Maxon OD-808 (JD4558D)

A vintage Maxon OD-808 with JD4558D op-amp. Great mid-boost, overdrive and compression sound we can get from this. One of my favorite overdrive pedals. The combination with ’53 Fender Deluxe Amp is the strongest and I can get true rock’n’roll sound. I use this combination going through all of Satomi Arai’s ‘Friday Night Show’.

Maxon OD-808 (RC4558P)

A vintage Maxon OD-808 which uses Raytheon’s RC4558P op-amp. It is said that this has wide dynamic range and exactly the distortion sound is more mild than JD4558D.

Boss Over Drive OD-1 (RC3403ADB)

A vintage Boss’s early OD-1 with ‘silver screw’ and Raytheon’s op-amp. We can get more distortion than OD-808 and this sounds not mid-booster but like treble-booster. In audioworkshop, still I don’t use it so much.

British Pedal Company MKI Tone Bender

Tone Bender mk1 is very famous for Jeff Beck and Mick Ronson’s play in 60’s and this is the reissue by British Pedal Co. and worked with the original developer, Ms. Gary Hurst as supervisor. The hear of this unit is a transistor construction. 1 x OC75 + 2 x 2G381 and it’s different from 3 x OC75 for mk2 and later. When I tried this unit in musical instruments shop I could try mk2 and mk2.5 together and I was not impressed with these. Only mk1 made me crazy. I can make sure this unit was used by Jeff Beck around by Blow By Blow so I love this stomp box. The combination with ’64 Vox AC-30, Fender Twin Amp and Crunch channel on Mesa Road King is excellent. But it seems no compressor inside and big boost so once turning on it gets very big volume.

MXR Micro Amp

A vintage, original Microamp around in 1980. Not reissue. This is a kind of ‘booster’ and in audioworkshop recently I use this with Maxon OD-808 together. I use this with very popular way. It means when I want to push the sound more for solo and so on I add Microamp to OD-808 temporarily. For a vintage OD-808, Microamp fits better than the latest booster because the both frequency range is narrower.

Fulltone Fat-Boost (1st gen)

Fullton’s booster. Now I use this for the purpose of getting proper input level on Mesa Road King with Gibson SG and other low output Pick-up guitars connecting. The combination with Wessex and other, latest overdrive is good because the latest stomp boxes have wider frequency range than the vintage MXR Microamp.

DOD Overdrive Preamp 250

It’s gray color version which is very famous for Yngwie Malmsteen’s overdrive. This sounds more like distortion but doesn’t have too much presence range so yes, I agree. This must be good for the combination of Stratocaster and Marshall. Now it has a lot of circuit noise so I need to repair.

Fulltone Octafuzz

The initial version of Fulltone Octafuzz in 90’s. This is a combination with Octaver and Fuzz, so once turning ON then high frequency is rolled off very much. Very big sound character change happens with this stomp box so I cannot always use this but if the sound needs this sound, this can bring out the very fit sound as fuzz and octaver.

Fulltone '69mkII

The latest Fulltone ’69, version 2. Still I’m not sure where I should use this. The 1st generation I love so much but the sound character is dramatically changed. I should learn to know ‘2nd generation is fxxk’ but since I was young, I made same mistakes so many times…

Bogner Wessex

Very famous amp builder, Bogner’s stomp box. The sales point is this involves custom transducer designed by Rupert Neve, who is the legend of head mic amp and console. This sounds like ‘the latest stomp box’ and still I’m not sure how to use this. I’d like to try more.

Tech 21 Sans Amp Classic

This had been a very standard stomp box since 90’s but recently I was aware that this output level supports line (-10dB) level. My understanding is this is not stomp box but all analog, amp simulator. Now I use this only for my practice but before that I have been used it as a bass amp. Still I believe this is one of the best simulator.

