[Jun] How to Recreate the PIERROT Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Joe Perry] How to Recreate the Aerosmith Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.16

[Hyota Matsuzaki] How to Recreate the SHANK Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

[Tomoyasu Teranaka] How to Recreate the KEYTALK Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.122025.09.12

Introduction (Overview of Tone)

Jun, the guitarist of PIERROT, serves as a sound architect that supports the band’s dark and experimental worldview. While Aiji carves out striking riffs and phrases, Jun fills the space with chord work and guitar synthesizers, constructing the band’s unique sonic image.

A significant characteristic of his style is using the guitar not just as an instrument but as a “sound device.” From the early days, he actively incorporated guitar synthesizers, blending traditional distorted guitar sounds with synth tones and ambient textures in live performances, achieving PIERROT’s one-of-a-kind sound design.

In iconic tracks like “MAD SKY -鋼鉄の救世主-” and “クリア・スカイ,” the guitar sound, a fusion of distortion and synth, forms the core of the songs. Particularly in live settings, Jun’s sound supports Aiji’s leads while underpinning a rich soundscape.

Moreover, Jun emphasizes “designing the entire song with guitar” over flashy solos, making him a guitarist with a strong sonic presence from the perspective of sound engineers and PA systems. Consequently, his gear research has garnered attention not only from guitar enthusiasts but also from those interested in sound design and synthesis.

In the following sections, we will explore Jun’s amplifier, guitar, and effects setup while delving into the essence of his sound design.

▶ Search official YouTube videos of PIERROT

List of Amplifiers and Features

Jun’s choice of amplifiers significantly influences his style, which heavily utilizes guitar synthesizers and spatial effects. Confirmed records indicate that during the PIERROT era, he used a MATCHLESS amplifier, known for its clear clean tones and warm crunch sounds, making it ideal for blending with synth sounds. This MATCHLESS amp likely contributed to the “deep spatial expression” characteristic of PIERROT’s music, providing a natural compression typical of tube amps.

After the band’s disbandment, Jun reportedly used a Marshall amplifier with his new band, ALvino. Marshall is renowned for producing classic rock sounds, and it is presumed that he shifted the backing and distortion quality towards a thicker direction, especially considering the more pop and rock-oriented sound of ALvino compared to PIERROT.

When considering both live and studio contexts, it is clear that Jun consistently sought a “transparent sound that supports the entire song.” Even when layering guitar synthesizers, it was essential that the sound remained clear and powerful, leading to a focus on clean to crunch textures in his amplifier selection. While specific settings and combinations remain unconfirmed, literature and fan sightings suggest a clear distinction: “MATCHLESS = PIERROT era” and “Marshall = ALvino era.”

Additionally, it can be inferred from Jun’s style that he may have incorporated line recording or amp simulator approaches in the studio rather than direct amp connections. Given his active use of guitar synthesizers, it is likely he was conscious of expanding clean tones. From the perspective of sound engineers, Jun’s sound is closer to “acoustic output as a system” rather than just the tone of a guitar amp, indicating a design where the guitar and amp work together to dominate the space.

Below is a summary of Jun’s amplifier usage.

Jun’s amplifier history is closely related to the band’s sound evolution, suggesting a selection of amps that embody both “clear tones coexisting with synth” and “rock-like powerful distortion.”

Types of Guitars Used and Features

The most distinctive aspect of Jun’s sound design revolves around his choice of “custom models equipped with guitar synthesizers.” The ESP custom-made RJ model used during the indie period and early major label days is notable for its ability to house a synthesizer system within the guitar itself, eliminating the need for external synth drivers. This feature allows for seamless switching between traditional electric guitar sounds and synth-like tones, serving as a crucial weapon to emphasize the band’s uniqueness. He later transitioned to an upgraded version, the RJ-II, which reportedly provided more stable synth output.

Furthermore, ESP introduced several models tailored to expand Jun’s expressive range as a guitarist. The KARULA, featuring a Les Paul-style body shape with two humbuckers, offers a powerful and thick sound, ideal for his robust chord work in live settings. Conversely, the Skull cat, based on a Stratocaster design with three single-coil pickups, caters to clear tones and cutting play. These guitars represent a versatile lineup that supports Jun’s style of combining synth-like sounds with traditional guitar tones.

There are also records of Jun using a compact EDWARDS mini guitar. This model, believed to be amplifier-equipped, was likely used for demo performances or specific staged presentations rather than typical live use. This reflects Jun’s experimental approach, treating the guitar as part of the performance itself.

Jun’s guitar selection is always grounded in the design aimed at broadening sound creation. His philosophy of incorporating synth sounds into the guitar design marks him as a unique figure within the visual kei scene, shaping PIERROT’s sonic identity. Particularly during the indie to mid-major period, the guitar served as a “canvas for Jun’s worldview,” acting as a laboratory for sound experimentation within the band.

