[Hata Motohiro] How to Recreate the Hata Motohiro Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hata Motohiro is a unique singer-songwriter and guitarist known for his captivating sound. His tone is characterized by warmth and clarity, primarily centered around acoustic guitars, creating a rich and resonant soundscape.

In iconic songs like “Uroko,” “Ai,” and “Himawari no Yakusoku,” he masterfully alternates between soft arpeggios and powerful strumming, crafting a signature “embracing sound.” During live performances, his voice and guitar blend seamlessly, drawing the audience into a narrative world.

One of Hata’s defining traits is his collection of distinctive acoustic guitars, including vintage Gibsons, which he uses selectively based on the song or performance context. By standardizing his pickups around the L.R. Baggs Anthem, he ensures a consistent sound for both PA and recording setups.

This allows him to maintain high-quality expression from intimate solo performances to large arena concerts. His choice of a slim neck, unique picks, and John Pearse strings further reflects his deep musical commitment and playing style.

This article will thoroughly introduce Hata Motohiro’s guitars, amplifiers, and effects, providing insights into his sound design. By following this guide, you should be able to get closer to the Hata Motohiro sound, whether for home performances or stage setups.

To study his sound, observing actual official music videos is highly recommended.

▶ Search official YouTube videos of Hata Motohiro

List of Amplifiers and Features

One notable aspect of Hata Motohiro’s sound design is his minimal dependence on amplifiers. Unlike many rock guitarists, his sound is rooted in an acoustic guitar-centric style, which means he rarely uses stack amps or high-gain amplifiers. Instead, he focuses on the compatibility of preamps and PA systems in his setup.

In live performances, his basic configuration involves the L.R. Baggs Anthem pickup on his acoustic guitar, which feeds into the Summit Audio TD-100 preamp. This signal is then sent to the PA system, where sound engineers apply EQ adjustments and reverb to create the final sound. This method preserves the transparency of the sound, delivering a vivid acoustic resonance to the audience.

In the past, he has also been known to use the L.R. Baggs Venue D.I., which is compact and highly portable, making it especially useful for live houses and smaller performances.

While there are few confirmed cases of specific amplifiers used during electric guitar performances, it is assumed that he has used clean amps like the Fender Twin Reverb or Roland JC-120, known for their transparent sound. Hata’s electric guitar tones tend to focus on clean sounds rather than distortion, making these amps a good match.

In studio recordings, he often records directly without using an amp, opting for line recordings through a preamp and audio interface (RME Fireface UFX). This method has become popular among contemporary acoustic guitarists due to its low noise and ease of use.

Overall, Hata Motohiro’s style emphasizes “utilizing the character of vintage Gibsons while shaping the sound through preamps and PA systems,” with the amplifier serving more as a supportive element rather than the main focus of his sound. Thus, it can be inferred that his sound design is completed through the entire system of “pickup + preamp + PA” rather than the amplifier itself.

Types of Guitars Used and Features

The most crucial element in Hata Motohiro’s sound design is undoubtedly his choice of guitars. He owns several vintage acoustics, primarily from Gibson, and switches between them based on the song’s mood or the venue’s size. His attention to detail extends to string gauge, pickup installation, and even saddle replacements, forming the foundation of the Hata sound.

One of his signature guitars is the Gibson J-45 (1966 model). This particular model features a cherry sunburst finish, a narrow neck (approximately 40mm), and a 14-degree neck angle. The saddle has been replaced with a straight bone saddle, and it is equipped with the L.R. Baggs Anthem pickup. This guitar frequently appears in music videos and live performances for songs like “Uroko” and “Himawari no Yakusoku,” contributing to Hata’s signature sound.

Additionally, the Gibson J-50 (1968 model) serves as a natural counterpart to the J-45 and is primarily used for recording. It is mic’d without a pickup, adding depth to studio albums like “Signed POP.”

Another notable guitar is the Gibson J-160E (1998 model), known as a Beatles reissue, featuring a laminated top and P-90 pickup. Hata acquired this guitar in 2006, and it has been seen in the “Synchro” album cover.

The Gibson Southern Jumbo (late 1960s model) is a rare square-shoulder model used in music videos for “Girl” and “Goodbye, Isaac,” known for its distinctive resonance. He also owns a Gibson J-200 for home use, which is a super jumbo, and a Gibson L-00, a smaller-bodied guitar that responds quickly.

Notably, he has an Epiphone Texan (1966 model), gifted by actor Takao Osawa, known for its long-scale resonance that adds a new nuance to Hata’s sound.

As a signature model, the Maton EBG808MH was used during his 2013 tour, featuring a custom neck width of 42mm and an AP5-Pro pickup. Additionally, he has a Martin D-28 (1974 model) as a backup guitar, also equipped with the L.R. Baggs Anthem for reliable performance.

