[Motoharu Iwadera] – How to Recreate the Sakanaction Sound + Guitar Gear and Tone Settings [Effects & Amps]

① Introduction (Overview of Tone)

Motoharu Iwadera, guitarist of Sakanaction, is widely recognized as a highly sophisticated player who skillfully blends organic guitar sounds into modern digital arrangements. His versatile use of effects and refined tone design supports the band’s eclectic musical direction, ranging from technopop to alternative rock to post-rock. The richness and diversity of his tones remain unmatched among contemporary Japanese guitarists.

The essence of Iwadera’s guitar work lies in the aesthetic of structural beauty that reinforces melody while simultaneously shaping the sonic space. His approach often incorporates not only chord strumming but also arpeggios, feedback, and tremolo-like phrasing. By maximizing the affinity with effects, he frequently plays with the mindset of creating a “guitar as dialogue.”

In standout tracks such as “Identity”, “Tabun, Kaze”, and “Yoru no Odoriko”, his breathtaking combination of delay and pitch-shifting effects is particularly remarkable. Both in live performances and studio recordings, his soundscapes are built through the extensive use of gear, resulting in a three-dimensional sonic world that is both immersive and detailed.

For guitars, Iwadera primarily relies on Fender Stratocasters, but he frequently switches to Jazzmasters, Telecasters, and other models depending on the song. When paired with the VOX AC30 amplifier, this setup achieves a “brilliant yet never cold” tone. In terms of effects, he incorporates a wide range of brands—including T-REX, Fulltone, Strymon, BOSS, and Electro-Harmonix—choosing them according to purpose. He also integrates rack units and switching systems for highly precise sound design.

Interviews and social media posts often highlight his deep commitment to tone-shaping, consistently emphasizing his philosophy of “staging the song through the guitar.” His pedalboards frequently appear in live photos or Twitter posts, drawing enormous interest from fans and musicians alike.

This article will thoroughly explain Motoharu Iwadera’s guitar tone-making, including his actual gear, effects setup, amplifier choices, and affordable alternatives. For anyone aiming to recreate Sakanaction’s sound or seeking inspiration for building their pedalboard, this guide is an invaluable resource. Let’s first step into his world of sound.

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② List of Amplifiers and Features [Sakanaction・Motoharu Iwadera]

At the core of Motoharu Iwadera’s sound lies the legendary VOX AC30, a quintessential British amplifier that has defined rock tones since the 1960s. The AC30 is celebrated for its sparkling high end and punchy midrange, and when paired with Fender guitars, it produces Sakanaction’s signature sound—airy and floating, yet firmly grounded with a tonal center.

The AC30 works exceptionally well in the clean to crunch range. Rather than relying heavily on the amp’s overdrive, Iwadera typically controls gain using pedals, while the amp itself provides a foundation of rich harmonics and dynamic headroom. This approach ensures that both in the studio and on stage, the guitar’s natural tone is preserved while being expanded upon with effects.

One particularly important aspect is the AC30’s compatibility with modulation and pitch-based effects. Its clean headroom allows units such as the Strymon Mobius or Eventide H9 to translate with pristine clarity, capturing every nuance of modulation and delay. This balance makes it possible for Sakanaction’s sound to seamlessly merge electronic textures with live band instrumentation.

In recent years, live setups have also included reports of the DV MARK Multiamp, a professional-grade modeling system that integrates amp simulation and effects. This unit includes modes that emulate the AC30’s tonal character, making it a practical choice for tours where consistency and adaptability to different monitoring environments are required. Switching between the AC30 and the Multiamp likely depends on venue acoustics and logistical considerations.

On stage, Iwadera often runs the AC30 in a clean channel, adjusting range and bite with EQ pedals or boosters. Even when layered with heavy delay, pitch-shifting, or filter effects, the AC30 maintains clarity without collapsing in the mix. Its synergy with PA systems further enhances the immersive live experience Sakanaction is known for.

The amplifiers below summarize Iwadera’s confirmed and reported gear choices. While the AC30 remains his undisputed mainstay, the Multiamp is occasionally integrated depending on context. Taken together, these tools represent the backbone of his tone—classic, versatile, and highly adaptive. It is therefore assumed that his amplifier setup revolves primarily around the VOX AC30 with supplemental use of modeling systems like the DV MARK Multiamp.

