[Mafumafu] How to Recreate the Mafumafu (Kamisama, Boku wa Kizuite Shimatta) Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Mafumafu is not only known for his solo activities but also as the guitarist of the band “Kamisama, Boku wa Kizuite Shimatta.” His unique sound design has garnered a significant following among listeners.

His guitar sound is characterized by emotional and lyrical phrases coexisting with a heavy yet modern tone.

In particular, songs like “Kaidoku Funou” and “CQCQ” showcase his ability to skillfully switch between clean and distorted tones, emphasizing the overall atmosphere of the music.

As evident from his social media and interviews, Mafumafu possesses a wide variety of guitars, including limited edition models themed around cherry blossoms and custom-made PRS Private Stock guitars, highlighting his emphasis on tonal options.

In both streaming and recording settings, he actively incorporates plugins such as IK Multimedia AmpliTube and Waves, which form the core of his digital approach to sound.

Moreover, he has been spotted using Hughes & Kettner amplifiers during live performances, indicating a distinct approach to studio work and live settings.

Mafumafu occupies a rare position in the guitar scene, balancing the sensitivity of a singer-songwriter with the aggression of a band member.

In summary, Mafumafu’s sound design emphasizes the coexistence of “beauty” and “intensity,” achieved by skillfully switching between guitars, amplifiers, and plugins for each song.

In the following sections, we will delve into the specific amplifiers, guitars, and effects he uses, along with tips for beginners on how to recreate his sound with alternative gear.

▶ Search official YouTube videos of Kamisama, Boku wa Kizuite Shimatta

List of Amplifiers and Features

Mafumafu’s go-to amplifier for both live performances and recordings is the renowned German brand Hughes & Kettner.

In a post during the filming of the “Kaidoku Funou” music video in 2017, he explicitly stated that it was his “favorite amplifier.” The transparent distortion and sparkling clean tones of this amp align perfectly with the world of his music.

It is highly likely that he uses the TriAmp series, with the MKII or the current MKIII being potential candidates. Both models offer a wide range of channels, covering everything from clean to high-gain sounds, making them ideal for Mafumafu, who frequently switches tones throughout his songs.

It has been confirmed that he also uses a Hughes & Kettner cabinet, although the specific model has not been disclosed by him or through official sources.

However, it is likely that he uses a 4×12 inch cabinet often paired with the TriAmp series, which contributes to the powerful sound during live performances.

In studio work, he actively employs not only physical amplifiers but also amplifier simulations using plugins.

Notably, he has confirmed using IK Multimedia’s “AmpliTube MAX” in his production setup, showcasing a flexible approach that combines both hardware and software during recordings.

This suggests a clear distinction between “live with physical amps” and “home recording or streaming with AmpliTube.”

Overall, Mafumafu’s amp settings are focused on achieving a balance between “transparent cleans and sharp high-gain.”

His sound design is rooted in quality control that does not compromise the song’s atmosphere and the optimal selection of equipment for each situation, with the Hughes & Kettner TriAmp and AmpliTube serving as symbolic representations of this approach.

Types of Guitars Used and Features

The guitars used by Mafumafu reflect his aesthetic sensibilities and musicality.

Notably, he owns several limited edition models from momose themed around cherry blossoms, including “Yozakura (MT-YOZAKURA-SP17)” and “Fuyuzakura (MT2-FUYUZAKURA-SP18),” as well as the Bacchus T-MASTER EWC/SAKURA, all featuring designs that evoke a sense of Japanese culture.

These guitars have been confirmed through his social media posts and support both the visual and sonic aspects of Mafumafu’s world.

In 2019, he reported purchasing a high-end PRS Private Stock guitar, which is known to be used exclusively for recording.

While the specific model has not been disclosed, it is highly likely to be from the Custom 24 series, which is known for producing progressive and three-dimensional soundscapes, making it suitable for meticulous studio work.

Additionally, in 2023, he announced the acquisition of a Mary Guitars Vispa Donut-PH, a unique instrument crafted by an indie workshop, characterized by its playful appearance and distinctive sound.

His choice of such one-of-a-kind guitars symbolizes the breadth of his musical expression.

Regarding acoustic guitars, he mentioned purchasing a Martin GPCX1RAE in 2016, referring to it as a “smaller acoustic guitar.”

