[Daoud Popal] How to Recreate the Kikagaku Moyo Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Daoud Popal, the guitarist of Kikagaku Moyo, is highly regarded for his guitar playing that combines the ethereal qualities and improvisational nature characteristic of psychedelic rock. His guitar work is melodic yet creates an ambient atmosphere, enriching the overall soundscape of the band.

Iconic tracks such as “Dripping Sun” and “Green Sugar” showcase a blend of sitar-like sounds and droning effects intertwined with guitar, where Daoud’s tone transcends the instrument itself, becoming an integral part of the sound. His heavy use of delay and phaser effects creates trance-like riffs and lead lines that have the power to engulf the audience in a sonic whirlpool.

While specific guitar models have not been confirmed through interviews or official sources, various gear explanation media suggest that the Fender Jazzmaster is an ideal model for replicating his sound. Regarding amplifiers, models like the Fender Twin Reverb and Princeton Reverb are recommended for their clean headroom, which is believed to support his transparent tone.

Considering these characteristics, Daoud Popal’s sound is clearly defined as “layering fuzz and delay over a clean and clear foundation to create an ethereal effect.” Notably, the Death By Audio Fuzz War and Boss RE-20 Space Echo have been confirmed through pedalboard photos, making them reliable pieces of gear.

In summary, the essence of his sound lies in “creating a minimal and ambient foundation while adding improvisational and psychedelic colors.”

▶ Search official YouTube videos of Kikagaku Moyo

List of Amplifiers and Features

Daoud Popal’s amplifier settings have not been explicitly stated in official interviews or his social media. However, several gear explanation sites and music media have recommended amplifiers that could replicate the Kikagaku Moyo sound.

The most frequently mentioned amplifier is the Fender Twin Reverb. Known for its wide clean headroom, it allows the guitar to stand out without distorting the overall sound of the band. Daoud’s playing style emphasizes resonating each note while keeping the number of notes minimal, making a clean foundation amplifier essential. Additionally, using a reverb-equipped model naturally adds an ambient feel.

The Fender Princeton Reverb is also considered a candidate. Being smaller and more manageable than the Twin Reverb, it may produce a warmer tone depending on the stage size or recording environment. This makes it suitable for smaller gigs or rehearsals, where avoiding excessive output while utilizing the classic Fender tone is advantageous.

Some articles also mention Silvertone models or vintage reissue models. These are listed as alternatives to mimic the “Kikagaku Moyo sound,” and while they are not confirmed, they possess similar sound characteristics, making them worthy of consideration.

Regardless, it is clear that the amplifiers supporting Daoud’s sound are “types that maintain a clean foundation and maximize the effects of pedals.” This choice is intentional, as it follows the philosophy of “not distorting with the amp, but rather using the amp as a transparent canvas, adding distortion and space with pedals.”

Therefore, when listeners attempt to replicate his sound, selecting a Fender-type amplifier is likely the most straightforward approach.

Types of Guitars Used and Features

Regarding Daoud Popal’s guitar, there have been no clear model names disclosed in official interviews or on social media. However, referencing overseas gear databases like Equipboard and Guitar Chalk, the Fender Jazzmaster is noted as the optimal model for replicating the Kikagaku Moyo sound.

The Jazzmaster has been widely loved in surf music, alternative rock, and shoegaze for its rich resonance from low to mid-range and its distinctive single-coil sound. It is believed to pair exceptionally well with Daoud’s ambient phrases and spatial chord work. When combined with an amplifier that has a large clean headroom, it serves as the foundation supporting his ethereal tone.

However, the key point is not whether he uses a Jazzmaster specifically, but rather that the sound profile of Jazzmaster-type guitars suits his style. Since specific models have not been confirmed in live photos or videos, the Jazzmaster mentioned here should be considered as “assumed” or a “candidate for sound replication.”

If readers wish to experience Daoud’s sound, trying out current models of the Fender Jazzmaster or Squier Jazzmaster, which are relatively affordable, would be a practical choice. The unique texture of the rosewood fretboard and the resonance of the offset body are crucial elements that can help bring them closer to the sound of Kikagaku Moyo.

