[Masaki Mori] How to Recreate the EGO-WRAPPIN’ Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Masaki Mori, the guitarist of EGO-WRAPPIN’, is renowned for his unique guitar playing that blends elements of jazz, blues, swing, rockabilly, and even traditional Japanese music. His clean, sustained phrases in the representative song “Shikisai no Blues” and his improvisational chord work during live performances enrich the overall sound of the band.

A significant characteristic of his sound is its focus on “clean tones,” “chord textures that utilize decay and overtones,” and “tone design that blends seamlessly with the horn section.” By avoiding excessive distortion and flashy effects, he emphasizes acoustic dynamics, strongly aligning with EGO-WRAPPIN’s vintage aesthetic.

During the concert at Hibiya Outdoor Theater on July 12, 2025, for “Dance, Dance, Dance,” he notably used a banjo in the opening song “Egyptian Reggae,” emphasizing the exotic feel and dance groove of the piece. In interviews, he has mentioned a heightened awareness of “reducing the number of sounds and emphasizing live instruments” since the earthquake, reflecting the band’s overall direction.

Thus, Masaki Mori’s playing is not merely about the guitar itself but is designed from the perspective of the entire ensemble, organically connecting a wide range of musical elements from blues to jazz, ska, and rockabilly through his guitar work.

▶ Search official YouTube videos of EGO-WRAPPIN’

List of Amplifiers and Features

One of the crucial elements supporting Masaki Mori’s sound design is his choice of amplifiers. Given that EGO-WRAPPIN’s sound is designed to accommodate a large ensemble that includes horns and upright bass, the guitar needs to blend in without overshadowing the overall mix while still maintaining its presence.

Therefore, it is reasonable to assume that clean, high-headroom amplifiers have been chosen.

The most likely candidate is a Fender clean amplifier. Models like the Twin Reverb and Deluxe Reverb from the Blackface/Silverface era are known for their wide headroom and rich spring reverb, making them versatile for everything from blues to jazz and traditional Japanese music.

The clarity of the clean tones is particularly suited for the arpeggios and chord work in EGO-WRAPPIN’s signature song “Shikisai no Blues.”

Another possibility is the VOX AC series (AC30/AC10, etc.). Known for its midrange characteristics, the chime-like tones pair well with hollow body guitars and P-90 equipped guitars.

In songs that incorporate reggae and ska rhythms, the AC30’s light breakup provides a pleasant distortion that adds color to the ensemble. Recent live reviews have noted a “dub-like sound design,” aligning with the characteristics of VOX amps.

In recording settings, it is also plausible that studio-standard amplifiers (like the Fender Deluxe Reverb or Roland JC-120) are utilized. While the JC-120’s clean tone can be somewhat harsh, it can be combined with spatial effects to impart a modern quality that is characteristic of EGO-WRAPPIN’.

However, based on his statements and live tendencies, it is reasonable to conclude that excessively high-gain amplifiers are not part of his selection, as his approach emphasizes “acoustic awareness” and “utilizing decay and natural resonance.”

Overall, it is highly likely that Masaki Mori’s amplifier setup revolves around “Fender clean amplifiers, supplemented by VOX AC series as needed.” These amplifiers are capable of handling a wide range of styles from jazz to ska and blues, aligning with EGO-WRAPPIN’s diverse musicality.

Types of Guitars Used and Features

The choice of guitars is a key element in shaping Masaki Mori’s sound. He utilizes the guitar not merely as an accompaniment instrument but as a “colorful tool” to control the overall sonic landscape of the band.

In clean-oriented performances, controlling decay and nuance is essential, and the selected guitars reflect this direction.

First, the banjo is a confirmed instrument in his setup. During the concert at Hibiya Outdoor Theater on July 12, 2025, he was seen playing the banjo in “Egyptian Reggae,” adding a unique color to the piece.

This was a strategic arrangement involving switching with a melodica, symbolizing Mori’s role as the “sound color designer” on stage for EGO-WRAPPIN’.

Additionally, it is assumed that his main guitar is a Gretsch hollow body (6120 or Country Club series).

In songs leaning towards swing and rockabilly that include a horn section, the resonance and decay characteristics of a Gretsch hollow body are ideal. The vibrato feel from the Bigsby arm aligns well with EGO-WRAPPIN’s retro and jazzy vibe.