Gear	Manufacturer	Amazon Link	Artist	Guitarist	Notes
AC-30	VOX	Search on Amazon	Sakanaction	Motoharu Iwadera	Main amplifier. Brilliant highs and exceptional compatibility with spatial effects.
Multiamp	DV MARK	Search on Amazon	Sakanaction	Motoharu Iwadera	Reported in recent years as a supplemental tool. Includes AC30 emulation modes.

③ Types of Guitars Used and Features [Sakanaction・Motoharu Iwadera]

Motoharu Iwadera’s guitar selection reflects not only his preference for tone and playability but also a deliberate intention to match each instrument’s character with the concept of a given song. Within Sakanaction’s genre-blending approach—where tracks demand both electronic precision and live-band dynamics—the guitar is treated less as a traditional lead instrument and more as one of many sonic textures. This philosophy is why Iwadera uses multiple guitars interchangeably rather than relying on a single all-purpose model.

His most prominent workhorse is the Fender Stratocaster. Although exact models are not publicly disclosed, the bright, single-coil character of the Strat provides an “easily processed raw tone,” ideal for layering with delay, modulation, and pitch-shifting. Its crisp top end and balanced midrange allow effects to sit clearly without muddying the mix. In live performances, the Strat’s natural clarity makes it particularly suited for Sakanaction’s spatially expansive arrangements.

Another notable instrument in his arsenal is the Amrita 60s TL (White Blonde), a Japanese-made Telecaster. Lightweight with a clear midrange focus, this guitar balances easily with distortion effects and achieves strong note definition, ensuring excellent projection in both live and studio contexts. The Telecaster’s bite and cut-through quality are especially valuable for rhythm parts where percussive attack is needed without sacrificing tonal warmth.

Iwadera also incorporates a Gibson SG Standard (TV Yellow), which provides a much thicker tonal palette. With its robust low end and midrange emphasis, the SG serves to add “weight” and “presence” in Sakanaction’s arrangements. When combined with overdrive or distortion, the SG produces an aggressive, raw tone that stands out in tracks leaning toward rock-oriented textures. This instrument is often reserved for songs requiring a bold and commanding guitar voice.

The Fender Jazzmaster is another key player in his rotation, admired for its versatility and unique offset body tone. Its wide single-coil pickups allow for a broader tonal spectrum, from jangly cleans to textured overdriven tones. This guitar supports a wide variety of atmospheric approaches, making it ideal for the genre-crossing palette of Sakanaction. Additionally, he employs a Fender Custom Shop Telecaster equipped with a mute switch—used in live contexts for instant kill-switch style effects that enhance performance dynamics.

These guitars are not only functional choices but also integral to Sakanaction’s sonic identity. Each instrument represents a different layer within the band’s sound architecture, carefully selected to support Iwadera’s role as both guitarist and sonic designer. His consistent use of distinct, character-driven models ensures that the guitar tone always complements, rather than competes with, the band’s electronic textures and vocal presence. Based on available information and photographs, it can be assumed that Iwadera’s live setup generally includes at least five guitars ready for song-specific roles.

Gear	Manufacturer	Amazon Link	Artist	Guitarist	Type	Notes
Stratocaster (Exact model unknown)	Fender	Search on Amazon	Sakanaction	Motoharu Iwadera	Stratocaster	Main model, highly compatible with spatial effects. Bright and versatile.
60s TL White Blonde	Amrita	Search on Amazon	Sakanaction	Motoharu Iwadera	Telecaster	Lightweight Japanese model with clear mids. Excellent live projection.
SG Standard TV Yellow	Gibson	Search on Amazon	Sakanaction	Motoharu Iwadera	SG	Provides thick low-mid presence. Suited for heavier, rock-oriented tracks.
Jazzmaster (Model unspecified)	Fender	Search on Amazon	Sakanaction	Motoharu Iwadera	Jazzmaster	Versatile and ideal for textured, layered tones. Supports atmospheric play.
Custom Shop Telecaster (with mute switch)	Fender	Search on Amazon	Sakanaction	Motoharu Iwadera	Telecaster	Equipped with a mute switch for live kill-switch style effects. Two-tone sunburst.

