[Chitose Mina] How to Recreate the Kaneyori Masaru Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Chitose Mina, the guitarist for Kaneyori Masaru, plays a crucial role in supporting the band’s sound, which beautifully balances a sense of speed with emotional depth. Her guitar work is characterized by a seamless transition between delicate, soaring melodies and sharp, punchy backing riffs.

In the iconic track “Sakura Iro,” she employs a Jazzmaster to create an ethereal tone, while in “I was,” she switches to a Stratocaster, emphasizing a crisp, edgy texture. This versatility in instrument selection allows her to express a wide range of tonal colors tailored to each song, which is one of her most appealing traits.

At the core of her sound is a Fender Telecaster in a sunburst finish, a model she has cited as being influenced by Eriko Hashimoto of Chatmonchy. By utilizing amps like the Fender Bassbreaker and Orange, she achieves a broad sonic palette that spans from clean tones to rich overdrive.

During solos, she often uses the Suhr Riot Distortion to cut through the mix, creating a commanding presence. Additionally, she employs the VEMURAM Jan Ray as a constant overdrive, providing a solid foundation for her core tone.

Chitose Mina’s approach to sound design can be summarized as “selecting guitars and building effects to maximize the atmosphere of each song.” In the following section, we will delve into the amplifiers she uses.

▶ Search official YouTube videos of Kaneyori Masaru

List of Amplifiers and Features

Chitose Mina’s amplifier selection ranges from classic brands like Fender and Orange to the highly regarded Friedman, popular among engineers and professional guitarists. Her sound is not solely defined by her guitar but also significantly shaped by the characteristics of her amplifiers.

The centerpiece of her recording setup is the Fender Bassbreaker. Known for its sparkling clean tones and thick midrange during crunch and overdrive settings, it provides stability within the band’s sound. This amp is well-suited for clean arpeggios and punchy backing, making it an invaluable tool in studio work.

Next is the Friedman amp, although the specific model remains unidentified. It is reported to have been used in the recordings of “Sakura Iro” and “Game Over.” Friedman amps are known for their modern take on Marshall tones, excelling in clarity and punchy distortion. This makes them a great match for the melodic style of Kaneyori Masaru.

Recently, she has integrated an Orange combo amp into her rig. This amp is celebrated for its distinctive British-style distortion and warm, thick tones characteristic of tube amplifiers. Chitose has expressed a preference for amp distortion, suggesting that this amp will likely play a significant role in her future recordings and live performances.

By combining these amplifiers, she can express a wide range of tones from “clean and transparent” to “rock sounds with strong midrange presence,” depending on the song. Particularly in live settings, her ability to switch between the Bassbreaker and Orange amps allows her to recreate delicate arpeggios and powerful choruses within the same set.

While Friedman and Orange amps can be relatively expensive, beginners might find it challenging to invest in them. However, using tone simulators or modeling amps can help achieve a similar texture. Overall, her amplifier choices seem to focus on balancing “recording precision and live performance impact.”

Types of Guitars Used and Features

At the heart of Chitose Mina’s sound are her Fender guitars. She skillfully utilizes multiple guitars, each with unique tonal characteristics, to establish her distinct sound while maintaining the bright and clear qualities typical of single-coil pickups.

The main guitar she has relied on for years is the Fender Telecaster (Sunburst). Purchased around 2019, it continues to be a key instrument in her latest works. Influenced by Eriko Hashimoto of Chatmonchy, this model offers a hard yet warm tone, adding a unique sense of melancholy and strength to Kaneyori Masaru’s music. Its versatility allows for a wide range of techniques, from arpeggios to cutting riffs and lead work, making it a significant asset during live performances.

Additionally, her first guitar, the Fender Stratocaster (Mexico / Pink), is still used as a secondary instrument during live shows. This Strat was employed in the recording of “I was,” showcasing its edgy, crisp texture. The bright mid and high frequencies typical of a Stratocaster shine in fast-paced tracks.

For composing and demoing at home, she uses the Squier Paranormal Offset Telecaster (Shell Pink). This model combines elements of both Telecasters and Jazzmasters, producing a softer, more expansive tone, making it ideal for sketching ideas and creating the atmosphere for new songs. She is also considering incorporating it into her live setup in the future.

