[Hiromu Akita] How to Recreate the amazarashi Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Hiromu Akita, the frontman of amazarashi, is known for his unique literary lyrics and rich sound that captivates many listeners. His guitar sound does not showcase flashy techniques but serves as a “foundation” that supports the words and melodies.

His signature approach includes lyrical accompaniment through acoustic guitar arpeggios and strumming, along with minimal electric guitar that adds spatial depth and a textural quality to the sound. Notable tracks like “Seasons Die One After Another” and “Sora ni Utaeba” exemplify his ability to create simple yet deeply resonant soundscapes.

The reason Akita’s sound design garners attention lies in its “space” and “affinity with the lyrics.” When listened to in isolation, the guitar may seem simple, but it gains strong persuasive power when intertwined with lyrics and visual elements. In live performances and streaming, he often showcases his acoustic guitar skills, particularly with the Gibson J-45, which has become a symbol of amazarashi’s sound.

Additionally, in early footage and live performances, he has been confirmed to use electric guitars such as the Fender Jaguar and Stratocaster, adding a rock edge to his music. At times, he has paired these with classic amps like the Fender Twin Reverb, creating a unique thickness through spatial effects and overdrive.

Considering these characteristics, it is clear that Akita’s sound design prioritizes “lyrics and storytelling, with the guitar merely serving as a part of the expression.”

In the following sections, we will organize the confirmed amplifiers, guitars, and effects he uses, along with detailed explanations of settings and beginner-friendly ways to recreate his sound.

▶ Search official YouTube videos of amazarashi

List of Amplifiers and Features

The most strongly suspected amplifier used by Hiromu Akita is the Fender Twin Reverb. This tube amplifier is beloved by guitarists worldwide, covering a wide range of sounds from clean to crunch. Its sparkling clean tone is particularly notable, making it an ideal choice that does not interfere with Akita’s lyrics and melodies but rather enhances the space around them.

amazarashi’s music often features strong lyrical messages, with the guitar typically kept clean or with only a light crunch. The expansive clean tone of the Twin Reverb aligns perfectly with this direction. By layering spatial effects, Akita adds a unique sense of floating, further highlighting the narrative quality of his songs.

However, there is limited concrete evidence from official interviews or clear live photos to confirm this. Therefore, while the Fender Twin Reverb is considered a “strong candidate with many usage reports,” definitive information remains scarce. Nonetheless, it is widely believed that Fender amps have been central to his sound from the early to mid-period.

In studio recordings, it is also speculated that he may have used other clean amps like the VOX AC30 or Roland JC-120. The JC-120 is a staple in Japanese studios, known for its transparent tone and stereo chorus, making it suitable for amazarashi’s musical world. However, this too lacks definitive proof and remains a “speculated candidate.”

In live settings, it is presumed that he uses the Fender Twin Reverb as a base, combining it with line outputs or PA processing as needed to ensure the sound does not interfere with the singing and synchronized visuals. In large venues, the PA system’s sound creation takes precedence over the amp’s natural sound, so adjustments by the mix engineer play a significant role.

Overall, Akita’s choice of amplifiers seems to focus on achieving “a tone that does not assert itself too much on its own” and “a transparent tone that supports the lyrics and visuals.” Consequently, it can be said that classic models like the Fender Twin Reverb and Roland JC-120, used by many artists regardless of musical background, contribute to his sound.

In summary, Hiromu Akita’s amplifier choices are presumed to center around “the Fender Twin Reverb and other clean tone amps that offer transparency and spaciousness.”

Types of Guitars Used and Features

Among the guitars used by Hiromu Akita, the most notable is the acoustic guitar, the Gibson J-45. This has been confirmed during live streams and appearances on “THE FIRST TAKE,” where he showcases performances that can stand on their own with just this acoustic guitar. The J-45 features a warm midrange and ear-friendly highs, making it well-suited to support Akita’s deep voice and the lyrical qualities of his songs. It is central to his singer-songwriter style.

Additionally, it has been confirmed through multiple live videos and gear blogs that he used a Fender Jaguar (Sunburst) during the early to mid-period. The Jaguar is characterized by its short scale, unique resonance, and sharp tone, capable of producing a noisy and cutting texture. The rock edge in amazarashi’s early songs was likely shaped by this Jaguar.

There are also mentions of the Fender Starcaster (Olympic White). The Starcaster features a semi-hollow body design that adds depth and presence to the sound. It is likely that this guitar was utilized during times when the visual elements and band arrangements became thicker.

The classic Fender Stratocaster (Sunburst) has also been noted in social media posts and Q&A articles. The Stratocaster can produce a variety of tones, allowing for a transparent sound from single coils and a soft crunch from the middle position, which can be selected according to the situation.

These guitar choices reflect a consistent intent: to “not interfere with the lyrics and only assert presence when necessary.” During solo performances, the J-45’s enveloping tone supports the core of the songs, while in band settings, the Jaguar, Starcaster, and Stratocaster add nuance. Akita’s guitars always function as supportive companions rather than the main focus, serving the song and visual narrative.

