[Akira Wada] How to Recreate the PRISM Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Akira Wada, the guitarist of PRISM, is a pioneer in the Japanese fusion guitar scene, and his sound has influenced many guitarists since the late 1970s. His playing is characterized by clean, sharp cutting tones, passionate solos, and intricate chord work.

In iconic songs like “Take Off,” “Morning Light,” and “Out of the Night,” he skillfully balances moderate distortion with a clean tone that has a touch of compression. Wada has built a unique “Wada Akira tone” by switching between a variety of guitars, including Gibson models like the Les Paul and ES series, Yamaha semi-hollows, and even his original SAIJO GUITARS model, all while maintaining his signature speed and expressiveness.

Additionally, his modern setup combines rack systems and BOSS multi-effects with classic amp sounds from the 70s and 80s, allowing him to maintain a refined sound across different eras. These elements show that his sound creation is deeply connected not just to gear selection but also to his phrasing, touch, and picking nuances. Wada is a guitarist who emphasizes the importance of studying playing styles alongside assembling gear.

▶ Search official YouTube videos of PRISM

List of Amplifiers and Features

When discussing Akira Wada’s sound, it’s essential to consider the evolution of his amplifier setup over the years. In his early career, he used classic amps from brands like Yamaha, Mesa Boogie, and Hiwatt, while also incorporating more niche brands like Pearce and Peterson. In the fusion and jazz-rock styles, achieving a clean tone with a smooth drive is crucial, and Wada has pursued his ideal sound by combining various amplifiers.

In recent years, he has transitioned to a rack system, prominently featuring power amps like the MATRIX GT1000FX and Koch ART4502. These power amps faithfully amplify signals from preamps and multi-effects, allowing for more stable sound creation. He uses the DV MARK SP Cabinet for clean tones and the Hughes & Kettner SP Cabinet for distorted sounds, showcasing different sonic characters depending on the genre or song.

In the past, Wada frequently used Yamaha combo amps to achieve a warm sound typical of jazz fusion. During his time with Mesa Boogie, he focused on creating thick, sustaining tones for solos. His period with Hiwatt was marked by powerful clean tones and explosive distortion, as evidenced in live footage.

Wada’s choice of amplifiers reflects his flexibility, as he does not stick to a single manufacturer but adapts to the musicality and era. His recent preference for rack power amps emphasizes stability and reproducibility, indicating that he has found optimal solutions throughout his long career.

Overall, Wada Akira’s amplifier selection has evolved around the principles of “sound transparency and sharpness,” “live stability,” and “flexibility across genres.”

Types of Guitars Used and Features

Akira Wada is known for his diverse selection of guitars throughout his career, which has allowed him to achieve a wide range of sounds required in fusion music. In his debut era, he primarily used domestic brands like Yamaha’s SA and SG series, but from the late 1970s onward, he actively incorporated models like the Greco GO series and Gibson’s Les Paul and ES-335.

From the 1980s onward, he shifted to using the P-PROJECT PAW-7 #1 and Gibson Les Paul Standards and Customs, changing tones for different live and recording scenarios. Notably, the 1957 Les Paul Standard was a long-time mainstay, though he had to switch models after a neck break incident.

Between the 1990s and 2000s, he sought more stable sound and playability by introducing his original model, the SAIJO GUITARS SAW-12. This guitar, developed in collaboration with Hachi Saijo, features a SSHS configuration and a floating arm, combining active and passive pickups for a unique sound that symbolizes the current Akira Wada.

Wada also owns Fender Stratocasters (black 1956, slab board from 1961-62) and Telecasters (assumed 1953 model), which he has used for sharp cutting tones and ethereal playing with effects. Some Stratocasters have been modified with Floyd Rose or Kahler systems, showcasing Wada’s ingenuity.

Reflecting on these guitars, it can be said that Wada’s sound is supported by three pillars: “warm tones from semi-hollows,” “sharpness from solids,” and “modern designs from original models.” While the choice of guitar has varied by genre and era, his consistent pursuit of the ideal tone for each song has contributed to the rich sound unique to PRISM.

Effects and Pedalboard Setup

In Akira Wada’s sound creation, effects play a role as crucial as guitars and amplifiers. In the 70s and 80s, he primarily used simple analog pedals, incorporating delay and compression at key points to express the three-dimensionality and attack typical of fusion music. His reliable system, featuring BOSS delays and Guyatone power supplies, was designed with live performance stability in mind.

From the 1990s onward, he transitioned to a combination of rack gear and multi-effects. He introduced the BOSS GT-100 and TC Electronic Nova System, evolving his sound creation in a programmable environment. For delay, he often uses the BOSS DD-500, which allows for quick switching of different time settings and modulation for each song.

Wada’s rack setup also includes the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (stereo power amp), which, when combined with BOSS effects, provide a wide range of tones from clean to lead. Additionally, he has added digital spatial effects like TC Electronic G-Sharp and M300 to refine the quality of reverb and delay.

The choice of effects board indicates a dual approach where live performance prioritizes operability, while studio work focuses on meticulous sound crafting with racks. This setup allows for the precise control of the clean tone’s transparency, the power of solos, and the ethereal spatial sounds needed for PRISM’s music.

Thus, it can be assumed that Wada Akira’s effects board has evolved under the theme of “balancing practicality and versatility.”

