【Daisuke Komura】How to Recreate the NICO Touches the Walls Sound + Guitar Gear and Tone Settings【Effects & Amps】

Introduction (Overview of Tone)

Daisuke Komura, guitarist of NICO Touches the Walls, is renowned in the Japanese rock scene for his guitar sound that perfectly balances “melodic sensibility and sonic atmosphere.” His playing style doesn’t emphasize technical prowess but rather focuses on “tones and spacing that elevate the vocals,” which defines his characteristic guitar work.

In representative songs like “Hologram,” “Diver,” and “Bicycle,” his crisp Stratocaster-style crunch and floating tones using extensive spatial effects are particularly striking. His sense of boldly changing the range of distortion according to each song also shines, making him truly an embodiment of “listenable guitar.”

Within the band, he takes on the role of “controlling the spatial sound” in relation to the bass and drums’ foundation. Particularly, his phrases utilizing chorus and delay can be considered the essence of NICO’s sound. In guitar solos, he avoids over-distortion and constructs melodies that trace the song’s narrative, reinforcing the overall storytelling through his guitar.

His main guitars center around Fender Stratocasters and Jazzmasters, with many models that showcase personality in their appearance and pickup configurations. His effects board features reliable gear from BOSS, Strymon, and Fulltone. Sometimes he adopts simple setups that seem almost direct-to-amp, revealing both his equipment obsession and the aesthetic of musical subtraction.

Thus, Komura’s sound radiates the charm of being “simple yet profound” through the fusion of rock energy and delicate effects. His tone creation offers valuable lessons to both guitar beginners and veterans alike.

This article comprehensively covers Daisuke Komura’s gear usage, effects configuration, and EQ settings for tone creation, carefully explaining the points necessary for recreation.

▶ Search official YouTube videos of NICO Touches the Walls

List of Amplifiers and Features【NICO Touches the Walls・Daisuke Komura】

Daisuke Komura’s amplifier selection is characterized by configurations that emphasize distortion grain and compatibility with spatial effects. His guitar sound varies expressively from song to song – sometimes featuring gritty crunch, sometimes clean arpeggios, and sometimes rough distortion. This diverse sound range is supported by his carefully selected amplifier lineup.

The most representative is the MATCHLESS DC-30. This Class A combo amplifier naturally draws out rich harmonics and warm clean tones to beautiful crunch. It’s particularly suitable for tones like those in NICO’s songs “Hologram” and “THE BUNGY,” where the guitar position straddles rhythm and melody. The tube responsiveness faithfully reproduces Komura’s nuances.

Other amplifiers confirmed for live use include the Fender Twin Reverb and Marshall JCM2000. Fender amps have excellent compatibility with clean tones and spatial effects, fitting well with NICO’s songs that heavily use chorus and reverb. Marshall, on the other hand, demonstrates its power in songs requiring distortion and boost, particularly in powerful guitar sounds like “Rawhide” and “Broken Youth.”

In live performances from the late 2010s, he’s been observed using multi-effects units (Line 6 M9 and Helix) through DI and line recording in conjunction, showing flexible output design adapted to live environments and song styles. Komura’s amplifier selection focuses on “not over-distorting” and “good effects compatibility.” This evidences his perspective of “supporting the overall sound balance of the song” rather than “creating character through sound” as a guitarist, it is assumed.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Notes
DC-30	MATCHLESS	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Mainly used for clean to crunch tones, representative amp with numerous live confirmations.
Twin Reverb	Fender	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Excellent compatibility with spatial effects. Used in recordings and clean-focused songs.
JCM2000	Marshall	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Used for songs requiring powerful distortion. Good midrange presence that suits band arrangements.
Helix Floor	Line 6	Search on Amazon	NICO Touches the Walls	Daisuke Komura	DI usage observed in recent live performances. Capable of switching between various amp models.

Types of Guitars Used and Features【NICO Touches the Walls・Daisuke Komura】

Daisuke Komura’s guitar selection is characterized by choices that combine sound versatility with song compatibility. NICO Touches the Walls’ guitar sound requires diverse sonic imagery from clean attack to distortion sustain and spatial resonance, showing very strategic attention to guitar types and pickup configurations.

