[Moeka Shiotsuka] How to Recreate the Sheep Literature Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Akira Takasaki] Crafting the Signature LOUDNESS Sound — Gear, Settings & Modern Reproduction

2025.06.062025.09.04

【Asako Miyazaki】How to Recreate the SHISHAMO Sound + Guitar Gear and Tone Settings【Effects & Amps】

2025.09.04

[Tomoru] How to Recreate the Cider Girl Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.11

Introduction (Overview of Tone)

Moeka Shiotsuka, the frontwoman and guitarist of Sheep Literature, plays a pivotal role in the band’s musical core. Her sound is characterized by delicate, transparent arpeggios and chord work enveloped in deep reverb.

In iconic songs like “1999” and “Hikaru Toki,” the expansive guitar sound is emphasized with reverb, creating an atmosphere reminiscent of shoegaze and dream pop, while still retaining sharp alternative contours. During live performances, she showcases a unique sound centered around her Jaguar, crafting simple yet profound guitar ensembles that captivate the audience.

The reason Moeka Shiotsuka’s sound design garners attention lies not only in her choice of gear but also in how she connects these sounds to the “narrative of the songs.” This is particularly evident in her use of reverb and delay, where the echoes enhance the song’s afterglow and resonate with her vocals.

Her playing style avoids excessive distortion, primarily relying on a crunch created by pedals like the OCD, layering fuzz and reverse delay as needed to create a unique atmosphere. This results in a cohesive sound that intuitively feels like “this is the sound of Sheep Literature,” while painting diverse soundscapes for each song.

In the following sections, we will delve into the amplifiers, guitars, effects, and the settings and EQ techniques that Moeka Shiotsuka employs.

▶ Search official YouTube videos of Sheep Literature

List of Amplifiers and Features

The foundation of Moeka Shiotsuka’s guitar sound is built on tube amplifiers with settings close to clean. A notable example is the Fender 1978 Dual Showman Reverb, which has been modified with Tung-Sol tubes and custom circuit board components. This Dual Showman is known for its wide clean headroom, allowing for spatial effects like reverb and delay without muddying the sound.

She uses a String Driver SD212 cabinet, which incorporates a 10kg weight to suppress vibrations, achieving tight low-end response. This setup tightens the characteristic sharp high frequencies of the Jaguar while blending seamlessly with Moeka’s vocals and the overall band mix.

Additionally, past social media posts have confirmed her use of a Marshall amplifier (model unspecified), likely employed when seeking a more aggressive alternative sound. However, in recent performances, she has consistently relied on Fender for a clean to crunch sound.

For miking the amplifier, she utilizes an AKG C414, a high-resolution condenser microphone known for its flat response, reportedly placed on the right side. This setup allows for a faithful transmission of the expansive sound, ensuring consistent sound quality from live houses to large festivals.

Moeka’s preference for Fender amplifiers is likely influenced by her musical roots in alternative and shoegaze genres. Artists like Nirvana and Yo La Tengo, who favored the Jaguar and Fender amps, may have shaped her sound choices.

In summary, Moeka Shiotsuka’s amplifier sound is characterized by a “clean setting based on the Fender Dual Showman Reverb, with a constant crunch created by the OCD and additional distortion or spatial effects as needed,” which is believed to contribute to Sheep Literature’s transparent and expansive sound.

Types of Guitars Used and Features

Integral to Moeka Shiotsuka’s sound is her beloved Fender Jaguar series. A standout model is the Fender Custom Shop ’66 Jaguar Deluxe Closet Classic, which she uses for songs requiring depth and richness, often played in the center + front pickup mix position. She strings it with Elixir Optiweb .010–.046 and operates it in standard tuning. While not semi-hollow, the Jaguar’s unique sharpness and the refined overtones characteristic of the Custom Shop are captivating.

Another significant guitar in her career is the Fender American Vintage ’65 Jaguar (USA/FSR 2013), which she has used since her indie days. This guitar has undergone modifications, including a brass bridge saddle. There’s a story that it bears the signature of James McNew from the band Yo La Tengo, which has influenced her sound. She uses D’Addario XTS .010–.046 strings, also in standard tuning. The Sonic Blue color and lacquer finish have aged beautifully, giving it a unique look and tone.

For acoustic work, the k.yairi YF-018B has been confirmed in use. This guitar was utilized at large festivals like FUJI ROCK ’22, producing a soft tone that envelops her delicate vocals. It plays a crucial role in adding dynamics to the predominantly electric ensemble.

Interestingly, Moeka’s first guitar was a light blue Fender Stratocaster, an experience that likely laid the groundwork for her later choice of the Jaguar. The Jaguar’s short scale makes it manageable for female players, and it aligns perfectly with her aspirations for alternative and shoegaze sounds.