ISP Technologies Decimator II

This is the biggest hit for me in these several years as same as Tone Bender mk1. I regret I have not been using it until now. In 90’s I used Rocktron’s HushII as a noise reduction and I didn’t like the effect and sound so I have not been trying the latest noise reduction stomp box and using audio processors on ProTools. Using Decimator II and I don’t need to pay attention to noise issue so much. Of course we should not apply too much but even with moderate settings we are not aware of serious noise issue. The effected sound is a bit different but slight. This is especially good for vintage guitars and amps which have more noise.

Fulltone Full-Drive 2

Fulltone’s popular overdrive pedal which enables to switch between overdrive and boost which has different distortion character. The limited version in the past and the surface color is different and MOSFET mode is added.

Fulltone Bass-Drive

Fulltone’s popular Bass-Drive. This is originally designed for bass guitar and is not treble/mid-booster for guitar but full-range overdrive which distorts from low to high frequency. I use it to distort bass guitar sound but would like to try for guitar in the future.

Korg SDD-3000 Pedal

As rack-mounted digital delay, SDD-3000 was very popular as same as Lexicon and Roland. Now it’s going to be a stomp box!! But recently Korg doesn’t sell their products so long and almost products go to be discontinued soon so I bought it before discontinued. Big but good outlooking! Probably I love this kind of massive hardwares. As same as Fulltone Tube Tape Echo, this is good when using not only as delay but also as buffer amp…or as booster, the sound going to be smoother and more beautiful. When I was young, my guitar sound was always thin and I didn’t know why but recently I have made sense even when delay is off, professional musicians in those days always used Lexicon PCM-41 or this SDD-3000 and Echoplex and got more gain and thick sound. Too late? Sorry for my late awareness.

Fulltone Tube Tape Echo

This is a true analog tape echo using true analog tape. Not a simple analog delay. It seems to model Maestro’s legendary EP1/2. If I buy a vintage tape echo, the maintenance is really hard because this kind of the equipments have so many movable parts and easy to be broken. So yes, still this is good enough for me. Of course whenever I need analog tape echo sound I use this but recently I found out with ’64 Vox AC-30 and Tone Bender mk1, using this as booster then I can get better sound with rolled off high frequency. I really love this combination now.

TC Electronic Flashback Delay

TC Electronic’s delay stomp box. It is very great to get former TC2290 sound with this price. Now I cannot find so many opportunities to use this so plan to use this as looper stomp box.

Ross Compressor

70’s vintage Ross Compressor. Many people says this model is legendary but this one is not the earliest version. But still the effect is great and when using this for clean guitar backing or for bass guitar, both sounds very good with proper compression. But as same as MXR, the stomp box has bigger noise than the latest one so the scene where I can use this is limited.


Strymon Mobius

As a DSP-based stomp vendor, Strymon is very famous. This is her stomp box for modulation effect. We can choose various modulation effect but only one effect at the same time. For contemporary songs with the recent guitars and amps this stomp box may be better than the vintage one. The perfection level is very high. The reason why I purchased this is I just wanted to get Rotary Speaker Simulator and Auto Swell (Automatic Slow Enveloper) and this has both. But other modulation effects are also excellent. The next step is how to control it and load preset in live.

Roland Jet Phaser AP-7

Roland’s one of very famous stomp boxes before establishing Boss brand. Phaser + Overdrive and very unique sound with less low frequency and very hard bubbling phaser sound.

Ross Phaser

70’s vintage Ross Phaser. Now MXR Phase 90 and this is the best for guitars. Ross Phaser is very famous for Richard Tee’s Rhodes sound as well so case by case I use this when reamping electronic piano. Relatively harder phasing effect I can get.

MXR Phase 100 (Script)

A vintage Phase 100, an early Script model. Different from Phase 45/90 and we can change phase and phase width. The effect is quite different from Phase 90. In the middle between Ross Phaser and Phase 90.