While he did not specify the model, various sources suggest this is the likely candidate. It is believed to be utilized in live performances for ballads and other delicate expressions.

Overall, Mafumafu’s guitars serve diverse roles, from “high-quality recordings with premium gear” to “visually striking cherry blossom series” and “unique indie handmade guitars” for ballads.

His practice of switching guitars for each song conveys a meticulous construction of his musical world.

While some of this information is confirmed, others remain speculative; however, it is assumed that both the “cherry blossom series” and “PRS Private Stock” symbolize Mafumafu’s sound.

Effects and Pedalboard Setup

Mafumafu’s approach to effects is heavily software-oriented, with few confirmed hardware pedals.

As of March 2025, no specific examples of individual pedal usage have been confirmed, suggesting that he primarily relies on direct connections to the amp or a simple routing setup during live performances.

In contrast, he is known to utilize numerous plugins and software effects in his production and streaming environments.

One of the key plugins he uses is “IK Multimedia AmpliTube MAX,” which he has confirmed using in his productions.

This serves not only as an amp simulator but also covers cabinets and spatial effects, acting as a multi-effects unit.

Additionally, he employs glitch plugins such as “Image-Line Gross Beat” and “Illformed Glitch 2,” which allow for time-stretching, reversing, and rhythmic manipulation, contributing to the unique digital quality of his guitar sound.

Furthermore, during mixing, he incorporates various plugins from “Waves,” particularly the Mercury bundle, as well as the Abbey Road and SSL 4000 series, which are known for professional effects.

These are likely applied for guitar correction and spatial processing. Notably, plugins like “Q10 EQ,” “JJP Vocal,” and “R-DeEsser” are famous for vocal use but can also be effectively utilized for guitar tone control.

He also uses “iZotope Ozone 9,” which plays a crucial role in adjusting the sound pressure and spaciousness during the final mastering process.

In summary, Mafumafu’s effects setup is characterized by “unconfirmed hardware” and a “software-centric implementation.”

During live performances, he expresses himself through amp channel switching, while in studio production, he employs a meticulous approach using AmpliTube and Waves plugins, suggesting a dual-layered strategy.

Thus, while his pedalboard remains unspecified, it is reasonable to assume that the software environment constitutes his “de facto board.”

Tone Settings, EQ, and Mixing Approaches

A notable aspect of Mafumafu’s sound design is his clear distinction between clean and distorted tones.

He bases his live performances on Hughes & Kettner TriAmp amplifiers, utilizing a sparkling tone on the clean channel and a sharp high-gain sound on the distortion channel.

This switch allows him to elevate the sound pressure during the chorus of songs like “Kaidoku Funou,” while maintaining a subdued, ethereal clean sound during the verses.

For amp settings, it is speculated that he raises the Treble slightly (around 5–6) during clean tones, keeps the Bass moderate (3–4), and lowers the Middle to create a sense of space.

On the high-gain channel, the Gain is likely set around 6–7, creating an edgy sound without excessive distortion. The live sound emphasizes clarity and resolution, ensuring that chord strumming remains distinct.

In terms of EQ processing, he likely utilizes Waves’ Q10 EQ and SSL 4000 EQ, cutting the low-end (removing frequencies below 80Hz) while boosting the 2–4kHz range to enhance attack.

Additionally, his spatial processing involves careful reverb application, avoiding excessive depth to prevent interference with the vocals. This approach aligns with Mafumafu’s “vocal-first” mixing philosophy.

Glitch effects such as Gross Beat and Glitch 2 are introduced only in specific songs or arrangements, creating intentional rhythmic fluctuations.

This results in a “digital texture” that cannot be achieved with guitar alone, becoming a defining characteristic of Mafumafu’s music.

This style represents a hybrid fusion of “analog amps and guitars” with “digital effects and editing.”

During the mixing phase, it is assumed that he uses iZotope Ozone 9 to expand the stereo image and adjust sound pressure with a maximizer.

Particularly in the chorus, a stronger limiter is set to enhance the thickness of the guitar, contributing to the overall explosive power of the song. Conversely, quieter sections feature a wider dynamic range to create contrast.

In terms of song tendencies, emotional tracks like “CQCQ” often feature a clean tone with slightly deeper reverb, while aggressive songs like “Kaidoku Funou” and “Boku no Koto ga Kirai na Kimi e” emphasize high-gain with compression.

