[Hiroji Miyamoto] How to Recreate the Elephant Kashimashi Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Kida Motifoo] How to Recreate the tricot Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.142025.09.14

[Hiroshi Matsumoto] How to Recreate the LAMP IN TERREN Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

Eriko Hashimoto (Chatmonchy) Guitar Sound Guide: Creating That Distinctive Tone + Complete Gear Setup

2025.06.092025.09.04

Introduction (Overview of Tone)

Hiroji Miyamoto, the frontman and guitarist of Elephant Kashimashi, is known for his unique sound that embodies a blend of “raw impulse and delicacy.” His playing style features clean tones centered around the Fender Stratocaster, aggressive chord strumming, and powerful acoustic performances.

In iconic songs like “Koyoi no Tsuki no Youni,” you can hear deep arpeggios, while “Kanashimi no Hate” showcases passionate strumming, and “Kaze ni Fukarete” highlights lyrical expressions on the acoustic guitar. His live performances are characterized by a dynamic use of his entire body, further enhancing the sound.

His tonal direction can be broadly categorized into two styles: one is the crisp cutting and rough chord sounds produced by the Fender Stratocaster, and the other is the raw acoustic sound derived from his heavily used K.YAIRI acoustic guitar. By amplifying these through simple effects and tube amplifiers, he creates a distinctive “straight rock sound.”

Understanding his sound is not just about mimicking the gear; it’s about experiencing Miyamoto’s approach of “playing with soul, even if it’s rough.”

▶ Search official YouTube videos of Elephant Kashimashi

List of Amplifiers and Features

Miyamoto’s choice of amplifiers is as straightforward and powerful as his guitar setup. Among them, the Fender The Twin stands out as a particularly well-known model, boasting a maximum output of 120W. This powerful tube amplifier features two 12-inch speakers, allowing for a robust clean tone while also delivering aggressive distortion.

He was confirmed to have used The Twin during live performances from August 2009 to March 2010, where it was often seen paired with a BOSS FV-500H volume pedal on top and a KORG XVP-10 on the side.

The Twin provides ample sound pressure even at clean settings, vividly reproducing the dry cutting of the Stratocaster, while increasing the gain results in a wild and raw distortion. On stage, Miyamoto’s sound resonates with a quality of “the voice and guitar colliding,” which is largely attributed to this amplifier.

Additionally, other live photos and music magazine articles suggest that he may have also used Fender models like the Twin Reverb and Super Reverb. These models are known for their clean tones, making them suitable for highlighting Miyamoto’s aggressive strumming style, indicating he might have switched between them for different songs or performances.

There are also instances in archival footage where Marshall amplifiers can be seen in the backline, suggesting he may have experimented with multiple amps during studio sessions or rehearsals.

However, Miyamoto himself maintains that “everything is focused on the sound I produce, rather than the gear,” indicating that the amplifier serves merely as a tool for amplification, with the passion of his performance being the core of his sound.

Overall, it is assumed that Miyamoto’s amplifier setup revolves around the Fender The Twin, supplemented by other Fender amps as needed.

Types of Guitars Used and Features

The core of Hiroji Miyamoto’s sound lies in his diverse collection of guitars. Among them, the long-time mainstay is the Fender Stratocaster (1974 Blonde, now cream-colored). This particular guitar has endured extensive use on tours, resulting in numerous cracks and requiring maintenance, such as replacing the saddle with a titanium one. It withstands aggressive chord strumming and produces a unique, aged tone.

Another Fender Stratocaster (Blonde finish) appears in many songs. There is also a model owned by stage director Suzuki, which was used during tours. This guitar is characterized by its wide range typical of a Stratocaster and its durability to respond to Miyamoto’s strong picking.

Furthermore, the G&L ASAT Special is used in songs like “Mukashi no Samurai,” “Namida,” and “Mirai no Seimeitai,” offering a fatter, thicker sound. The custom model N.Y LAB Miyamoto Caster features a rear pickup mounted backward and a selector fixed with black tape, symbolizing his unique playing style.

The TANGEMAN Custom Model (Strat-type) made by Kondo Guitar Works is also significant. It features an experimental customization with a tortoiseshell pickguard and a Fernandez neck plate. For acoustic performances, he primarily uses the K.YAIRI 90-BLR B, a 1997 model that shows signs of heavy use and repairs, reflecting the intensity of Miyamoto’s live performances.

As secondary options, he also uses the K.YAIRI 85-BL-RE (jumbo type) and Yairi Vincent, which can be heard in songs like “Kaze to Tomo ni,” “Koyoi no Tsuki no Youni,” and “Tomodachi ga Iru no sa.”

