[Haruko Nagaya] How to Recreate the Mizuyarō Shakai Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Haruko Nagaya, the guitarist and vocalist of Mizuyarō Shakai, plays a crucial role in shaping the band’s overall sound. Her playing style is not flashy but focuses on supporting the vocals, delicately crafting melody lines and chord progressions. This approach is evident in their hit song “Mela!”, where her crisp cutting and clean tone elevate the pop essence of the track. Conversely, in songs like “Summertime Cinderella,” she skillfully employs a pleasant reverb and rounded front humbucker sound to create a memorable depth.

The tonal direction often balances the sharp attack characteristic of Fender guitars with the warm resonance of semi-hollow and acoustic models. During live performances, she maintains an energetic presence while keeping the vocals at the forefront, while in the studio, she emphasizes delicacy through layered recordings. Her playing style frequently incorporates simple chords interwoven with intricate arpeggios, enhancing the band’s rhythmic vitality while subtly altering the song’s atmosphere through tone.

Understanding the sound design of Mizuyarō Shakai is essential, particularly the approach of layering slight distortion over a clean foundation and adding spatial effects for depth. This technique enriches the band’s sound and highlights Haruko Nagaya’s vocals. Below, we will delve into the specific amplifiers, guitars, and effects that she utilizes.

▶ Search official YouTube videos of Mizuyarō Shakai

List of Amplifiers and Features

Examining the lineup of amplifiers used by Haruko Nagaya reveals much about the band’s sound direction and her playing style. One of her long-time favorites is the Roland Jazz Chorus JC-120, renowned for its classic clean tone, particularly effective for achieving transparency in arpeggios and clean cuts. This amplifier has been frequently spotted in early Mizuyarō Shakai live performances and studio photos, serving as the foundation for her “non-intrusive” sound design.

Recently, the Fender MUSTANG MICRO has been observed in live settings and videos. This compact headphone amplifier is used for monitoring and practice during tours and rehearsals, as showcased in promotional footage. Its portability and built-in amp modeling allow for consistent sound in various environments, making it likely that it has been utilized for home practice and streaming video recordings.

Additionally, when seeking a more rock-oriented sound, she employs the Bad Cat Cub II. This amplifier, said to be an improvement on Matchless designs, features a solid core with smooth distortion. It is effectively used during live performances to thicken the band’s sound and enhance the emotional impact of certain tracks.

Haruko Nagaya’s choice of amplifiers appears to be guided by how well they support the “vocal-centric band sound.” The clean-focused JC-120, portable MUSTANG MICRO, and the robust rock tone of the Bad Cat Cub II are all strategically selected to create diverse expressions for each song. All of these have been confirmed through official interviews and live photographs, making them definitive components of her current rig.

However, it is possible that she has experimented with other Fender amplifiers in studio work or different live settings, and future activities may introduce additional gear. Currently, the following table summarizes the three primary amplifiers she is assumed to be using.

Types of Guitars Used and Features

The guitars used by Haruko Nagaya are a significant element supporting the diverse music of Mizuyarō Shakai. She primarily utilizes Fender models, incorporating a wide range from semi-hollow to acoustic-like guitars. Depending on the song, she skillfully alternates between “warm tones that bring the vocals forward” and “sharp attack that tightens the overall band sound.”

Notably, the BLAST CULT Marquis STD stands out with its unique semi-hollow structure, producing a rounded sound. Its distinctive appearance also makes a strong impression in music videos and live performances. The output is soft, often used more for arpeggios and chord backing than for cutting.

From the early stages of her career, she has favored the Fender Japan Exclusive Classic 50s Telecaster Special. This model features a butterscotch color and a front humbucker, combining crispness with warmth. It can be considered one of the key guitars that shaped her sound from the beginning.

Next is the Fender American Performer Telecaster (Vintage White / Honey Burst), which she has been seen using in multiple colors. With a front humbucker, it accommodates a wide range from clear pop tones to thicker sounds with a bit of drive. It is well-suited for clean cuts in songs like “Mela!”.

Additionally, she has been known to use a standard Fender Telecaster with a front humbucker, particularly in live settings where a strong backing from the band is necessary.

Another colorful option is the Fender American Performer Mustang (Satin Sonic Blue). Its pastel appearance is striking, and the sound is light and airy, matching bright songs and pop arrangements. Its compact size makes it easy to play, fitting well for a female guitarist.

Moreover, the Fender American Acoustasonic Telecaster (Black / Sonic Gray) is crucial for blending acoustic and electric sounds. It is used during live performances and acoustic sets, allowing for multiple expressions with a single instrument.