In the studio, she has borrowed a Jazzmaster (details unknown) from an arranger, which was used in the recordings of “Sakura Iro” and “Game Over.” The unique sustain and airy quality of the Jazzmaster adds an ethereal feel to the tracks.

Through her thoughtful selection of guitars, Chitose Mina prioritizes creating sounds that reflect the essence of each song. As a result, fans often describe her sound as having distinct expressions for each track while retaining the signature style of Kaneyori Masaru.

Effects and Pedalboard Setup

In Chitose Mina’s sound design, effects play a vital role. Her pedalboard is structured to accommodate a wide range of sounds, from a constant overdrive to distortion for solos, and even experimental sounds using fuzz. This setup allows her to control different textures for each song, adding depth to the band’s overall sound.

The foundation of her effects is the VEMURAM Jan Ray. By keeping this pedal always on, she maintains the brightness of her single-coil guitars while enhancing the midrange, giving the overall sound a defined contour. In Kaneyori Masaru’s music, this pedal blends seamlessly with both clean and distorted tones, creating a cohesive sound.

For lead and solo sections, she frequently employs the Suhr Riot Distortion. This high-gain distortion pedal delivers powerful sound with excellent clarity, allowing her guitar to stand out within the mix. Particularly in energetic tracks like “Game Over,” it amplifies the presence of the lead guitar.

Additionally, for extra gain during choruses or up-tempo songs, she uses the BOSS Blues Driver (BD-2). This pedal can handle light boosts to rough crunch sounds, supporting her sharp cutting style. Its combination with the Jan Ray adds thickness to her sound.

Recently, she has introduced the EarthQuaker Devices Hoof fuzz into her rig. While it can create powerful fuzz tones on its own, she has been experimenting with layering fuzz effects, which showcases her desire to push the boundaries of sound. This experimentation adds a unique texture to existing pop melodies, broadening the band’s sonic palette.

Overall, Chitose Mina’s effects setup is designed to “create a foundation with a constant overdrive and gradually build up distortion as needed.” This thoughtful arrangement encapsulates her commitment to balancing sound individuality and reproducibility.

Tone Settings, EQ, and Mixing Approaches

Chitose Mina’s sound design goes beyond mere gear selection; it involves meticulous attention to EQ settings, amp configurations, and processing during recording and mixing. Here, we will explore how her sound is crafted for each song through various techniques.

Starting with amp settings, it is likely that the Fender Bassbreaker is set primarily for clean to crunch tones. The EQ is adjusted to slightly boost the midrange, keep the low end tight, and maintain a touch of brightness in the high frequencies. This setup ensures that arpeggios and chord work remain clear and present within the overall band sound.

When using the Orange amp, it is assumed that she actively utilizes the amp’s natural distortion. By raising the gain past noon and emphasizing the midrange while controlling the low end, she achieves a powerful yet articulate rock sound. This setting is particularly effective for upbeat and energetic tracks.

In terms of EQ usage, different songs exhibit the following tendencies:

• “I was”: Stratocaster + crunch setting. High frequencies are slightly boosted to highlight the edgy texture.
• “Sakura Iro”: Jazzmaster + Friedman amp. Low frequencies are controlled, focusing on the bright mid and high frequencies, with reverb added for an ethereal feel.
• “Game Over”: Utilizing distortion and fuzz. Mid and low frequencies are emphasized for a powerful and heavy sound.

For effects combinations, it is common to keep the Jan Ray on to establish a foundational tone, layering the BD-2 for additional gain as needed. During solos, the Riot Distortion is engaged to ensure clarity, and at times, the Hoof fuzz is incorporated to enhance power. This approach allows for “gradually building up the sound according to the song’s dynamics.”

In terms of mixing techniques, she creates a sense of space by panning guitars left and right while firmly placing vocals in the center. The guitar EQ likely involves cutting around 200Hz to reduce muddiness while boosting around 2kHz to enhance attack. Reverb and delay are used sparingly, ensuring that the overall tightness of the band sound is maintained without excessive spatial effects.

The differences between live and recorded sound are also significant. In live settings, she crafts her sound in real-time through amp distortion and pedal combinations, while in the studio, she focuses on mic placement and EQ processing to capture nuanced textures. For example, blending tracks recorded near the center of the cabinet with those recorded at the edge can create a balance of clarity and warmth.

