[Yuya Eguchi] How to Recreate the BLUE ENCOUNT Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Yuya Eguchi, the guitarist of BLUE ENCOUNT, is known for his melodic yet powerful riff work. His sound combines the thickness of rhythm guitar that tightens the band as a whole with the sharpness of lead guitar that conveys the emotions of the songs, making him a unique presence in the Japanese rock scene.

In iconic tracks like “Motto Hikari wo,” “Survivor,” and “LAST HERO,” he skillfully switches between clean and distorted tones, creating dynamic developments. Notably, the sound design during the “Q.E.D” album period reflects Eguchi’s unique style, blending vintage textures with modern effects processing.

His playing style is characterized by an approach that supports the song while expanding its world. By utilizing fuzz and EQ to adjust the range, and sometimes employing spatial effects to create depth, he enhances the dramatic quality of the band’s sound.

Influenced by both domestic and international guitarists, Eguchi possesses a warmth in tone and flexibility to switch to an aggressive sound. In live performances, he combines a Bad Cat amp with a Gibson ES-335, while in recordings, he alternates between a Stratocaster and a Les Paul to achieve a diverse sound palette.

This article will thoroughly explain Yuya Eguchi’s sound design, introducing his guitars, amps, and effects while delving into settings and points that beginners can replicate.

First, experience the actual sound through the official music videos.

▶ Search official YouTube videos of BLUE ENCOUNT

List of Amplifiers and Features

The core of Yuya Eguchi’s sound is the rare custom Bad Cat Lynx 50, which is said to exist in only a few units in Japan. It is speculated that this particular amp may have been owned by Shinichi Nakagawa of Nothing’s Carved In Stone. The presence of this amp in BLUE ENCOUNT’s live and recording footage confirms its essential role in Eguchi’s sound design.

The Bad Cat Lynx 50 is a high-gain amp known for its thick, core distortion while also being highly regarded for its clean tone transparency. This makes it a perfect match for Eguchi’s style, which ranges from heavy riffs to delicate clean parts, as seen in tracks like “Q.E.D.” In live settings, he effectively utilizes a switcher to change channels, achieving dramatic tonal shifts within a single song.

In studio work or specific songs, it is assumed that he also uses Fender or Marshall amps. For instance, in session footage featuring a Fender Stratocaster, it appears that an amp with distinct clean tones is selected. However, these are not confirmed details, and it is reasonable to think that he switches amps based on the context.

Eguchi’s choice of amps emphasizes not just “loud distortion” but whether the sound can harmonize with the overall band sound. BLUE ENCOUNT’s music centers around vocalist Shunichi Tanabe’s voice, with strong grooves from the drums and bass. If the guitar is too prominent or too buried, the balance is disrupted, which is why an amp like Bad Cat, with a wide range and high EQ adjustment flexibility, is valued.

Taking all this into account, it can be assumed that Yuya Eguchi’s amp setup revolves around the Bad Cat Lynx 50, supplemented by other amps as needed for specific songs.

Types of Guitars Used and Features

When discussing Yuya Eguchi’s sound, the Gibson ES-335 he loves is indispensable. Particularly, the red ES-335 has been his main guitar for many years, used almost entirely in its original condition except for the tuning pegs. The thickness in the mid and low frequencies and rich sustain characteristic of semi-hollow guitars serve as the core supporting the “thickness and lyrical quality” in BLUE ENCOUNT’s music, prominently featured in the recording of their representative work, “Q.E.D.”

Since 2018, he has also been using a black ES-335 (1963 reissue), which has a harder tone compared to the red one, serving to switch nuances depending on the song. This flexibility in guitar selection according to the color of the song is one of Eguchi’s charms, confirmed in live performances.

In 2019, he introduced a Fender Custom Shop Stratocaster (1962 model, green metallic relic). This guitar features the transparent sound typical of single-coils and is actively used in “Q.E.D.” The refreshing sound in arpeggios and cutting plays adds a different expression to the songs compared to the 335.

Additionally, he owns the classic solid-body Gibson Les Paul. Compared to the ES-335, it has a more direct tone and is utilized in songs that require riff-heavy or solid rock sounds. Eguchi’s approach to guitar selection is characterized by “not relying on one guitar alone, but changing the sound character for each song,” significantly enhancing the band’s overall expressiveness.

Through this careful selection of guitars, Eguchi can control “warm midrange,” “sparkling highs,” and “thick, powerful lows” with ease. This allows the guitar to stand out without being buried in the band sound, harmonizing with the vocals. Overall, Eguchi’s guitar choices reflect a vintage inclination while possessing the flexibility to adapt to modern arrangements.

