[Seiya Sawada] How to Recreate the Suspended 4th Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Seiya Sawada, the guitarist of the Nagoya-based jazz punk band Suspended 4th, captivates listeners with his bluesy yet aggressive guitar sound. His playing style is characterized by a blend of alternative rock and blues, infused with a jam band-like improvisational flair. Iconic tracks such as “Stratocaster Seaside” and “GIANTSTAMP” showcase his ability to balance gritty drive with soaring lead tones, driving the band’s overall groove.

In live performances, he updates the classic vintage sound for a modern audience, expressing a wide range from simple riffs to complex chord work. Notably, in the studio, he constructs a unique sound by skillfully combining multiple pedals and amplifiers, centered around his 1958 Gibson Les Paul Junior.

This article delves into the secrets of Seiya Sawada’s sound design, providing detailed insights into the guitars, amplifiers, effects, and specific settings he employs. This information will serve as a valuable reference for gear selection and sound crafting.

▶ Search official YouTube videos of Suspended 4th

List of Amplifiers and Features

Another significant element supporting the sound of Suspended 4th is the amplifiers. Seiya Sawada utilizes several amplifiers for live performances and recordings, allowing him to express the dynamics and textures required for each song. His lineup covers a wide range, from natural drive leaning towards crunch to deep, rich clean tones.

One of the primary amplifiers he uses is the Organic Sounds Scirocco. This handmade Japanese amp features tube responsiveness that reflects the player’s touch, making it ideal for Seiya’s bluesy lead play. Its excellent note separation and pronounced midrange ensure that he stands out in the jam-heavy ensemble of Suspended 4th.

Additionally, he employs the Matchless DC-30, a quintessential British amp. This 30W Class A amplifier combines sparkling clean tones with thick drive sounds, contributing to a sound that transcends jazz and rock. It particularly supports the band with its transparent tone during chord work and rhythm guitar.

Furthermore, the iconic Marshall JMP50 2204 has been spotted in recordings and some live performances. Its raw British drive sound amplifies the punk energy of Suspended 4th, creating a robust rock sound that is particularly effective during solo parts and riffs.

By combining handmade transparent amps with traditional British models, Seiya Sawada achieves a broad spectrum of sound, from clean to distortion. He often changes his amplifiers for different performances, suggesting a thoughtful selection of tones based on the situation. Therefore, it is assumed that his sound is built around these amplifiers.

Types of Guitars Used and Features

Central to the sound of Seiya Sawada and Suspended 4th is his main guitar, the 1958 Gibson Les Paul Junior. This vintage guitar, passed down from a band member, features a dry tone and thick midrange characteristic of its age. Modifications to the strap pin position and wear on the neck paint tell the story of its long use. It serves as the cornerstone for the band’s powerful riffs and solos during recordings.

The Les Paul Junior has a single-cut structure with P-90 pickups, allowing for a simple yet powerful sound that leans towards blues and punk. Seiya’s playing style, whether strumming chords or delivering single-note leads, is deeply connected to this guitar, which functions almost as an extension of his body. Unlike other guitarists who switch between Stratocasters and semi-hollows, Seiya focuses intensely on this one instrument, crafting the core of his sound.

Live footage and social media frequently showcase him playing this Les Paul Junior on stage. His commitment to a single guitar expands the expressive range of his pedal and amplifier combinations. In particular, the strength of this guitar elevates the overall sound of the band in signature tracks like “GIANTSTAMP” and “Stratocaster Seaside.”

Currently, there is little information regarding the use of secondary guitars or different models, but there is potential for new models to be introduced in future activities. As it stands, the 1958 Les Paul Junior is assumed to be used in nearly all situations, forming the foundation of Seiya Sawada’s guitar sound.

Effects and Pedalboard Setup

The most significant element that colors Seiya Sawada’s sound is his diverse array of effects, forming a well-thought-out pedalboard. He incorporates a wide range of effects, from basic overdrive to unique sound effects, generating various tones from his 1958 Les Paul Junior. The combinations are never overly flashy but are crafted to enhance the groove of the songs.

For distortion, he primarily uses the Zahnrad INVERSION (distortion/fuzz with gate function), combined with staples like the Sobbat DRIVE Breaker DB-2 and Ibanez TS808 to achieve a thick, bluesy drive. Adding the HAO Rust Booster II allows for clean boosts and enhanced clarity during solos.

In terms of spatial effects, he employs multiple delays, including the Maxon AD999 Analog Delay and BOSS RE-20 Space Echo, to create a rich soundscape. During the jam sessions characteristic of Suspended 4th, these delays are used to produce unique rhythmic fluctuations. Additionally, the Electro-Harmonix POLY CHORUS provides modulation, while the EarthQuaker Devices Data Corrupter introduces bold synth-like sounds, symbolizing his experimental play.

For wah effects, he uses the Guyatone Cry-Max and TBCFX WahBox, creating funky lead tones. Digital octave effects from the Third Man Triplegraph and KORG OCT-1 contribute to a thicker sound.

Stability in power supply is emphasized with multiple units like the nature sound power supply and VOCU Baby Power Plant Type-C. Furthermore, incorporating the One Control Minimal Series 1 Loop Box and nature sound AB box allows for smooth switching on stage. His tuners, including the KORG pitchblack PORTABLE and Sonic Research ST-300, are known for their high precision.

In summary, Seiya Sawada’s pedalboard combines the vintage character of the Les Paul Junior with a diverse range of modern pedals, achieving a simple yet profound sound. While he may alter his setup for different performances, the gear mentioned above is assumed to support his sound.

Tone Settings, EQ, and Mixing Approaches

Seiya Sawada’s sound design is not merely about gear selection; it is also shaped by amplifier EQ settings, pedal combinations, and mixing techniques. The essence of his sound lies in extracting a wide range of expressions from a simple 1958 Gibson Les Paul Junior.