In summary, Chitose Mina’s sound design revolves around “centering the midrange in EQ,” “gradually layering distortion,” and “removing muddiness while emphasizing clarity in mixing.” By carefully layering these elements, she achieves a diverse and three-dimensional sound tailored to each song.

Affordable Alternatives to Recreate the Tone

While achieving Chitose Mina’s sound may require expensive gear like the Fender Telecaster and VEMURAM Jan Ray, beginners or budget-conscious players can still get close to a similar tonal direction. Here, we will introduce relatively affordable equipment (around $100–500) and explain why they can approximate her sound.

For guitars, the Squier Classic Vibe series is a top contender if you’re looking for a Telecaster-style instrument. As a direct Fender brand, it can be purchased for under $500 and is capable of replicating the bright and punchy tone of Chitose Mina’s main Fender Telecaster. With single-coil pickups, it offers clarity for arpeggios and cutting, making it suitable for live performances and practice.

Regarding amplifiers, while a tube model is ideal, the cost can be prohibitive. Therefore, I recommend the modeling BOSS Katana series. This amp can handle everything from clean to high-gain tones, allowing for sound design reminiscent of the Bassbreaker and Orange. Additionally, its rich array of built-in effects makes it easy to experiment with combinations of boosts and distortions.

As for effects, while the Jan Ray and Riot Distortion are on the pricier side, the following alternatives can be considered:

• BOSS BD-2 Blues Driver: An overdrive pedal that Chitose Mina has used. Priced in the $100 range, it is perfect for boosting and crunch sounds.
• Mooer Cruncher: A compact distortion pedal modeled after the Suhr Riot tone. It offers excellent clarity for single notes, making it suitable for solos.
• Electro-Harmonix Big Muff Nano: A popular alternative to the Hoof fuzz, allowing players to experience powerful fuzz tones at an affordable price.

By combining these elements, players can recreate the “foundation of clean to light overdrive” established by the Jan Ray, the “clarity for leads” provided by the Riot, and the “experimental power” of the Hoof fuzz at a reasonable cost. Furthermore, adding an EQ pedal (like the BOSS GE-7) can further emphasize the midrange, bringing them closer to Chitose Mina’s sound.

In conclusion, beginners and intermediate players can build their setups around the “Squier Telecaster + BOSS Katana + BOSS BD-2” and gradually add distortion and fuzz pedals. This approach will enable them to recreate the Kaneyori Masaru sound in live settings and studio practices.

Summary and Conclusion

As we have seen, Chitose Mina’s sound design is a masterful blend of “the allure of the gear itself” and “the thoughtful selection of instruments for each song.” Her main Fender Telecaster provides a robust core, while the Stratocaster and Jazzmaster allow for varied expressions tailored to each track. By keeping the VEMURAM Jan Ray always on to solidify her foundation and introducing the Suhr Riot Distortion for solos and the Hoof fuzz for unique character, she achieves a sound that is both simple and richly layered.

On the amplifier front, she balances the clean and crunch tones of the Bassbreaker with the distinct characters of Friedman and Orange amps, catering to both recording and live performance needs. This strategy reflects a clear philosophy of “establishing a stable foundation and adding color as needed.”

From effect selection to EQ adjustments, the essence of her sound design lies in “designing to accurately convey the emotions of the song.” The gradual layering of distortion, midrange emphasis in EQ, and textural changes through fuzz all stem from her pursuit of the optimal tone for each track. This approach transcends merely producing “good sound” and delves into the realm of “how to convey the band’s emotions to the listener.”

For beginners, the high cost of gear might pose a challenge, but alternatives from Squier and BOSS can still get players close to her sound. The key is understanding the structure of “establishing a solid clean tone and layering distortion and spatial effects on top.” By grasping this flow, players can approach the transparent yet powerful sound characteristic of Kaneyori Masaru.

In summary, Chitose Mina’s sound design is encapsulated in “simple gear selection and meticulous differentiation,” “prioritizing emotion in settings,” and “a balanced approach centered around midrange.” Readers seeking to explore her sound should first focus on their existing gear while gradually acquiring ideal equipment. This way, they can step closer to the poignant yet powerful sound that Chitose Mina creates.