Moreover, Kikagaku Moyo’s music often incorporates sitar and synth-like sounds, so the choice of guitar alone is not enough; the playing techniques and use of effects also expand the possibilities of sound creation. Even if using a different model (such as a Stratocaster or SG), it is still possible to replicate a similar texture through the right combination of amp and pedals.

Therefore, it is assumed that Daoud Popal’s “main guitar is of the Fender Jazzmaster type,” but caution is needed due to the lack of confirmation. With that in mind, it is advisable to consider the Jazzmaster as a strongly recommended reference model when pursuing the sound profile.

Effects and Pedalboard Setup

Next, we should focus on the DOD FX22 Vibro Thang (Phaser/Vibrato type). This pedal is prominently featured in live pedalboard photos and plays a crucial role in creating the psychedelic soundscape. By adding modulation to the guitar, it enhances the “trip-like” quality of Kikagaku Moyo’s music.

Another signature of Daoud’s sound is the Death By Audio Fuzz War (Fuzz). This pedal generates intense distortion, creating a wall of sound that is loved by psychedelic guitarists worldwide. In Kikagaku Moyo’s tracks, it shines during powerful riffs and climactic moments.

In terms of spatial effects, the Boss RE-20 Space Echo (Echo) occupies a significant position. This pedal digitally recreates the legendary Roland RE-201, combining fluctuating delay with a spring reverb feel, making it indispensable for crafting ambient tones. Especially during Kikagaku Moyo’s lengthy improvisational sections, the reverberation produced by this Space Echo adds depth to the sound.

Additionally, articles from Guitar Chalk and Premier Guitar recommend pedals like the Catalinbread Belle Epoch (Tape Echo type), Electro-Harmonix Space Echo, and MXR Phase 90 series phasers as mimic guides. While these have not been confirmed as actual usage, they are introduced as pedals that can closely replicate Daoud’s sound direction.

Looking at the entire pedalboard, it is unified by the structure of “coloring a clean foundation with spatial effects and creating powerful sounds with fuzz as needed,” which is the secret to immersing the audience during Kikagaku Moyo’s live performances. By considering both confirmed pedals and assumed mimic guide gear, it is quite feasible to replicate the framework of Daoud’s sound creation.

Tone Settings, EQ, and Mixing Approaches

Daoud Popal’s sound is rooted in the philosophy of “maintaining a clean foundation while expanding the sound profile with effects.” Rather than relying on the distortion of the amplifier, he uses clean headroom amplifiers like the Twin Reverb or Princeton Reverb and layers fuzz and delay to create a three-dimensional effect. The EQ settings likely avoid excessive bass, slightly suppress the midrange, and keep lows and highs more open to create a tone that blends into the space.

For specific EQ examples, keeping the Bass around 4-5 to avoid muddy lows, Mid at 3-4 for a subdued presence, and Treble at 5-6 for clarity is a close approach. This way, the guitar does not dominate as a standalone instrument but creates “bandwidth space” that harmonizes with sitar, drums, and synth-like sounds. Given that Kikagaku Moyo’s tracks often feature lengthy improvisations, it is essential for all sounds to coexist spatially rather than clash.

When using fuzz (Death By Audio Fuzz War), the guitar’s tone knob is rolled back to emphasize the midrange while keeping the amp clean, creating a contrast of “raw distortion and a transparent foundation.” This ensures that even powerful sounds remain distinct, maintaining overall balance.

The Boss RE-20 Space Echo plays a particularly significant role in spatial effects. A moderate delay time (250ms-400ms), shallow repeats, and a mix level set around 40-50% create a setting where echoes linger behind the sound without blurring the outline of phrases. Depending on the song, deeper repeats may be used to extend the reverberation and emphasize a droning atmosphere.

The phaser (DOD FX22 Vibro Thang) is set to a slower speed, allowing the modulation to blend into the overall sound as a “wave.” Avoiding settings that are too fast for the tempo, it serves primarily as an ambient element. Similarly, the chorus (Clone Theory) adds a subtle depth to the sound without overwhelming it.