Effects and Pedalboard Setup

Yuya Eguchi’s effects board features a highly organized system. The main board incorporates many devices from FREE THE TONE, ensuring high reliability and usability in live settings. Centered around the programmable switcher “ARC-3,” he combines compressors, EQs, and overdrives, allowing for instant tonal changes depending on the scene.

Particularly during the recording of “Q.E.D,” the FREE THE TONE PA-1QG (programmable EQ) played a significant role. By maintaining the guitar’s inherent sound quality while emphasizing different frequency ranges for each song, it enhances the overall quality of the track-making process. Additionally, the overdrive from Bad Cat Siamese Drive serves as the core for creating BLUE ENCOUNT’s uniquely passionate lead guitar sound.

For distortion, he employs the weed MT-2 Mod, a modified version of the BOSS MT-2. This model features a wider range and a high-gain sound that is not harsh on the ears. It adds a suitable compression and sustain to highlight the lead tone, supporting Eguchi’s aggressive playing style.

Spatial effects are centered around the Strymon Timeline (delay) and Strymon blueSky (reverb). This combination creates a modern rock sound with both depth and expansiveness. Furthermore, by placing the Eventide H9 on a sub-board, he adds a variety of modulation and special effects. In live situations, he sometimes utilizes the DigiTech Whammy DT for pitch shifting, adding thickness to the arrangements.

Other auxiliary effects include the KORG VP-10 (volume pedal), G-LAB WW-1 (wah), T-Rex Tremster (tremolo), Maxon PT9 Pro (phaser), Creation Audio Mk.4.23 Boost (booster), Z-VEX Fat Fuzz Factory (fuzz), and AYA tokyo japan drivesta (overdrive). These are often added based on the song or live set, with fuzz and boosters being particularly effective in emphasizing the dynamics of the tracks.

Overall, Eguchi’s effects system is built on “control power from FREE THE TONE,” “a diverse range of distortions,” and “deep expressiveness of spatial effects,” providing the flexibility to support BLUE ENCOUNT’s wide array of musical styles. By skillfully utilizing these elements, he achieves the powerful live sound that fans have come to love.

Tone Settings, EQ, and Mixing Approaches

Yuya Eguchi’s sound design goes beyond mere gear selection; it extends to meticulous settings of amps and effects, as well as creative approaches during the mixing stage. By examining how he differentiates between live and recording contexts, one can appreciate the depth of his guitar sound.

Starting with amp settings, the setup centered around the Bad Cat Lynx 50 features a clean channel set slightly bright to ensure clarity during chord playing and arpeggios. Conversely, the drive channel emphasizes mids to prevent the sound from getting buried during riffs and lead plays. While many rock guitarists tend to boost the low end, Eguchi values the presence of the midrange, which plays a crucial role in supporting the overall sound of BLUE ENCOUNT.

His use of effects is particularly noteworthy, with the EQ settings of the FREE THE TONE PA-1QG being pivotal. For example, in “Q.E.D,” he cuts low frequencies around 200Hz and boosts around 2kHz for a tight and clear tone. Even in sections where fuzz and distortion are heavily utilized, this EQ helps maintain the balance of the overall band sound without becoming muddy.

His layering of distortion is also distinctive, using the Bad Cat Siamese Drive as the primary drive and reinforcing gain with the weed MT-2 Mod as needed. During leads, he activates the Creation Audio Mk.4.23 Boost to create a solo sound that stands out in the mix. This allows for dynamic tonal changes that correspond to the song’s climaxes.

Spatial effects are utilized with finesse. The Strymon Timeline is set to sync with the tempo, flexibly accommodating everything from slapback delays that highlight rhythm to long delays for grand ballads. The Strymon blueSky is frequently employed for natural room reverb, with hall reverb used to create a sense of scale when necessary. This ensures that Eguchi’s guitar consistently plays a role in “expanding the overall space of the band.”

In live performances, he manages effect changes using the ARC-3, creating an environment where he can focus on playing, even with complex switches during songs. This system minimizes mistakes and allows for consistently high-quality performances.

From a PA and mixing perspective, Eguchi’s guitar work is also thoughtfully crafted. In studio recordings, he records the ES-335 in stereo, blending one side clean and the other with light distortion. This technique creates a thick sound from a single guitar while maintaining auditory separation. When using the Stratocaster, he employs two microphones placed near the neck and bridge to mix their characteristics, producing a unique three-dimensional sound.