Tone Settings, EQ, and Mixing Approaches

Akira Wada’s sound creation is characterized by a “total sound-making” approach that includes not just guitar and amplifier selection but also EQ settings and adjustments in the PA system. Given the nature of fusion music, which requires a wide range from clean to drive, he has developed a system to switch between multiple tones within a single song.

For clean tones, he is known to prefer settings that slightly emphasize the midrange while allowing the high frequencies to extend naturally. For instance, in settings with the BOSS GT-100 or Nova System, he tends to cut a bit of bass, boost the mids by about +2 to +3dB, and keep treble flat or slightly raised. This balance enhances the clarity during cutting phrases and allows the transparency of semi-hollow or single-coil guitars to shine.

For drive sounds, he often relies on the Marshall JMP-1 preamp, ensuring that the midrange remains intact to achieve the “cutting lead” typical of fusion. He generally avoids excessive gain, using light compression to enhance sustain, a style confirmed by many live videos and interviews. When using Les Paul-type guitars, he is careful not to cut too much low end, maintaining thickness while ensuring it doesn’t get buried in the mix.

Wada’s use of delay and reverb is also distinctive; he often applies long delays of around 400-600ms in stereo with the BOSS DD-500 for solos to create spaciousness. For rhythm parts, he uses short delays to add depth. Reverb is typically applied lightly with the TC Electronic M300, favoring plate reverb to avoid losing attack rather than deep hall reverb.

In mixing, Wada’s guitar is treated as “a prominent presence within the ensemble,” given the multi-layered nature of PRISM’s music. During live performances, the PA engineer often lightly boosts the midrange frequencies (around 800Hz to 1.5kHz) to avoid interference with keyboards and bass. In studio recordings, the guitar is positioned slightly towards the center, while reverb is spread across the left and right channels, creating a three-dimensional sound field typical of fusion.

Moreover, Wada’s settings are based on the premise of “always variable,” indicating that he adjusts them according to the venue’s acoustics and the balance of the band ensemble. Given the high improvisational nature of fusion, he would tweak gain and EQ for each performance, creating different resonances even for the same song.

Overall, it can be assumed that Akira Wada’s sound creation is built on four pillars: “transparent clean tones that highlight the mids,” “leads that retain thickness,” “spaciousness through spatial effects,” and “flexible adjustments to match the ensemble.”

Affordable Alternatives to Recreate the Tone

To fully replicate Akira Wada’s sound, one would need to acquire the numerous guitars and rack gear he has used. However, this is not realistic for beginners or intermediate players, so selecting commercially available gear that can recreate the “PRISM tone” at a relatively low cost is key. Here, we have picked products that can be acquired for around $1,000 or less that can help get closer to Wada’s sound.

For guitars, it is ideal to cover both Les Paul and Stratocaster types, but for beginners, Yamaha or Epiphone Les Paul models are recommended. They provide sustain and thickness while keeping costs down, making it easier to replicate the rich lead play. For Stratocaster types, using the Squier Classic Vibe series allows players to easily experience the sharpness during cutting and compatibility with spatial effects.

Regarding amplifiers, it is crucial to choose models that can achieve “transparent clean” and “moderate distortion,” which Wada emphasized. The Roland JC-22, while affordable, offers the classic jazz chorus sound suitable for fusion. Distortion can realistically be managed through multi-effects or preamp setups.

For effects, selecting multi-effects units like the BOSS GT-1 or Zoom G5n allows for managing clean/lead switching and settings for spatial effects, including delay and reverb, all in one unit. Even without investing in high-end gear like the DD-500 or Nova System, players can achieve similar tonal nuances. Additionally, the BOSS DD-7 as a compact delay offers great cost performance, effectively adding depth to solos.

In summary, by combining “an affordable Les Paul or Strat,” “Roland JC series clean amp,” and “multi-effects for delay/reverb,” players can get closer to Akira Wada’s sound. This way, they can recreate the transparent and three-dimensional guitar tones heard in PRISM’s signature songs.

Summary and Conclusion

Akira Wada’s sound creation goes beyond mere gear selection; it is supported by a comprehensive perspective that includes “phrasing nuances,” “role within the ensemble,” and “spatial processing techniques.” Listening to his sound reveals clean tones that are vibrant yet gentle on the ears, while leads possess thickness and sustain without becoming excessive, showcasing a delicate balance.

In terms of gear, he achieves thickness and depth with Gibson models like the Les Paul and ES-335 while expressing transparency with Stratocasters and his original SAIJO GUITARS. His use of amplifiers and racks ranges from classic models like Yamaha and Mesa Boogie to modern power amps like the MATRIX GT1000FX and Koch ART4502, demonstrating his pursuit of optimal solutions across different eras.

Moreover, Wada’s approach to effects symbolizes his unique style. Rather than layering heavy delays and reverbs, he emphasizes minimal spatial processing to preserve attack, ensuring that the guitar resonates with depth without getting buried in the mix. His ideas about positioning in the PA and recording further emphasize the concept of making the guitar “stand out.”

To replicate Wada’s sound, it is not about acquiring an expensive set of gear, but rather understanding the principles he focused on: “midrange clarity,” “differentiation between clean and drive,” and “appropriate placement of spatial effects.” Even beginners can approach his essential sound with relatively affordable gear like the BOSS GT-1 and Roland JC-22.

In essence, the core of Akira Wada’s sound creation lies in the balance of “transparency and presence,” and the way his guitar stands out while complementing the music. Therefore, when readers attempt to recreate his sound, focusing on “how to arrange the tones” and “how to play” will be the most effective shortcut beyond just gear selection.