[Kawatani Enon] How to Recreate the Gesu no Kiwami Otome.・indigo la End・Jeni Hai Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Enon Kawatani is the frontman of multiple bands, including Gesu no Kiwami Otome, indigo la End, and Jeni Hai. He is known for his unique sound characterized by a “crunchy yet light tone,” “diverse playing styles that switch between multiple sounds,” and a “wide range of expressive capabilities from backing to lead.” His guitar work is particularly notable for its clean tones infused with elements of jazz and funk, especially in Gesu no Kiwami Otome, where intricate chord progressions are complemented by unique cutting techniques.

In indigo la End, he explores a more delicate and mellow sound, while in Jeni Hai, he employs playful and experimental tones. Kawatani’s sound design is known to change significantly from tour to tour; during the 2024 tour, he utilized a two-tier effect board, combining multiple boosters and delays to express a variety of tones. This flexibility and curiosity are what make him an appealing guitarist.

For example, in the song “Watashi Igai Watashi Janai no” (Gesu no Kiwami Otome), his crisp cutting and lead work drive the track, while “Natsu Yoru no Magic” (indigo la End) features deep reverb and delay that create a dreamy atmosphere. In Jeni Hai’s “Kata Me de Ijou ni Koishiteru,” he showcases a funky and humorous tone, demonstrating his ability to adapt his sound to each band.

Thus, Kawatani’s sound design goes beyond mere gear selection; it is a strategic approach to maximize the concept of the song and the expressiveness in live performances. In the following sections, we will delve into the actual amplifiers, guitars, and effects he uses, providing tips for recreating his sound.

▶ Search official YouTube videos of Gesu no Kiwami Otome

▶ Search official YouTube videos of indigo la End

▶ Search official YouTube videos of Jeni Hai

List of Amplifiers and Features

Enon Kawatani’s choice of amplifiers for live performances and recordings spans a wide range, from classic British sounds to modern high-end amps. His primary focus is on achieving a crunchy sound while also creating clear and vibrant clean tones and solid distortion for leads, depending on the song.

A notable amplifier frequently seen in his setup is the HIWATT CUSTOM HIWATT 100. This model, emblematic of British rock, is known for its powerful clean headroom and punchy sound. Kawatani uses it during live performances with Gesu no Kiwami Otome, obtaining a clean tone ideal for crisp cutting and arpeggios.

He also employs the ORANGE PPC-412 cabinet, which enhances the low-end thickness in his sound. The NAYLOR SUPER-DRIVE SIXTY SD-60 is another model that produces an American drive sound, fitting well with the mellow crunch tones in indigo la End.

Additionally, Kawatani values dimensionality in sound, incorporating models like Divided by 13 and MAGNATONE Super Fifty-Nine M-80 (BECKTONE specification). These are renowned high-end studio amps known for their rich harmonics and smooth tones. In experimental projects like Jeni Hai, he often alters the amp itself as part of the sound design.

Other amps confirmed in his setup include the SHINOS LUCK 6V Head White and Bogner Ecstasy 101B, showcasing his ability to switch between different amp characters depending on the stage or tour. This approach allows Kawatani’s sound to remain flexible and adaptable to the world of each song or project.

Overall, Kawatani’s amplifier selection emphasizes “large clean headroom,” “dimensional range,” and “versatility to respond to various genres.” Official interviews and live footage suggest that he continually experiments with multiple amps, flexibly integrating the best gear for each period.

Types of Guitars Used and Features

Enon Kawatani’s guitar collection boasts an overwhelming number and variety, with his main instruments changing depending on the period and band. He generally seeks a “crunchy yet vibrant sound” and “responsiveness suitable for chord-based playing,” utilizing a wide range of pickups including P-90s, single coils, and sometimes humbuckers.

The most representative main guitar is the fano guitars Alt De Facto GF6. He owns multiple colors, including red and black-red, equipped with two Lollar P-90 type pickups. He often uses it in a fixed mix position of rear plus front, making it suitable for both cutting and arpeggios. This guitar frequently appears in live performances with Gesu no Kiwami Otome and has become a trademark for him.

Also from the fano series, he uses the Jazzmaster-style Alt De Facto JM6, the light blue SP6, and the two-tone sunburst PX6. Live photos and interviews confirm that he switches between these depending on the setlist and tour. Additionally, he loves the unique Novo Guitars SECTIS (Red & White) and the quirky American Showster AS-57, which features a tail lamp that lights up, drawing fan attention with its distinctive look and sound.

In the vintage category, he uses the Fender Stratocaster 1971 (white with a rosewood fretboard), Fender Jazzmaster 1962, and Fender ’69 Telecaster Thinline. In indigo la End, the warm clean tones produced by these Fender guitars shine through. He also incorporates classic Gibson models like the Gibson Les Paul Custom 1975 and Gibson Firebird Non-Reverse 1966, often utilized for leads and distortion parts.

