[Luke Takamura III] – How to Recreate the Seikima-II Sound + Guitar Gear and Tone Settings [Effects & Amps]

① Introduction (Overview of Tone)

As the long-standing guitarist of Seikima-II, Luke Takamura III has reigned on stage for decades. His playing is known for its heavy yet not overly distorted lead tone, classical and technically sophisticated phrases, and a guitar sound that blends delicately with the overall arrangement of the band.

The appeal of his tone lies in a pure, solid drive sound centered around Marshall amplifiers. Notably, his use of the Marshall JMP1987 (1972 model) and JCM2000 DSL has allowed him to project his unique picking nuances with remarkable clarity. Both in riffs and solos, these amps deliver a tone with undeniable presence.

He also switches between various Killer brand guitars (such as the TWILIGHT and KG-Spellbind), balancing visual impact with sonic power. These guitars perfectly match the theatrical and otherworldly visual concept of Seikima-II, creating a one-of-a-kind world on stage. Even in projects such as CANTA and his solo work, Luke has consistently maintained the “core of a guitarist,” inspiring countless players.

Representative tracks include “Apple of Adam,” “House of Wax,” and “1999 Secret Object,” all of which feature striking midrange clarity and articulate lead tones. His tone never gets buried within the band’s powerful sound, yet it also avoids being overly dominant—a finely tuned balance that fans and guitarists alike deeply admire.

This article will explore Luke Takamura III’s gear setup, tone settings, and the background behind his effects choices in detail.

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② List of Amplifiers and Features [Seikima-II・Luke Takamura III]

When discussing Luke Takamura III’s tone, his long-time reliance on Marshall amplifiers cannot be overlooked. One of the most important pieces is the 1972 Marshall JMP1987, a unit he received from guitarist Akira Wada during his early years in Seikima-II. This particular head has one extra preamp tube (total of four), making it more prone to distortion compared to other models from the same era. This characteristic forms the foundation of Luke’s smooth yet edgy drive sound.

He also owns a 1972 JMP1959, which he often linked with the JMP1987 to create layered Marshall tones rich in midrange punch. Live shows have also seen him using models such as the JVM410H and the 2203KK (Kerry King signature), both offering flexible channel options suitable for Seikima-II’s diverse arrangements.

During his CANTA period, the JCM2000 DSL was used for recording “Monster,” later replaced after repairs by the JVM410H, which has since become his new all-purpose workhorse across different projects. The JVM’s four channels allowed Luke to access a wide tonal palette, from warm crunch to soaring leads.

He has also been seen with the Marshall 1959RR Randy Rhoads Signature, along with previous ownership of amps like Mesa/Boogie and the Bogner Ecstasy. These show his openness to experimenting, yet his sound philosophy always “returns to Marshall,” demonstrating his trust in its core tonal character. For Luke, amplifiers must preserve “the tactile feel when the pick hits the string” and maintain the integrity of the sound’s core—a testament to his uncompromising approach to tone shaping.

Below is a table summarizing the main amplifiers confirmed in his rig:

Gear Name	Manufacturer	Amazon Lowest Price URL	Band	Guitarist	Notes
JMP1987 (1972)	Marshall	Link	Seikima-II	Luke Takamura III	Gifted from Akira Wada; extra preamp tube makes it more distorted.
JMP1959 (1972)	Marshall	Link	Seikima-II	Luke Takamura III	Used in combination with the JMP1987 for layered tones.
JCM2000 DSL	Marshall	Link	Seikima-II / CANTA	Luke Takamura III	Used on the recording of “Monster”; later replaced after repairs.
JVM410H	Marshall	Link	Seikima-II / CANTA	Luke Takamura III	His versatile go-to amp for live and studio work.
2203KK (Kerry King Model)	Marshall	Link	Seikima-II	Luke Takamura III	Obtained after JCM2000 repairs; signature Kerry King model.
1959RR Randy Rhoads Signature	Marshall	Link	Seikima-II	Luke Takamura III	Tested and favored around the same time as JVM410H.
Ecstasy	Bogner	Link	Seikima-II / CANTA	Luke Takamura III	Used from late Seikima-II to early CANTA era.

From the evidence above, it can be assumed that Luke’s amplifier choices have always revolved around Marshall for its punchy midrange, dynamic response, and faithful touch sensitivity, though he has experimented with other brands at times.

③ Types of Guitars Used and Features [Seikima-II・Luke Takamura III]

Luke Takamura III is widely recognized for his use of unique and custom-designed Killer guitars. These instruments combine striking visual aesthetics with tonal balance at the highest level, perfectly matching the theatrical and otherworldly stage presence of Seikima-II. His guitar choices are not only about playability but also about reinforcing the band’s dramatic concept.