Below is a summary of Jun’s guitar usage.

Jun’s collection of guitars is not merely tools for sound production; they are “extended equipment for merging with synths,” symbolizing PIERROT’s sonic world.

Effects and Pedalboard Setup

The most significant feature of Jun’s gear is the central role of the “guitar synthesizer.” During the indie period, he combined it with Roland’s external drivers, and from the major label era onward, he transitioned to an integrated system within the ESP custom RJ/RJ-II models, allowing for stable synth sound reproduction in live settings. Thus, Jun’s effects board was structured not as a typical guitarist’s setup of “distortion and spatial effects,” but rather as a complement to the guitar synthesizer.

However, to switch between synth sounds and conventional guitar tones, he likely used spatial and modulation effects as auxiliary tools. Specifically, chorus and reverb would have been effective in enhancing the thickness of the guitar synthesizer sound, adding dimensionality to the overall tone. Listening to live recordings and audio sources, Jun’s sound leans more towards “expansive texture” rather than “dry distortion,” which can be attributed to the influence of spatial effects.

Even as a backing guitarist, there are instances where an overdrive-like distortion was necessary, suggesting the potential inclusion of a simple overdrive pedal. Particularly in aggressive tracks like “MAD SKY” and “神経がワレル暑い夜に,” it is natural to assume that Jun added distortion to support Aiji’s leads. Additionally, there may have been some use of a wah pedal and delay to expand expressive capabilities, utilized in solos or specific performances.

There are limited resources available to confirm the complete layout of Jun’s effects board, but analyses from literature and fan sites suggest a “minimal structure centered around the synth, with spatial and distortion effects combined as needed.” Unlike typical hard rock guitarists, Jun’s approach involved “modifying the guitar to incorporate synths,” leading to a likely auxiliary role for his pedalboard.

Below is a summary of the assumed effects configuration for Jun.

Jun’s board supports a unique sound design centered around the guitar synthesizer, structured minimally compared to typical guitarists’ extensive pedal collections.

Tone Settings, EQ, and Mixing Approaches

The most significant characteristic of Jun’s sound design is his focus on the “overall sound system of the band” rather than just the “sound of the guitar.” His unique approach of outputting synth sounds from the guitar suggests that his EQ and amp settings were adjusted from a slightly different perspective than traditional setups. Listening to live recordings and footage, Jun’s sound maintains a presence that fills the space without being buried, emphasizing a broad soundscape.

Specifically, the EQ tendencies likely involve slightly reducing midrange while maintaining a balanced high and low end. Aiji’s lead guitar asserts itself in the midrange, allowing Jun to support the foundation with low frequencies while adding a synth-like sparkle in the high end. This division of roles between the twin guitars clarifies their contributions, creating a synergistic effect without clashing.

In terms of amp settings, it is presumed that Jun’s settings with the MATCHLESS focused on clean to crunch tones. The gain would have been set low to maintain clarity even when mixed with synth sounds. Treble might be adjusted to around 12 to 1 o’clock, bass around 11 o’clock, and midrange slightly cut to around 10 o’clock, ensuring a broad tonal range. In instances where distortion was emphasized, overdrive would have been added to bolster the midrange and enhance the overall power of the band.

When handling both synth and guitar sounds simultaneously, mixing on the PA side becomes crucial. Jun’s synth sounds cover a wide frequency range, making them prone to competing with other instruments. Engineers likely cut unnecessary low-end frequencies while emphasizing the midrange (around 200Hz to 2kHz) to maintain the guitar’s presence. Reverb and delay settings would have been chosen to be shorter to avoid overlapping with the synth’s expansive qualities, with adjustments made to enhance stereo effects as needed.

For specific song applications, in aggressive tracks like “MAD SKY” and “神経がワレル暑い夜に,” Jun likely set his distortion higher to enhance the backing’s intensity. Conversely, in ethereal songs like “クリア・スカイ” and “HUMAN GATE,” he would have emphasized synth sounds to create a floating atmosphere, allowing synth pads to flow throughout the arrangement. This duality is at the core of Jun’s sound design, supporting a dynamically changing soundscape for each song.

Another critical point to note when attempting to replicate Jun’s settings is the “placement within the mix.” His sound is often panned to the right side of the stage, contrasting with Aiji’s lead guitar, creating a three-dimensional spread throughout the live performance. The balance between guitar and synth sounds would have been adjusted on the mixer side, ensuring they were not overly prominent but instead positioned as a “sense of atmosphere.”

The key points for replicating Jun’s sound design are as follows:

• Set the amp for a clean tone with low gain.
• EQ should reduce midrange while maintaining adequate high and low frequencies.
• Add reverb and delay lightly to synth sounds for spatial integration.
• Use overdrive to reinforce distortion as needed.
• Experiment with placement in live mixes for a sense of depth.

