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

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Introduction (Overview of Tone)

Miyako, the guitarist of DEZERT, is known for his unique sound design that balances the band’s intensity with delicacy. His guitar work goes beyond mere accompaniment, playing a significant role in tightening the overall composition and conveying emotions directly to the listener.

His tonal characteristics are defined by heavy riffs from deep drop tunings and the contrast of delicate clean tones. In the iconic song “Oyasumi,” the ambient and transparent clean sound leaves a lasting impression, while tracks like “TODAY” and “Ketsudan” explode with aggressive distortion, emphasizing the band’s explosive live energy.

Miyako’s style can be described as “emotional yet calmly constructed soundscapes.” Centered around the powerful Gibson Les Paul Blue Mist, he also incorporates single-coil guitars like the Jazzmaster and Nocaster, showcasing a wide range of tones from ballads to heavy rock.

Moreover, by utilizing amplifiers and the Kemper Profiler, he brings different expressions to live performances and recordings, embedding DEZERT’s unique “fluctuation” into the sound. As a result, his tone possesses a distinctive presence that overwhelms yet envelops the audience.

This article will thoroughly explain Miyako’s sound design, detailing the guitars, amplifiers, and effects he uses, as well as specific settings and beginner-friendly alternatives. It aims to provide practical and easy-to-understand content for those looking to recreate his sound.

▶ Search official YouTube videos of DEZERT

List of Amplifiers and Features

The amplifiers used by Miyako (DEZERT) are a crucial element that supports his diverse sound. The main amplifier confirmed is the “Marshall JVM410HJS (Joe Satriani Signature Model),” which features a four-channel design capable of handling a wide range from clean to high-gain tones.

During live performances, flexibility is essential, as this single amp covers everything from intense drop C# riffs to quiet arpeggios, making it the core of Miyako’s sound.

On the other hand, for softer ballads, he often combines it with the “Fender Hot Rod Deville 410,” which enhances the emotional depth of the songs with its warm clean tones. This amplifier is indispensable, especially for DEZERT’s lyrical tracks.

Additionally, he has previously used the “Peavey 6505+,” known for delivering high-gain sounds directly linked to 90s US metal. Evidence from live footage and gear information shows that this amp was integrated during intense riffs and solos.

The “Orange PPC212OB” cabinet has also been confirmed, emphasizing thick mid-low frequencies when paired with Marshall and Kemper Profiler. The Kemper Profiler has been used for a long time to achieve stable sound design in both recording and touring, allowing for the recreation of multiple amp sounds while also being portable.

The selection of these amplifiers reflects Miyako’s philosophy of “versatility in live settings,” “the coexistence of ballads and heaviness,” and “stability on-site.” As a result, he can achieve high-level sound projection and clarity on stage, as well as reproducibility in recordings.

It is expected that the use of Kemper will continue, while the differentiation between Marshall and Fender will persist depending on the nature of the songs and the venue size.

Types of Guitars Used and Features

Miyako’s guitar collection symbolizes the band’s diverse sound, with exquisite differentiation for both live and recording contexts. The main guitar he uses is the “Gibson Les Paul Standard Blue Mist,” known for its heavy sound that accommodates drop C# and half-step down tunings. This guitar is most frequently seen during his live performances and is essential for supporting DEZERT’s aggressive and powerful riffs.

Another favorite model is the “Gibson Les Paul Gothic II,” characterized by its chic black design and powerful humbucker sound. Its thick midrange distortion fits perfectly with DEZERT’s dark aesthetic. Additionally, a vintage “Gibson Les Paul (60s model)” is used in recordings, providing a tone that modern models cannot replicate, adding depth to the music.

Miyako also actively incorporates seven-string guitars, such as the “Ormsby Guitars TX G7 MH CBP AB” and “Dragonfly (7-string),” to create a heavier sound emphasizing lower frequencies. This approach allows the band to explore modern metal elements and experimental approaches. The Ormsby, in particular, features a multi-scale design that balances the tension of low strings with the playability of high strings.

Among single-coil guitars, the “Fender Custom Shop 1951 Nocaster Relic” is known to be one of Miyako’s favorites, used for cutting and clean phrases with its center pickup. Its warm yet defined sound is essential for expressing the softer side of the band. Furthermore, the “Fender Jazzmaster” has been confirmed for use in the song “Anata no Soba ni Iru,” creating a dreamy and expansive tone.

A notable recent addition is the “Jackson PRO PLUS SERIES RHOADS RR24 MIRROR,” a model specialized for sharp lead play equipped with a Floyd Rose. Its metallic sound and striking appearance symbolize DEZERT’s evolution on stage. These guitars each serve clear roles based on their applications, illustrating the breadth of Miyako’s musicality. It is highly likely that new models will be introduced in the future, further evolving the sound.