One of his most iconic models is the Killer TWILIGHT. Its sharp-edged body and aggressive design support Luke’s playing style, particularly in delivering tight distortion with pronounced midrange focus. The visual impact also makes it an essential stage guitar, standing out even under elaborate lighting setups.

The Killer VOICE OF BIRD was custom-built to Luke’s specifications, with optimized pickup placement, body balance, and weight. This model excels in tonal versatility, enabling him to switch seamlessly from shimmering cleans to saturated overdrive, making it one of his most expressive tools both live and in the studio.

Other notable models include the Killer KG-Spellbind, KG-Triumph V, and KG-GALAXY. Each guitar was carefully selected depending on the song and performance context. For example, the KG-Spellbind delivers excellent high-end clarity and makes subtle nuances easier to articulate, perfectly supporting Luke’s intricate lead phrasing. Meanwhile, the KG-Triumph V is a Flying V-type design with a commanding stage presence, while the KG-GALAXY features a futuristic body shape and impressive sustain.

At certain points, he also incorporated custom models with skull and demonic motifs, further strengthening Seikima-II’s dark and theatrical stage identity. This highlights Luke’s thorough dedication to choosing guitars that serve sound, performance, and visual impact simultaneously.

Below is a table summarizing his main guitars:

Gear Name	Manufacturer	Amazon Lowest Price URL	Band	Guitarist	Type	Notes
TWILIGHT	Killer	Link	Seikima-II	Luke Takamura III	Electric Guitar	Strong midrange with solid distortion; highly visible on stage.
VOICE OF BIRD	Killer	Link	Seikima-II	Luke Takamura III	Electric Guitar	Custom-built model; versatile for clean and drive tones.
KG-Spellbind	Killer	Link	Seikima-II	Luke Takamura III	Electric Guitar	Excellent treble clarity; supports detailed lead expression.
KG-Triumph V	Killer	Link	Seikima-II	Luke Takamura III	Electric Guitar	Flying V-inspired design with striking stage presence.
KG-GALAXY	Killer	Link	Seikima-II	Luke Takamura III	Electric Guitar	Avant-garde body shape with long sustain.

From these examples, it can be assumed that Luke’s guitar selection has always emphasized both sonic individuality and dramatic stage aesthetics, ensuring his presence is unforgettable in every performance.

④ Effects and Pedalboard Setup [Seikima-II・Luke Takamura III]

Luke Takamura III’s pedalboard is carefully designed to function in both live and studio environments. His philosophy places the amplifier’s natural drive at the core of his sound, with effects used in a complementary role. Among them, overdrives, modulation/delay units, and a switching system are central elements that define his rig.

At the heart of his board is the BOSS ES-8 switching system. With its flexible routing options and programmable presets, it allows him to adapt seamlessly to Seikima-II’s complex arrangements, where quick tonal shifts are essential. The ES-8 ensures his signal chain maintains clarity while offering instant access to multiple tones.

For drive, the BOSS SD-1W (Waza Craft) is key. It pushes his Marshall amps with just the right amount of grit, adding sustain and harmonics while still preserving the amp’s natural voice. Its excellent response to guitar volume control makes it perfectly suited to Luke’s expressive dynamics.

On the spatial side, the KORG SDD-3000 Pedal plays a significant role. Famous for its use by U2’s The Edge, this delay offers crystalline repeats and airy depth that help create the majestic atmosphere often heard in Seikima-II’s music. The T-REX Replica and NUX-inspired delay tones have also appeared, expanding his palette for both subtle and dramatic echoes.

Luke uses multiple wah pedals depending on the song, such as the MISSION ENGINEERING REWAH PRO and the STEVE SALAS WAH ROCKER. These add vocal-like sweeps and sometimes even modulation-like textures to his playing. He also incorporates modulation tools like the T-REX The TWISTER (chorus/vibrato), FULLTONE SUPA-TREM (tremolo), and other time-based effects to enhance his leads and ambient sections.

Additionally, signature pedals like the SPI JAIL OHASHI MODEL and SPANKING PURPLINS—developed in collaboration with fellow guitarist Jail Ohnishi—are part of his board, offering unique tonal flavors and midrange characteristics tailored to his style.