Lastly, the unique-looking Danelectro Dano Pro is also part of her collection. Known for its bowtie design, it is famously used by Jimmy Page. Its sound has a distinctive midrange, likely utilized for creating unique musical expressions.

In summary, Haruko Nagaya skillfully uses a variety of models centered around Telecasters, allowing her to adapt her sound to each song. This results in Mizuyarō Shakai’s sound being cohesive yet not monotonous. Below is a summary of her guitars.

Effects and Pedalboard Setup

Supporting Haruko Nagaya’s sound design is not only her choice of Fender guitars and amplifiers but also the configuration of her pedalboard. To maintain a pop-centric sound, she often utilizes pedals that add “sweetness” and “depth” to a clean foundation rather than relying on excessive distortion. Consequently, her selection of effects tends to be relatively simple, favoring practical and reliable combinations.

Among distortion pedals, the BOSS TURBO Distortion DS-2 and BOSS SD-1 SUPER OverDrive are prominent. The DS-2 was used early in her career, characterized by its striking orange casing. It is suitable for sharp cuts and powerful chord strokes. Meanwhile, the SD-1 features a milder distortion, allowing the natural tone of the guitar to shine through while providing a boost when needed.

To enhance low-end thickness, the BOSS OC-2 is included. This octave pedal adds depth to the band sound, particularly effective in songs like “Mela!” where it interacts with synth bass, ensuring the guitar maintains a strong presence.

For modulation, the PROVIDENCE Anadime Chorus (ADC-4) has been confirmed. This analog chorus adds warmth and, when using the DEEP mode, creates a three-dimensional spread. It is a crucial pedal for achieving the “spatial depth” often heard in Mizuyarō Shakai’s music.

The EBS MultiComp is utilized as a compressor, offering three modes for natural dynamic control. It is believed to enhance the clarity of arpeggios and clean cuts.

Additionally, she employs the tc electronic POLYTUNE 3 as a tuner, praised for its polyphonic capabilities that allow for quick adjustments on stage. For power supply, the CAJ AC/DC STATION ver.3 is used, a standard power supply from Custom Audio Japan that minimizes noise and ensures stable operation.

Overall, Haruko Nagaya’s effects setup is characterized by “utilizing standard gear optimized for pop music.” Rather than relying on extravagant effects, she supports Mizuyarō Shakai’s sound with stable choices. During live performances, she can easily switch effects on and off for each song, allowing her to focus on singing while instantly achieving the necessary tones.

Tone Settings, EQ, and Mixing Approaches

The core of Haruko Nagaya’s sound is “guitar that enhances the vocals,” and her settings and EQ reflect a consistent dedication to this principle. The foundation is clean, with distortion and spatial effects added only when necessary. Particularly in Mizuyarō Shakai’s songs, which incorporate pop and city pop elements, she avoids excessive effects, prioritizing a tone that harmonizes with the entire piece.

For amp settings, the Roland JC-120 has the treble slightly reduced and mids boosted to suppress harshness while ensuring chord expansion. The bass is kept flat around the 12 o’clock position, and character is adjusted through guitar selection and pickups. It is assumed that the chorus function of the JC-120 is rarely used, with the Providence Anadime Chorus providing the spatial effect instead.

In terms of distortion pedal usage, the SD-1 is kept lightly on at all times to round out the sound, adding a mild drive that blends well with the vocals. The DS-2 is engaged during choruses or powerful phrases to support the overall band dynamics. This careful distinction naturally emphasizes the dynamics throughout the songs.

Regarding EQ adjustments, she generally avoids excessive low-end, keeping frequencies below 200Hz modest to ensure separation from bass and drums. Conversely, she lightly boosts frequencies around 2kHz to 4kHz to clarify the “attack” of cuts and arpeggios. High frequencies (above 6kHz) are kept in check to avoid harshness and create space that does not clash with the vocals.

For song-specific adjustments, in bright pop songs like “Mela!”, she typically uses a clean tone with light chorus. For songs emphasizing acoustic nuances, she employs the Acoustasonic Telecaster and lightly adds reverb at the PA to enhance spaciousness. In ballads like “Summertime Cinderella,” she utilizes compression to refine clarity and applies deeper spatial effects for a dreamy resonance.

In terms of mixing techniques, she often employs panning to spread the guitar across the stereo field, placing her vocals at the center to create a “supportive wall” effect. EQ adjustments focus on midrange frequencies, suppressing lows and highs to ensure a beautiful overlap with her vocal range. It is believed that a combination of direct line output from the JC-120 and miking is used at PA venues to balance clean texture with cabinet airiness.

