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

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Introduction (Overview of Tone)

Motohiro Hata is a unique presence as a singer-songwriter and guitarist. His sound design is characterized by simplicity, yet it possesses a deep resonance, primarily centered around acoustic guitars that blend warmth and transparency.

In his iconic songs like “Uroko,” “Ai,” and “Himawari no Yakusoku,” soft arpeggios and powerful strumming are skillfully balanced, creating his signature “embracing sound.” During live performances, his voice and guitar merge seamlessly, captivating the audience and drawing them into his musical narrative.

One of Hata’s defining features is his collection of distinctive vintage Gibsons and other acoustic guitars, which he uses according to the mood of each song or the size of the venue. By standardizing his pickups with the L.R. Baggs Anthem, he ensures a stable sound for both PA systems and recordings.

This allows him to maintain consistent quality from intimate solo performances to large arena shows, which is a significant appeal. Additionally, elements like his slim neck specifications, unique picks, and choice of John Pearse strings reflect his strong musical commitment and directly influence his playing style.

This article will thoroughly introduce Motohiro Hata’s guitars, amplifiers, and effects, explaining his sound design. By following this guide, you should be able to approximate the Hata sound, whether for home performances or on stage.

To study his sound, observing actual official music videos is the most informative approach.

▶ Search official YouTube videos of Motohiro Hata

List of Amplifiers and Features

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

His basic live configuration involves the L.R. Baggs Anthem pickup from his acoustic guitar, which feeds into the Summit Audio TD-100 preamp. The signal is then sent to the PA system, where the sound is finalized through EQ adjustments and reverb added by the sound engineer. This method preserves the transparency of the sound, delivering a raw acoustic resonance to the audience.

In the past, he has also been known to use the L.R. Baggs Venue D.I. This compact and portable device was especially useful for live houses and small-scale performances.

While specific amplifiers for electric guitar use have not been widely documented, it is assumed that he has used clean amps from the Fender family (like the Fender Twin Reverb) or the Roland JC-120, which are known for their clarity. Hata’s electric guitar sound tends to focus on clean tones rather than distortion, making these amps a good match.

In studio recordings, he often opts for direct line recording rather than going through an amp, using a preamp and audio interface (RME Fireface UFX) for recording. This approach, common among contemporary acoustic guitarists, offers low noise and ease of handling.

Overall, Motohiro Hata’s style emphasizes “utilizing the character of vintage Gibsons while shaping the sound through preamps and PA systems.” The amp itself serves more as a supportive element rather than the main character in his sound. Thus, it is assumed that he completes his sound design through the entire system of “pickup + preamp + PA.”

Types of Guitars Used and Features

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

One of his most notable guitars is the Gibson J-45 (1966 model). This cherry sunburst model from the final year features 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,” creating Hata’s signature sound.

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

Moreover, the Gibson J-160E (1998 model), known as the Beatles reissue, features a unique construction with a plywood top and P-90 pickup. Acquired in 2006, it can be seen in the jacket of “Synchro.”

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

Another notable guitar is the Epiphone Texan (1966 model), famously gifted to him by actor Takao Osawa. Its long scale provides a resonant sound that adds a new nuance to Hata’s music.

Noteworthy is the Maton EBG808MH, a signature model used during the 2013 tour, featuring a custom specification with a neck width of 42mm and an AP5-Pro pickup. Additionally, the Martin D-28 (1974 model) appears as a reliable backup guitar, also equipped with the L.R. Baggs Anthem.

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

In summary, Motohiro Hata’s style embodies “a core of vintage Gibsons while broadening his choices according to the song and purpose,” representing an ideal form of sound design for singer-songwriters.

Effects and Pedalboard Setup

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

The most critical component is the preamp and D.I.. Hata currently uses the Summit Audio TD-100, which adjusts impedance and preserves the rich harmonics of the acoustic guitar as it is sent 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 favors 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), and it is possible that the successor model, PB-AD, is currently in use.

Reverb and delay effects are often managed by the PA or studio processing rather than foot pedals. This choice helps maintain the clarity of sound during live performances, contributing to Hata’s transparent sound.

Other peripheral equipment includes the Paige Capo PC-6 and Planet Waves capos, which he uses according to the song. He uses John Pearse 80/20 Bronze strings, alternating between light gauge (200L) and medium gauge (300M) depending on the guitar. His original triangular-shaped picks (0.6mm) are used, although he previously favored picks made by Dragonfly.

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

Tone Settings, EQ, and Mixing Approaches

The essence of Motohiro Hata’s sound design lies in “simplicity while adding depth.” By avoiding excessive use of effects, he maximizes the unity between his guitar and voice, making EQ and mixing adjustments extremely delicate. Here, we will outline specific approaches for live performances and recordings.

① Live EQ Settings
During live performances, 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 tendencies:

• Low (below 80Hz): Adjusted to cut slightly to suppress feedback unique to acoustic guitars and prevent muddiness in the low end.
• Low Mid (200-400Hz): Lightly reduced to ensure separation between the voice and guitar.
• High Mid (around 2kHz): Slightly boosted to enhance the attack of the pick, emphasizing rhythm during strumming.
• High (above 10kHz): Gently boosted to create a sense of airiness, but excessive sibilance is suppressed.

This setup allows the audience to experience the ideal sound where “the voice and guitar blend while remaining distinct.”

② Differentiation by Song
For ballads like “Uroko” and “Himawari no Yakusoku,” the EQ is kept closer to flat, prioritizing a clear sound that utilizes the harmonics of the strings. In contrast, for rhythm-driven songs like “Girl” and “Goodbye Isaac,” there is a tendency to emphasize the mids to highlight the power of the strumming.

