Photo: Kumi Noro
Mr. Tsuneo Akima is someone we rely on regularly—both as an artist and as a highly trusted amp engineer. He is actively involved in bands such as the legendary “Marchosias Vamp,” “AKIMA & NEOS,” and currently “Rama Amoeba.” At the same time, as an amp engineer, he handles maintenance, modifications, and the construction of custom amplifiers.He is a reliable “amp master” who tunes amplifiers from both a professional engineer’s perspective and an artist’s perspective.
Photo: Kumi Noro
Even I, who usually help a wide variety of customers with their requests, learned a great deal from speaking with him. I’d like to take this opportunity to express my gratitude. I hope this series will be helpful to everyone pursuing their “ideal sound.” So, let’s learn together!
“Around that time, I was also working on a joint development project with Paul Rivera.”
—It’s a pleasure to have you here today!!
Akima: The pleasure is mine.
—Mr. Akima, you’re currently building your own original amplifiers, but what initially sparked your interest in the inner workings (circuitry) of amplifiers in the first place?
Akima: I think this applies to amplifiers and other things as well, but when I first bought an electric guitar—back in middle school—you know how electric guitars have knobs labeled “Volume” and “Tone”? And they have a jack, right? I thought if I plugged headphones into that jack, sound would come out (laughs). So I bought an electric guitar, plugged in my headphones, but no sound came out at all… I was completely dumbfounded (laughs). That was quite a shock. It really brought home to me just how clueless I was. That’s where it all started. Also, I’d actually been into audio since middle school—I was an audio enthusiast. I guess that’s part of why I started getting interested in it.
—So, did you start actually opening up amplifiers around that time, too?
Akima: At first, I’d fix things like a broken cable, or take a look inside Effectors… I think I started modifying guitars before I got into amps. I’d swap out pickups—switching between single-coil and humbucker types. Then, when I was in high school, music magazines like *Rockin’ f* were just being launched.That was ’76, so I guess I was a freshman in high school? They had articles in there about building Effectors and how to make them. So I actually started building my own Effectors. I think the fact that I went to a high school with an electronics program probably had an influence, too.
—When did you start seriously building, maintaining, and modifying amps?
Akima: I was building my own amps by the time I was in college. It was a bit amateurish, but I also modified the amps I owned. After that, I graduated from college and joined “Kanda Shokai”… That was when I was really getting serious about it. Musicman and Maxon Effectors, as well as Shure microphones—I handled almost all the maintenance for those.Also, around that time, I was involved in a sort of joint development project with Paul Rivera (a former Fender amp designer who later founded his own brand, RIVERA). It was fun—we’d bounce ideas off each other and bring them to life.
—Paul Rivera, you say… That’s amazing. What was he like?
Akima: He was a really nice guy (laughs).
“Everyone says the same thing. In the end, genre doesn’t matter.”
—You’ve also released your own line of amplifiers. How did that come about?
Akima: As for the original amps, it wasn’t like we just decided, “Okay, let’s do this!!” so I don’t really know exactly when it started. At first, it was just requests from people I knew. But through introductions from those acquaintances, I started getting requests from people I’d never met before, and that’s kind of how it’s evolved to where we are now.The brand name “Akim & Neos” comes from the name of my band back then. To me, creating new sounds with an amp and writing songs feel the same, so I made the brand name the same as the band’s. Since the band has since become Rama Ameba, “Akim & Neos” is what remains now as the amp brand.
—I imagine you get orders from all kinds of customers. Are there any particular needs or trends you’ve noticed?
Akima: Oh, well, actually, everyone says the same thing. Ultimately, genre doesn’t matter. So what guitarists look for in an amp is pretty much the same across the board. In terms of sound quality—or the texture of the sound—everyone wants that “clear, open” sound. It doesn’t matter if it’s jazz or heavy metal. When I play and talk with different people, they all describe it the same way. If anything, I think the difference in genre really comes down to the guitar itself. For example, jazz players tend to use boxy amps, while heavy metal players go for ones with a tremolo arm and a pointed body (laughs). The types of pickups are different, too, aren’t they? So I think genre has more to do with the guitar’s character than the amp. As for genre differences in what people look for in an amp, it comes down to the degree of crunch. The degree of crunch just changes depending on the musical style. But when it comes to the texture of the sound, everyone was on the same page. That was really fascinating.