④ Effects and Pedalboard Setup [Sakanaction・Motoharu Iwadera]

Motoharu Iwadera’s pedalboard is essentially an instrument in itself, meticulously crafted to function as more than just a collection of effects. His role in Sakanaction extends beyond that of a traditional guitarist—he often acts as a sound architect, using pedals to design the spatial dimension of songs rather than simply adding solos or chordal textures. This philosophy has shaped a pedalboard that is both expansive and versatile, covering dynamics, modulation, pitch, and ambient layering.

For overdrive, the Fulltone Full-Drive2 MOSFET has long been his mainstay. Known for its warm yet articulate breakup, the pedal provides a finely grained overdrive that works equally well as a clean boost. Iwadera uses it in a way that leaves room for other effects to breathe, carefully adjusting gain to avoid masking spatial layers. During the band’s earlier Budokan shows, he was also seen using the MAXON OD-820, which later reappeared in his rig after being shelved. Around 2018, the Klon KTR joined his board, often employed for subtle boosts and tone shaping. Additional drive options have included a BOSS DS-1 (WEED Mod) and the BOSS BD-2, demonstrating his flexible approach to distortion depending on song requirements. A particularly important unit is the vintage Marshall The Guv’nor (black original), which provides a raw but balanced crunch and drive with minimal settings.

His modulation setup has evolved over time. Early on, he relied on classics like the Electro-Harmonix Small Clone (chorus) and the Moogerfooger MF-103 (phaser). In recent years, he transitioned to high-end multi-modulation units such as the Strymon Mobius and the Eventide H9. Both offer preset management and MIDI control, giving him the ability to recall specific sounds instantly and adapt seamlessly during live performances.

Pitch-shifting is a central element of Iwadera’s sound. Initially, a BOSS PS-5 was used, but today he often employs up to three Electro-Harmonix Pitch Forks simultaneously. This unusual setup enables complex harmonization, including chord tracking and layered textures that add a three-dimensional quality to Sakanaction’s arrangements. The Pitch Fork is particularly essential for creating the surreal, electronic-inspired guitar voices heard in songs like “Identity.”

Spatial and delay effects are equally significant. Iwadera has used the BOSS DD-20, especially its Warp mode, to produce swirling, dramatic delay textures. More recently, the Strymon TimeLine has become the centerpiece of his delay chain, often controlled in real-time via an expression pedal to dynamically shape feedback and repeats during live shows. For reverb, the Strymon BigSky provides finely detailed ambient layers, wrapping the entire band’s sound in a lush but controlled atmosphere. Rack effects such as the TC Electronic D-Two and M-One XL have also been part of his arsenal for studio-level precision.

In terms of dynamics and EQ, his setup often includes the BOSS GE-10 10-band EQ, which has been a fixture since around 2012, as well as the Free The Tone PA-1QG parametric EQ. Together, these allow meticulous shaping of frequency ranges to maintain clarity among heavy modulation layers. A BOSS CS-3 Compressor is also used to even out dynamics, while routing and volume control are managed by rack-based systems such as the CAE GVGA-2 Rev.3. Classic volume pedals like the Ernie Ball VP and KORG XVP-10 give him hands-on control over swells and balance on stage.

In summary, Iwadera’s pedalboard is less about isolated effect categories and more about constructing a coherent sound environment. From subtle EQ shaping to multi-layered pitch and spatial effects, his board is a direct extension of his role as Sakanaction’s sonic sculptor. It can be assumed that the pedalboard will continue to evolve with new technology, but its guiding principle—expanding guitar into a tool of atmosphere and architecture—remains consistent.