Below is a table summarizing his primary effects:

Gear Name	Manufacturer	Amazon Lowest Price URL	Band	Guitarist	Effect Type	Notes
ES-8	BOSS	Link	Seikima-II	Luke Takamura III	Switching System	Core of his live board; enables instant patch switching.
SD-1W	BOSS	Link	Seikima-II	Luke Takamura III	Overdrive	Adds sustain and warmth to Marshall drive.
SDD-3000 Pedal	KORG	Link	Seikima-II	Luke Takamura III	Delay	Airy digital delay famous for U2’s The Edge; adds depth and grandeur.
REWAH PRO	Mission Engineering	Link	Seikima-II	Luke Takamura III	Wah Pedal	High-quality wah for expressive phrasing.
The TWISTER	T-REX	Link	Seikima-II	Luke Takamura III	Modulation	Chorus/vibrato modulation adding texture and motion.
SUPA-TREM	FULLTONE	Link	Seikima-II	Luke Takamura III	Tremolo	Classic analog tremolo with warm tone.
REPLICA	T-REX	Link	Seikima-II	Luke Takamura III	Delay	High-end analog-style delay.
ELEMENT OF BLUES	K Factory	Link	Seikima-II	Luke Takamura III	Overdrive	Bluesy harmonics with dynamic response.
SPI FREESTYLE JAIL OHASHI MODEL	SPI	Link	Seikima-II	Luke Takamura III	Overdrive	Signature model developed with Jail Ohnishi.
SPI SPANKING PURPLINS	SPI	Link	Seikima-II	Luke Takamura III	Overdrive	Signature pedal with distinct midrange character.

From this setup, it can be assumed that Luke’s pedalboard design focuses on practical live control, amplifier-driven tones, and carefully chosen time/modulation effects to add depth and atmosphere while staying true to his core sound.

⑤ Tone Settings, EQ, and Mixing Approaches [Seikima-II・Luke Takamura III]

The essence of Luke Takamura III’s tone lies in the thick, core-driven overdrive typical of 1970s Marshall amplifiers. His guitar sound is not merely distorted—it achieves separation and clarity across the frequency spectrum, ensuring that his playing stands out within the dense mix of Seikima-II while maintaining musical cohesion.

Luke frequently alternates between different Marshall models such as the JMP1987 (1972), JCM2000 DSL, and JVM410H. Each brings its own tonal character, but his priority remains the same: the feel when plugging in and the solidity of the sound’s core. Overdrives like the BOSS SD-1W are used to further enhance the tube response, delivering more sustain and harmonic richness. His particular 1972 JMP1987, with one additional preamp tube, provides thicker gain compared to standard models from the same era.

EQ settings are a crucial part of his tone. Midrange frequencies are emphasized around the 12 to 2 o’clock range, ensuring his leads cut through. Presence and treble are also set slightly higher (around 1 to 2 o’clock) to enhance brightness and attack, while the low end is kept tight and controlled, avoiding muddiness. Gain is typically dialed in slightly higher to maintain fullness even when the guitar volume is rolled back—a hallmark of his dynamic, touch-sensitive sound.

His playing style relies heavily on picking nuances, so compressors are used sparingly. This allows his natural dynamics to shine, ensuring every vibrato, bend, and fast run remains articulate. The responsiveness of his amps makes his guitar feel like an extension of his hands, with subtle changes in attack producing immediate tonal shifts.

Reverb and delay serve as supportive elements rather than dominating the mix. Tools like the KORG SDD-3000 Pedal and T-REX Replica are chosen for their ability to add space without muddying the original tone. Live performances often feature restrained reverb, while delays are fine-tuned to create depth and atmosphere, enhancing the grand scale of Seikima-II’s music.

From a mixing perspective, Luke’s guitar is carefully placed to remain powerful without overwhelming. His parts often sit slightly panned but retain clarity through subtle EQ adjustments—slight boosts around 3–4 kHz for presence, while gently attenuating the harsher 5–6 kHz range to avoid ear fatigue. The raw, grainy texture of his Marshall amps remains intact, blending naturally with bass and drums while retaining its unique edge.

Early Seikima-II recordings often placed his guitar closer to the center, making it a driving force in the arrangement. In more recent “Black Mass” concert footage, however, his guitar is given more stereo width to balance with other members. This flexibility demonstrates his awareness of ensemble dynamics and how his guitar should serve the overall mix rather than dominate it.

In summary, Luke Takamura III’s tone is built upon “analog dynamics and balance” rather than relying heavily on modern signal processing. His EQ settings and mix strategies are subtle yet precise, ensuring that every performance conveys both technical brilliance and emotional impact. His sound is best described as organic, responsive, and deeply attuned to the touch of the player—an approach that can be assumed to define his overall philosophy of guitar tone.

⑥ Affordable Alternatives to Recreate the Tone [Seikima-II・Luke Takamura III]

Luke Takamura III’s signature tone is rooted in the muscular midrange of Marshall amplifiers, sharp treble bite, and highly responsive dynamics that reflect every nuance of his picking. While his original setup involves expensive vintage gear, there are practical and budget-friendly options that allow players to approximate his sound without breaking the bank.

For amplifiers, the Marshall CODE50 is an excellent choice. As a digital modeling amp, it offers simulations of classic Marshall tones including the JCM800 and 1959SLP—both closely related to Luke’s real amps. With editable presets, players can adjust EQ and gain structure to emphasize midrange punch and treble clarity, making it suitable for home practice, rehearsal, and small live venues.