Furthermore, he owns multiple Psychederhythm Psychomaster guitars from a domestic brand, featuring a variety of colors such as Cattleya Mica Metallic, See-Through Blue, and Reddish Purple Mica Metallic, which frequently appear in live performances. This visually complements Kawatani’s pop and colorful worldview.

For acoustic work, he primarily uses the Gibson J-50 1956, confirmed to have Elixir NANOWEB strings. He also employs the Beffnick Brace Work’s Homie Cut and a YAMAHA classical guitar. In indigo la End’s ballads, the acoustic sound plays a significant role.

In 2023, he made headlines on social media for purchasing beginner-friendly guitars like the YAMAHA Pacifica 112V and a red Telecaster, showcasing not only practicality but also a playful musical spirit. Overall, Kawatani’s guitar selection is centered around “flexibility to match the worldview of each song and band,” allowing him to achieve a diverse sound without being tied to a single instrument.

Effects and Pedalboard Setup

Enon Kawatani’s pedalboard configuration changes significantly from band to band and tour to tour. He often employs a two-tier setup, allowing for quick transitions between clean cutting tones, thick leads, and even experimental sounds. His basic structure typically involves “boosters for volume and tone adjustments, with delays and reverbs to enrich the space,” while sometimes incorporating bold pitch shifts and fuzz.

During the Gesu no Kiwami Otome era, his representative setup included multiple boosters like the Providence FBT-1 FINAL BOOSTER and Union Tube & Transistor More Clean Booster, enabling gradual control over volume. He also uses BOSS DD-6 and TC Electronic FLASHBACK DELAY to vary the texture of repeats according to each song. Additionally, he adds unique octave shifts and pitch effects with the Electro-Harmonix POG and Digitech Whammy.

In indigo la End, he integrates more delicate and profound effects, incorporating studio-like pedals such as the Roger Mayer RM 58 Limiter and Umbrella Company EQ-201 PREAMP to emphasize subtle nuances. He also uses the Strymon DECO and BOSS VB-2 Vibrato to create spatial fluctuations.

For Jeni Hai, his board features playful elements, including the Wren and Cuff THE CAPRID (a Big Muff-style fuzz) and Mantic Effects Flex, showcasing unique sound design that aligns with the band’s experimental color palette. In the latest 2024 “Reverence Tour,” he combined multiple overdrives like the Bondi Effects Del Mar Overdrive mk2 and Ceriatone Centura, along with EarthQuaker Devices Avalanche Run and Strymon blueSky to create a rich, dimensional reverb.

Overall, Kawatani’s effects setup is characterized by “flexibility customized for each song or project.” Rather than relying on a fixed board, he frequently swaps pedals to pursue the best sound, allowing for new discoveries in each live performance.

Tone Settings, EQ, and Mixing Approaches

Kawatani’s sound design is characterized by “a light crunch distortion base while maintaining the flexibility to switch between different tones for each song.” Rather than relying solely on the amp’s direct sound, he utilizes boosters, EQ, and spatial effects to fine-tune subtle nuances. In live performances, he often prepares at least three different sounds (backing, lead, solo) within a single song, frequently using loopers and switchers for transitions.

EQ adjustments typically involve boosting the midrange slightly for clean to crunch settings, keeping the low end tight, and brightening the high end just a bit. This approach ensures that the guitar sound does not get buried when mixed with keyboards and bass. For instance, in “Watashi Igai Watashi Janai no” by Gesu no Kiwami Otome, it is assumed that a slight boost around 3kHz is applied to emphasize the attack needed for cutting, while low frequencies below 80Hz are cut.

Using boosters effectively is also crucial. By layering pedals like the Providence FBT-1 and Union Tube & Transistor More, he not only adjusts volume but also shapes tone. For example, during lead solos, he lightly boosts the midrange, while keeping the backing clean to maintain balance with other instruments.

Channel switching on amps typically involves starting with clean amps like HIWATT, gradually adding distortion through overdrive pedals. He rarely pushes for high gain, aiming instead for a level of distortion that does not muddy chord work. Particularly in indigo la End, where delicate arpeggios are prevalent, he tends to avoid deep distortion, favoring boutique pedals to adjust texture.

Spatial effects placement is characterized by using two or more delays. The BOSS DD-6 is often used for short delays to add thickness to phrases, while the TC Electronic FLASHBACK DELAY and EarthQuaker Devices Avalanche Run serve as long delays to create dreamy reverberations. Reverb is primarily handled by the Strymon blueSky, with hall or plate reverb selected according to the song.