Gear	Manufacturer	Amazon Link	Artist	Guitarist	Effect Type	Notes
Full-Drive2 MOSFET	Fulltone	Search on Amazon	Sakanaction	Motoharu Iwadera	Overdrive	Long-term main OD. Warm, natural breakup with detailed response.
OD-820	MAXON	Search on Amazon	Sakanaction	Motoharu Iwadera	Overdrive	Used during early Budokan era, later reintroduced.
KTR	Klon	Search on Amazon	Sakanaction	Motoharu Iwadera	Booster	Added around 2018. Subtle boost and tone shaping.
DS-1 (WEED Mod)	BOSS	Search on Amazon	Sakanaction	Motoharu Iwadera	Distortion	Seen in DocumentaLy and Sakanaction periods.
BD-2	BOSS	Search on Amazon	Sakanaction	Motoharu Iwadera	Overdrive	Used during SAKANATRIBE tours.
The Guv’nor (original)	Marshall	Search on Amazon	Sakanaction	Motoharu Iwadera	Overdrive	Vintage crunch tone. Operated with minimal settings.
Mobius	Strymon	Search on Amazon	Sakanaction	Motoharu Iwadera	Modulation	Multi-modulation powerhouse. MIDI control and presets.
H9	Eventide	Search on Amazon	Sakanaction	Motoharu Iwadera	Modulation	Advanced presets and effects, complementing Mobius.
Pitch Fork	Electro-Harmonix	Search on Amazon	Sakanaction	Motoharu Iwadera	Pitch Shifter	Currently uses up to three units. Core element of layered textures.

⑤ Tone Settings, EQ, and Mixing Approaches [Sakanaction・Motoharu Iwadera]

The defining feature of Motoharu Iwadera’s approach to tone creation is his deliberate and meticulous design philosophy, where the primary goal is to shape the atmosphere of a song. Rather than positioning the guitar as the dominant melodic voice, he treats it as a versatile sound source, carefully integrated into the broader sonic architecture of Sakanaction’s music. This mindset results in guitar tones that are expansive, immersive, and supportive rather than overpowering.

His use of overdrive settings typically prioritizes clean headroom from the amplifier. The VOX AC30, known for its hi-fi brilliance and elastic midrange, forms the foundation. Overdrives such as the Fulltone Full-Drive2 MOSFET or the Klon KTR are layered on top, providing subtle gain boosts and tonal sculpting. The midrange is often emphasized but controlled, allowing downstream modulation and pitch-based effects to sit clearly in the mix. This approach ensures that the guitar retains definition even when surrounded by layers of electronic instrumentation.

One of his most sophisticated techniques lies in EQ management. Using a combination of the BOSS GE-10 10-band EQ and the Free The Tone PA-1QG, he applies precise frequency shaping both before and after effects. Frequencies between 2kHz and 4kHz—often perceived as harsh or piercing—are slightly attenuated to make room for pitch-shifted textures. In live contexts, he may also reduce highs above 6kHz to prevent clashing with vocals or synths. This careful balancing act enables the guitar to coexist with Sakanaction’s dense sound layers without becoming muddy or indistinct.

The Pitch Fork pitch shifters play a unique role in his setup, often running up to three units simultaneously with different configurations. For example, in “Identity,” he blends octave-up layers to thicken the main guitar part, while in “Rookie” he employs pitch-down settings to create a unison effect with the bass line. This method transforms the guitar into a chameleon-like instrument, capable of supporting harmonic, rhythmic, or atmospheric roles depending on the song. By designing his rig in this way, Iwadera expands the guitar’s function beyond its conventional boundaries.

Spatial effects further define his sound. The Strymon TimeLine is a critical delay unit, frequently controlled via an expression pedal to dynamically adjust feedback during live performances. This real-time manipulation allows him to build tension, introduce swells, or even induce oscillation effects on the fly. For reverb, the Strymon BigSky provides high-resolution ambiance, though he often keeps the Mix control conservative. This ensures clarity of the dry signal while surrounding it with a fine-grained halo of reverb. Meanwhile, the BOSS DD-20’s Warp function remains a secret weapon for producing spiraling, vortex-like soundscapes in tracks such as “Yoru no Odoriko” and “Aoi.”

Live sound design is executed in close coordination with PA engineers. Iwadera often positions his guitar slightly off-center in the stereo field rather than directly in the middle, creating depth and spatial separation. EQ adjustments are also made collaboratively to ensure that his guitar’s frequencies do not mask vocals or synth lines. This collaborative approach underlines his philosophy: the guitar is always in service to the song, never a competing element. The placement of effects in the signal chain, as well as their stereo spread, are adjusted with the larger soundstage in mind.