When it comes to drive pedals, the BOSS SD-1 stands out as a cost-effective solution. While Luke uses the premium SD-1W Waza Craft, the standard SD-1 retains the same essential voicing: a natural, mid-focused overdrive with tight low end and rounded highs. This pedal works especially well when pushing a Marshall-style amp, creating the same smooth sustain and touch-sensitive response that Luke relies on.

For delays, the NUX Time Core Deluxe offers impressive versatility. Capable of delivering both analog-style warmth and crystal-clear repeats, it can come close to the lush atmospheric quality of Luke’s KORG SDD-3000. With features such as tap tempo and multiple delay modes, it adapts well for both practice and stage performance.

As a wah alternative, the Jim Dunlop Cry Baby GCB95 remains one of the best entry-level choices. While it lacks the boutique character of Luke’s Mission Engineering REWAH PRO, it delivers a reliable, vocal-like sweep that is more than adequate for recreating expressive passages. Its affordability and rugged design make it a long-term essential for many guitarists.

For guitars, affordable models from ESP LTD provide great value. Instruments like the LTD Viper series echo the aggressive shapes and high-output pickups of Luke’s Killer guitars, offering strong sustain and stage presence at a fraction of the cost. These guitars are well-suited to hard rock and heavy metal, aligning with Luke’s playing style and stage aesthetics.

Below is a table summarizing recommended budget-friendly alternatives:

Type	Gear Name	Manufacturer	Amazon Lowest Price URL	Band	Guitarist	Notes
Guitar Amp	CODE50	Marshall	Link	Seikima-II	Luke Takamura III	Models JCM and 1959 tones; highly flexible for EQ and practice use.
Overdrive	SD-1	BOSS	Link	Seikima-II	Luke Takamura III	Affordable version of SD-1W; retains natural, mid-focused overdrive.
Delay	Time Core Deluxe	NUX	Link	Seikima-II	Luke Takamura III	Versatile delay with analog-like warmth; similar in spirit to SDD-3000.
Wah Pedal	Cry Baby GCB95	Jim Dunlop	Link	Seikima-II	Luke Takamura III	Classic wah tone; affordable and reliable for expressive passages.
Electric Guitar	LTD Viper-256	ESP	Link	Seikima-II	Luke Takamura III	Aggressive design and high-output pickups; reminiscent of Killer guitars.

These alternatives demonstrate that even with a moderate budget, it is possible to approximate Luke’s distinctive tone. By focusing on Marshall-inspired amp models, responsive overdrive pedals, versatile delay units, and expressive wah effects, players can access the essence of his sound without needing vintage or boutique gear.

⑦ Summary and Conclusion [Seikima-II・Luke Takamura III]

When analyzing Luke Takamura III’s tone, one cannot ignore his deep trust and affection for Marshall amplifiers. His descriptions—such as “the feel when plugging in” and “the unique response of the pick striking the strings”—reveal that his sound philosophy goes far beyond technical specifications. For Luke, the amplifier is not just gear but an extension of his musical identity.

His vintage Marshall JMP1987, alongside other classics, combined with essential effects like the SD-1W, represents a philosophy of “cultivating tone” rather than simply applying distortion. His sound is powerful and aggressive, yet never collapses into mud. Each note remains articulate and full of character, thanks to his careful selection of amps, pedals, and EQ settings. Above all, the responsiveness of his rig ensures that his touch, phrasing, and nuance shine through—an attribute that defines his unique presence as a guitarist.

Even beyond Seikima-II, in CANTA and solo projects, his approach remains consistent: maintain the core of the tone, avoid unnecessary compression, and let the natural dynamics of the guitar breathe. This consistency demonstrates a philosophy centered on honesty in sound—a lesson for younger guitarists who may chase heavy distortion but overlook balance and clarity.

At the same time, Luke shows remarkable flexibility in adapting his gear. In recent years he has embraced amps like the JVM410H and the Randy Rhoads 1959RR, combining versatility with the raw punch of vintage Marshalls. His inclusion of Japanese boutique pedals from SPI and K Factory further shows his willingness to refine details while keeping the big picture intact. His choices reveal an awareness of ensemble dynamics: his guitar sound is designed not in isolation but as part of a balanced band mix.

In short, Luke Takamura III’s tone is best described as a “pure, robust rock sound anchored by Marshall amplifiers.” The strength of his sound comes not from complexity but from the meticulous balance of simple, well-chosen tools. For players who study his approach, the lesson is clear: the heart of tone lies not in piling on effects, but in understanding why each piece of gear is chosen and how it contributes to the whole.

The true “devilish” quality of his sound is not just heaviness or distortion—it is the ability to reflect the soul and nuance of the player. Luke Takamura III’s guitar tone continues to speak this truth, inspiring generations of guitarists to value expression as much as power.