Then there’s also the need for a sound with midrange.Even people who think a “bright and punchy” sound without much midrange is fine end up coming to me because they’re worried their sound doesn’t cut through when playing in an ensemble. They’ll bring CDs by overseas artists saying, “I want to make a sound like this,” but when I listen to them, surprisingly, they’re not actually that bright and punchy. They sound bright and punchy, but they actually have quite a bit of midrange. So when I adjust the settings and play it through the amp, it’s often like, “Ah, that’s it!” (laughs).
—That’s interesting. So the texture—or tone—they’re looking for is the same, but what differs is the degree of distortion…
Akima: There’s also a subtle American or British tendency… I guess it’s just a matter of texture. It’s not so much the difference in amps as it is the difference in speakers. American-style players tend to use Jensen-type speakers, while British-style players prefer Celestion-type speakers. The British style favors a clean sound, while the American style has a slightly wilder vibe.
“There are those old Fender Tweed-era amps, right? They’re not that different from Marshalls.”
—Mr. Akima, I imagine you’ve actually seen a wide variety of amps over the years. Which ones left the strongest impression on you?
Akima: You know the Marshall Bluesbreaker Combo, right? That one has two 12-inch speakers. The one I saw (a vintage model) had four 10-inch speakers arranged in a diamond pattern. I think it’s pretty rare, but that Bluesbreaker sounded amazing. Since the head’s circuitry is probably the same, I think the difference really comes down to how the sound comes across with two 12-inch speakers versus four 10-inch speakers.To use a Fender analogy, it’s like the difference between a Pro Reverb and a Super Reverb. So I really think that four 10-inch speakers is the speaker size that pairs incredibly well with a guitar.With just two speakers, it just doesn’t quite cut it. On the other hand, cabinets with four 12-inch speakers are pretty standard these days, aren’t they? Whether it’s Marshall or anything else. To me, those seem to have too much low end. I think they’re definitely geared more toward HR/HM.
—Since we’re on the topic of vintage gear, could you tell us about the characteristics of vintage Marshalls, Fenders, VOX, and Hi-Watts? Of course, there are many nuances depending on the specific model, but in general, what are your impressions of their main characteristics?
Akima: Take the old Fender Tweed-era amps, for example. They aren’t that different from Marshalls. Marshall actually based its design on the Fender Bassman, and in some ways, it’s almost an exact replica. There are only very slight differences. And Marshall has stubbornly stuck to that original design. Fender, on the other hand, went through minor changes like the White Tolex, and I think the Blackface is what really established the Fender sound.Of course, when you get to Marshalls like the JCM900 or 2000, they’re way too modern and quite different. I’m strictly talking about the models up to that point—like the 1959 or those 4-input models. And VOX is a bit different again.VOX feels like it’s on its own unique path. The defining characteristic of VOX is that it uses a small power tube called the EL84. It can’t handle big signals or produce high output… To use an analogy, if the others are like trucks, VOX is more like a light pickup truck. But there’s a tone that you just can’t get without it—it’s incredibly delicate and rich in harmonics.To use an acoustic guitar analogy, it’s like it has a really nice resonance—it’s rich in overtones. And on top of that, the tone is soft. Take the AC30, for example. As for Hi-Watt, that’s a bit different again. It’s completely different from something like a Marshall. I’d say it’s characterized by its strong low-mid range.
“American-made amps have what you might call those classic ‘American’ characteristics. They’re lively and bright (laughs).”
—Since we’ve brought up vacuum tubes, could you tell us about the differences between European-made and American-made tubes, or the differences based on country of origin?
Akima: These days, it’s almost impossible to get hold of the tubes that Europe and the U.S. used to make. The ones made in places like Russia, Slovakia, and China are hard to tell apart, aren’t they? But when it comes to vintage tubes, there’s definitely the American 6L6, for example. Well, this isn’t just about tubes—it applies to all the parts, really. American-made products have what you might call that classic “American” character. They have a lively, bright sound (laughs).European ones have a darker, richer sound. There are also characteristics specific to Murato and the national character of each country, right? It feels like that’s reflected very clearly. German ones have a more linear feel. As for Japan, the craftsmanship is excellent, but they’re colorless (laughs). They lack character (laughs). It’s interesting to look at the different ones.