Overall, Moeka Shiotsuka’s guitar selection consistently revolves around “leveraging the Jaguar for refined crunch and reverb.” The combination of the Jaguar, which supports a three-dimensional sound at festivals and large venues, and the acoustic guitar, which adds color to each song, creates Sheep Literature’s unique soundscape.

Effects and Pedalboard Setup

The most crucial element in Moeka Shiotsuka’s sound design is her effects pedalboard. Her pedal setup is built on a foundation of simple crunch sounds, layered with spatial effects to create Sheep Literature’s characteristic three-dimensional sound. Below are the confirmed pedals in use and their roles.

The foundation is the Fulltone OCD, which is set to always be ON, providing a natural crunch to the clean amp. To enhance the character of the OCD, the Vemuram SHANKS ODS-1 is included, used to add thickness during solos or phrases. Additionally, the A.Y.A drivesta serves as a boost, coming into play during solos.

For fuzz effects, the Electro-Harmonix Ram’s Head Big Muff Pi and Big Muff π “3rd” have been confirmed. The Ram’s Head, in particular, plays a vital role in producing thunderous sounds during solo parts, adding a shoegaze-like thickness. The use of the Devi Ever Shoegazer is also noted, reflecting her alternative preferences.

In terms of spatial effects, the Arion SCH-Z mod (chorus) creates a sense of fluctuation, while the Ninevolt Pedals Bath Time Reverb produces ethereal echoes in songs like the intro of “1999.” The addition of the Strymon blueSky creates a rich reverb that envelops the entire live space.

For delay effects, the Red Panda RASTER and its successor, the RASTER V2, are central to her setup. The use of reverse delay and multiple modes is a hallmark, generating a unique floating sensation. The Electro-Harmonix Canyon is also integrated into the board, allowing her to adjust the texture of the delay according to the song.

Other notable mentions include the use of the bananana effects WORMHOLE, a Japanese boutique pedal that has been a key element in her spatial expression since 2016. Power is reliably supplied by the Strymon Ojai / Zuma and Free The Tone PT-5D, ensuring a noise-free and stable sound environment.

The basic wiring flow is as follows:
Guitar → Junction Box → OCD → SHANKS ODS-1 → drivesta → Ram’s Head → SCH-Z → Bath Time Reverb → RASTER → blueSky → Canyon → Amplifier

This configuration results in a “natural crunch based on the OCD, complemented by spatial effects from the 7th to 11th pedals, creating the ‘reverberant three-dimensional sound’ characteristic of Sheep Literature.” Notably, there have been no significant changes to her pedalboard since 2020, with the RASTER being updated to V2 and the addition of the Pitchblack X tuner in 2024. This consistency reflects her sound philosophy. Overall, “minimal distortion plus rich spatial effects” is central to Moeka Shiotsuka’s sound design.

Tone Settings, EQ, and Mixing Approaches

Moeka Shiotsuka’s sound design is characterized not only by her choice of gear but also by how she utilizes it. Her basic setup consists of a “clean amp + OCD always ON” crunch foundation, layering reverb and delay according to the song. This approach allows for a consistent sound while enabling tonal variations that match the mood of each piece.

In terms of EQ settings, to prevent the sharp high frequencies of the Jaguar from being overly pronounced, it is speculated that she keeps the amp’s Treble low (around 3-4), slightly boosts the Mid (around 5-6), and sets the Bass around 4. This configuration ensures that Moeka’s voice stands out while the guitar blends seamlessly into the band sound.

For distortion effects, the OCD serves as the basic crunch, with booster pedals (SHANKS ODS-1, drivesta) used to elevate the volume. During solos or verse sections, fuzz pedals (like the Ram’s Head Big Muff) are added to create thickness, enhancing the dynamics of the entire song. Notably, songs like “Girls” and “Yoru wo Koete” feature fuzz that accentuates the climactic moments.

Reverb usage is also crucial. The Ninevolt Bath Time Reverb is employed as a light spring-like reverb for intros and bridges, while the Strymon blueSky provides deep hall reverb, enveloping the overall sound. This creates the expansive atmosphere found in songs like “1999.”

For delay, the Red Panda RASTER and RASTER V2 utilize reverse delay to create a floating sensation. In addition to standard eighth-note delays, incorporating reverse elements gives listeners the impression of “time rewinding.” The Electro-Harmonix Canyon serves as a simpler delay, helping to refine the echoes of phrases.

On the mixing side, it is likely that PA engineers treat Moeka’s guitar as an “element that fills the space.” To center the vocals, the guitar volume is set slightly lower, while reverb and delay echoes expand the stereo field. In live settings, the amp is likely set closer to clean, with the PA emphasizing the echoes for a more pronounced effect.