Overall, care is taken to ensure that the guitar does not overpower the mix, focusing on supporting the vocals and the overall track.

In conclusion, Mafumafu’s EQ and mixing techniques can be summarized as focusing on “clarity,” “supporting the vocals,” and “the fusion of analog and digital tailored to each song.”

While specific settings have not been disclosed, it is assumed that the aforementioned approaches form the foundation of his sound design.

Affordable Alternatives to Recreate the Tone

The PRS Private Stock, limited edition momose models, and Hughes & Kettner TriAmp that Mafumafu uses are quite expensive, making it impractical for beginners or intermediate players to acquire the same gear.

However, by focusing on the “direction of sound,” it is possible to approach Mafumafu’s sound with relatively affordable equipment. Here, we will introduce recommended alternative gear available for around $1,000 or less.

For guitars, standard models from Fender Japan or Bacchus serve as suitable alternatives to the cherry blossom series or PRS Private Stock.

Fender Telecasters and Stratocasters provide strong clarity in clean tones, closely resembling the delicate resonance of the cherry blossom series. Additionally, Bacchus Global series guitars maintain high quality in materials and finishes while being budget-friendly, providing reassurance as they belong to the same brand family as momose.

For amplifiers, the BOSS Katana series or Yamaha THR30II are excellent substitutes for the Hughes & Kettner TriAmp.

These models cover a wide range from clean to high-gain, with the Katana being particularly suitable for live use while remaining affordable.

The Yamaha THR series excels for home practice and recording, aligning well with Mafumafu’s streaming style.

Regarding effects, while it is ideal to set up a software environment with AmpliTube and Waves, hardware alternatives like the BOSS GT-1000CORE or Line 6 HX Stomp are viable options.

These multi-effects units integrate amp simulation and spatial effects, allowing for the creation of a digital quality similar to Mafumafu’s sound without the need for a PC.

Additionally, for glitch effects, combining a multi-effects unit like the Zoom MS-70CDR can be effective.

In summary, combining “Telecaster or Bacchus,” “BOSS Katana or Yamaha THR,” and “multi-effects (like HX Stomp)” makes it easier to achieve Mafumafu’s transparent cleans and sharp high-gain tones.

While it may not be possible to perfectly replicate the nuances of the actual Private Stock or cherry blossom series, thoughtful arrangements and EQ adjustments can allow listeners to experience a sound that resonates with the essence of Mafumafu.

Summary and Conclusion

In reviewing Mafumafu’s guitar sound, the core elements are the contrast between “transparent cleans” and “sharp high-gain.”

His use of visually striking guitars from momose and Bacchus, high-end recording gear like the PRS Private Stock, and unique custom models from Mary Guitars showcases his diverse approach to sound design.

On the amplifier front, he favors Hughes & Kettner TriAmp for live performances while leveraging a digital environment centered around AmpliTube MAX for recording and streaming.

His flexible approach, utilizing both software and hardware, is the essence of the Mafumafu sound.

Furthermore, by actively incorporating digital processing through tools like Gross Beat and Glitch 2, he creates a unique sound that blends band elements with electronic influences.

The nuances of EQ and mixing are also crucial. By organizing the low-end while emphasizing the mid to high frequencies, he achieves his signature “clear guitar” sound.

His ability to balance the vocals as the focal point while supporting the overall sound pressure of the band reflects his producer-like ear.

Particularly, the finishing touches using Ozone and Waves elevate home recordings to professional quality.

For beginners looking to replicate this sound, utilizing relatively affordable alternatives like the BOSS Katana or Line 6 HX Stomp can help grasp the direction of Mafumafu’s tone.

The key lies not in acquiring expensive gear but in understanding “the switching of tones according to the scene” and “how to present the sound within the mix.”

Studying Mafumafu’s sound design can lead to a deeper understanding of “how to express music” beyond mere equipment knowledge.

In conclusion, Mafumafu’s sound design is primarily focused on “depicting the story of the song through sound.”

By combining visually striking guitars, versatile amplifiers, and a range of digital processing plugins, his sound is established.

Those aiming to recreate his sound should begin by emphasizing the clear contrast between clean and high-gain tones and carefully adjusting EQ and spatial processing. This is the first step toward capturing the essence of the Mafumafu sound.