Even individual components like capacitors have these tendencies. People who build their own amps or modify them often say Sprague “Orange Drop” capacitors are great, so you see them in amps a lot, right? But while those might work well with American tubes, I personally feel they don’t quite fit in European-made amps. So even with tubes or capacitors that are generally considered good, I think there’s a matter of compatibility with the amp itself.
—As you mentioned earlier, I also think speakers and enclosures are important. But there are times when you have to replace the speakers, right? Could you tell us what points you’re particular about when replacing them?
Akima: Even if the amp is in good condition, if you use a speaker that doesn’t match it, the speaker has a huge impact on the sound’s character. Even with a Marshall, depending on the speaker, the head might not be able to show off its true potential at all.I really think you have to use speakers that are a good match for the head. For example, with the JCM2000, 900, or 800, just swapping them out for Greenbacks or Vintage 30s makes them sound completely different—in a great way. Even at the same gain level, the texture of the distortion is totally different, and the softness of the sound is different too.I have a friend who said, “The Marshall JCM2000 at that live house sounds amazing,” but when I actually went to check it out, it was often just a standard head. However, upon closer inspection, the cabinet was a 1960V or the speaker was a Vintage 30. You can’t tell that just by glancing at it, right? When everyone says, “This head is the best,” it’s actually just the difference in the speaker—not the head itself.I think you should definitely not neglect the speakers and put some thought into choosing them. If you ask whether the stock ones are good, that’s not always the case. There are plenty of speakers out there that can bring out the head’s full potential. It’s just like how you swap out pickups on a guitar, right? Speakers used to be really expensive, but now they’re much more affordable. They’re a bit bulky, so it can be a hassle, but I think it’s worth the effort to try swapping them out.
“Since the soldered area on the parts is larger, hand-wiring is overwhelmingly superior in that regard.”
—Next, let’s talk about the keyword “handmade.” Your amps, Mr. Akima, are handmade, and so are what we call vintage amps. Of course, there are many good mass-produced models out there, but what do you think is the appeal of handmade gear?
Akima: Simply put, making something with a printed circuit board is easy, and if you’re using the same components, it might seem like there isn’t much of a difference… at least in theory. However, with a printed circuit board, there’s that copper foil on the board, and that’s where the electricity flows, right? You solder the components onto that…The way I see it, that copper foil is incredibly thin, and when you do point-to-point soldering, the traces end up being really thick. I think that’s where the big difference lies. Of course, the type of wiring material also affects the sound.
Even though we’re talking about electronics, I kind of picture it like a water pipe. A guitar’s tone is converted into an electrical signal—or rather, voltage. When the attack comes in with a full-on “clang,” the amp (specifically, the transformer or power supply section) needs a massive surge of current the instant you strum. If the electricity doesn’t flow with a “bang” at that moment, you can’t capture that attack. And when that happens, the entire tone changes.You know how synthesizers have attack and release, right? Since this relates to the degree of dynamics, the current has to flow properly exactly when you want that attack. I think a thicker water pipe would give you that “thud” when you want the attack.Also, on a more technical note, there’s durability. When you’re actually playing an amp head—or even a cabinet—constantly, there are always these tiny vibrations, right? Since the area where components are soldered to the printed circuit board is so large, hand-wiring is overwhelmingly more robust in that regard.
—That’s true. Vintage amps—even ones from decades ago—are still in active use today, and sometimes I’m genuinely moved by them out of the blue.