Moreover, the attack and midrange emphasis from the Jaguar’s short scale enhances compatibility with Moeka’s vocals. It is possible that EQ adjustments are made to slightly cut frequencies around 2-3kHz to avoid clashing with vocal overtones, while boosting above 5kHz with reverb and delay to enhance “transparency.”

In summary, Moeka Shiotsuka’s sound design revolves around a consistent concept of “simple distortion plus diverse spatial processing,” utilizing EQ and PA techniques to create transparency and depth. This is a crucial aspect of delivering Sheep Literature’s music as a “three-dimensional soundscape” to listeners, serving as a key element supporting her unique style.

Affordable Alternatives to Recreate the Tone

While achieving Moeka Shiotsuka’s sound in its entirety may require the original Fender Jaguar and high-end effects, it is true that these can be quite expensive and daunting for beginners or those looking to start replicating her sound. Therefore, here are some affordable and accessible gear options to get closer to her tone, with a price range of approximately $100–500.

For guitars, while the ideal choice is the genuine Fender Jaguar, a more budget-friendly option is the Squier Classic Vibe ’70s Jaguar. This model retains the unique pickup configuration and short scale of the Jaguar, making it capable of delivering a similar sound character. The “sharp” quality during clean tones aligns well with Moeka’s sound.

The Fulltone OCD is a classic choice for overdrive, but it can be a bit pricey. As alternatives, the BOSS SD-1 Super OverDrive and JHS 3 Series Overdrive are excellent options. Both offer a straightforward distortion that pairs well with clean amps, making it easy to achieve an OCD-like natural crunch.

For reverb, while the Strymon blueSky is on the higher end, alternatives like the BOSS RV-6 and Electro-Harmonix Holy Grail Nano are outstanding choices. The RV-6, in particular, offers a variety of modes, including hall and shimmer reverb, which are essential for replicating the spatial qualities of Sheep Literature’s sound.

In the delay category, the Red Panda RASTER is quite expensive, so the BOSS DD-8 Digital Delay is a suitable alternative. It features simple delays and reverse options, allowing for a floating sensation similar to the RASTER. Additionally, the Electro-Harmonix Canyon is also accessible at around $200, making it a practical choice.

Finally, for power supplies, while the Strymon Zuma/Ojai can be costly, alternatives like the CAJ Power Supply or One Control Iguana Tail provide stable power supply and are effective in reducing noise. This is particularly important for achieving the fidelity needed in Sheep Literature’s sound design.

By combining these pieces of gear, you can recreate the basic structure of “clean amp + always ON overdrive + deep reverb + reverse delay” that defines Moeka Shiotsuka’s sound at a relatively low budget. Before investing in high-end equipment, it’s advisable to experience her sound using these alternatives.

Summary and Conclusion

Moeka Shiotsuka’s guitar sound can be summed up as “a three-dimensional, reverberant sound based on clean tones.” The sharp tones produced by the Fender Jaguar are shaped into a constant crunch using the Fulltone OCD, while reverb and delay expand the soundscape, establishing the unique world of Sheep Literature. This approach creates a “pleasant sound field” that is distinct from both thunderous shoegaze and transparent pop.

The essence of her sound design lies in the balance between “minimal distortion” and “maximum reverb and depth.” The focus is on enhancing the guitar’s presence without overshadowing the vocals or the overall band, creating a “space” that envelops the performance. This is significantly aided by collaboration with the PA and engineers, where the amp is set to clean, distortion is added as needed with the OCD and Big Muff, and spatial effects provide depth.

Moreover, the choice of the Jaguar is not coincidental; it directly connects to the lineage of alternative music, as seen with bands like Nirvana and Yo La Tengo. Its short scale makes it manageable, while the unique pickup range and visual presence resonate deeply with Moeka’s musical preferences and performance style. The inclusion of an acoustic guitar further broadens her expressive range, adding warmth and depth to Sheep Literature’s compositions.

Regarding her effects board, consistency and reliability stand out. There have been few significant changes from 2019 to 2024, with only minor updates like the RASTER being upgraded to V2. This reflects her established sound. While incorporating boutique and handmade pedals, the system remains simple, ensuring stable reproduction during live performances and recordings.

To recreate Moeka Shiotsuka’s sound, it is crucial to focus not just on copying gear but on understanding the “place of sound.” How it resonates within the band, how it supports the vocals, and how to create space—this awareness is at the core of Sheep Literature’s sound design. Rather than merely applying effects deeply, the timing of when to play and how much reverb to leave behind is key to achieving the most authentic Moeka sound.

In conclusion, Sheep Literature’s sound design is characterized by “simple distortion, rich spatial processing, and harmony with the entire band.” It is not just about the guitar standing alone; it is designed to encompass vocals, rhythm, and the venue’s resonance. By understanding this philosophy, you can experience Moeka Shiotsuka’s sound more deeply and apply it to your own playing.