From this, it can be concluded that Akita’s selection of guitars is structured around “acoustic guitars that enhance lyricism” and “electric guitars that provide sharpness and atmosphere.”

In summary, Hiromu Akita’s guitar choices are presumed to be a combination of “acoustic guitars that emphasize lyricism and Fender electric guitars that add color when needed.”

Effects and Pedalboard Setup

Hiromu Akita’s pedalboard is relatively simple compared to other rock guitarists, and the effects selected seem to serve the purpose of “adding subtle color” rather than drastically altering the guitar’s tone. The most notable effects include the Ibanez TS9 Tube Screamer and the BOSS BD-2 Blues Driver. Both are overdrive pedals that match Akita’s sound design, which centers around clean to light crunch tones.

The TS9 has been a staple since the 1980s and is known for its midrange-forward characteristics. This allows the guitar to be pushed forward when needed without overshadowing the lyrics and vocals. It is particularly suited for Akita’s songs, where “phrases are emphasized amidst a calm performance,” making it a popular choice among guitarists.

The BOSS BD-2 Blues Driver creates a more natural distortion, adding nuances that emphasize the amp’s crunch sound. It is speculated that the slightly raw and organic sound when Akita uses the Jaguar or Stratocaster is due to this BD-2. In mid-period live footage, light overdrive from either the TS9 or BD-2 can be observed.

Regarding spatial effects, while specific pedals have not been definitively identified, it is highly likely that “reverb” and “delay” pedals are included due to the nature of the songs. Reverb, in particular, is essential for expanding the lyrical world and is thought to be commonly used in both stage and studio settings. However, specific models (such as the BOSS RV series or Electro-Harmonix Memory Man) remain unconfirmed and are considered “speculative.”

The characteristic of Akita’s pedalboard is “minimalism.” With staple overdrives like the TS9 and BD-2, along with spatial effects like reverb and delay, the setup emphasizes not overpowering the guitar and amp’s natural sound. The choice to keep distortion light and maintain space in the sound is an essential aspect of his style.

Therefore, for guitarists looking to replicate amazarashi’s sound, focusing on “light distortion and deep spatial effects” will help achieve a closer approximation. The effects serve a supportive role, with the main focus being on the atmosphere of the songs and harmony with the vocals.

From this, it can be inferred that Hiromu Akita’s effects setup consists of “minimal overdrive plus spatial effects.”

Tone Settings, EQ, and Mixing Approaches

Hiromu Akita’s sound design emphasizes “eliminating flashiness and maximizing the lyrical world.” The guitar serves as an accompaniment to the words, enhancing the listening experience by possessing transparency and depth. Here, we will delve into specific EQ tendencies, amp settings, and distinctions between live and studio recordings.

1. Basic Amp EQ Settings
In settings centered around the Fender Twin Reverb, it is assumed that the EQ is set as follows:
– Bass: 3-4 (not too much low end)
– Middle: 4-5 (balanced midrange that does not interfere with vocals)
– Treble: 6-7 (emphasizing transparency with slightly boosted highs)
By keeping the low end slightly reduced, the guitar avoids clashing with the bass or keyboards, allowing for an acoustic resonance. Conversely, boosting the highs makes arpeggios and strumming more prominent.

2. Use of Overdrive
The TS9 and BD-2 are likely not “always on” but rather activated “only when needed.” For example, during the chorus of “Sora ni Utaeba,” overdrive is added to infuse emotional intensity into the lyrics. In such cases, the Drive knob is kept around 9-10 o’clock, and the Level is increased to push “volume and presence” rather than just adding crunch, aligning closely with Akita’s sound.

3. Switching Between Acoustic and Electric
In performances centered around the Gibson J-45, EQ processing on the PA side plays a significant role. It is speculated that lows are cut while highs are slightly boosted to ensure the strings resonate naturally with the vocals. In studio recordings, blending mic and line recordings likely constructs a rich acoustic sound.

4. Reverb and Delay Techniques
Spatial effects are indispensable in amazarashi’s music. Applying deep hall or plate reverb expands the lyrical world to a more “cinematic” scale. Delay is often used not for short slapback echoes but rather to add depth with 1/4 to 1/8 note settings. Particularly in live settings, it is likely that the guitar does not assert itself but rather fades into the overall soundscape.

5. Positioning in the Mix
Listening to recorded tracks, Akita’s guitar is rarely panned widely left or right, typically processed in a center to slightly stereo position. This is to avoid overshadowing the lyrics. In band settings, the supporting guitarist’s sound spreads left and right, while Akita’s performance is centered, creating an impression of “existing on the same line as the vocals.”

6. Sound Usage Per Song
For instance, in “Seasons Die One After Another,” the intro’s arpeggio begins with a clean tone and deep reverb, while a light overdrive is layered during the chorus to create a dramatic development. In contrast, “Sora ni Utaeba” features the Jaguar with a light crunch, emphasizing a rock edge that synchronizes with the visual elements.

