.” This approach ensures that his sound is not merely a direct amp output but a meticulously crafted tone that enhances his overall sound quality.

In summary, Yuki’s settings are believed to vary subtly between live and recording contexts, adapting flexibly to the venue’s acoustics and the mood of the songs.

Affordable Alternatives to Recreate the Tone

Yuki’s gear, including ESP signature models and the Marshall JVM410H, can be quite expensive for beginners and amateurs. However, by grasping the essence of his sound design, it is possible to approximate his tone with relatively affordable gear. Here, we introduce recommended equipment that can be acquired for around $100 to $500, along with explanations for their effectiveness.

To emulate the amp sound, effective options include the “Marshall CODE50” and “BOSS Katana series.” These digital modeling amplifiers can simulate tones similar to the Marshall JVM. The CODE50, in particular, is an official Marshall modeling amp, making it easier to achieve the punchy high-gain tones that Yuki creates.

Regarding guitars, while the ESP signature models are costly, alternatives like “Edwards” or “Grassroots,” which are budget-friendly brands under ESP, can be excellent choices. These brands maintain similar shapes and aesthetics while being more affordable, making them accessible for beginners. Additionally, swapping the pickups for Seymour Duncan SH-4 (JB) and SH-2 (Jazz) can significantly bring you closer to Yuki’s sound.

As for effects, since Yuki’s BOSS GT-100 is becoming less available, it can be found in the used market. For new options, the successor “BOSS GT-1000CORE” or the more affordable “BOSS GT-1” are recommended. The GT-1, priced around $100 to $200, covers essential effects like distortion, delay, and reverb, making it easier to explore sound design.

If you wish to replicate the wah sound, the “VOX V845 Wah” or “BOSS VO-Wah” are affordable and readily available options that can help express the nuances found in Yuki’s lead phrases.

While perfect replication may be challenging, assembling a “Marshall-style modeling amp,” “ESP-style budget guitar + Seymour Duncan pickups,” “BOSS multi-effects unit,” and “VOX/BOSS wah pedal” can bring you quite close to the essence of his sound.

In summary, even with relatively inexpensive commercial models, you can achieve a sound close to Yuki’s design. The combination of “Marshall-style modeling amp + ESP-style guitar + BOSS multi-effects + wah” represents the most realistic and cost-effective approach.

Summary and Conclusion

Yuki’s sound design is built upon the powerful combination of the ESP signature model “LIZARD” series and the Marshall JVM410H + 1960B. By integrating a MIDI control system centered around the BOSS GT-100, he can instantly switch between necessary tones for each song, enabling a rich and expressive performance.

The core of his guitar tone lies in “loud distortion” and “clear mids.” He maintains a tight low-end while utilizing high frequencies to create an aggressive nuance in riffs. During solos, he incorporates wah and delay to add expression, delivering a striking impact to the audience. The reason his guitar consistently stands out in the band sound is due to meticulous EQ adjustments and sound design strategies.

Moreover, the visually striking LIZARD series guitars are not merely for stage presence; they are practical tools optimized for his playing style and tuning. By introducing 7-string models and guitars for drop tuning, he possesses the flexibility to tackle a wide range of Acid Black Cherry and Rayflower’s songs.

While it may be challenging for beginners or cover bands to acquire the exact gear, utilizing Marshall-style modeling amps, budget ESP brands (Edwards or Grassroots), and BOSS GT series multi-effects can bring you close to his sound’s essence. Focusing on “distortion quality,” “mid-range handling,” and “wah nuances” will be key to recreating Yuki’s sound.

Ultimately, the essence of Yuki’s sound design lies in “maintaining a strong presence while blending seamlessly into the overall band sound.” His tone embodies both flair and precision, resulting from years of experience and research. To replicate this, it is crucial to prioritize not only gear selection but also the awareness of how to produce sound.

Learning from Yuki’s sound design offers insights not just for copying him but for deepening your own guitar playing. His sound, which radiates overwhelming presence on stage, is an aspiration for many guitarists and a worthy subject for study.