Additionally, using a capo allows for changes in pitch, adjusting the “overlap of the voice and guitar’s resonance” for each song. The choice of Paige Capo and Planet Waves capos is based on considerations of “ease of transposition” and “changes in sound balance.”

③ Recording Techniques
In the studio, he often opts for a combination of line recording and mic recording without using an amp. Microphones like the NEUMANN TLM 67 and vintage U67 are used to mix the natural sound of the guitar with the pickup sound, creating a three-dimensional quality not achievable in live settings.

For example, during the recording of “Signed POP,” the Gibson J-50 was mic’d, which maximized the soft resonance of mahogany. In mic recording, a light compressor is typically applied to manage dynamics, and reverb is used to create a sense of space.

④ Consistency through Unified Pickups
Hata uses the L.R. Baggs Anthem as a standard across multiple guitars from Martin and Gibson. This results in a “consistent sound character that does not change significantly” when switching guitars, facilitating smoother adjustments on the PA side.

⑤ Overall Mixing Philosophy
The mix of Motohiro Hata’s sound is characterized by treating “the voice and guitar as equals.” Typically, in singer-songwriter performances, the vocals take precedence while the guitar serves as accompaniment. However, in Hata’s case, the guitar acts as another vocalist. The engineer adjusts EQ to ensure the voice and guitar frequencies do not clash while placing them in the same reverb space to create a sense of unity.

In this way, Hata’s sound design achieves high-quality sound without relying on amplifiers, utilizing preamps, EQ, and mic processing. Through simple yet thorough adjustments, that “embracing resonance” is realized.

Affordable Alternatives to Recreate the Tone

Motohiro Hata’s sound design is supported by vintage Gibsons and high-end preamps, making direct replication challenging. However, with some creativity, it is possible to approximate the “Hata sound” using relatively affordable gear. Here, we will highlight commercially available equipment that is beginner to intermediate-friendly and explain why they can achieve similar tones.

① Acoustic Guitars
While the originals like the Gibson J-45 and J-50 can cost tens of thousands to over a hundred thousand yen, the Epiphone “Inspired by Gibson” series and YAMAHA’s FG/FS series can provide a similar character for around 50,000 to 100,000 yen. Notably, the Epiphone J-45 inherits the DNA of Hata’s main equipment and offers excellent cost performance.

② Pickup Systems
The L.R. Baggs Anthem is professional-grade and somewhat expensive (around 50,000 yen), but the company’s M1 Active (magnetic type) can be introduced for 20,000 to 30,000 yen. It balances natural acoustic sound with feedback resistance, making it practical for live and small PA environments.

③ Preamps and D.I.
While the Summit Audio TD-100 is studio-grade and hard to reach, the BOSS AD-2 (Acoustic Preamp) and L.R.Baggs Para Acoustic DI can be obtained for 20,000 to 30,000 yen, effectively shaping sound quality. The BOSS AD-2 is particularly suitable for singer-songwriters as it includes reverb.

④ Tuners
The BOSS TU-3 used by Hata can be purchased for under 10,000 yen and is a standard for live performances. It’s useful for both stage presence and home practice.

⑤ Strings and Picks
John Pearse strings are available domestically for around 1,500 yen. Choosing light gauge makes them manageable for beginners and helps achieve the softness characteristic of Hata’s sound. For picks, selecting a thin triangular shape (around 0.6mm) can provide stable resonance without scattering sound during strumming.

⑥ Capos
While the Paige Capo is somewhat expensive, Shubb and Kyser capos can be easily obtained for around 3,000 yen. Shubb, in particular, offers a natural feel when pressing down and minimizes sound degradation, making it highly recommended.

In summary, when aiming to recreate Motohiro Hata’s sound, it’s more effective to focus on “natural-sounding acoustic guitars + reliable pickups + stable D.I.” rather than purchasing vintage Gibsons. By selecting these pieces of equipment, you can approximate the “warm, embracing acoustic sound” for a budget of around 50,000 to 100,000 yen.

Summary and Conclusion

In summary, Motohiro Hata’s sound design embodies the balance of “simplicity” and “thorough attention to detail.” He centers his work around vintage Gibsons and Epiphones, avoiding overly decorative sound design and valuing the natural resonance of acoustic guitars. By combining reliable preamps and pickups like the L.R. Baggs Anthem and Summit Audio TD-100, he ensures stable sound reproduction in both live and studio settings.

Notably, his approach treats “the guitar and voice as equals.” Typically, in singer-songwriter performances, vocals dominate while guitars serve as accompaniment. However, in Hata’s case, the guitar stands out as another vocalist. This leads engineers to adjust EQ and reverb processing to place both elements in the same space, allowing the audience to feel the “blending of voice and guitar.”

His ability to choose the right guitar for each character is also crucial. The warm sound created with the J-45, the delicate natural sound recorded with the J-50, the powerful strumming expressed with the Southern Jumbo, and the resonant long scale of the Texan all contribute to a broader repertoire. This reflects a deep insight into “which guitar allows my voice to resonate most naturally.”

Moreover, he minimizes peripheral equipment while selecting reliable tuners, capos, and strings. His strong commitment to pick and gauge selection directly influences his playability and expressiveness. Thus, his sound emerges not from an abundance of high-end gear but from a careful selection of essential equipment and a deep connection to his music.

For beginners aiming to achieve the Motohiro Hata sound, starting with “natural-sounding acoustic guitars” and “reliable pickups + preamps” is the best approach. Even without expensive vintage gear, you can capture the essence using equipment from brands like Epiphone, YAMAHA, and BOSS. The most important perspective is not the quantity of gear but whether “the voice and guitar are telling the same story.”

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