[Junta Mori] How to Recreate the JUN SKY WALKER(S) Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Junta Mori, the guitarist of JUN SKY WALKER(S), has been a significant figure in the Japanese rock scene since the late 1980s and into the 1990s. His guitar sound is characterized by its simplicity and energy, perfectly conveying the essence of straight rock and roll. Iconic songs like “Suteki na Yozora” and “Zenbu Kono Mama de” showcase a robust tone primarily based on the combination of a Les Paul and Marshall amplifiers, leaving a vivid impression on many fans.

The core of Mori’s sound design revolves around a straightforward approach: “Les Paul ➝ Direct to Marshall.” He keeps effects to a minimum, relying on the guitar’s volume and picking nuances to shape the sound. This direct approach is what supports the band’s exhilarating sound and captivates listeners.

On stage, he alternates between powerful strumming and delicate arpeggios, adding depth to the songs. His playing style is simple yet profound, presenting challenges for guitarists attempting to replicate it.

In essence, the heart of Mori’s sound lies not in flashy effects but in the expressive touch of the player himself. This unique sound design is a key reason why he continues to be beloved by many listeners.

▶ Search official YouTube videos of JUN SKY WALKER(S)

List of Amplifiers and Features

The backbone of Junta Mori’s sound is undoubtedly the Marshall amplifiers. Since 2004, he has explicitly stated in his blog that he primarily uses the Marshall JCM2000 series. This amplifier inherits the classical rock sound that supported JUN SKY WALKER(S) during their peak in the 80s and 90s while offering a more modern gain response and stability. It is particularly known for its smooth transition between crunch and lead tones, making it a highly reliable model in live settings.

The JCM2000 features a straightforward design that responds sensitively to the guitarist’s picking and the guitar’s volume adjustments. Mori’s style of “going direct with a Les Paul” is complemented by the amp’s honest characteristics, making it the best companion for conveying his expressiveness. The thick low-end and the smoothness at high gain perfectly match the exhilarating sound of JUN SKY WALKER(S).

Interestingly, during his solo performance in 2020, he introduced the Marshall LEAD 15 (15W Micro Stack) as an unexpected piece of gear. Despite its small size, it delivers the punchy sound characteristic of Marshall, allowing for direct guitar input. This setup is ideal for smaller venues, where he can maintain the presence of the Marshall sound while keeping the volume manageable. It has also been recorded that he sometimes utilizes venue-installed Marshalls, switching channels with a footswitch.

In summary, it is not an exaggeration to say that Mori’s choice of amplifiers is exclusively “Marshall.” While he may change models depending on the period or situation, he consistently pursues the rock sound that Marshall embodies. It is highly likely that he uses similar amplifiers for studio recordings, confirming that the core of his tone lies in the “Marshall sound.”

The simple yet profound “Les Paul ➝ Marshall” direct sound aligns perfectly with the band’s straightforward rock and roll, creating a unique guitar sound.

Types of Guitars Used and Features

When discussing Junta Mori’s sound design, one cannot overlook the long-time favorite, the Gibson Les Paul Custom. Notably, his 1972 model, famously engraved with “NOBODY’S PERFECT,” is particularly well-known among fans. This guitar features a three-piece mahogany neck and a three-piece maple + mahogany body, with uncovered pickups. It is characterized by a thick, robust tone and the sustain typical of a Les Paul, supporting the band’s classic rock sound. This specific guitar is used as the main instrument for most live performances, making it synonymous with JUN SKY WALKER(S).

Additionally, the Greco EG1000 Les Paul Custom “MARQUEE MOON”, which he acquired early in his career, is also noteworthy. He has mentioned on his official store “MJ WAREHOUSE” that it was the first Greco Les Paul Custom he owned, making it an important piece of gear during his debut. The tight resonance typical of Japan’s vintage guitars and its responsive playability matched the young Mori’s style, supporting numerous early performances.

Furthermore, he has been noted to own other Les Paul Customs referred to as “OTHER 99” and “White.” These guitars likely served as supplementary instruments, used interchangeably based on the venue or song style. Mori’s guitar collection is predominantly composed of Les Paul Customs, which undoubtedly plays a crucial role in defining his sound.