7. Differences Between Live and Studio
In live performances, PA processing weighs more heavily than the amp and effects. The guitar’s natural sound is primarily for monitoring, while the sound reaching the audience is mixed with reverb and compression. In the studio, mic placement (both on-mic and room mic) likely recreates the “spatial depth.”

In summary, Hiromu Akita’s sound design revolves around “low-end management through EQ,” “emphasizing high-end transparency,” and “light distortion with deep reverb.” These techniques contribute to making his songs both “musical works” and “literary works.”

Affordable Alternatives to Recreate the Tone

Hiromu Akita’s sound does not rely on expensive gear but rather on thoughtful settings and effects that enhance the lyrics. Therefore, beginners to intermediate players can effectively recreate a similar atmosphere by combining relatively affordable equipment. Here, we will introduce recommended gear that can be obtained for around $100-$500, along with explanations for each choice.

1. Alternative Acoustic Guitar Models
The original is the Gibson J-45, which costs over $3,000 new. Alternatives like the Epiphone J-45 or YAMAHA FG series are strong contenders. The Epiphone is a subsidiary brand of Gibson and carries the J-45’s DNA, allowing for a warm midrange. The YAMAHA FG series also offers stable quality, making it suitable for singer-songwriter use.

2. Overdrive Pedals
The Ibanez TS9 is priced around $150, but for a more budget-friendly sound, the BOSS SD-1 Super OverDrive is recommended. It has similar midrange push characteristics, making it suitable for supporting the lyrics. Using the SD-1 as a substitute for the BD-2 Blues Driver can also recreate a natural distortion feel.

3. Spatial Effects
For reverb, the BOSS RV-6 is an excellent entry-level option. It features various reverb modes, allowing for the creation of the “spacious sound” needed in amazarashi’s music. For delay, the BOSS DD-7 or TC Electronic Flashback are good candidates, but for beginners, the compact and user-friendly DD-3T is also recommended.

4. Multi-Effects Units
In recent years, beginner-friendly multi-effects units like the BOSS GT-1 or ZOOM G3Xn have become viable options. With one unit, you can cover overdrive, reverb, and delay, making it easy to experiment with an “Akita-style sound.” This is particularly convenient for home practice or small live performances.

5. Alternative Amps
While the Fender Twin Reverb is expensive, using more affordable models like the Roland JC-22 (a smaller version of the JC-120) or the Fender Champion series can effectively recreate the vibe. By adding spatial effects to the clean tone, you can achieve the transparent resonance characteristic of Akita’s sound.

In summary, combinations such as “Epiphone for acoustic,” “BOSS SD-1 for overdrive,” “BOSS RV-6 for reverb,” and “Roland JC-22 for amp” can bring you close to Hiromu Akita’s sound within a budget of around $500.

By acquiring these items, you can get quite close to Hiromu Akita’s sound for around $500. The key is to remember that “setup is more important than gear.”

Summary and Conclusion

In summary, Hiromu Akita’s sound design centers on “placing the lyrics at the forefront while the guitar accompanies like air.” The acoustic guitar, represented by the Gibson J-45, maximizes the texture of the lyrics during performances, while electric guitars like the Fender Jaguar and Stratocaster are used to add rock accents only when necessary.

The effects are kept minimal, utilizing staple overdrives like the Ibanez TS9 and BOSS BD-2, with distortion kept as light as possible. By adding deep reverb and delay, the entire composition resonates like “a part of a literary work.” The core of the amazarashi sound lies in the approach of utilizing “space” rather than introducing excessive gear.

Moreover, the ingenuity in PA and mixing is notable. The acoustic guitar’s lows are managed, ensuring it does not interfere with the vocal range. The electric guitar is positioned centrally, with supporting sounds spread out to create a blend of “Akita’s words” and “musical world.” As a result, listeners can immerse themselves in the song itself, with the guitar functioning as a “device to convey the story” rather than asserting itself.

For beginners or cover bands looking to recreate Akita’s sound, there is no need to invest in expensive gear. The essential points to remember are:
– Keep distortion light and spatial effects deep.
– EQ should reduce lows and slightly boost highs.
– Treat the guitar as an accompaniment to the lyrics.
By combining affordable options like the Epiphone J-45, BOSS SD-1, and RV-6, you can create a sound that captures the essence of Hiromu Akita.

Ultimately, amazarashi’s sound design does not depend on flashy guitar riffs or techniques but rather on “how effectively the words can be delivered.” Therefore, studying Akita’s style offers guitarists an excellent opportunity to learn not just about gear replication but also about the “awareness of roles in music.”

In conclusion, the most crucial elements for recreating Hiromu Akita’s sound are not “expensive gear” but rather “the intent to support the lyrics” and “the philosophy of valuing space in sound design.”