Effects and Pedalboard Setup

Miyako’s effects board is essential for supporting his sound design’s flexibility and creativity. He often employs different configurations for live performances and recordings, producing a variety of tones that match the atmosphere of each song. The main board features the “Vemuram Jan Ray,” which is used for crunch and boost, working in conjunction with the Marshall JVM410HJS channels to accommodate both delicate expressions and aggressive drive.

The “VOX V847” is utilized for wah play accents, effectively enhancing the presence during intense riffs and leads. Additionally, the “DigiTech The Drop” allows for half-step and whole-step down tuning without changing guitars, efficiently reproducing DEZERT’s diverse tunings during live performances. The “Free The Tone PHV-1” is introduced as a phase inverter, adjusting phase discrepancies that arise from specific guitar and effect combinations to ensure a clear sound image.

On the other hand, the board for the Nocaster has its own unique character. The wireless system “Line6 Relay G30” enables free stage performance, while the “Orange Fur Coat” adds a psychedelic texture with octave fuzz, and the “Line6 DL4” creates expansive delay effects. Furthermore, the “G-LAB GSC-4” programmable switcher allows for efficient switching between multiple pedals, ensuring stable performance during live shows.

Classic distortion pedals like the “BOSS DS-1,” “BOSS MT-2,” and “BOSS BD-2 WEED Mod.” are also included, allowing for varied distortion textures for each song. The “Xotic RC-Booster” serves as a booster, while the “Providence VLC-1” acts as a compressor, enabling control over sound pressure and dynamics. Additionally, the “tc electronic PolyTune” is always included to maintain stable tuning on stage.

These devices not only process sound but also function as tools for Miyako’s sound philosophy of “transforming the emotions of the song directly into tone.” He meticulously switches pedals for each song, expressing the contrast between heaviness and transparency. Live footage and recordings convey that he designs each note with precision. It is expected that he will continue to incorporate new pedals while evolving existing combinations.

Tone Settings, EQ, and Mixing Approaches

Miyako’s sound design goes beyond mere equipment selection; it is established through amp channel settings, effect combinations, and close collaboration with PA and recording engineers. He skillfully coexists seemingly contradictory elements of “heaviness” and “transparency,” which significantly influence the band’s sound image.

For example, he utilizes the four channels of the main amp, the “Marshall JVM410HJS,” differently for each song. The clean tone is set with moderate gain in Ch1’s clean mode, with EQ settings of bass at 4-5, mids at 5-6, and treble around 6, ensuring a transparent sound with good attack. In contrast, the drive sound utilizes Ch3 or Ch4, with gain set at 6-7. By slightly reducing the lows, he maintains a tight impression even when using a seven-string guitar.

Additionally, for clean tones, he sometimes employs the “Fender Hot Rod Deville 410,” where he slightly cuts the bass and boosts the mids to create a warm yet defined sound. The beautiful arpeggios heard in ballads are likely a result of this amp combined with the Nocaster or Jazzmaster.

Miyako is also notably conscious of the overall frequency balance of the band. Since DEZERT does not have a twin-guitar setup, there are many instances where Miyako’s guitar dominates the sound image, leading him to adjust the midrange to avoid frequency overlap. Particularly when the bass and vocals occupy the midrange, he seems to reduce the guitar’s mids slightly, allowing the lows and highs to stand out.

The use of effects is also crucial. The overdrive is typically kept on with the “Vemuram Jan Ray” to assist the amp’s drive, and during solos or riffs, he adds sound pressure with the “Xotic RC-Booster.” For spatial effects, the delay from “Line6 DL4” is finely adjusted for each song. For instance, in ballads, he emphasizes the echo with long delay times, while in heavier songs, he maintains tightness with short delays.

In terms of mixing, he often uses the “Kemper Profiler” during recordings to switch between multiple amp simulations for each track. For heavy rhythm guitars, he employs Marshall profiles, Fender profiles for clean tones, and Mesa/Boogie profiles for leads, pursuing the optimal solution depending on the situation. This approach allows for consistency across the album’s sound while adding a variety of colors.

When collaborating with live PA, he emphasizes clarity without excessive low-end. In larger venues, he adjusts the lows from the PA to prevent muddiness when heard from the audience. Conversely, in smaller venues, he focuses on the amp’s output, thickening the mid-low frequencies to enhance impact.