Other guitars confirmed in footage include the MOON TL-type (used during his debut in “Fighting Man”), Stafford (a Kurosawa Gakki brand used in a PV), and a Takamine electric acoustic (featured in the “Tsukiyo no Sanpo” PV), along with a black guitar received from a friend during high school (details unknown).

Overall, Miyamoto’s guitar selection centers around the Stratocaster, combining ruggedness with an experimental spirit. His extensive use of K.YAIRI acoustics has transformed them into “battle-worn guitars,” both in sound and appearance.

Effects and Pedalboard Setup

Miyamoto’s pedalboard is characterized by a simple setup centered around BOSS rather than flashy multi-effects units. He maintains a style that enhances the natural qualities of his amp while adding minimal distortion, modulation, and spatial effects.

One of the staples is the BOSS BD-2 Blues Driver, which can handle light overdrive to crunch, amplifying the nuances of the Stratocaster without losing clarity even during aggressive strumming, making it ideal for live cutting.

The BOSS DS-1 Distortion (modified version) has also been confirmed, used in songs requiring a rougher and louder sound. Given its modified nature, it likely has a wider range and may have served a booster role.

The BOSS TR-2 Tremolo is utilized in quieter parts of songs or arpeggios, creating a unique wavering atmosphere. Additionally, the BOSS DD-3 Digital Delay is employed to add depth to arpeggios and solos. This delay is straightforward to set up, making it reliable for live performances.

Notably, he employs a distinct use of volume pedals. The BOSS FV-500H is placed on top of the amp for fixed volume adjustments, while the KORG XVP-10 is positioned at the side of the stage for foot control during performances. Miyamoto often adjusts the guitar volume to match the intensity of his voice, making the volume pedals essential.

While not officially confirmed, it is highly likely that he also used reverb and booster effects based on the live sound and ambiance. Especially in larger venues, it is assumed he actively utilized reverb pedals or built-in amp reverb to enhance natural resonance.

Thus, Miyamoto’s pedalboard is a “simple yet sufficient” configuration. The robust BOSS pedals ensure that even during intense performances, the sound remains intact, powerfully supporting the entire band.

Tone Settings, EQ, and Mixing Approaches

Miyamoto’s sound design showcases a thoughtful approach to coexistence between the guitar’s resonance and the presence of his voice, all while utilizing a simple gear setup. Here, we will outline specific amp settings, EQ balance, sound differentiation for each song, and characteristics in PA and mixing.

1. Amp Settings
The main amplifier used, the Fender The Twin, is known for its powerful clean tones and rough distortion. Miyamoto tends to keep the gain low while maximizing volume, allowing for a balanced sound. The tone settings are estimated to be:
– Treble: 5-6
– Middle: 6-7
– Bass: 4-5
This mid-range balance ensures that even when striking the strings hard, the sound remains clear and does not overshadow his vocals.

2. Use of Effects
The BOSS BD-2 Blues Driver is not always on; it is often engaged according to the dynamics of each song. In more distorted sections, the DS-1 Mod is added, particularly in aggressive songs like “Gastronja.” The TR-2 Tremolo is frequently used in arpeggios and ballads, adding a wavering quality to songs like “Kaze ni Fukarete.” The DD-3 delay is more about adding space to chord playing rather than solos.

3. Acoustic Guitar Techniques
The K.YAIRI 90-BLR B, with its age and repairs, produces a unique dry sound. Often amplified through a pickup rather than a mic, it tends to have EQ settings that cut low frequencies while boosting mid-highs. This adjustment helps avoid frequency clashes between his voice and guitar, especially during vocal performances.

4. Differentiating Sounds by Song
– “Kanashimi no Hate”: Stratocaster + BD-2, emphasizing mid-range for rough chords.
– “Koyoi no Tsuki no Youni”: Using Yairi Vincent, EQ centered on mid-highs to support vocal resonance.
– “Kaze ni Fukarete”: Combining tremolo and delay for a sense of space and float.
– “Oretachi no Ashita”: Stratocaster with clean tone, minimizing distortion to highlight lyrics.

5. PA and Mixing Techniques
Miyamoto’s guitar is consistently mixed to support the notion that “the voice is the star, and the guitar is the companion.” Thus, in PA setups:
– The guitar’s mid-range is slightly cut to create space for vocals.
– The guitar is positioned centrally rather than spread out, creating a “rock sound integrated with the vocals.”
– Delay and reverb are applied sparingly to maintain the power of the live sound.