The choice of guitars is closely related to supporting the band’s fast-paced and robust sound, with the “thickness unique to Les Paul” being a significant factor. By opting for models equipped with humbuckers instead of single coils, he ensures sufficient power for strong chord strumming and riffs, maximizing compatibility with Marshall amplifiers.

Thus, Mori’s guitar lineup can be summarized as “centered around the Les Paul Custom, with supplementary or alternative models used depending on the period.” The uniqueness of his sound is undoubtedly backed by this love for Les Pauls and his thorough direct approach.

Effects and Pedalboard Setup

Junta Mori’s pedalboard is remarkably simple, reflecting his sound design philosophy. The fundamental approach is “Les Paul ➝ Direct to Marshall,” avoiding excessive use of effects and only adding the minimum necessary pedals when needed. This simplicity symbolizes the straightforward rock and roll of JUN SKY WALKER(S).

First and foremost is the Overdrive (white). He has stated in his blog, “I turn this on first during solos,” indicating its use for boosting gain during lead tones and solo parts. It functions similarly to a boost, and when combined with the JCM2000’s crunch channel, it achieves a powerful and clear lead sound.

Next is the Digital Delay (white), which adds spatial depth to the sound and serves as a mood enhancer for the songs. It is particularly effective in ballads or during the latter half of solos, where extending the sound is desired. In some setups, a tuner has been noted to replace this position, showcasing the flexibility of his pedalboard.

The Chorus (light blue) is also a crucial element. Many of JUN SKY WALKER(S)’s songs are fast-paced, and the chorus thickens the sound, expanding the overall band sound. Its use has been confirmed in riffs and arpeggios, making it an indispensable part of mood changes in the songs.

Additionally, regarding the Tuner, he used a white floor tuner in 2012, switching to a clip-on model for his 2020 solo activities. This change reflects a focus on compactness and adaptability in performance environments. Moreover, incorporating a red Switch Box into the board allows for flexible routing during live shows.

As a side note, he has provided some of his personal effect pedals as rewards for crowdfunding, confirming their actual use. While specific model names have not been disclosed, this serves as evidence that he indeed operates with pedals during performances.

Overall, Mori’s pedalboard is constructed not to seek flamboyance but to “support the sound only when necessary.” It embodies a practical philosophy that aligns with his musical vision and sound philosophy.

Tone Settings, EQ, and Mixing Approaches

The core of Junta Mori’s sound design lies in the simple style of “Les Paul ➝ Direct to Marshall,” with adjustments made to maximize the potential of the amplifier and guitar. The basic settings for the Marshall JCM2000 often lean towards a crunch-based setting, with overdrive added to form the lead tone.

Regarding EQ balance, it is often speculated that he sets Bass around 5, Middle at 6-7, and Treble at around 6. This approach avoids excessive boosting of the low end, ensuring that the guitar does not get buried in the overall band ensemble. Particularly, JUN SKY WALKER(S) songs often feature a fast-paced sound where drums and bass come to the forefront, requiring the guitar to maintain a strong midrange to support the rhythm.

Mori’s playing style prominently features volume control and picking dynamics. For example, during backing parts, he may dial the volume down to around 7-8 to produce a thick crunch, then open it up to 10 for solos, creating a powerful drive sound. This “dynamic control with both hands” adds depth to his sound.

He also skillfully differentiates his settings based on the song. For fast-paced tracks like “Suteki na Yozora,” he boosts the crunch with overdrive to ensure the chords stand out. In contrast, for ballads like “Zenbu Kono Mama de,” he applies a light delay to extend the sustain, creating an overall lingering effect in the song. Chorus is often limited to arpeggios or clean parts, achieving spatial processing that aligns with the song’s development.

From an engineering perspective, Mori’s sound often utilizes midrange frequencies actively in the mix, ensuring the positioning of two guitars is spread across the left and right for a wider sound. Particularly in live recordings, the guitar’s positioning is slightly widened, allowing rhythm and lead guitars to blend naturally. Reverb processing is typically restrained, often keeping the sound dry, which emphasizes the rawness of the guitar, aligning with his “not relying on effects” playing style.