Furthermore, the use of P-90 equipped full hollow guitars (like Gibson ES-330 or Epiphone Casino) is also considered. In songs like “Shikisai no Blues,” where a clean tone with light saturation is desired, the characteristics of the Casino or ES-330 match perfectly.

The clear chord textures and alluring tones resonate with the aesthetic of EGO-WRAPPIN’s bluesy and traditional songs.

Occasionally, solid body guitars with single coils (Telecaster or Stratocaster) are also seen. In ska, rocksteady, or new wave arrangements, the sharp attack and ease of managing frequencies within the mix make solid types a viable option.

In summary, Masaki Mori exhibits a flexible style that includes “diverse switching with unique instruments like the banjo,” “clean tones from hollow bodies,” and “the occasional use of solids depending on the context.” This versatility allows him to adapt to EGO-WRAPPIN’s wide-ranging repertoire from jazz to swing to ska and traditional Japanese music.

Effects and Pedalboard Setup

Masaki Mori’s guitar play is characterized by a minimal use of effects, chosen to harmonize within the ensemble of the songs.

EGO-WRAPPIN’s music spans a wide range of genres including blues, jazz, ska, rockabilly, and traditional Japanese music, where the need is for “color control” rather than “flashiness.”

The first effect that is likely used is tremolo. It is assumed that he utilizes classic pedals like the BOSS TR-2 or the built-in tremolo of Fender amplifiers.

By adding periodic modulation in blues or ballad-style songs, he infuses a retro warmth into the music.

Next is the spring reverb. It is believed that he primarily uses the built-in spring reverb of his amplifiers rather than standalone pedals. Combined with the decay of hollow bodies, this adds depth and luster to the overall ensemble, emphasizing EGO-WRAPPIN’s unique vintage feel.

Additionally, recent live reviews have mentioned “dub-like sound design.” Here, analog/tape delay (like the BOSS DM-2W or Strymon El Capistan) is likely employed. Short repeats or long delays create spatial processing, contributing to the depth in ska and rocksteady performances.

Moreover, due to the large ensemble, clean boosters and compressors are also thought to be used as auxiliary effects. These help adjust volume and nuance, ensuring that the guitar does not get buried when mixed with horns and keyboards.

Mori’s effects board is not flashy; rather, it features a minimal set of tools that focus on “sound creation that thrives through reduction.” Thus, it is assumed that his board consists of “built-in amp functions + tremolo + delay (and booster as needed).”

Tone Settings, EQ, and Mixing Approaches

Masaki Mori’s sound design emphasizes “naturalness” and “the beauty of decay” over flashiness. His guitar is adjusted to resonate harmoniously within the ensemble, ensuring it sounds balanced alongside horns, upright bass, and vocals.

Thus, from amplifier settings to EQ and mixing in PA or recording, a consistent approach of “enhancing the clean” is maintained.

When using amplifiers like the Fender Twin Reverb or Deluxe Reverb, it is assumed that the Volume is kept around 3-4 to maximize clean headroom. Treble is likely set slightly lower at 4-5, while Middle is set at 5-6 to ensure natural projection, and Bass is adjusted around 3-5 depending on the venue to prevent excessive low-end rumble.

When using the VOX AC30, a Volume setting around 5 is natural, targeting the point of light breakup to utilize the midrange chime.

For effects, the tremolo depth is likely set to a shallow level (30-40%), with speed adjusted according to the song’s tempo. The reverb from the built-in spring is kept at a modest level (2-3) to avoid interfering with the natural decay of hollow bodies. For delay, a short delay (around 200ms, with feedback set to 2-3 times) is used to expand the space, while in reggae/ska contexts, a long delay (400-500ms) is used to emphasize the dub feel.

In studio recordings or PA mixing, Mori’s guitar is often processed to “blend into the band” rather than stand out. In EQ processing, a slight boost around 2-3kHz is applied to clarify the attack of the cuts, while frequencies below 200Hz are lightly cut to avoid overlapping with the upright bass and kick drum.

Reverb processing is also kept minimal, adding a small amount of natural reverb to utilize the resonance of the stage or hall.