While he uses electric guitars less frequently, he has been seen with a KAMINARI GUITAR SUNRISE (Telecaster type) and a Gibson ES-335 (1978 model) during band performances, including Green Mind 2009. Both are used primarily for clean tones, expanding his expressive range as a singer-songwriter.

In summary, Hata Motohiro’s style embodies “utilizing vintage Gibsons as the core while expanding options based on the song and context,” exemplifying the ideal sound design for a singer-songwriter.

Effects and Pedalboard Setup

Hata Motohiro’s sound design does not rely heavily on distortion effects like many rock guitarists. Instead, his focus is on how to amplify the acoustic sound naturally and deliver it throughout the stage. Therefore, his pedalboard setup is simple yet centered around high-quality equipment that does not compromise sound quality.

The most crucial component is the preamp and D.I.. Hata currently uses the Summit Audio TD-100, which helps to adjust impedance and maintain the rich harmonics of the acoustic guitar while sending the signal to the PA. In the past, he has also used the L.R.Baggs Venue D.I., which was favored for its convenience in live settings.

For acoustic guitar tuning, he relies on the BOSS TU-3, known for its visibility and stability on stage, making it a professional standard. He has also used the KORG Pitchblack PB-01 (now discontinued) for electric guitars, which may currently be replaced by the PB-AD model.

Spatial effects like reverb and delay are often handled by the PA or studio processing rather than foot pedals. This choice helps maintain the clarity of sound during solo performances and is one of the secrets behind Hata’s transparent sound.

Other peripheral equipment includes the Paige Capo PC-6 and Planet Waves Capo, which he uses depending on the song. He uses John Pearse 80/20 Bronze strings, alternating between light gauge (200L) and medium gauge (300M) based on the guitar. His pick is an original triangle-shaped 0.6mm, although he previously favored Dragonfly picks.

Overall, Hata Motohiro’s effects board is designed more to “protect the sound” rather than “process the sound.” By eliminating unnecessary effects and maintaining a simple setup, he maximizes sound quality, contributing to the clear and deep acoustic sound heard in his live performances.

Tone Settings, EQ, and Mixing Approaches

The essence of Hata Motohiro’s sound design lies in achieving “simplicity while adding depth.” By avoiding excessive use of effects, he maximizes the cohesion between guitar and vocals, making his EQ and mixing approaches very nuanced. Here, we outline specific strategies for live performances and recordings.

1. EQ Settings for Live Performances
During live shows, the signal from the L.R. Baggs Anthem is processed through the Summit Audio TD-100 before being sent to the PA. The EQ adjustments at the PA typically follow these trends:

• Low (below 80Hz): Adjusted to cut slightly to suppress feedback and prevent muddiness in the low end.
• Low Mid (200-400Hz): Lightly reduced to ensure separation between vocals and guitar.
• High Mid (around 2kHz): Slightly boosted to enhance pick attack and emphasize rhythm during strumming.
• High (above 10kHz): Mildly boosted to create airiness, while avoiding excessive sibilance.

This setup allows the audience to experience an ideal sound where “voice and guitar blend yet remain distinct.”

2. Song-Specific Adjustments
For ballads like “Uroko” and “Himawari no Yakusoku,” the EQ is kept closer to flat to emphasize the clarity of string harmonics. In contrast, for rhythm-driven songs like “Girl” and “Goodbye, Isaac,” there is a tendency to emphasize the mids to enhance the power of strumming.

Additionally, using a capo allows for adjustments in pitch, enabling him to fine-tune the “overlap of resonance between voice and guitar” for each song. The choice of Paige Capo and Planet Waves Capo is based on their ease of transposition and the resulting changes in sound balance.

3. Recording Techniques
In the studio, Hata often opts for line recordings combined with mic recordings. He uses microphones like the NEUMANN TLM 67 or vintage U67 to mix the natural sound of the guitar with the pickup sound, creating a depth that is unattainable in live settings.

For instance, during the recording of “Signed POP,” the Gibson J-50 was mic’d, maximizing the soft resonance of mahogany. In mic recordings, it is standard to apply light compression to manage dynamics and use reverb to create spatial depth.

4. Consistency through Unified Pickups
Hata primarily uses the L.R. Baggs Anthem across multiple guitars, ensuring that “the character of the sound does not change significantly” when switching guitars, making adjustments at the PA smoother.

5. Overall Mixing Philosophy
The mixing of Hata Motohiro’s sound is characterized by treating “voice and guitar equally.” Typically, in solo performances, vocals take precedence while the guitar serves as accompaniment. However, in Hata’s case, the guitar stands as another vocalist. Engineers adjust EQ to prevent frequency overlaps between voice and guitar while placing both in the same reverb space to create a sense of unity.