MXR 1974 Phase 90 (Script Logo / BUD Case / 5 digit Serial # on Paper Label)

A vintage Phase 90 manufactured in 1974 with Script logo and Bud Box. The effect is not strong but the sound is very good. After getting this I made sense why this is used for heavy rock guitar (EX. Early days Eddie Van Halen) and analog synthesizer. Quite different from late version and reissue. For me I don’t use this when I need phaser effect but use when I would like to get smoother distortion sound with guitars, this fits very much.

Fulltone Mini DejáVibe

Fulltone’s vibrato unit. Small version without control pedal. It can change Modern/Vintage and Vibrato/Chorus and can control Speed with controlling the knob by foot. Relatively clean sound so I think this should be used for more hi-fi guitar sound.

Fulltone Choralflange

Fulltone’s Chorus/Flanger stomp box. In 80’s chorus sound was very popular but now not for guitars so now I use this for fretless bass. It has enough headroom and bass input relatively bigger than guitar has no distortion so good for this purpose.

Vox 846

Vox 846 wah pedal. I heard this was manufactured in 60’s. The sound is excellent but when using with overdrive pedal, the noise is dramatically increased so I used this for clean sound such as ‘Dragonball Tenka-ichi Budo-kai’. Recently circuit noise getting bigger again so it needs maintenance.

Vox 847

Recent Vox 847 Wah pedal. Once circuit noise happened so I replaced Wah pod. The sound is not bad, the effect depth is not bad, good product actually so I sometimes use this as well.

Morley Bad Horsie 2

Bad Horsie famous for Steve Vai. Version ‘2’. I cannot expect about version 2 but this was good. We associate the name of ‘Steve Vai’ with metal sound but Morley was originally famous for her wah pedal with optical circuit and it is good not only for metal music but also for other genres. Once stepping then automatically Wah is ON and when stepping out Wah is OFF. Very easy to use.

Fulltone CLYDE Deluxe Wah

Now this is one of my main Wah pedals as same as Morley Bad Horsie 2. No circuit noise, less noise, possible to control input level, the sound is relatively good and tasty. So when I need Vox Wah sound, because this is very practical Wah pedal, so I use this mainly. Like Wah or tape echo, products with movable components has a lot of trouble when using so the latest ‘modern-vintage’ style product is easier to use.

Sho-Bud Volume Pedal

Sho-bud’s volume pedal which is famous for Hawaiian steel-pedal. It is also very famous for Larry Carlton’s usage. I purchased this reissue version as brand-new one. Large pedal and bulky but because of these this pedal is very good to play. I love this outlook as well. So as volume pedal, this is the most favorite one for me.

Korg XVP-10 Expression/Volume Pedal

Korg’s very popular expression/volume pedal. Originally I have used this as experession pedal for synth controls but this can set minimum volume by hand so recently I use this with guitar as well. But the purpose is not volume pedal. I control the amount of distortion with this pedal. Big and heavy so very easy to use.

Digitech Whammy WH-1

1st generation model of very famous whammy pedal used by Radiohead and Rage Against the Machine. The pitch transpose technologies are those days’ one, old-fashioned so pitch is not stable and the result is the best as flabbergasting effect. I make sense why they use this like that after using it.


Dan Armstrong Orange Squeezer

Tuning Logo days’ Orange Squeezer. Famous for Lee Ritner’s usage in Gentle Thoughts days with Gibson 335. It’s very difficult to use this with Fender guitar so mainly I use this with my Gibson 335 only in audioworkshop. This is categorized as ‘compressor’ but as many people mentioned, it sounds more like ‘booster’ when we hear the sound with the current ears. I plan to modify internal knob which can change sound character.


Without picking strings, making this riding on strings, this picks up the audio signal and make it feedback from pick-up to this and then we can get a style of playing the violins and infinite sustain. Since 70’s this exists but my one is brand-new one. I use this for the kind of ambient music.

Korg pitchblack+

This is Korg’s tuner which can detect pitches of several strings at the same time. Very good product but the problem is I cannot control it by foot. So I use this only with Floyd Rose mounted guitars. But several strings pitch and 0.1 cent step detection is great as a tuner.

