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

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Introduction (Overview of Tone)

Yutaka Ozaki is a renowned singer-songwriter in Japan, famous for his iconic songs such as “15 no Yoru,” “I LOVE YOU,” and “Sotsugyou.” His sound is characterized by a delicate yet powerful blend of acoustic guitar resonance and passionate electric guitar play.

His performances range from intimate acoustic sets to powerful rock band arrangements, showcasing a unique style that expresses deep emotions through his guitar work.

In his acoustic performances, he prominently used the Ovation Adamas, particularly in blue and black models, as well as a 12-string version, creating rich arpeggios and strong strumming patterns. For electric guitar, he was a lifelong fan of the Fender Telecaster, captivating audiences with its sharp cuts and dry tones. In 2019, a limited-edition memorial model was produced by the Custom Shop, solidifying his legendary guitar sound.

Another noteworthy aspect of his sound is the use of effects and rack gear. Centered around the BOSS SD-1, he combined various effects like chorus, octaver, and wah to enhance his tone, adding thickness at times and emphasizing sharpness at others. He also built a rack system incorporating Mesa Boogie and Rockman, allowing for a sophisticated sound design akin to that of a studio musician.

This background indicates that Yutaka Ozaki’s sound creation was not limited to merely accompanying his songs as a singer-songwriter but reflected his dedication as a top-tier rock guitarist. In this article, we will thoroughly explore his amplifiers, guitars, effects, and sound design settings.

▶ Search official YouTube videos of Yutaka Ozaki

List of Amplifiers and Features

Yutaka Ozaki’s choice of amplifiers was practical yet impactful, significantly contributing to his sound. He clearly differentiated between live and studio use, making his amplifier selection a crucial element of his sound design.

In studio recordings, he frequently utilized the Fender Vibro Champ. Despite being a small combo amp, it provided the warmth and natural distortion characteristic of tube amplifiers, making it ideal for acoustic-oriented sounds and guitar recordings that did not overshadow his vocals. It is believed that many clean tones from his album productions were captured through this amp.

Conversely, his primary live amplifier was the Fender The Twin. This model was powerful for its time, ensuring sufficient volume even in large venues. Its transparent clean tone, combined with a thick crunch when pushed, supported Ozaki’s passionate performances. In notable live footage, he connected his Telecaster directly to this amp or combined it with BOSS pedals at his feet, producing powerful cuts.

Additionally, he incorporated the Mesa Boogie Studio Preamp into his rack system. Known for its thick midrange and soft drive that does not interfere with vocals, this model was favored by top rock guitarists of the time. It is assumed that Ozaki used this gear to add depth to his rock sound in a band setting, indicating a meticulous approach to sound design behind his seemingly simple image.

His rack also included Rockman and Alesis multi-effects, suggesting that his setup operated as “preamp + rack + Fender The Twin.” This configuration likely produced a three-dimensional live sound that was rare in the music scene at the time.

Ozaki’s amplifier selection was characterized by the use of “small, warm studio amps” and “high-output live amps,” with the Fender The Twin being essential for delivering intense cuts to the audience. From this equipment configuration, it is evident that he was not just a singer-songwriter but a guitarist with a professional approach to sound.

In summary, Yutaka Ozaki’s amplifier setup can be conceptualized as “Vibro Champ = Studio, The Twin = Live, Mesa Boogie = Rack Enhancement.”

Types of Guitars Used and Features

In Yutaka Ozaki’s sound design, the most iconic instrument is the Ovation Adamas series. He owned two models in blue and black, famously using one during his last live performance to play “Dance Hall.” The 12-string version, Adamas 1688-8, was also confirmed on stage, providing a unique depth to his arpeggios and chords. These guitars not only supported his acoustic sound but also visually represented Ozaki’s identity.

He also used models like the Ovation 1985-1 and Tokai TEA-80D, indicating that he selected guitars based on the performance context. Notably, the Adamas series led to the creation of the official “YUTAKA OZAKI Signature Model by Adamas 1681OZ” and the limited “1685OZ”, showcasing his significant influence.

On the electric guitar front, the most frequently used was the Fender Telecaster. Particularly, the butterscotch color model with a black guard was a staple on his stage. Its simple yet powerful sound was perfect for Ozaki’s strumming-centric style.

In 2019, a limited edition of 17 pieces was produced by the Fender Custom Shop, making it a special item for fans and guitarists alike.

Other electric guitars he used included the Bill Lawrence Trigger II, Tokai Telecaster, P-Project Stratocaster, and even PRS Custom models and Epiphone Sheraton-II Pro. Additionally, he was seen with a compact Fernandes ZO-3 during rehearsals, indicating a diverse selection based on the situation.

Ozaki’s guitar selection was characterized by a focus on “visual appeal and resonance on stage” and “sound quality and recording presence in the studio.” The brilliant resonance of the Ovation Adamas and the sharp cuts of the Telecaster formed the two pillars of his music, with optimal guitar choices made for each era and song.