Thus, Hata Motohiro’s sound design achieves high-quality sound through preamps, EQ, and mic processing without relying on amplifiers. His meticulous yet simple approach results in that “embracing resonance” that defines his sound.

Affordable Alternatives to Recreate the Tone

Hata Motohiro’s sound design is supported by vintage Gibsons and high-end preamps, making it challenging to replicate exactly. However, with some creativity, it is possible to approximate the “Hata sound” using relatively affordable gear. Here, we highlight accessible equipment for beginners to intermediate players and explain why they can achieve similar tones.

1. Acoustic Guitars
While the original Gibsons like the J-45 and J-50 can cost tens of thousands of dollars, options like the Epiphone “Inspired by Gibson” series or YAMAHA’s FG/FS series can provide similar character for around $500 to $1,000. The Epiphone J-45, in particular, inherits the DNA of Hata’s main gear and offers excellent cost performance.

2. Pickup Systems
The L.R. Baggs Anthem is a professional-grade pickup and somewhat pricey (around $500), but the company’s M1 Active (magnetic type) is available for around $200-$300. It offers a natural acoustic sound and good feedback resistance, making it practical for live and small PA environments.

3. Preamps and DIs
While the Summit Audio TD-100 is studio-grade and may be out of reach, options like the BOSS AD-2 (Acoustic Preamp) or L.R. Baggs Para Acoustic DI can be found for around $200-$300, effectively enhancing sound quality. The BOSS AD-2 even includes reverb, making it ideal for solo performances.

4. Tuners
The BOSS TU-3 that Hata uses is available for under $100 and is a staple for live performances. It’s useful for both stage presence and home practice.

5. Strings and Picks
John Pearse strings are available domestically and are reasonably priced at around $15. Choosing light gauge makes them manageable for beginners and helps achieve the characteristic softness of Hata’s sound. For picks, selecting a thinner triangle shape (around 0.6mm) ensures stable resonance during strumming.

6. Capos
While the Paige Capo is somewhat expensive, Shubb or Kyser capos can be easily obtained for around $30. Shubb, in particular, offers a natural feel when pressing down strings and minimizes sound degradation.

In summary, when trying to replicate Hata Motohiro’s sound, the focus should not be on “buying vintage Gibsons” but rather on acquiring “a naturally resonant acoustic guitar, a reliable pickup, and a stable DI.” By selecting these pieces of equipment, you can achieve a “warm and embracing acoustic sound” for a budget of around $500 to $1,000.

Summary and Conclusion

In summary, Hata Motohiro’s sound design embodies the balance of “simplicity and meticulous attention to detail.” He centers his approach around vintage Gibsons and Epiphones, avoiding decorative sound crafting and cherishing the inherent resonance of acoustic guitars. By combining reliable preamps and pickups like the L.R. Baggs Anthem and Summit Audio TD-100, he achieves consistent sound quality in both live and studio settings.

Notably, he treats “guitar and voice equally.” In typical solo performances, vocals often take the lead while the guitar serves as accompaniment. However, in Hata’s case, the guitar stands out as another vocalist. Engineers adjust EQ and reverb to place both elements in the same sonic space, allowing the audience to experience a sound where “voice and guitar blend seamlessly.”

His approach to selecting guitars based on their character is also crucial. The warm sound produced by the J-45, the delicate natural tones from the J-50, the powerful strumming of the Southern Jumbo, and the long-scale resonance of the Texan all contribute to a diverse repertoire. This reflects a deep understanding of which guitar will resonate most naturally with his voice.

Moreover, he minimizes peripheral equipment while selecting reliable tuners, capos, and strings. His meticulous choice of picks and gauges directly influences playability and expressiveness. Thus, his sound is not born from the extensive use of high-end gear but from a thoughtful approach to essential equipment and a commitment to his music.

For beginners aiming to achieve the Hata Motohiro sound, starting with “a naturally resonant acoustic guitar and a reliable pickup plus preamp” is the best path forward. You can capture the essence of his sound using equipment from brands like Epiphone, YAMAHA, and BOSS without needing to invest in expensive vintage gear. The most important aspect is not the quantity of equipment but whether “the voice and guitar tell the same story.”

In conclusion, Hata Motohiro’s sound design is supported by a unique worldview that combines “a guitar that enhances the song” and “a voice that resonates with the guitar.” By understanding this essence and applying it to your performance, many can approach that “warm and embracing resonance.” The simple yet profound Hata Motohiro sound is indeed the “ideal form of singer-songwriter performance.”