In the mixing stage, the guitar is often panned to spread rather than dominate. Placing a cleaner guitar on one side and a more effect-laden guitar on the other allows listeners to immerse themselves in a “sonic journey” in stereo. Engineering-wise, it is assumed that reverb is added through send-return, meticulously controlling the ratio of dry to wet sounds.

Overall, Daoud Popal’s sound creation maintains a consistent approach of “preserving a clean foundation while painting a psychedelic space with effects,” with amp, EQ, and pedal settings all chosen to support this direction.

Affordable Alternatives to Recreate the Tone

Daoud Popal’s sound creation relies on vintage amplifiers and unique effects, making complete replication somewhat challenging. However, there are practical gear options available for beginners or players on a budget that can get close to the “Kikagaku Moyo sound.” Here, we focus on commercially available items priced between $100 and $500.

As an amplifier alternative, the BOSS Katana series is a strong candidate. Its clean channel offers high transparency, and built-in reverb and delay allow for creating a “spacious sound” without needing additional pedals. Especially for small gigs or home practice, it is a practical substitute for the Twin Reverb or Princeton.

For guitars, the Squier Jazzmaster is highly recommended. Compared to the original Fender Jazzmaster, it is more affordable and accessible for beginners. The resonance of the offset body and the clarity of the single coils produce a tone very close to Kikagaku Moyo’s sound.

In terms of effects, the Electro-Harmonix Big Muff series is ideal for mimicking fuzz. It is more accessible than the Death By Audio Fuzz War and offers thick distortion at a reasonable price, allowing for powerful riffs. Additionally, the BOSS CH-1 Super Chorus and MXR Phase 90 are classic pedals that can easily add chorus and phaser effects at an affordable price.

For spatial effects, delay pedals like the BOSS DD-7 or NUX Tape Core Deluxe are effective. The Tape Core Deluxe can mimic the tape echo feel of the RE-201, making it a recommended alternative to the RE-20. Furthermore, combining it with the BOSS RV-6 Reverb allows for easily creating ambient soundscapes.

In summary, focusing on “amplifiers with clean foundations,” “Jazzmaster-type guitars,” and “fuzz plus spatial effects” as the three pillars will help you get closer to Daoud Popal’s sound. Particularly, BOSS and Squier products offer a wide price range, making them very effective choices for beginners.

Summary and Conclusion

Analyzing Daoud Popal’s guitar sound reveals that its essence lies in “creating a floating sensation using fuzz and spatial effects over a clean and transparent foundation.” His playing is not about being flashy but rather about “blending into” the overall sound of the band, which is reflected in the choices of guitar, amplifier, and effects.

Particularly noteworthy is his commitment to maintaining a clean amplifier setting. By using amplifiers with wide headroom like the Twin Reverb or Princeton Reverb as a canvas, the effects of fuzz, delay, and phaser from pedals resonate clearly. In essence, he is not “creating sound with the amp” but rather “creating space with the amp and painting the soundscape with effects.”

While there has been no clear confirmation of the actual guitar model used, the Jazzmaster is frequently referenced due to its acoustic properties aligning with Kikagaku Moyo’s psychedelic musicality. The edge and range of single coils are ideal for maintaining presence without overshadowing the overall band sound.

In terms of effects, the Death By Audio Fuzz War builds a wall of sound, while the Boss RE-20 Space Echo and Clone Theory provide floating reverberations, forming a “whirlwind of sound that immerses the listener.” This combination allows for a live experience that feels like stepping into another world.

On the other hand, replicating this sound does not necessarily require expensive gear; relatively affordable alternatives from BOSS and Squier can achieve a similar sound profile. Thus, the focus should be on “how to play” rather than “what to use,” as the combination of volume, EQ, and effects allows anyone to experience a Daoud-like sound.

In summary, Daoud Popal’s sound creation is “simple yet profound.” Embracing space rather than fearing it, and weaving sound into the atmosphere is the approach that defines Kikagaku Moyo’s charm, making it the most important perspective for guitarists aiming to replicate this sound.