In summary, Yuya Eguchi’s sound design emphasizes “midrange-focused amp EQ,” “song-specific optimization through programmable EQ,” “balancing distortion and spatial effects,” and “stereo approaches in mixing.” By carefully combining these elements, he achieves a modern rock sound that retains the emotional intensity and warmth characteristic of BLUE ENCOUNT.

Affordable Alternatives to Recreate the Tone

The gear that Yuya Eguchi actually uses, such as the Bad Cat amp and high-end pedals from FREE THE TONE, can be quite difficult for beginners to access. However, understanding the essence of sound design allows for the recreation of a similar sound using relatively affordable gear available on the market. Here, we introduce recommended alternative equipment that can be gathered within the price range of approximately $100 to $500.

For amp simulation, the BOSS “Katana Series” is highly recommended. Particularly, the “Katana-50 MkII” covers a wide range from clean to high gain and includes a rich set of built-in effects. It can simulate the wide-ranging amp sound of Eguchi’s Bad Cat Lynx 50. Furthermore, it supports USB connectivity for recording and sound design on a computer, making it versatile for both home practice and live performances.

For distortion effects, pedals that possess a character similar to Eguchi’s Bad Cat Siamese Drive or weed MT-2 Mod are ideal targets. Recommended for beginners are the “BOSS SD-1 Super OverDrive” and “BOSS MT-2 Metal Zone.” The MT-2, while controversial, can produce very practical sounds when used to control the midrange due to its wide EQ range.

In terms of spatial effects, the tc electronic “Hall of Fame Reverb” and “Flashback Delay” offer excellent cost performance. Compared to high-end models like Strymon, they provide sufficient sound quality to be used in professional settings, easily recreating the expansive atmosphere found in BLUE ENCOUNT’s music.

Additionally, as an alternative to Eguchi’s programmable EQ “PA-1QG,” the BOSS “GE-7 Graphic Equalizer” is effective. It allows for flexible control over frequency ranges, achieving a sound clarity that cannot be obtained solely from amps or distortion pedals. This is particularly useful for adjustments to prevent the guitar from getting buried in the band sound during live performances.

Finally, for beginners or home recording enthusiasts, the BOSS “GT-1” or Line6 “HX Stomp” multi-effects units are highly recommended. They can easily replicate the complex effect changes and spatial processing that Eguchi utilizes in live settings. With high sound design flexibility, these options are ideal for those looking to get closer to Eguchi’s sound while keeping costs down.

Summary and Conclusion

Yuya Eguchi’s guitar sound is not merely a combination of gear but is built on the philosophy of “maintaining presence while supporting the song.” By using a wide-ranging amp like the Bad Cat Lynx 50 as a foundation, switching between the warmth of the ES-335 and the transparency of the Stratocaster, and employing a variety of effects to alter the sound character, he achieves a balance of “thickness” and “clarity” that is essential to BLUE ENCOUNT’s music.

Notably, his use of EQ that emphasizes the midrange is distinctive. While many rock bands tend to highlight low and high frequencies for flashiness, Eguchi meticulously crafts the midrange to stabilize the guitar’s position within the band. This creates a perfect balance with the vocals and rhythm section, maximizing BLUE ENCOUNT’s appeal as a “song-oriented rock” band.

Furthermore, by utilizing FREE THE TONE’s switchers and EQs, he achieves sound design optimized for each song. His flexibility in deriving “optimal solutions for each setting”—whether in studio recordings through stereo tracking and microphone selection or in live performances through swift tone changes—is one of his strengths.

For beginners attempting to replicate Eguchi’s sound, it is not necessary to acquire the exact same gear. Rather, it is crucial to focus on “utilizing midrange EQ,” “adjusting distortion per song,” and “creating space with spatial effects.” Even introducing affordable multi-effects or EQ pedals can significantly bring you closer to the BLUE ENCOUNT sound.

In summary, the essence of Yuya Eguchi’s sound design lies in “flexibility” and “sense of balance.” His focus on how the guitar resonates within the band, rather than mere flashiness, is why BLUE ENCOUNT’s songs resonate deeply with listeners. By practicing sound design that emphasizes “midrange presence” and “spatial expansiveness” within your own gear setup, you too can take a step closer to achieving the Eguchi sound.

Ultimately, it can be said that Yuya Eguchi’s sound design is characterized by a pursuit of balance among “intensity,” “transparency,” and “thickness.” This is what makes BLUE ENCOUNT’s guitar sound unique, and it is expected that he will continue to evolve in future endeavors.