As highlighted, Jun’s sound design approach is about “not pushing the guitar sound forward” but rather “painting the overall sound landscape.” Consequently, it serves as a crucial pillar supporting PIERROT’s unique dark and experimental sonic world.

Affordable Alternatives to Recreate the Tone

While fully replicating Jun’s sound design requires custom equipment like the ESP models with built-in guitar synthesizers, these are often hard to obtain and quite expensive. Therefore, for general players or beginners, there are relatively affordable methods to approach Jun’s sound, focusing on three key areas: “guitar synthesizer alternatives,” “spatial effects,” and “clean-strong amp simulators.”

Starting with the guitar synthesizer, readily available options include Roland GR series or BOSS SY-200/SY-1 guitar synth pedals. These allow users to experience the sensation of “playing synth sounds on the guitar,” similar to Jun’s use of the ESP RJ model. Notably, the BOSS SY-1 is compact yet capable of reproducing a wide range of synth sounds, making it an essential tool for achieving the “fusion of guitar and synth” at a relatively low price.

Next, for spatial effects, chorus and reverb are effective in recreating the “expansiveness” and “depth” of Jun’s sound. For example, the BOSS CH-1 Super Chorus and RV-6 Digital Reverb are staple models that can reliably reproduce the ethereal quality and spatial thickness that Jun’s sound embodies. These effects are also beginner-friendly and minimize muddiness when combined with synth sounds.

For overdrive pedals, the Ibanez TS9 Tube Screamer or BOSS SD-1 would be suitable choices. While it remains unclear which specific distortion pedals Jun used, these classic overdrives can adequately substitute for the level of distortion needed to support backing. They maintain a guitar-like presence even when mixed with synth sounds.

Regarding amplifiers, acquiring MATCHLESS or Marshall models can often be financially challenging. A practical alternative is to utilize affordable amp simulators like the BOSS Katana series or Line6 POD Go. These can easily create Jun’s clean to light crunch tones and offer user-friendly EQ adjustments, making them ideal for beginners. The Katana, in particular, is widely supported by players of all levels and serves as an excellent entry point for achieving Jun’s transparent sound.

Finally, if you’re interested in the mini guitar or performance aspect, incorporating an amplifier-equipped mini guitar (such as those from YAMAHA or Vox) can be an interesting choice. While not identical in purpose to the EDWARDS mini guitar Jun used, it allows for a simulated experience of “performance plus presentation.”

Below is a summary of affordable alternatives to achieve Jun’s sound.

By combining these pieces of gear, beginners can experience elements of Jun’s sound within a budget of approximately $100 to $500. Particularly, the combination of a guitar synthesizer and spatial effects is crucial for achieving Jun’s essence, allowing for a closer approximation to the PIERROT sound world.

Summary and Conclusion

Looking at Jun’s sound design comprehensively, it becomes evident that he is not merely a guitarist but should be regarded as a “sound designer.” The idea of integrating a guitar synthesizer into ESP custom models was exceptionally unique within the visual kei scene at the time, forming the foundation of PIERROT’s dark and fantastical soundscape. His sound captivates audiences not through flashy solos or technical speed but through a broad presence that envelops the entire song with a unique texture.

Furthermore, his amplifier choices reflect his approach. The MATCHLESS used during the PIERROT era paired well with guitar synthesizers and spatial effects, enhancing the clarity of clean tones and natural crunch that highlighted synth sounds. In contrast, the Marshall chosen during the ALvino period sought a thicker backing sound more aligned with rock. Thus, Jun’s amplifier selection was always made with the perspective of “how to construct the overall sound image of the band.”

Regarding effects, while the synth-equipped guitar serves as the core, auxiliary roles are played by chorus and reverb to create expansiveness, with overdrive and delay added as needed for expression. Here, the focus is not on “making the guitar stand out” but rather on “adding color to the overall sound.” Jun’s sound consistently supports Aiji’s leads, acting as a “foundation” for the band’s sonic identity.

For readers looking to replicate Jun’s sound, it is not necessary to have an expensive custom guitar. The key is to focus on the three elements: “synth-like sounds,” “clean-strong amplifiers,” and “spatial effects.” By incorporating BOSS guitar synthesizers or affordable multi-effects, you can approach Jun’s ethereal and thick sound. Additionally, adjusting EQ and mixing to reduce midrange while emphasizing expansiveness will allow you to fulfill a Jun-like role within the band.

Overall, the essence of Jun’s sound design lies in “not pushing himself forward but painting the overall worldview of the band.” This philosophy has elevated PIERROT to a unique status, continuously leaving a profound impression on listeners. Understanding this approach to sound design and applying it in your own context is the first step towards experiencing Jun’s sound.