Overall, Miyako’s sound design is characterized by flexibility, adapting amp and effect settings based on “the song,” “the overall band sound,” and “venue size.” This adaptable approach is a key point that supports DEZERT’s musicality and is likely a significant factor in providing a strong immersive experience for listeners.

Affordable Alternatives to Recreate the Tone

Reproducing Miyako’s sound design in its entirety can be challenging for beginners due to the high costs associated with gear like Gibson, Ormsby, and Kemper. However, by focusing on key elements, it is possible to recreate a similar sound at a relatively affordable price. Here, we introduce commercially available gear that can be acquired for around $1,000 or less, allowing you to experience the essence of Miyako’s sound.

Starting with guitars, while Miyako’s main “Gibson Les Paul Standard Blue Mist” is expensive, a great alternative is the “Epiphone Les Paul Standard.” The Epiphone offers a thick sound similar to its more expensive counterpart, making it suitable for drop tunings and powerful riffs. It is particularly ideal for those introducing a Les Paul-type guitar for the first time.

For seven-string guitars, while Ormsby and Dragonfly are pricey, models like the “Ibanez RG series” or “Jackson JS series” seven-string guitars are affordable and user-friendly options. They provide stability in the low-end and playability, making them sufficient for recreating DEZERT’s heavy riffs. Ibanez, in particular, is a staple in metal, making it easier to achieve the tight low-end that Miyako aims for.

Owning a Marshall JVM410HJS is not feasible for many, so alternatives like the “Marshall Code 50” or “Boss Katana series” are strong contenders. These models feature amp simulations, covering a wide range from clean to high-gain sounds, suitable for both live performances and home practice, offering excellent cost performance. Additionally, alternatives to the Kemper Profiler include multi-effects units like “Line6 POD Go” or “Zoom G11,” which can handle amps, cabinets, and effects all in one unit.

For effects, while the Vemuram Jan Ray is a professional-grade pedal, alternatives like the “BOSS BD-2” or “Xotic Soul Driven” are viable options. The BD-2, especially when combined with modified pedals (like WEED Mod.), can get you closer to Miyako’s rich harmonic crunch sound. For a wah pedal, the “VOX V845” is an accessible version of the V847, providing similar expressive capabilities.

For delays and spatial effects, the “tc electronic Flashback” or “BOSS DD-7” are recommended as alternatives to the Line6 DL4. They are user-friendly and provide clear, versatile delay sounds, helping to recreate the expansive sound heard in Miyako’s tracks. For compression, the “BOSS CS-3” is a classic that can shape sound without the higher price of the Providence VLC-1.

Thus, it is not necessary to acquire the exact same gear; by focusing on key elements such as “Les Paul-type guitars,” “high-gain compatible amps or modeling amps,” and a combination of “boosters and delays,” you can achieve a sound reminiscent of Miyako’s. The crucial aspect is the flexibility to adjust distortion levels and the depth of spatial effects for each song, which is the essence of Miyako’s sound design.

Summary and Conclusion

Miyako’s sound design in DEZERT is rooted not just in the luxury of equipment but in the philosophy of “how to express the emotions of the song.” The guitars, amplifiers, and effects he chooses are all means to optimize the sound required at that moment, ultimately shaping the band’s overall sound image. The contrast between heavy, piercing riffs and soft, enveloping cleans is the hallmark of the Miyako sound.

With guitars centered around the Les Paul for a thick sound, along with the use of seven-string guitars, Nocasters, and Jazzmasters, he creates the unique diversity characteristic of DEZERT. The foundation of his amplifiers includes the Marshall JVM410HJS and Fender Hot Rod Deville, while the Kemper Profiler is utilized to derive optimal solutions based on the situation. His effects board combines both classic BOSS pedals and high-end Vemuram, allowing him to control different tones for each scenario.

Moreover, it is important to note his strong awareness of PA and engineering aspects. His EQ settings consider the band’s frequency balance, avoiding excessive low-end while ensuring clarity, a testament to his experience in live and recording environments. His style prioritizes overall harmony, demonstrating Miyako’s professional attitude.

At the core of his sound design lies the direct projection of emotions. The settings of effects and amplifiers are merely tools for this purpose, and the key is the player’s expressive ability and the ingenuity to bring it out. For beginners looking to approach Miyako’s sound, focusing on contrasts between distortion and clean tones, as well as balancing boosts and spatial effects, is the first step.

In summary, the essence of Miyako’s sound design is “to adapt while consistently expressing the emotions of the song.” Regardless of the guitar or amp, under his hands, the sound is always elevated to embody DEZERT’s music. This is the reason he continues to captivate many listeners, and it is the most crucial perspective to keep in mind when attempting to replicate Miyako’s sound.