Korg pitchblack Portable

This is called as ‘Portable’ but now the biggest one in Korg’s stomp box style tuners. I use this mainly because ±0.1cent step tuning is possible. I have many tuners on my hand but this is the best to use and most frequently used tuner in them.


<English Below>
今日は中川奈美さん歌う「ちきゅうのこども (Children of the Earth)」の演奏者についてお話しようと思います





Hi there,
Today I’d like to talk ‘bout a player on Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’

Although I played and programmed almost basic tracks, the solo violin which can be heard from a bit left of Nami’s vocal is played as ad-lib by Yuri Endo, really active violinist
She is genuine and plays on the string quartet concert and so on. Before COVID-19, I was invited to her concert and her play was really amazing

She was born in Uwajima as same as Nami and that’s the reason why she joined to the project

Her violin tone has gentle and great sound. I feel her violin contributed to the quality up of the song

Before recording her violin, I prepared another strings track for this song, but after the recording, I muted the strings track and stop on using ‘cause I don’t want to disturb her violin with another strings sound

This track is improvisation so I didn’t direct her at all. Nami and Yuri Endo’s ability is excellent so just recording and then it’s oK. It was an easy recording session for me.

I did something for all the other tracks so I will talk ‘bout this later.
Have fun!

You can access with your favorite streaming service from the URL below.
<English Below>

中川奈美さんが歌う「ちきゅうのこども (Children of the Earth)」ですが、Spotifyにて曲をスマホで再生すると短い動画が出てくるCANVASに対応しました!


Hi there,
I have an update for Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’. 
This song now supports Spotify CANVAS, which is the short video for Spotify. 
It appears when the song is played on Spotify of your smartphone!

And I added Nami’s detailed information to her Artist Page on Spotify as well!
Have fun, Spotify users!
<English Below>







Hi guys! 
Today I’m gonna talking ‘bout Nami Nakagawa’s vocal!

She’s professional and has been working for backyard jobs and backing vocals and have many careers so her vocal is always stable.
No need direction.

I have no experience to direct her vocal.
This time she sings softly and gently but on the very famous animation, Demon Slayer, she sings with very characteristic style like ‘Asian Bulgarian Voice???’

In Japan very few singers can do it. 
The reason why Nami can do it is she has background of Minnyo, Japanese traditional folk song.

Yes, she’s a Japanese traditional folk singer.

Actually she sings one Uwajima folk song in her produced CD called ‘West Japan Torrential Rain Charity CD 'AI’’

When I accompanied her the guitar at her live event, she was too great and I was very impressed.

I’m lucky. Nami and many excellent singers I worked with.

I appreciate all of them.
<English Below>
中川奈美「ちきゅうのこども (Children of the Earth)」のMVが公開されました!



Music Video of Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’

I played the guitar aside her.

Everyone can watch it!

And now URL link works but just for 4 streaming services.

But these are available now.

This is just the announcement of music video and URL likes available.

Have fun!
<English Below>
中川奈美さん「ちきゅうのこども (Children of the Earth)リリース日です!


Apple Music -

iTunes Store (ダウンロード販売) - 上記リンクから画面右丸3つのアイコンをクリックしてメニューを開き、「iTunes Storeで表示」を選択すると購入できます。

Spotify -

YouTube Music -

現在なぜかAmazon Musicで配信されてません。上記リンクからお楽しみ下さい。

Today is the release day of Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’!

But trouble happens on URL Link called Artist Hub. Now URL for each shop doesn’t appear on the web page.
So please jump from the links below.
Sorry for inconvenience. Once solving this problem, I will announce.

Apple Music -

iTunes Store (purchase) - From Apple Music link above, click 3 dots icon in the right side of the window and open the menu and choose ‘show in the iTunes Store’ then you can purchase this song.