6. Differences Between Live and Recording
Live settings emphasize dynamics, with clear contrasts in volume. In contrast, recording often involves layering multiple guitar takes to add thickness and emphasize rhythmic nuances. Especially for acoustic tracks, multiple mics are used to capture airiness, followed by EQ adjustments.

In summary, Miyamoto’s sound design is characterized by a “simple yet direct EQ centered around mid-range.” Starting with the amp’s clean tone, he adds distortion and modulation only when necessary, always prioritizing the balance with his vocals in the PA.

Affordable Alternatives to Recreate the Tone

Reproducing Hiroji Miyamoto’s sound exactly requires vintage Fender Stratocasters or custom models, along with well-worn K.YAIRI guitars, which can be costly and difficult to acquire. However, there are several relatively affordable gear options available for beginners to intermediate players that can help achieve a similar sound. Here, we will introduce options for electric guitars, acoustics, and effects.

1. Electric Guitars
While the core of Miyamoto’s sound is the blonde Fender Stratocaster, acquiring an original in the same price range is challenging. Suitable alternatives include the Fender Player Stratocaster (Mexican-made) or, for a more budget-friendly option, the Squier Classic Vibe Stratocaster. Both options provide the characteristic clean tones and sharp attack needed for aggressive strumming.

2. Acoustic Guitars
K.YAIRI guitars can be expensive even when new, but alternatives like the YAMAHA FG series or Takamine G series offer reliable quality at a reasonable price. The Takamine, especially, is designed for electric-acoustic use, making it easy to achieve the “integration of voice and guitar” that Miyamoto exemplifies in live performances.

3. Effects
The heart of Miyamoto’s pedalboard consists of BOSS pedals, all of which are currently available. For distortion, the BOSS BD-2 Blues Driver achieves a crunchy sound. For louder, rougher distortion, the BOSS DS-1 is effective. The BOSS TR-2 Tremolo is ideal for creating atmosphere in quieter songs, while the BOSS DD-3T Digital Delay adds depth. Beginners can start with just the BD-2 and DD-3T to get close to the strumming sound of “Kanashimi no Hate.”

4. Amplifiers
While the Fender The Twin is powerful and hard to find, alternatives like the Fender Champion 100 or Boss Katana series are recommended. The Champion 100 offers classic Fender clean tones and pairs excellently with the BD-2. The Katana is versatile, providing a powerful rock sound with simple settings, making it suitable for practice and live performances.

5. Overall Recreation
For those on a budget, a combination of 2-3 BOSS compact pedals, an affordable Fender-style Strat, and a YAMAHA/Takamine acoustic guitar is optimal. The key is not to focus on acquiring expensive gear but rather on playing with strong strumming and heartfelt emotion. Miyamoto’s sound is established not through lavish equipment but through the full-force expression of a simple setup.

Summary and Conclusion

Reflecting on Hiroji Miyamoto’s sound design, it is clear that its essence lies not in “expensive gear” or “complex setups.” Instead, it is characterized by a thorough use of limited equipment, blending ruggedness with delicacy in his playing style. The sharp cutting of the Stratocaster and the aged tones from K.YAIRI acoustics have been honed through years of use and repair, culminating in “Miyamoto’s sound.”

Regarding effects, he centers around classic models like the BOSS BD-2 and DS-1, using them not to embellish the sound but rather as minimal enhancements to elevate the song’s message. Simple modulation and spatial effects like the TR-2 and DD-3 are strategically used only when necessary to support the unique atmosphere of each song.

His main amplifier, the Fender The Twin, is pivotal in emphasizing clean tones while allowing rough strumming to shine through. The EQ balance ensures that vocals are not overshadowed, maximizing the live experience’s intensity. In the PA system, the guitar is positioned centrally, creating a rock sound that integrates seamlessly with the vocals.

In summary, Miyamoto’s sound design embodies the balance of “simplicity and the intensity of performance.” For readers aiming to recreate this sound, it is essential to focus on:
– Choosing a Strat-style guitar and having the courage to strum aggressively.
– Utilizing a simple setup centered around BOSS pedals for minimal yet effective sound shaping.
– In acoustic settings, cutting low frequencies while emphasizing mid-highs.
– In PA and recording, prioritizing vocals as the main feature while supporting the guitar as a “companion.”

For beginners wanting to challenge themselves with the “Miyamoto sound,” starting with an affordable Strat and BD-2 and playing with full energy is the quickest path. In that moment, they will experience the truth that “playing with soul changes the sound” more than technique alone. Ultimately, his sound design returns to the “attitude of the performer” rather than the choice of gear. This is why Hiroji Miyamoto’s sound continues to resonate with listeners across generations.