His main instrument is the Fender Jazzmaster. Its unique harmonic character, sustain, and somewhat gentle attack match Komura’s playing style perfectly, with the roundness and range of the mid-low frequencies playing an important role. This model has excellent compatibility with spatial effects in songs like “Hologram” and “image training,” functioning as a key element that blends into the overall mix without losing the guitar’s presence.

Additionally, Fender Stratocaster models are frequently used in live performances and recordings. These excel at reflecting picking nuances and providing sharp cutting and arpeggio definition, demonstrating their power in rhythmic songs like “Bicycle” and “Delusional Member A.” The pickup configuration likely uses modified HSS or SSH setups, balancing both thickness and presence between clean and drive tones.

Live performances have also confirmed the use of Gibson Les Paul Junior, believed to be used in louder numbers (“Broken Youth,” “Rawhide,” etc.) to achieve more direct sound and immediate picking response. The P-90’s midrange-focused tone, combined with Marshall-type amps, creates very tight, rock-oriented sounds.

What’s common in Komura’s guitar selection is prioritizing song matching above all. Rather than mere appearance or brand preference, selections are based on ensemble thinking: “what kind of space do we want to create” and “where to fill sound and where to pull back.” This shows clear musical intention behind each guitar choice, it is assumed.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Guitar Type	Notes
Jazzmaster	Fender	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Jazzmaster	Characterized by mid-low frequency roundness. Excellent spatial effects compatibility, used in Hologram.
Stratocaster	Fender	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Stratocaster	Used for rhythm-focused numbers. Estimated to be HSS modified models.
Les Paul Junior	Gibson	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Les Paul Junior	Used for loud numbers. Features P-90’s direct tone character.

Effects and Pedalboard Setup【NICO Touches the Walls・Daisuke Komura】

Daisuke Komura’s pedalboard is designed with the concept of “achieving musically diverse sounds with minimal necessary configuration.” His selection considers not only tone accuracy and operability but also live venue handling and trouble resistance, representing truly “professional sound subtraction” construction.

Particularly notable is his utilization of BOSS products. With OD-3 for overdrive, CE-5 for chorus, and DD-20 or DD-7 for delay among standard pedals, it’s apparent that Komura seeks “tone reproducibility and stability” from his effects. Each pedal’s settings are precisely adjusted per song – for example, “Hologram” employs three-dimensional soundscape creation combining reverb and delay.

For distortion, he sometimes uses models with good mid-high frequency presence like Fulltone OCD and Pro Co RAT, flexibly selecting based on venue acoustics and setlist requirements. Additionally, Xotic EP Booster is likely positioned pre-distortion for input gain adjustment and midrange reinforcement.

For spatial effects, high-quality reverb/delay units like Strymon Timeline and BlueSky are sometimes incorporated, forming the core of floating sounds in songs like “THE BUNGY” and “Delusional Member A.” These units also offer preset management, ensuring stable reproducibility in tours and venues with frequent set changes.

As multi-effects units, Line 6 M9 and recently Helix Stomp usage is suspected, showing styles that compactly control distortion, spatial, and modulation effects. These represent practical choices for handling multiple roles within limited footprint space.

Furthermore, to prevent signal degradation, buffers/patch bays like Free The Tone PA-1QB have been reported, showing attention to signal freshness. For switching systems, Providence PEC-2 usage has been confirmed in some images, implementing setups for instant tone changes between songs, it is assumed.

Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Effect Type	Notes
OD-3 OverDrive	BOSS	Search on Amazon	NICO Touches the Walls	Daisuke Komura	オーバードライブ	Used for basic distortion tone. Warm and sticky sound quality.
CE-5 Chorus Ensemble	BOSS	Search on Amazon	NICO Touches the Walls	Daisuke Komura	コーラス	Spatial effect for creating dimension and breadth. Optimal for arpeggios.
DD-20 Giga Delay	BOSS	Search on Amazon	NICO Touches the Walls	Daisuke Komura	ディレイ	Utilizes long delays and stereo delays. Core of spatial sound systems.
OCD	Fulltone	Search on Amazon	NICO Touches the Walls	Daisuke Komura	オーバードライブ	Characterized by midrange projection. Essential for distortion sections.
EP Booster	Xotic	Search on Amazon	NICO Touches the Walls	Daisuke Komura	ブースター	Pre-stage booster that adds sheen and density to sound. Original tone focused.
Timeline	Strymon	Search on Amazon	NICO Touches the Walls	Daisuke Komura	ディレイ	High-resolution delay enabling complex reverb effects. Supports song depth.
BlueSky	Strymon	Search on Amazon	NICO Touches the Walls	Daisuke Komura	リバーブ	Multi-functional reverb optimal for ambient tones.
M9	Line 6	Search on Amazon	NICO Touches the Walls	Daisuke Komura	マルチエフェクター	Consolidates multiple effects into one unit. Contributes to pedalboard space saving.
PA-1QB	Free The Tone	Search on Amazon	NICO Touches the Walls	Daisuke Komura	バッファー	Signal management to prevent tone degradation. Standard in professional boards.
PEC-2	Providence	Search on Amazon	NICO Touches the Walls	Daisuke Komura	スイッチングシステム	Instant tone transitions with preset switching. Core of live sets.

Tone Settings, EQ, and Mixing Approaches【NICO Touches the Walls・Daisuke Komura】

Daisuke Komura’s guitar sound radiates unique presence that combines delicate spatial expression with solid rock feel. His tone creation is a three-dimensional soundscape completed not just through gear configuration, but through amp settings, effects positioning, EQ, and PA/recording mix processing.

Regarding amp settings, since he often centers around clean amps like MATCHLESS DC-30 and Fender Twin Reverb, the amp-side EQ is set toward midrange with slightly restrained presence and highs to form natural tones that aren’t overly bright. This setting is crucial as a prerequisite for optimizing compatibility with spatial effects.

For distortion pedal settings, Fulltone OCD and Ibanez TS9 are driven “within ranges that don’t compromise the original tone’s contour.” GAIN is typically kept around 9-11 o’clock, achieving natural crunch feel through balance with amp volume. When using OCD, TONE is set around 12-1 o’clock to push midrange slightly, securing presence while maintaining ear-friendly sound.

For spatial effects, stereo delay and multi-tap delay using Strymon Timeline and Line 6 DL4 create configurations conscious of three-dimensional sound image spreading left and right. In cinematic songs like “Hologram” and “image training,” intentionally retained reverb creates “spaces with lingering resonance.” For reverb, Electro-Harmonix Holy Grail serves as the foundation, utilizing plate reverb and hall settings. This represents the philosophy of spatially “placing” the guitar’s position without interfering with vocals.

In mixing aspects, Komura’s guitar maintains clear “midrange positioning” while avoiding conflicts with bass and vocals. Recording often blends mic recording with line recording, combining the thick midrange from MATCHLESS cabinets with quick attack from DI, creating an exquisite balance of clarity, presence, thickness, and definition.

In aggressive tracks like “Rawhide,” light compression is applied to guitar to control transients and enhance unity with the rhythm section. Conversely, in lyrical numbers like “Diver,” almost direct-amp natural tones are used to fully utilize playing touch dynamics.

Overall, Komura’s tone creation is guided by the philosophy of “crafting to align with emotion and groove” rather than “technical adjustment,” establishing NICO’s distinctive “sonic worldview” through close collaboration with PA engineers.

His EQ approach focuses on not over-emphasizing lows, not over-cutting highs, and centering the core in midrange – an important guideline applicable regardless of amp or pedal choice.

These tone-crafting insights should be incorporated not merely through imitation, but by understanding “why these settings are chosen” and adapting them to your own performance environment and genre. The key is thoughtful application rather than blind copying, it is assumed.

Affordable Alternatives to Recreate the Tone【NICO Touches the Walls・Daisuke Komura】

While Daisuke Komura’s tone creation includes quality amps and high-end effects, methods for beginners and intermediate players to approach this sound at relatively affordable prices certainly exist. Here, we introduce gear available for around $100-500 that can recreate Komura’s tone, with detailed explanations of “why they’re similar.” This should be useful for home practice and first live performances.

These budget-friendly alternatives focus on capturing the essential characteristics of Komura’s sound: the balance between clean articulation and musical distortion, spatial depth without muddiness, and midrange focus that sits well in a band mix. The key is understanding that expensive gear doesn’t automatically create great tone – it’s about knowing how to use what you have effectively.