When using the Organic Sounds Scirocco, he boosts the midrange while keeping treble subdued to avoid harshness, creating a core sound that supports the entire band. The bass is kept moderate to avoid interference with the rhythm section. This results in maintaining the thickness of riffs while achieving a clear lead tone during solos.

With the Matchless DC-30, he balances treble and midrange settings for clean tones, enhancing the chime-like brilliance with a light booster (such as the HAO Rust Booster II) and adding slight distortion for depth in certain songs.

For distortion, he keeps the TS808 constantly on to push the amp, layering it with the Zahnrad INVERSION to achieve a unique, gritty drive. This combination allows the nuances of his picking to be reflected in the tone. The fuzz-like texture is particularly effective in bluesy tracks like “Stratocaster Seaside.”

In handling spatial effects, he uses multiple delays tailored to specific scenes. The Maxon AD999 analog delay reinforces the thickness of solos, while the BOSS RE-20 Space Echo adds depth to rhythm. In some songs, he sets the delay repeats lower to serve as an atmospheric enhancement.

The wah pedal is used selectively to accentuate solos and riffs, not continuously pressed, but rather operated to add “voice” in the spaces of the music. This emphasizes the funky grooves and bluesy feel.

From a mixing perspective, Seiya’s guitar is often centered rather than panned widely, reflecting the jam band-like ensemble of Suspended 4th, where interplay with the bass and drums is crucial. Engineers typically EQ the guitar around the midrange, ensuring it occupies a frequency range that does not clash with the rhythm section.

In recordings, he combines amp miking with room mics to enhance the airiness of the sound, capturing a live feel that adds to the overall impact of the work. Additionally, in some tracks, delays and reverbs are added in post-processing to create depth in the sound image.

In summary, Seiya Sawada’s sound design is supported by “thoroughly playing a simple gear setup while coloring it with diverse effects” and “delicate adjustments during EQ and mixing stages.” This allows his guitar to function as a powerful core supporting the music of Suspended 4th.

Affordable Alternatives to Recreate the Tone

Seiya Sawada’s sound design is built around high-end gear like the vintage Les Paul Junior and handmade amplifiers, which may be out of reach for beginners. However, the essence of his sound lies in the “thick tone of P-90 single coils,” “overdrive that emphasizes midrange,” and “spatial effects through delay processing.” By focusing on these three aspects, it is possible to approach Seiya’s sound at a relatively affordable price.

For guitars, models like the Epiphone Les Paul Junior or Epiphone Les Paul Special I P90 equipped with P-90 pickups are excellent choices. Priced around $300, they can achieve a similar tonal character to Seiya’s main guitar. Their simple structure also allows for a wider range of sound crafting with amplifiers and pedals.

For amplifiers, I recommend models like the BOSS Katana series or YAMAHA THR30II Wireless, which can handle a wide range from clean to crunch. By emphasizing midrange while avoiding excessive distortion, you can achieve a tone that blends well with the band ensemble.

For distortion pedals, the Ibanez Tube Screamer Mini or BOSS SD-1 are cost-effective options. Both emphasize the midrange, allowing for a bluesy overdrive that mirrors Seiya’s “amp-pushing distortion.”

In terms of spatial effects, the BOSS DD-8 or NUX Time Core Deluxe are recommended. They can replicate Seiya’s multiple delays to a degree, making them user-friendly for live performances and practice. Applying a subtle short delay can help recreate the “depth” found in his playing.

Finally, a standard Jim Dunlop Cry Baby wah pedal is sufficient. While not as rare as the Guyatone or TBCFX models he uses, it allows you to grasp the feel of adding accents to solos and riffs.

By combining these elements, beginners can recreate a “Suspended 4th-like sound” within a budget of $1,000. The key is not to copy expensive gear but to focus on “the character of P-90s and midrange-driven drive” for the best results.

Summary and Conclusion

Seiya Sawada’s sound design in Suspended 4th may appear to be a simple combination of “vintage guitar + diverse pedals.” However, beneath this simplicity lies a strong philosophy of “thoroughly playing a single 1958 Gibson Les Paul Junior and adding color through amplifiers and effects.”

The core of his sound comes from the thick midrange and rough texture produced by the single P-90 pickup. He selects amplifiers like the Organic Sounds Scirocco and Matchless DC-30 that can leverage this richness, while distortion is appropriately pushed with the TS808 and INVERSION. Layering multiple delays and choruses creates a jam band-like depth.

It is essential to understand that the goal is not to replicate the gear itself but to grasp “why that gear is used.” For instance, Seiya incorporates multiple delays not to “fill the sound” but to “add fluctuations to the overall groove of the band.” The use of wah pedals is not for “flashiness” but to provide “rhythmic accents.” This illustrates a deliberate choice of gear driven by musical intent.

Moreover, the mixing stage’s nuances cannot be overlooked. By not panning the guitar widely and focusing on interplay with the bass and drums, a unique groove characteristic of Suspended 4th emerges. Thus, Seiya’s guitar functions not as a standout sound but as a cohesive element that elevates the entire band.

In conclusion, the essence of Seiya Sawada’s sound design can be described as “diversity within simplicity.” While using vintage gear, he skillfully integrates modern effects to maximize the band’s unity. Players aiming to replicate the sound of Suspended 4th should focus not on acquiring expensive gear but on “settings that emphasize midrange,” “distortion that captures playing nuances,” and “spatial processing that supports rhythm.”

Ultimately, Seiya’s sound is a fusion of “vintage warmth” and “modern experimentation.” Understanding and practicing this approach will enable players to incorporate the groove of Suspended 4th into their performances.