[Mizuki Satou] How to Recreate the Negoto Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

The guitarist Mizuki Satou of the band Negoto has garnered attention since the early days of the band for her unique guitar work. Negoto’s music is characterized by dreamy and ethereal sounds, and within this context, Satou’s guitar creates a distinctive tone that blends the rawness of alternative rock with the expansive qualities of shoegaze.

In particular, her representative songs “Karon” and “Loop” showcase brilliant clean tones derived from Fender-style guitars, as well as soundscapes crafted using various spatial effects. She actively employs unique Fender models such as the Jazzmaster and Mustang, combining them with a variety of distortion pedals to achieve an alternative texture.

Moreover, her live performances often feature intense strumming and aggressive riff work, captivating audiences with a balance of expansive sound and punchy impact. The settings for her amps and effects have varied over time, with early performances focusing on Marshall and VOX, while later shows incorporated more spatial approaches.

This wide range of tonal possibilities is fundamental to her playing style and symbolizes the world of Negoto. Therefore, for guitarists aspiring to recreate the “Negoto sound,” understanding Satou’s gear choices and settings is crucial.

This article will thoroughly explain the guitars, amps, and effects that Mizuki Satou has actually used, focusing on her approach to sound creation. It should serve as a valuable reference for those looking to emulate the Negoto sound or study alternative music tones.

▶ Search official YouTube videos of Negoto

List of Amplifiers and Features

When discussing Mizuki Satou’s sound creation, the choice of amplifiers is indispensable. She has primarily utilized tube amplifiers to maximize the bright and lively tones of her Fender-style guitars. By combining classic amps such as VOX and Marshall in both live and recording settings, she achieves the punchiness required for alternative rock while maintaining a spacious reverb sound.

Particularly, the VOX AC30 is a central component of her sound. Its clean tone is beautiful and ideal for creating a unique sparkle during arpeggios and cuts, and it is frequently used in Negoto’s representative songs. Additionally, when combined with distortion pedals, it produces a thick mid-range while maintaining clarity.

The Marshall JCM800 serves as a key amplifier supporting her powerful sound during live performances. Compared to the VOX, it has a rougher tone, making it suitable for enhancing the intensity of riffs and solos. In dynamic songs like “Karon,” the aggressive distortion of the Marshall shines through.

The Mojave Ampworks Scorpion, while a somewhat niche choice, has also appeared in her gear list, likely utilized for its tube amp-like thickness and response in studio work or specific songs.

Furthermore, in her rack setup, she has used the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (stereo power amp), which are believed to have been introduced to ensure sound stability and power for large-scale live sets. This allows for sound creation tailored to the scale of the stage, which would be challenging with standalone amps.

Thus, Mizuki Satou balances clean transparency and powerful distortion by using multiple amps according to the song or scene. Evidence from live footage and interviews suggests that she has achieved a diverse combination centered around the VOX AC30 and Marshall.

Types of Guitars Used and Features

The core of Mizuki Satou’s sound creation lies in her diverse collection of guitars, primarily centered around Fender models. Negoto’s music possesses a dreamy and ethereal world, and her guitar choices concretely support this. By focusing on unique Fender models like the Jazzmaster and Mustang, she achieves a bright and distinctive clean tone with rich harmonics.

Notably, the Fender Jazzmaster is arguably her signature model. She owns and uses several versions, including the Japan-made Classic 60s 3CS, JM66 VWH, 3-Color Sunburst, and JM/HO NAT, switching between them for live performances and recordings. The Jazzmaster’s expansive sound pairs excellently with reverb and spatial effects, making it an indispensable element in creating Negoto’s unique soundscape.

The Fender Mustang also frequently appears in her setup. She particularly favors the MG69 Old Candy-Apple Red, which features a compact and manageable body, delivering a livelier sound than the Jazzmaster. This makes it ideal for strumming and light cutting during live performances, allowing her to maintain the song’s pop sensibility without sacrificing impact.

Additionally, the Fender Japan Hybrid 50s Stratocaster has been used, likely introduced to achieve a more traditional Strat sound. In Negoto’s songs, it emphasizes a clearer attack and the transparency characteristic of single-coils.

The Gibson SG (1966 model) offers a different midrange strength compared to Fender guitars, chosen for songs requiring a thicker, more alternative sound. It is believed to have been particularly useful in scenarios where sustain and a rough tone are needed, which the Jazzmaster cannot provide.

Since 2016, she has also utilized the ZEMATIS Disc Front. This guitar not only has a striking appearance but also features a unique midrange, enhancing her sound’s presence. It has become a significant element in her stage presence during later Negoto performances.

These guitar selections reflect a clear division of roles: “Fender for creating a dreamy soundscape,” “Gibson for delivering powerful rock tones,” and “Zematis for emphasizing presence.” Therefore, while her guitar set may change over time, it consistently supports the core of the Negoto sound.