In summary, Yutaka Ozaki’s sound design was supported by acoustic = Ovation, electric = primarily Telecaster + diverse auxiliary gear.

Effects and Pedalboard Setup

Yutaka Ozaki is often perceived as a “guitarist who plays simply,” but in reality, he constructed a highly sophisticated effects system combining pedals and rack gear.

His live setup prominently featured a range of BOSS compact pedals, while his rack included professional-grade preamps and multi-effects units. This resulted in a wide array of sounds, from delicate arpeggios to powerful cuts, and even thick spatial effects.

The most frequently used effect was the BOSS SD-1 SUPER OverDrive, which added warmth to the single coils of his Telecaster, providing a natural distortion that did not overshadow his vocals.

Additionally, the BOSS CE-3 Chorus added depth during clean arpeggios, particularly shining in ballads like “I LOVE YOU” and “Forget-me-not.” The inclusion of the BOSS OC-2 Octaver also helped to thicken the sound, reinforcing bass lines with low-end tones.

To further enhance expressiveness, he utilized the Jim Dunlop JH-1 Wah Pedal, creating dynamic shifts during solos and intense moments. For volume control, he incorporated the Goodrich Volume Pedal 120, which was likely used for fade-ins and fade-outs in acoustic songs, as well as for nuanced dynamics.

In live footage, he was seen using black covers on these BOSS pedals to ensure they stood out under stage lighting.

The rack setup was equally noteworthy. Centered around the Mesa Boogie Studio Preamp, he combined it with Rockman XPR / Smart Gate / Midi Octopus and added Alesis Nano Compressor / Quadraverb for sound pressure and spatial processing. Power management was handled by a FURMAN Power Conditioner, and tuning was facilitated by a KORG Rack Tuner.

This system allowed for a seemingly simple performance on the surface, while behind the scenes, meticulous sound design was taking place, rivaling that of top guitarists.

Overall, Yutaka Ozaki’s effects setup was structured as a two-layer system: “footboard = simple BOSS-centric” and “rack = professional sound pressure and spatial processing.” While his focus was on vocals, he skillfully maintained the presence of the guitar through clever sound design.

Tone Settings, EQ, and Mixing Approaches

Yutaka Ozaki’s sound design may appear simple at first glance, but it was actually meticulously constructed, involving EQ, effects, amplifier selection, and even PA and mixing techniques.

His clear concept was to “make the guitar resonate as an emotional voice while keeping the vocals as the main focus,” and all equipment configurations and settings were adjusted to align with this goal.

For acoustic guitars, to leverage the wide range of the Ovation Adamas, it is assumed that he often cut the lows lightly at the PA (around 80-100Hz by -3 to -5dB) while slightly boosting the midrange (400Hz to 800Hz).

This approach helped organize frequencies that could interfere with his vocals while emphasizing the attack during strumming. Particularly in songs like “I LOVE YOU” and “Forget-me-not,” a light reverb was added as a spatial effect, creating a sense of depth that resonated throughout the venue.

Regarding the electric guitar (Fender Telecaster), the clean channel of the Fender The Twin was primarily used, with a light boost from the BOSS SD-1.

In terms of EQ, he tightened the low end (cutting frequencies below 100Hz) while slightly emphasizing presence to achieve sharp cuts that would not get buried in the band mix. The midrange was kept natural to enhance strength when mixed with vocals.

During solos or intros, he would apply the wah pedal to dynamically control the midrange, further expanding expressiveness.

When using the rack system, the Mesa Boogie Studio Preamp emphasized midrange, while the Rockman XPR added spatial effects.

This setup was particularly effective in emotional songs like “Sotsugyou” and “Shelly,” highlighting the guitar’s presence within the band sound. Additionally, delays and reverbs from the Alesis Quadraverb played a role in supporting the overall atmosphere of the band, connecting the vocals and audience.

In recording sessions, the clean tone from the Fender Vibro Champ was highly valued, with direct mic capture of the sound serving as a base. During mixing, a compressor was often used to refine the sound.

Compression settings typically involved a slightly delayed attack (around 30ms), medium release (200-400ms), and a shallow threshold, optimizing the blend with vocals while maintaining the nuances of his performance.

A consistent approach in EQ and mixing was the philosophy of “placing the vocals at the forefront.” Given that Yutaka Ozaki’s voice is characterized by a husky and powerful quality, the guitar typically had its mid-high frequencies (2kHz to 4kHz) kept low to avoid interfering with vocal clarity.

Instead, the guitar maintained presence around 1kHz to create a resonant blend with the vocals.

Furthermore, it was characteristic of him to adjust EQ and effects finely for each song during live performances.

In “15 no Yoru,” he would apply the SD-1 more heavily to emphasize a rough strumming feel, while in “Forget-me-not,” he would add depth with the CE-3, creating a sense of tranquility and expansiveness. In “Sotsugyou,” a light reverb was applied to the clean tone to highlight the lyrical message.