Furthermore, Mizuyarō Shakai frequently participates in streaming live performances and television appearances, which influences their EQ and effect selections to maintain a compact setup. The introduction of amp simulators like the Fender Mustang Micro for practice and some streams is likely a strategy to ensure stable sound across different environments.

In summary, Haruko Nagaya’s sound design can be encapsulated as “clean-focused, adding light distortion and spatial effects for dimensionality.” This reflects her commitment to placing the vocals at the center, tuning her guitar work to enhance the overall quality of the songs without overshadowing them.

Affordable Alternatives to Recreate the Tone

Haruko Nagaya’s guitar sound is built on a foundation of Fender guitars and clean-focused amplifiers, characterized by a “simple yet warm tone.” While professional-grade gear can be expensive and out of reach, it is possible for beginners and intermediate players to approximate her sound with relatively affordable equipment. Here, we introduce representative gear that can be obtained for around $100 to $500.

As an amp alternative, the Roland JC-22 is recommended as a smaller version of the JC-120. It can reproduce the signature transparent clean tone of the JC series and is suitable for home practice or small live performances. For those seeking a Fender-like flavor, the Fender Champion 40 offers excellent cost performance, making it easier to achieve the bright clean tones heard in Haruko’s live performances.

For effect alternatives, the BOSS series that Haruko actually uses is optimal. The SD-1 and DS-2 can be purchased new for around $100, allowing players to experience the same distortion characteristics she employs in live and recording settings. For chorus, while the Providence Anadime Chorus is a bit pricier, alternatives like the BOSS CE-2W or Electro-Harmonix Small Clone can provide warm, expansive sounds.

For compression, while the EBS MultiComp is somewhat expensive, it can be substituted with more affordable models like the BOSS CS-3. This will still effectively enhance clarity in cuts and arpeggios, aligning well with Mizuyarō Shakai’s sound.

Choosing a multi-effects unit is also a viable option. Models like the ZOOM G1X Four or BOSS GT-1 can be purchased for around $300 to $400, covering basic effects such as distortion, chorus, compression, and reverb that Haruko uses. These are ideal for beginners looking to experiment with her sound.

Additionally, compact amp simulators like the NUX Mighty Plug Pro or Fender Mustang Micro are recommended for practice or home recording. Given that Haruko herself uses the Mustang Micro, it offers an appealing way to recreate a similar environment easily.

In summary, the key elements needed to replicate her sound are “clean amps,” “light distortion,” “analog chorus,” and “compression.” By gathering affordable alternative gear, players can achieve a sound that embodies both the transparency and warmth characteristic of Haruko Nagaya’s playing.

Summary and Conclusion

The essence of Haruko Nagaya’s sound design lies in creating a guitar tone that enhances the vocals. As a guitarist and vocalist, she stands at the forefront, designing her sound to integrate seamlessly with the band and vocals rather than drawing attention to her playing. Thus, her guitar sound is simple and transparent, with “minimal yet effective adjustments” that enrich the character of each song.

Reflecting on her gear, the Roland JC-120 serves as the core for clean tones, while the Bad Cat Cub II adds thickness for rock-oriented moments, and the Fender Mustang Micro covers practical scenarios. Her collection of guitars, centered around Telecasters, includes diverse models like the semi-hollow BLAST CULT and the Acoustasonic, allowing her to switch tones according to the song. The effects are composed of reliable brands like BOSS and Providence, utilizing essential pedals for distortion, chorus, and compression.

Examining her EQ and settings, it is clear that she emphasizes midrange while keeping low-end modest, creating a comfortable space for her vocals to shine. The depth of reverb and chorus is adjusted according to the song, highlighting clarity in arpeggios and crispness in cuts. During live performances, she maintains simplicity in operation to balance singing and playing, while in the studio and streaming, she creates diverse soundscapes through meticulous layering and spatial processing.

For readers aiming to replicate her sound, the key points to focus on are “simple settings are sufficient,” “avoid excessive distortion or flashy effects,” and “design sound centered around the vocals.” By combining accessible pedals like the BOSS SD-1 and CE-2W with clean amps and Telecaster-type guitars, one can achieve a sound direction that closely resembles hers.

Ultimately, Haruko Nagaya’s guitar sound is crafted to support the world of Mizuyarō Shakai, never showcasing personal technique for its own sake. This sense of balance is what makes her style appealing and draws in many listeners. Pursuing her sound involves not just gathering gear but also adopting the mindset of “how to make the vocals sound more beautiful.”