Effects and Pedalboard Setup

Mizuki Satou’s sound creation is most notably characterized by her diverse pedalboard setup, utilizing a wide range of effects. Negoto’s songs span from transparent clean tones to thick alternative distortion, and even dreamy reverb. To manage all these sounds, her pedalboard is filled with an extensive array of effects.

For overdrive, she employs professional-grade gear such as the T-REX Alberta, Boorocks Leon MD1 Multi Driver, and shin’s music DUMBLOID 335. These add a soft distortion to the VOX AC30’s clean tone or create a more aggressive sound when combined with Marshall amps. Additionally, she incorporates unique distortions like RuzaEffects DankyDrive and Proco RAT2 (including the Sleeping Mouse Mod version), which contribute to the gritty texture characteristic of alternative music.

In terms of fuzz, she uses top-tier equipment like the Roger Mayer ROCKET FUZZ and PETE CORNISH NG-FUZZ Raven, delivering noisy and powerful lead sounds. These elements add an alternative and shoegaze-like roughness to the otherwise catchy Negoto sound.

As for boosters, she utilizes the Xotic EP Booster and MXR Micro Amp to amplify volume and presence during solos or climactic moments in songs. For reverb, she combines the BOSS RV-6 and TC Electronic Nova Reverb to create a soundscape with deep echoes, functioning as a key element in producing a shoegaze-like expansiveness.

Moreover, the Line 6 M9 multi-effect unit is frequently used in live settings, allowing her to call up delays and modulation effects conveniently. This setup enables her to create a wide range of sounds without needing numerous individual pedals.

Other unique effects include the T-REX Tremonti (phaser), EMMA TransMORGrifier (compressor), and PLUS E-BOW, which contribute to her experimental and spatial sound approaches beyond standard pop-rock. Additionally, she uses tuners like the BOSS TU-3W and TC Polytune, along with switchers like the Providence PEC-04 and BOSS ES-8 to efficiently manage her complex pedal setup. Power supplies like One Control Distro and Ex-pro PS-1 ensure professional stability.

For her wireless system, she employs the Line6 Relay G50, allowing her to move freely on stage without compromising sound quality. Thus, Satou’s effects board serves as a “sound laboratory” supporting the diverse songs of Negoto. Evidence from photos and live footage confirms her continuous pursuit of new sound creations, suggesting that she adds complex and delicate effects work to her Fender guitars and VOX/Marshall amps.

Tone Settings, EQ, and Mixing Approaches

The essence of Mizuki Satou’s sound lies not only in her choice of guitars and amps but also in the meticulous adjustment of EQ and the differentiation of tones for each song. Negoto’s music requires a balance between “ethereal and floating clean tones” and “punchy alternative distortion,” making the interplay of amps, effects, and EQ crucial.

When using the VOX AC30, she sets the gain moderately low to preserve the clean tone while increasing the treble to emphasize the bright high frequencies. Particularly in songs dominated by arpeggios and cuts, she slightly reduces the mids and lightly boosts the lows to ensure clarity without being buried by other instruments. When adding reverb or delay, she employs a low-cut to prevent muddiness, maintaining clarity while achieving spaciousness.

Conversely, when using the Marshall JCM800, she emphasizes the power of distortion, boosting the mids to ensure the guitar stands out in the overall mix. Especially during riffs and solo parts, she thickens the midrange while boosting the distortion pedals to highlight the sound’s presence. If the high frequencies are pushed too high, they can become harsh, so she likely keeps the treble slightly restrained while adjusting presence for clarity.

Choosing distortion effects is also vital. For instance, with the T-REX Alberta or DUMBLOID, she applies a light drive to add luster to the amp’s clean tone. In contrast, she employs the Proco RAT2 or the modified RuzaEffects version to create a raw alternative distortion, maintaining sound definition by cutting the lows and focusing on the midrange.

For reverb, she primarily uses the BOSS RV-6 and Nova Reverb, selecting Hall or Plate settings and applying deep effects to create a shoegaze-like echo. In some songs, she shortens the decay to maintain a dry atmosphere, enhancing the pop sensibility. When utilizing the Line 6 M9, she combines delays and modulation to switch between different soundscapes with a single button.

Furthermore, considerations in PA and mixing are crucial elements supporting Negoto’s sound. During recording, she often double-tracks guitars and pans them left and right to create a sense of space. In EQ processing, she organizes the low end while boosting the 3kHz to 5kHz range to bring the attack of strumming to the forefront. It is presumed that she adjusts the send amount of reverb according to the song to prevent it from masking other instruments.