Dynamic control is equally important. Compressors such as the BOSS CS-3 or EQ shaping pedals manage peaks and sustain, ensuring that modulation and delay tails do not dominate the mix. Subtle use of volume pedals, including the Ernie Ball VP and KORG XVP-10, provides further control for swells and fade-ins, which contribute to the band’s cinematic live presentation. These details make his live tone both adaptable and consistent across different venues.

Ultimately, the essence of Iwadera’s sound is the ability to create a tone that is audible but not intrusive, present yet never overwhelming. His guitar often feels simultaneously “there and not there”—a paradoxical quality achieved through years of experimentation with settings, EQ, and mixing approaches. From a production perspective, this makes his playing invaluable in Sakanaction’s music: the guitar adds dimension and emotional weight without pulling focus away from vocals or electronic layers. It can therefore be assumed that his tone design will continue to evolve with technology, but the guiding principle will remain consistent: the guitar as a medium for sculpting atmosphere rather than dominating it.

⑥ Affordable Alternatives to Recreate the Tone [Sakanaction・Motoharu Iwadera]

While Motoharu Iwadera’s professional setup involves high-end gear and complex signal routing, many of his tonal principles can be recreated with more affordable and beginner-friendly equipment. The key is to focus on the clean tone foundation combined with spatial effects, pitch shifting, and modulation. By carefully selecting practical alternatives, even newcomers can achieve a sound that captures the essence of Iwadera’s approach.

For guitars, the Squier Classic Vibe 60s Stratocaster offers excellent value. Its bright single-coil pickups deliver the clarity and articulation needed for layering with delays and reverbs, closely emulating the foundation of Iwadera’s Strat-based tones. Another versatile option is the Yamaha PACIFICA612V II. With its HSS (humbucker-single-single) configuration, it provides a wider tonal palette, allowing players to switch seamlessly between crisp cleans and mild drive settings. Both guitars are accessible, reliable, and suited for experimenting with space-driven effects.

In terms of amplifiers, while the VOX AC30 remains the ultimate reference, budget-friendly models such as the VOX Pathfinder 10 or VOX VT20X provide impressive results. The VT20X, with its built-in amp modeling, can simulate British-style clean and crunch tones, offering flexibility for home practice and small-stage performance. Its ability to integrate well with external pedals makes it an excellent entry point for approximating Iwadera’s core sound.

For spatial effects, the TC Electronic Flashback 2 Delay stands out as an affordable yet high-quality choice. It delivers lush, clear delay tones and allows custom “TonePrint” patches that can mimic Sakanaction-inspired textures. Another highly practical unit is the Zoom MS-70CDR, a compact multi-effect pedal covering chorus, delay, and reverb. As a single device, it mirrors Iwadera’s reliance on layering spatial effects while keeping costs low, making it a top recommendation for beginners aiming to explore atmospheric tones.

Pitch-shifting can be achieved with the Donner Harmony, an inexpensive entry-level alternative to the Electro-Harmonix Pitch Fork. While its tracking precision is not as advanced, it provides sufficient functionality for simple harmonies and experimental textures. Additionally, the Zoom MS-70CDR also includes pitch-shifting functions, giving beginners more tools within one unit.

For overdrive tones, the BOSS SD-1 and Joyo Vintage Overdrive are excellent substitutes. Both deliver a warm midrange push that interacts well with clean amps, capturing Iwadera’s philosophy of generating drive primarily from pedals. The SD-1’s long-standing reputation ensures reliability, while the Joyo option is particularly budget-friendly yet musically effective.

Finally, for EQ and dynamics control, options like the Caline 10 Band EQ and BOSS CS-3 Compressor provide essential tools for shaping tone and managing volume peaks. With these, players can refine their sound in ways similar to Iwadera, ensuring clarity even when multiple effects are stacked.

Together, these alternatives create a toolkit for beginners and intermediate players to approximate Iwadera’s layered, atmospheric tones at a fraction of the cost. While they may not fully capture the nuance of his professional rig, they allow aspiring guitarists to understand and practice the core concepts: clean foundations, EQ discipline, and the strategic use of delay, reverb, modulation, and pitch-shifting. With these affordable solutions, it is entirely possible to build a “Sakanaction-inspired” soundscape.