Mixing techniques are also notable. Collaborating with the PA engineer, Kawatani often opts for a center-focused guitar placement rather than spreading it to the sides, allowing it to coexist with vocals. However, he expands the return of delays and reverbs in stereo, achieving a “center core plus lateral spread” dual structure. This setup results in a sound that is “floating yet distinctly outlined,” characteristic of Kawatani’s style.

Specific settings examples (assumed) might include:

• Amp EQ: Bass 4 / Middle 6 / Treble 6 / Presence 5
• With booster ON: Midrange +2 to +3dB
• Delay: Short (about 250ms, 2 repeats), Long (600-800ms, 4 repeats, mix 25%)
• Reverb: Hall or Plate, mix 20-30%

These settings allow for a range of sounds, from transparent jazz-like chord work to the expansiveness needed for lead solos. Listening to live recordings, one can notice how the sound pressure naturally rises at the moment a guitar solo enters, maintaining presence without excessive distortion.

In summary, Kawatani’s sound design reflects a “balance-oriented approach that is always aware of the song and the overall ensemble.” His EQ and effect settings are not flashy but are crafted to support the structure of the music. Whether in live performances or recordings, he is assumed to flexibly assemble settings optimized for the band’s sound at any given time.

Affordable Alternatives to Recreate the Tone

While Enon Kawatani’s gear includes many boutique pedals and vintage guitars that can be quite expensive, it is possible for beginners and intermediate players to recreate similar nuances using commercially available equipment. Here, we will introduce alternative gear that can be obtained for around $100 to $500, focusing on key points of his sound design.

The basic concepts are as follows:

• Start with a light crunch to clean tone (adjust with amp settings and overdrive)
• Layer multiple boosters/overdrives to switch between tones
• Use both short and long delays to create dimensionality
• Add atmosphere with reverb and vibrato

For example, instead of high-end boosters like Providence or Union Tube & Transistor, using the BOSS SD-1 or Electro-Harmonix Soul Food can yield a similar texture. For spatial effects, the BOSS DD-8 is multifunctional, covering both short and long delays. For reverb, the TC Electronic Hall of Fame Mini or BOSS RV-6 can easily recreate the dreamy echoes typical of indigo la End.

While it may be challenging to acquire vintage Fenders or fano guitars, the Squier Classic Vibe series or YAMAHA Pacifica series can capture the essence well. Notably, the Pacifica 112V was purchased by Kawatani himself in 2023, making it an excellent choice for beginner to intermediate practice.

If assembling a complex two-tier board is daunting, consider using multi-effects units like the BOSS GT-1 or ZOOM G5n. These devices encompass boosters, overdrives, delays, reverbs, and modulation, allowing for a comprehensive recreation of Kawatani’s sound in one unit.

Overall, the essence of Kawatani’s sound lies in “the flexibility to switch between multiple sounds,” “dynamics control using boosters,” and “creating a floating sensation with spatial effects.” Therefore, beginners should start by acquiring a set of boosters, delays, and reverbs to capture the core of his sound.

Summary and Conclusion

In summary, Enon Kawatani’s sound design reveals that he is not merely a gear enthusiast or a guitarist reliant on effects, but rather a practical guitarist who selects sounds optimal for the concept of the song and the ensemble. To express the different worldviews of each band, he flexibly switches between guitars, amplifiers, and effects.

In Gesu no Kiwami Otome, he utilizes sharp cutting tones centered around clean to crunch, leveraging his roots in funk and jazz. In indigo la End, he focuses on delicate arpeggios accompanied by ethereal reverberations, carefully layering delays and reverbs. In Jeni Hai, he expresses a playful and experimental sound, actively incorporating fuzz and pitch shifts for quirky tones.

The essence of Kawatani’s sound design lies in the “layering of tones and instant switching.” By consistently integrating multiple boosters and employing both short and long delays, he crafts different soundscapes for various contexts. This method aligns perfectly with the complex interplay of melody, rhythm, and harmony in his compositions.

Moreover, his approach to gear usage, along with EQ and collaboration with the PA, ensures that his sound maintains presence without being buried. Rather than simply producing flashy sounds, he aims for a sound design that resonates with the entire ensemble, resulting in an impression that “the entire song approaches the audience as a singular, grand soundscape.”

For beginners attempting to emulate Kawatani’s sound, there is no need to invest in expensive fano or vintage Gibsons. Starting with a crunch amp, booster, delay, and reverb set will sufficiently capture the essence. By focusing on clean chord resonance and utilizing boosts for solos, one can get closer to the core of his sound.

Overall, Kawatani’s sound design exemplifies a harmonious coexistence of “the beauty of subtraction” and “the addition of playfulness.” By stripping down to clean resonances and occasionally adding bold effects, he creates a unique sound. His flexibility and diversity showcase a rare presence in the contemporary Japanese pop-rock scene, making the study of his sound design a valuable insight for many guitarists.