In summary, Yutaka Ozaki’s sound design was not about flashy distortion or special effects but rather about optimizing EQ, amplifiers, and effects to achieve “harmony between vocals and guitar.”

As a result, the audience experienced his voice and guitar as a unified sound, creating a simple yet emotionally stirring sonic experience.

Affordable Alternatives to Recreate the Tone

Yutaka Ozaki’s sound design utilized high-end equipment like the Ovation Adamas, Fender Telecaster, Mesa Boogie, and Rockman, which are often difficult to obtain and expensive today.

For beginners or general players looking to recreate his sound, here are some relatively affordable and commercially available gear options to get closer to “Yutaka Ozaki’s sound.”

For an acoustic guitar alternative, the Ovation Celebrity series is highly recommended. It carries the lineage of the Adamas while being more budget-friendly, making it suitable for stage use as an electro-acoustic guitar. The deeper-bodied models offer rich low-end resonance, making them easier to emulate Ozaki’s strumming style.

If you want to replicate the sound of a 12-string, the YAMAHA FG820-12 is a cost-effective option for a domestic 12-string acoustic guitar.

For electric guitars, the Squier by Fender Classic Vibe Telecaster is ideal. Its design closely resembles the Fender Telecaster, offering a tone very similar to the black guard model Ozaki favored. Priced around $500 to $700, it is accessible for beginners to intermediate players.

If you’re looking for a semi-hollow body, the Epiphone Sheraton-II can replicate the feel of the original model at a lower cost.

Regarding effects, acquiring the BOSS compact pedals that Ozaki frequently used is the most reliable way to get close to his sound.

– SD-1 (Overdrive)
– CE-5 Chorus Ensemble (successor to CE-3)
– OC-5 (latest octaver, an improvement over OC-2)
– Cry Baby Wah (affordable standard wah from Jim Dunlop)

These can be purchased for around $100 each, allowing you to assemble a pedalboard that closely resembles his live sound.

For those who find it challenging to acquire everything, the BOSS GT-1 multi-effects pedal is recommended. It includes simulations of the SD-1 and CE series, with adjustable EQ and compression settings, allowing you to simplify and recreate the rack system Ozaki used.

For amplifiers, the Fender Champion 50XL is an excellent substitute for the Fender The Twin. It can handle a wide range from clean to crunch and is compact and user-friendly, suitable for home practice or small gigs.

For studio use, the Fender Vibro Champ XD offers a great balance of sound quality and price, bringing you closer to Ozaki’s studio tone.

In summary, by focusing on “Ovation’s brilliant acoustic sound = replace with Ovation’s budget version,” “Telecaster’s sharp cuts = replicate with Squier Classic Vibe,” “effects centered around BOSS compact,” and “amplifiers primarily focused on Fender clean,” you can achieve Yutaka Ozaki’s sound within a budget of around $1,000.

Summary and Conclusion

Yutaka Ozaki’s guitar sound was not merely accompaniment but rather “another voice that conveys emotions on par with his singing.” In acoustic performances, he pursued a brilliant and core resonance centered around the Ovation Adamas, while in electric performances, he conveyed intensity through the sharpness and dry tones of the Telecaster.

Behind this was a meticulously designed effects board and rack system, along with thorough consideration in EQ and mixing.

The essence of his sound design lies in “placing the vocals at the forefront while reinforcing emotions with the guitar.” He avoided excessive distortion, applying clean spatial processing as needed. Conversely, in moments of explosive strumming, he would add thickness with the SD-1 and Mesa Boogie. This balance created a unique live experience that was distinctly Yutaka Ozaki.

When attempting to recreate his sound, the focus should not merely be on acquiring the same gear but rather on “how to make the guitar resonate to enhance the vocals.” Even if using budget versions of Ovation or Squier Telecasters, by managing EQ to avoid frequencies that interfere with the vocals and adding chorus or reverb appropriately, one can achieve a transparent resonance reminiscent of Yutaka Ozaki.

Additionally, during practice, minimizing effects and enhancing expressiveness through one’s strumming and arpeggios is a crucial approach to getting closer to his sound.

Above all, the most important aspect is the “seriousness of expression.” Yutaka Ozaki transcended mere technicality or sound color pursuit, pouring his life and emotions into his singing and guitar playing. This dedication is likely the primary reason he resonated with so many people, and it represents the core of his sound design.

By not just preparing the gear but also maintaining an awareness of “translating what you want to express into sound,” one can closely experience Yutaka Ozaki’s music.

In conclusion, Yutaka Ozaki’s sound design was established through a combination of “Adamas = brilliance, Telecaster = sharpness, BOSS compact = expressive range, Mesa Boogie + rack = thickness and depth.”

Understanding these elements and applying them with your available gear will be the key to reviving his sound in the modern era.