Moreover, based on his comments post-earthquake regarding “acoustic awareness,” excessive compression and high pressure are avoided. By reducing the number of sounds and valuing the nuances and decay of each note, he creates a sense of “space” and “pause” in EGO-WRAPPIN’s music.

In summary, Mori’s settings are structured around “clean tones,” “midrange focus,” “reverb that doesn’t kill decay,” “tremolo that creates modulation,” and “delay that colors the space,” allowing for maximum emotional expression with minimal adjustments.

Affordable Alternatives to Recreate the Tone

Masaki Mori’s sound design can be approached without relying solely on expensive vintage gear. By focusing on “clean tones,” “the beauty of decay and space,” and “colors that blend with the ensemble,” it is possible to achieve a similar sound with relatively affordable equipment. Here, we introduce gear that is accessible for beginners and intermediate players, typically priced between $100 and $500.

For amplifiers, Fender Champion 40 and Fender Mustang LT25 are effective options. The Champion 40 offers simple operation and excels at clean tones, making it suitable for EGO-WRAPPIN’s jazz and swing cuts. The Mustang LT25 features modeling capabilities, allowing it to replicate VOX sounds, making it versatile across various genres.

Regarding effects, the BOSS TR-2 Tremolo can be acquired for around $100, easily recreating the modulation tones that Mori frequently uses. For reverb, the TC Electronic Hall of Fame Mini is an affordable and high-quality option, ideal for complementing setups lacking built-in spring reverb.

For delay, while the BOSS DM-2W is a bit pricier, a more budget-friendly alternative would be the TC Electronic Flashback Mini, which can simply recreate dub-like depth and spatial effects. Additionally, for booster applications, the TC Electronic Spark Mini Booster serves as a user-friendly alternative to the Xotic EP Booster.

When it comes to guitars, jumping straight into a full hollow body can be a challenge, so models like the Epiphone Casino or Epiphone DOT are strong choices. These can be found for around $500 and allow players to experience the decay and airiness characteristic of hollow/semi-hollow guitars.

For a more accessible option, introducing a Squier Telecaster can effectively utilize the sharp attack of single coils, making it suitable for ska and rockabilly styles.

In summary, a configuration of “affordable clean amp + reverb + tremolo + delay + budget-friendly hollow or single coil guitars” can effectively capture the essence of Masaki Mori’s sound. The key is to focus on “not adding sound” but rather “reducing sound and enhancing space,” which is central to his aesthetic.

Summary and Conclusion

Reflecting on Masaki Mori’s sound design, the core lies in the approach of “how to utilize the resonance of live instruments.” The sound is designed not to spotlight the guitar alone but to integrate harmoniously with horns, upright bass, piano, drums, and the vocals of Yoshie Nakano, creating a unique sonic landscape for EGO-WRAPPIN’.

Particularly in “Shikisai no Blues,” the guitar sometimes leads, sometimes blends, and at times fills the space, showcasing the flexibility of Mori’s musical perspective.

On the equipment side, the foundation consists of hollow/semi-hollow guitars like the Gretsch series or Epiphone Casino, combined with clean-focused amplifiers such as Fender models and the VOX AC series. The effects are kept to a minimum, primarily utilizing tremolo, reverb, and delay as auxiliary spatial effects.

These choices reflect a “subtracting aesthetic,” creating depth in the music by leaving space.

Additionally, it is noteworthy that since the earthquake, there has been a strengthening of the “acoustic awareness.” His statements reveal a focus on the nuances of each note without relying on excessive effects or high gain. This is not merely a technical discussion but is directly connected to the band’s expressive stance, becoming a crucial element that allows listeners to feel “afterglow” and “pause.”

If you wish to emulate Masaki Mori’s sound design, there is no need to gather expensive vintage gear. Rather, focusing on clean settings, moderate reverb, shallow tremolo, and context-appropriate delay will suffice.

The important thing is the awareness of “not just producing sound” but “allowing sound to resonate.” This is the essence of his sound design.

In summary, Masaki Mori’s guitar serves as the “architect of space” in EGO-WRAPPIN’s music. Learning from his sound design not only provides insight into gear selection but also reinforces the importance of “space” and “harmony” in music.

When attempting to recreate his sound, it is crucial to first consider “how you want the entire band to resonate.”