Category	Gear	Manufacturer	Amazon Link	Artist	Guitarist	Notes
Guitar	Classic Vibe 60s Stratocaster	Squier	Search on Amazon	Sakanaction	Motoharu Iwadera	Bright clean tone. Strong compatibility with delay and reverb.
Guitar	PACIFICA612V II	Yamaha	Search on Amazon	Sakanaction	Motoharu Iwadera	HSS pickup layout for versatility across clean and drive tones.
Amp	VT20X	VOX	Search on Amazon	Sakanaction	Motoharu Iwadera	Modeling features emulate British clean/crunch tones.
Delay	Flashback 2	TC Electronic	Search on Amazon	Sakanaction	Motoharu Iwadera	Supports custom TonePrint patches for Sakanaction-style textures.
Multi-Effect (Spatial)	MS-70CDR	Zoom	Search on Amazon	Sakanaction	Motoharu Iwadera	Chorus, reverb, and delay in one compact pedal. Ideal for beginners.
Pitch Shifter	Harmony	Donner	Search on Amazon	Sakanaction	Motoharu Iwadera	Entry-level replacement for Pitch Fork. Suitable for simple harmonies.
Overdrive	Vintage Overdrive	Joyo	Search on Amazon	Sakanaction	Motoharu Iwadera	Affordable and effective with midrange warmth.
Equalizer	10 Band EQ	Caline	Search on Amazon	Sakanaction	Motoharu Iwadera	Budget-friendly substitute for GE-10. Useful for frequency sculpting.

⑦ Summary and Conclusion [Sakanaction・Motoharu Iwadera]

Within the sonic landscape of Sakanaction, Motoharu Iwadera’s guitar serves as far more than a conventional rhythm or lead instrument. His tones function as a device for spatial design, shaping the band’s sound with subtle precision. Rather than dominating the mix, his guitar often provides dimension, atmosphere, and support, allowing the vocals and electronic layers to flourish. This philosophy distinguishes Iwadera as a guitarist whose value lies not in flash but in thoughtful integration.

The foundation of his approach begins with “easily processed raw tones”. By relying on versatile Fender models and the VOX AC30 as his tonal base, he creates a clean yet characterful signal that responds well to effects. From this foundation, layers of overdrive, EQ adjustments, and spatial effects are added. The consistent thread through his work is the strategic use of pitch shifters, delays, and reverbs, which transform the guitar into an instrument capable of serving harmonic, rhythmic, and ambient roles simultaneously.

His guitar choices—Stratocasters, Telecasters, SGs, and Jazzmasters—are not random but carefully selected for their distinct tonal identities. Each instrument is deployed in contexts that maximize its character, whether it be the clarity of a Strat, the bite of a Tele, or the fullness of an SG. This intentionality creates the illusion of multiple guitarists, even though the textures all originate from a single player.

Another critical aspect of his philosophy is restraint. His gear choices are never eccentric or excessive for the sake of novelty. Instead, he employs exactly what is needed to fulfill the song’s vision. This pragmatic approach means that even beginners or intermediate players can replicate aspects of his tone with affordable gear, provided they understand the principles of clean foundations, EQ discipline, and layered spatial processing.

As seen in interviews, live photos, and social media posts, Iwadera consistently emphasizes a “song-first” mindset. The guitar is never forced to the forefront unnecessarily; rather, it takes on roles such as supporting the vocals, guiding the atmosphere, or filling sonic space. This humility and awareness contribute greatly to the depth and sophistication of Sakanaction’s music.

Ultimately, the essence of Iwadera’s tone-making is not just about pedals, amps, or guitars—it is about perspective. By viewing the guitar as one element within a larger sonic ecosystem, he achieves tones that are both unique and timeless. For readers and players seeking to capture a similar essence, the lesson is clear: focus less on chasing exact gear, and more on understanding the relationship between guitar, space, and song. With this mindset, one can begin to replicate the atmospheric depth and subtle brilliance that define Motoharu Iwadera’s contribution to Sakanaction.

Use this guide not only as a catalog of his equipment but also as inspiration to rethink the guitar’s role in your own music. By learning from Iwadera’s philosophy—precision, restraint, and spatial awareness—you can craft tones that serve the song and resonate with listeners on a deeper level.