For overdrive, the Boss SD-1 Super OverDrive provides excellent value, offering TS-9 type characteristics with natural midrange push that mimics the OCD’s fundamental qualities. Its smooth compression and musical clipping make it ideal for both rhythm work and lead passages that need to cut through without being harsh.

Spatial effects are crucial to the NICO sound, and modern budget options can achieve remarkable results. The NUX Duotime offers multiple delay types including the stereo and multi-tap delays essential for recreating songs like “Hologram.” Its tap tempo functionality ensures proper synchronization with songs, while its tone quality rivals units costing several times more.

For reverb, the TC Electronic Hall of Fame Mini provides the ambient textures needed for NICO’s atmospheric passages. Its TonePrint technology allows downloading of professional settings, potentially including patches specifically designed to emulate vintage units like the Holy Grail.

The clean platform is equally important – amps like the Fender Champion 40 provide the headroom and clarity needed for spatial effects to breathe. Its built-in effects can supplement a basic pedal setup, though external pedals typically offer more control and better sound quality for serious applications, it is assumed.

Type	Gear Name	Manufacturer	Amazon Best Price URL	Artist	Guitarist	Notes
Overdrive	Boss SD-1 Super OverDrive	BOSS	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Natural midrange output, crunch similar to TS systems. Perfect TS9 alternative.
Delay	NUX Duotime	NUX	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Multi-functional delay similar to Strymon Timeline and DL4. Tap tempo compatible.
Reverb	TC Electronic Hall of Fame Mini	TC Electronic	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Simple yet TonePrint customizable. Sufficient Holy Grail alternative.
Fuzz	Joyo Voodoo Octave	Joyo	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Heavy fuzz tone similar to MAD FUZZ. Solo section texture reproducible.
Modulation	Behringer UC200	Behringer	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Stereo chorus for spatial breadth. CE-5 alternative candidate.
Booster	Mooer Pure Boost	Mooer	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Natural boost similar to EP Booster. Adds tension to sound.
Amplifier	Fender Champion 40	Fender	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Clean tone focused with good spatial effects compatibility. MATCHLESS-style operation possible.
Guitar	Squier Classic Vibe Jazzmaster	Squier	Search on Amazon	NICO Touches the Walls	Daisuke Komura	Mid-low frequency sweetness characteristic of Jazzmaster. Optimal entry model for Hologram-style tones.
Guitar	Yamaha PACIFICA 612VIIX	Yamaha	Search on Amazon	NICO Touches the Walls	Daisuke Komura	HSS configuration for wide tone creation range. Stratocaster-style sound with modern design.

Summary and Conclusion【NICO Touches the Walls・Daisuke Komura】

NICO Touches the Walls guitarist Daisuke Komura’s sound embodies a style that cannot be described through gear configuration alone – it contains “musical subtraction” and “the aesthetics of negative space.” His guitar never overpowers the song, yet consistently maintains presence within the composition. This exquisite sense of balance represents the essence of his tone creation.

While many rock guitarists focus on “how thick” and “how prominent” their sound can be, Komura constantly considers “how to harmonize with the entire band” and “which frequency ranges should be left open.” Therefore, his sound design often centers around clean to crunch tones focused on midrange, achieving “sound that shines within the ensemble” rather than flashiness as a solo instrument.

Regarding effects, rather than depending on expensive gear, he precisely positions practical and standard equipment from BOSS, Fulltone, and Electro-Harmonix, with thorough attention to “which sounds to retain and which to eliminate.” For example, using fuzz as a booster in solos, not making spatial effects too deep – each choice reflects an “aesthetic of restraint.”

Particularly noteworthy is his thorough consciousness in amp settings and EQ processing. His tone foundation is completed at the amp level, with pedals used for seasoning. This stance creates stability and reproducibility in live and recording situations.

Above all, Komura’s sound contains “emotion.” The expression in lead playing, the tension in rhythm cutting, the resonance feel in arpeggios – all of these are realized through his attitude of “how to engage with sound” beyond simply “how to make the gear sound.”

What’s important for readers attempting to recreate Komura’s sound is not just copying his gear, but considering “what kind of space is he trying to create” and “why is he choosing this sound.” This represents the true first step toward approaching his tone.

If this article has brought you even one step closer to Daisuke Komura’s tone creation, I’m delighted.