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Blue Lagoon — Masayoshi Takanaka1 / 2
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Blue Lagoon Riff Guitar Tone Settings — Masayoshi Takanaka

Masayoshi Takanaka · 1980s · jazz

studio

Original Recording

Guitar
Yamaha SG1000
Pickups
Yamaha SG1000 stock humbuckers
Amp
Roland JC-120 Jazz Chorus
Pickup Position
Middle-bridge position (likely both pickups or bridge with tone rolled back)

Studio recording, 1980; confirmed Yamaha SG1000 used for 'Blue Lagoon' studio track. JC-120 used for clean, chorus-rich tones. Mesa Boogie Mark II also mentioned as Takanaka's main amp, but JC-120 is specifically cited for clean/chorus tones matching the riff section. Compression and chorus pedals are key to the sound.

Amp Settings

Mids
6
Bass
6
Gain
0
Reverb
5.5
Treble
7
Presence
5.5

Effects Chain

  • MXR Dyna Comp · compression
  • BOSS CE-1 Chorus Ensemble · chorus

Yamaha SG1000 → MXR Dyna Comp → BOSS CE-1 Chorus Ensemble → Roland JC-120 (with spring reverb and onboard chorus)

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Tone Character

  • bright and articulate
  • tight and percussive
  • punchy, compressed attack
  • lush chorus shimmer
  • clean and glassy
  • funky rhythmic clarity
  • smooth sustain
  • minimal breakup
  • slightly scooped mids
  • crisp high end

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct numeric amp settings found; settings estimated based on typical Roland JC-120 use in jazz/fusion and forum advice to 'keep the amp’s low end down'.
  • ⚠️Mesa Boogie Mark II is also mentioned as Takanaka's main amp, but Roland JC-120 is specifically cited for clean/chorus tones matching the riff section.
  • ⚠️Pickup position described as 'middle-bridge slot'—on Yamaha SG1000, likely both pickups or bridge with tone rolled back.
  • ⚠️Pedal settings are not specified; effect types and models inferred from multiple sources and audible characteristics.
  • ⚠️Compression and chorus are critical to the sound; chorus is likely BOSS CE-1 or Roland JC-120 built-in.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Takanaka's 'Blue Lagoon' riff features a clean yet sparkling tone with a touch of breakup, strong mids, and bright, glassy highs typical of late 70s Japanese fusion. The lush, prominent reverb and balanced low end reflect both his Stratocaster/Marshall or Roland JC-120 usage and the genre's production style.

Sources