During solo parts or climactic moments, she likely uses the Xotic EP Booster or MXR Micro Amp, adding further compression in the PA to unify the sound’s texture. In live settings, she utilizes switchers like the BOSS ES-8 to instantly call up different tones, reflecting her meticulous sound design.

Overall, Mizuki Satou’s sound creation is structured in three layers: “establishing the foundational tone with amps, adding texture with distortion pedals, and creating an ethereal feel with spatial effects.” Through careful EQ and mixing adjustments, she achieves the unique transparency and power characteristic of Negoto.

Affordable Alternatives to Recreate the Tone

Reproducing Mizuki Satou’s sound completely would require acquiring high-end gear such as the Fender Jazzmaster, VOX AC30, and expensive pedals, which can be challenging for beginners due to cost. However, there is a wealth of relatively affordable gear available today that boasts high reproducibility. Here, we will introduce accessible models for beginners to intermediate players aiming for the Negoto sound.

First, regarding guitars, models with Fender-like clean tones are essential. While the original Jazzmaster and Mustang can be pricey, options from Fender Japan or the Squier series can provide a similar sound at a lower cost. Notably, the “Squier Classic Vibe Jazzmaster” and “Squier Mustang” are ideal entry-level instruments that can recreate the shimmering tones foundational to Negoto’s sound.

As for amps, the VOX AC30 is a classic but can be heavy and expensive. As an alternative, the “VOX AC15C1” is more compact and affordable, offering a clean tone similar to the AC30. For an even lower budget, small practice amps like the “VOX Pathfinder 10” are also viable. In the Marshall category, the “Marshall DSL20” is a cost-effective choice that performs well in live and studio settings.

Many BOSS products can serve as affordable alternatives for effects. For instance, overdrive can be achieved with the “BOSS BD-2” or “BOSS SD-1,” providing sufficient drive to capture the Negoto feel. Reverb can be recreated with the “BOSS RV-6,” while delay and modulation can be handled by compact multi-effects like the “Line 6 HX Stomp.” The HX Stomp is particularly excellent as an amp simulator, capable of digitally simulating the tones of VOX and Marshall, making it versatile for both practice and live performances.

For boosters, using the “BOSS GE-7 (equalizer)” as an alternative to the “Xotic EP Booster” can effectively enhance midrange, improving solo clarity. While fuzz pedals from Roger Mayer and Pete Cornish can be quite expensive, alternatives like the “BOSS FZ-5” or “Electro-Harmonix Big Muff Nano” can serve as suitable substitutes.

Moreover, starting with a few compact pedals means you don’t need to invest in power supplies or switchers right away. As needed, adding a small switcher like the One Control Minimal Series can create an easily manageable setup for live performances.

In summary, beginners can start with just four items: the “Squier Jazzmaster,” “VOX AC15,” “BOSS RV-6,” and “BD-2” to experience the clean and spatial resonance characteristic of Negoto. Gradually expanding their gear will help them approach the complex and layered soundscape of Mizuki Satou.

Summary and Conclusion

Reflecting on Mizuki Satou’s sound creation, its essence can be summarized as the “brilliant tones of Fender-style guitars,” “spatial expression through diverse effects,” and the “skillful use of amps for foundational sound creation.” By selecting unique Fender models like the Jazzmaster and Mustang, she supports clean tones with the VOX AC30 while complementing power with the Marshall JCM800. She skillfully combines overdrive, fuzz, reverb, and multi-effects to craft distinct soundscapes for each song.

Listening to Negoto’s music reveals a dreamy world woven from ethereal arpeggios and deep reverb, coexisting with the rawness of alternative rock. This is not coincidental; it is a result of Satou’s meticulous adjustments of EQ and pedal combinations during live and recording sessions. Thus, achieving a balance of “transparency and power” is the central theme of her sound creation.

For guitarists aiming to replicate this sound, it is essential to understand that simply acquiring the same gear is not enough. The balance of amp settings centered around VOX and Marshall, the careful use of effects without over-distorting, and the emphasis on creating “spatial sound” through reverb and delay are key points. By focusing on these aspects, one can approach the three-dimensional sound profile characteristic of Negoto.

Furthermore, her sound is not just about the “guitar alone,” but rather the “role within the overall band sound.” By considering the interplay with vocals and keyboards, she intentionally selects tones that do not overpower, thus maintaining the overall balance of the song. This attitude of “not overly asserting one’s sound” also reflects the depth of Satou’s sound creation.

In summary, Mizuki Satou’s sound is constructed from the three pillars of “delicate clean tones,” “powerful alternative qualities,” and “ethereal spatial expression.” To recreate this, one must not only focus on gear selection but also on EQ adjustments and the use of spatial effects. Beginners should start with the Squier Jazzmaster, VOX AC15, and BOSS RV-6 to experience how to create space. Gradually upgrading gear will help them get closer to the sound that embodies the world of Negoto.