TonesMatch
You Can Never Come To This Place — Masayoshi Takanaka1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

You Can Never Come To This Place Guitar Tone Settings

Masayoshi Takanaka · 1980s · jazz

studio

Original Recording

Guitar
Yamaha SG-1000
Pickups
Rebuilt Gibson PAF humbuckers or Greco pickups
Amp
Mesa Boogie Mark II
Pickup Position
Neck pickup

Studio recording, 1981 (The Rainbow Goblins album). Gear confirmed for this era and album, not live. No direct photo of pedalboard for this exact song, but multiple sources confirm Yamaha SG-1000 and Mesa Boogie MkII as Takanaka's main studio setup for Rainbow Goblins.

Amp Settings

Mids
7
Bass
6.5
Gain
4.5
Reverb
5
Treble
7
Presence
6.5

Effects Chain

  • MXR Dyna Comp · compression
  • Boss CE-2 Chorus (or similar) · chorus
  • Delay pedal (model unknown) · delay

Yamaha SG-1000 → MXR Dyna Comp → Boss CE-2 Chorus → Delay pedal (model unknown) → Mesa Boogie Mark II (spring reverb on)

Tone Matcher

Match This Tone to Your Gear

Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.

Adapt to MY Gear →

7-day free trial · Cancel anytime.

Tone Character

  • singing sustain
  • liquid and smooth
  • lush spatial ambience
  • warm midrange
  • articulate highs
  • chorus shimmer
  • compressed attack
  • clear note separation
  • expressive vibrato
  • touch-sensitive dynamics

Notes & Caveats

  • ⚠️No direct photo or interview confirming pedalboard for this exact song, but Yamaha SG-1000 and Mesa Boogie MkII are confirmed for Rainbow Goblins album era.
  • ⚠️Pedal models inferred from era, genre, and multiple forum discussions; chorus and compression are highly likely due to audible effects and era-typical gear.
  • ⚠️Exact amp knob settings not found; estimated based on typical Mesa Boogie MkII jazz-fusion settings and genre/era.
  • ⚠️Pickup choice inferred from tone (liquid, warm, singing sustain) and typical Takanaka lead tone on this album.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Takanaka's solo tone here is smooth, slightly overdriven, and mid-forward, typical of late 70s/early 80s Japanese fusion. His Strat/Les Paul tones often use moderate gain, warm bass, pronounced mids, and clear but not harsh treble, with lush plate or spring reverb for space. These settings reflect his amp style and the song's production.

Sources