Regarding channel switching on the amp, he utilizes the two channels of the JCM2000, combining the crunch for rhythm parts and the lead channel with overdrive for solos. The settings for the solo channel often involve slightly raising the Presence to enhance clarity.

In summary, Mori’s sound design focuses not on flashy tones but on a thorough awareness of “how the guitar should fit within the band sound.” The EQ emphasizes midrange, organizing the low end to avoid disrupting the ensemble. Effects are kept to a minimum, allowing the player’s expressiveness to shine through. This approach is what makes his sound truly unique.

Affordable Alternatives to Recreate the Tone

Junta Mori’s sound is fundamentally based on the simple structure of “Les Paul ➝ Direct to Marshall.” This makes it relatively easy for beginners or budget-conscious players to recreate a similar nuance. Here, we will introduce options utilizing commercially available gear priced around $500 or less to help you get closer to Mori’s tone.

First, regarding guitars, while the Gibson Les Paul Custom is quite expensive, a strong alternative is the Epiphone Les Paul Custom. Epiphone is a direct subsidiary of Gibson, offering a similar appearance and a thick sound thanks to its humbucker pickups. Although the weight and materials differ, the rich midrange sound characteristic of humbuckers is sufficient to replicate the power needed for JUN SKY WALKER(S)’s backing.

For amplifiers, while the Marshall JCM2000 can be pricey even in the used market, an entry-level model like the Marshall MG15GFX is recommended. This compact amp retains the strong midrange rock sound typical of Marshall and can simulate Mori’s direct tone through its built-in overdrive channel, making it a solid choice for practice.

Additionally, a simple overdrive pedal is crucial. The BOSS SD-1 Super OverDrive is a classic choice, capable of functioning as a booster. Even when using an amp similar to the JCM2000, it is highly effective for bringing solos to the forefront. Similarly, to add spatial depth to clean and crunch sounds, the BOSS CH-1 Super Chorus is ideal. Its light blue casing aligns well with the chorus used by Mori, ensuring high replicability.

For delay, the BOSS DD-3T Digital Delay is a good choice. This simple digital delay adds depth to solos and arpeggios, helping to recreate the “sustained lead tone” found in ballads.

In summary, a combination of Epiphone, the Marshall MG series, and BOSS pedals provides the best options for beginners to affordably mimic Junta Mori’s sound. By combining these elements and focusing on volume control and picking nuances, players can experience a simple yet expressive rock sound.

Summary and Conclusion

Junta Mori’s sound design is remarkably simple yet profound. Its essence lies in the “direct connection between guitar and amp,” primarily using the Gibson Les Paul Custom connected directly to Marshall amplifiers. By adding only the minimum necessary effects, he flexibly creates the atmosphere for each song.

In terms of sound, he emphasizes “thick midrange tones” rather than excessive distortion. This approach ensures that the guitar stands out in JUN SKY WALKER(S)’s fast-paced songs, supporting the overall band presence. The low end is organized to avoid interfering with the bass drum and bass, while the highs are not overly emphasized but given just enough clarity. This meticulous balance is the hallmark of Mori’s sound.

Moreover, a key feature of his playing style is the use of picking nuances and volume control. By adjusting the guitar’s volume, he can thicken the sound for chord work and riffs at around 7-8, then fully open it for solos, maximizing dynamic range. This entire process makes the player themselves feel like an “effect” in their own right, creating a raw expressiveness.

For readers attempting to replicate Mori’s sound, it’s essential to understand that acquiring expensive gear is not the only route. While the 1972 Les Paul Custom and JCM2000 play significant roles, more importantly, it is crucial to focus on simplicity and expressive touch. Equipment serves as a foundation, but the player’s own sensitivity ultimately shapes the sound.

For beginners, affordable gear like Epiphone and Marshall MG series can still allow for a genuine experience of Mori’s essence. In fact, thoroughly practicing with simple equipment while honing volume control and picking nuances is the fastest route to approaching his sound.

In conclusion, Junta Mori’s sound design is rooted not in the abundance of tools but in the expressiveness of the player. His straightforward rock sound is supported by a clean style and meticulous touch control. The fusion of these two elements creates a unique guitar sound, which is why fans of JUN SKY WALKER(S) continue to be captivated by his music.