Recreating Early B’z Guitar Sound Using Period-Correct Equipment

Introduction

Thank you for reading.
Did you watch last year’s Kōhaku Uta Gassen? B’z made a surprise appearance, and they were so incredible that I’m at a loss for words. I was thrilled to see their first-ever Kōhaku performance live.

Sadly, in May of this year, Masao Akashi, the bassist often referred to as “the third member of B’z”, passed away. May he rest in peace.
Digging out some old CDs, I’ve been listening to early albums like RISKY, and Akashi’s programmed sounds are just so cool. Each tone and rhythm was carefully crafted. He truly brought out the best in B’z’s vocals and guitar work.

In this article, I would like to pay tribute to those early B’z days by recreating Tak Matsumoto’s early ’90s guitar sound using gear that’s nearly identical to what he used back then.

Introduction of Equipment Used

① ROCKMAN SUSTAINOR Model 100

This is an analog preamp with built-in compressor and distortion. There are four types in this series: Model 100, Model 100A, Model 200, and Model 200 Double IC that each have slight differences in sound and body design.

I tried to find definitive information on which model Matsumoto used, but I couldn’t confirm anything for sure, so for this project, I chose the early Model 100 from when the Sustainor first appeared.

What surprised me when I finally got it was how surprisingly light it is. Although it’s a half-rack size, I had imagined it would be heavier, but it’s light enough to easily hold with one hand.
Since the casing is plastic, there were cracks around the screw holes holding the front plate, so even though it’s an old piece of gear, I felt a little concerned about its durability. I reinforced the cracks with tape.

It’s a piece of equipment over 30 years old and has some natural wear, but the sound itself doesn’t have any particular issues.

② BOSS / SD-1 Overdrive

This is the BOSS compressor pedal that everyone is familiar with. When I learned that Matsumoto used it as a distortion booster during live performances, I decided to get one myself.
According to the previous owner, it’s from the early 1990s. Upon closer inspection, it has “MADE IN TAIWAN” written on it.

It seems that BOSS shifted production from Japan to Taiwan in the early ’90s, so this unit is also Taiwanese-made.

As a side note, I’ve heard that depending on the country and period of manufacture, the internal components and parts differ, and that Japanese-made units are known for particularly clear sound. It’s unclear which version Matsumoto used, but if you care about sound quality and craftsmanship, choosing a Japanese-made one might be a good idea.

③ Apple Logic Pro

Recording was done using Logic Pro. For cabinet simulation and effects, I used the default plugins included with Logic Pro. Some of these plugins play a crucial role in this project, so I’ll introduce them in more detail later.

Equipment Setup (Introduced in signal chain order)

① SD-1

The solo booster is placed before the ROCKMAN and is based on the 1993 live setup.

All the knobs are set at around the 11 o’clock position. Turning them any further causes the preamp section to clip or results in excessive distortion with a lot of noise.

② ROCKMAN SUSTAINOR

First, set the PREAMP GAIN so that the fader is around the middle, near the "8" mark. Raising it any higher causes clipping (since the tone is already distorted, clipping doesn’t change the sound much). The compressor is set to 15, all OVERDRIVE MODIFIERS are turned off, and the TREB BOOST is turned up to maximum.

This model (Model 100) naturally lacks high frequencies, so if you don’t max out the TREB BOOST, the sound becomes too muffled.

DAW Setting

① Amp Designer

Amp...Transparent Preamp
Cabinet...Modern American 4×12

The key to this project is this preamp. The Transparent Preamp has a very clear sound and functions like a power amp, allowing you to use the input signal directly as the amp sound.
As I mentioned in my previous post, it’s also useful when using overdrive effects as a preamp. I chose a modern type of cabinet to aim for a sound with good clarity and presence.

② Dynamic EQ

I applied Dynamic EQ in two stages.
In the first stage, I adjusted the levels of each frequency band to create that signature "nasal" tone that’s reminiscent of early B'z. In the second stage, I cut out the muddiness and unnecessary low-end frequencies.

When mixing a full track, more detailed adjustments would be necessary, but for practice or standalone guitar tone, this setup is pretty good.

③ Parametric EQ

Finally, boost the highs slightly to improve clarity and presence. Depending on the song, you might want to boost a bit more.

Adding a slight distortion at the output to create an analog feel gets you closer to the vibe of that era.

④ Others

Lastly, apply delay and reverb that suit the mood of the song to complete the sound. This time, I set it up to generally add spaciousness and presence, but it’s best to adjust individually according to the part or phrase you want to play.

Finally

I’ve included a link to a video where I play B'z’s first million-seller “LADY NAVIGATION” using the tone I created this time. It’s a bit rough, but I would be happy if you could listen to it. You’ll probably notice the distinctive muffled guitar sound unique to early B'z.

Also, MXR has released a compact pedal that can replicate the ROCKMAN sound, so please check it out. Honestly, buying this is easier on the wallet than purchasing the old original hardware.

MXR / MX100 ROCKMAN X100 ANALOG TONE PROCESSOR

Using vintage equipment firsthand is a fascinating experience because it allows you to directly get a feel for the music of that time and the artists’ sound preferences. If you come across any old gear that catches your interest, I encourage you to pick it up and try it out. You might find a fresh new vibe by going back to the roots.

Thank you very much for sticking with me to the end of the article.

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