Spotify -

YouTube Music -
<English Below>
明日22.10.07はいよいよ中川奈美「ちきゅうのこども (Children of the Earth)」のリリース日です!
アレンジについては、奈美さんの頭の中で漠然と超有名チャリティソング「We’re the World」のイメージがあったそうなので、オリジナル版はThe 80’sという感じのアレンジでした。今回奈美さんのソロ作品として配信するにあたって、もっとパーソナルな印象になるよう楽器を差し替えたり、ミックスを変えたりしました。アレンジの話はまた後日もっとディープな話をしようかと思います。



Tomorrow, on Oct 7th, 2022, Nami Nakagawa’s ‘ちきゅうのこども (Children of the Earth)’ will be released! Hurrah!
So I will talk about the details that I wrote this song though some are mentioned in the interview video with Nami. (Interview video is here:
The original ‘Children of the Earth’ was one of two songs which I wrote for her produced ‘West Japan Torrential Rain Charity CD 'AI (Love)’. Nami requested this song to be the center which expresses the purpose of the CD and according to the request, I wrote this song. The song is assumed to be sung by various artists and to be charity song so I didn’t add too technical elements and intended to be the melody repeatedly, which anyone can remember easily, once listening to. And chord progression is very classic style, standard vocal song as well.
About song arrangement, Nami’s request was the similar style with super famous charity song, ‘We’re the World’, so the original version based on the 80’s style arrangement. This time the song will be delivered as Nami’s solo song, to be more personal, I replaced some instruments and changed mix style (more vintage style!). Later on I will talk more and deeper about arrangement.
Wait till tomorrow’s song release!

You can access with your favorite streaming service from the URL below.
<English Below>
中川奈美さんが歌う「ちきゅうのこども (Children of the Earth)」にまつわるお話、今日は少しマニアックです。ボーカルトラックの処理についてです。Neumann M49の音がとてもよかったのでこちらでの処理は必要最小限にしています。
リードボーカルに当たっている音響処理系エフェクターは往年のアナログ機材をモデリングした、Waves Audio @wavesaudio のSheps 73/NLS Channel/AbbeyRoad RS124/IR-Liveを使いました。IR-LiveはLexicon 300のP01 Hallです。これでまんま昔のコンソールで録音、再生している音になるわけです。簡単に言うと音を汚して逆にいい音にするんですね。



As for the story of Nam’i Nakagawa’s ちきゅうのこども (Children of the Earth)’, today it’s a bit technical. About vocal track process. As Neumann M49 sounded very excellent, I didn’t add too much process.
The audio processors on Lead Vocal track are what modeled classic famous analog equipments. Waves Audio Sheps 73/NLS Channel/AbbeyRoad RS124/IR-Live are used. IR-Live uses Lexicon 300’s P01 Hall. This reproduces the classic analog sound recording/playing with classic console. Simply to say, making the sound a bit dirty but it sounds good.
Many engineers prefer to maintain lead vocal clean but I prefer not too much but a bit analog sound then it match with other tracks. And I feel good with such analog sound which I listened to in the past.

You can access with your favorite streaming service from the URL below.
<English Below>
中川奈美さんが歌う「ちきゅうのこども (Children of the Earth)」のリリース日22.10.07まで後一週間切りましたので、ここから曲にまつわるお話をしていこうと思います。
収録は奈美さんがよく利用されるコサエル・クリエイティブスタジオ  で行いました。なんとビンテージのNeumann M49が常設されていて、そちらで録音しました。真空管マイクらしく超高域まで録音されるのでカリッとしたビンテージサウンドになりました。



It’s less than one week the song called ‘ちきゅうのこども (Children of the Earth)’, which Nami Nakagawa sings, will be released (22.Oct.07th release). So I’d like to talk about something related with this song.
The original version released as CD was a troll style but this time Nami sang all parts by herself and her friends joined and sang together in the latter part. This picture was captured in the recording studio.
The studio is Nami’s favorite Cosaell studio Amazingly, the studio has a vintage Neumann M49 microphone as standing equipment and the mic was used for this recording. The recorded sound was crispy, vintage sound which has very high frequency range as tube microphone.

You can access with your favorite streaming service from the URL below.