Akima: Take vintage amps from the ’60s, for example… When people hear “the ’60s,” they generally think of them as antiques, right? But the fact that they’re still actively used is something unique to the music industry. Everyone just casually uses ’60s gear as if it were brand new. Back then, even TVs still used vacuum tubes, and color TVs were just starting to come out. So, when you think about it that way, it’s kind of scary—most people would probably say, “You can’t use something that old.”But if you actually take a close look inside an amp—say, one released last year… setting aside hand-wired models, of course… I trust those from the ’60s way more. Once you get a ’60s amp into good working order, I think it’s rock-solid. It’s not really that scary; you can fix almost anything, and with a tube amp, once you’ve had it serviced, it’s actually nothing to worry about at all.The printed circuit board amplifiers sold today are designed to cut costs during manufacturing, so they use a lot of proprietary parts. It’s the same as with general consumer electronics. After seven or eight years, those parts are no longer covered by warranty. Without those specific parts, you might not even be able to fix a malfunction. So if you ask whether the amplifiers sold today will still be in active use 30 years from now, that’s a bit doubtful, isn’t it? On the other hand, I think the ones from the ’60s will probably stick around. Because they’ll never be completely unfixable.
“I think vacuum tubes are incredibly acoustic components.”
—While bass amps have modernized significantly in recent years, tube amps have remained the mainstream for guitar amps (even though the variety has increased). Mr. Akima, what do you think it is about tube amps that draws people in?
Akima: Take the acoustic guitar, for example. It’s not just the sound of the strings—the body and various other parts resonate, so the fundamental tone is layered with plenty of harmonics, creating a really pleasing sound. While this applies to acoustic instruments in general, with electric guitars, you can hardly perceive any harmonics in the signal coming out of the jack.It goes without saying, but the resonance and character of the harmonics in an electric guitar are largely created by the amp. It’s only when those harmonics are generated that you get that feeling of, “Ah, that’s a cool sound.” That’s why electric guitars and tube amps are like two halves of a whole. I think it’s only through the tube amp that the true essence of the electric guitar is brought out.
Distorting the sound is basically about increasing the harmonics. It’s all about shaping the tone. When you’re transitioning from a clean sound to crunch… it’s the vacuum tubes that create those pleasant harmonics. From clean to crunch to heavy distortion—only vacuum tubes can deliver that transition smoothly and naturally. Transistors just suddenly “snap” into distortion at a certain point.Even if you turn down the guitar’s volume, the distortion lingers… It feels like the distorted sound is just sitting there at a lower volume. That’s why I really feel that only vacuum tubes truly satisfy me—it’s all about those harmonics. There are different types of harmonics—even-order and odd-order—and I think vacuum tubes strike the perfect balance between that pleasant, smooth quality and a certain wildness.I think they’re incredibly acoustic components. Sure, technology has advanced and they’ve evolved into transistors and ICs… and from an electronic standpoint, the transition might have gone smoothly… but from a musical perspective, that’s not evolution at all. It’s not wrong to advance technology from an acoustic standpoint, but I don’t think it’s actually become any better than it is now. It’s just become more convenient.
—Mr. Akima, I imagine you’ve listened to a wide variety of sounds over the years. If there’s a particular sound you’d recommend—one where you thought, “That was so cool!!”—could you tell us about it? For example, something by T. Rex, a band you know well, would be great.
Akima: Hmm, well. If I start talking about T. Rex, things are going to get really niche… (laughs). But when it comes to the sound of a Stratocaster’s middle pickup, it’s got to be Utsumi-san’s sound from Carol’s final live show at the Yoyogi Open-Air Concert Hall!! That’s definitely a favorite of mine.Man, it’s seriously cool!! It still sounds awesome even now. The amp was an Ampeg V4. That’s a really great one!! Even though it’s not very distorted, the tone really has great sustain.
—So, for our final question: What does an amp mean to you, Mr. Akima?
Akima: Well… for me, it’s actually more important than the guitar itself. When I write songs or play in a band, sure, I have a message I want to convey, but that’s not the main reason I do it.Basically, the electric guitar sound is just so cool, and I write songs just to play it. That’s kind of how it is (laughs). So, to me, an amp isn’t just a tool that reproduces the sound of an electric guitar. It carries a lot of weight—it’s like I write songs and play in a band because I have an amp… It’s kind of the opposite of what you’d normally expect, right? (laughs).
—Thank you so much for sharing all these rare insights with us today.
Akima: Thank you very much.
Photo: Kumi Noro